Ubisoft has taken a flawed game of boundless promise, destroyed some (but not all) of its appeal, fixed some (but not enough) of its problems, and jeopardised the whole endeavour by making the same mistake twice and rushing it to market before it was steady on its feet. Prince of Persia is strong and supple enough to survive this with many of its immense virtues intact. But it deserved so much better. [Christmas 2004, p.80]

That scale is emphasised in two expertly staged boss fights that provide a much stronger climax, and a conclusion to Quill's story that seems definitive. [Issue#372, p.117]

It’s a testimony to the rapid evolution of this once moribund genre that Rogue Galaxy has been left so far behind. But it’s also a testament to Level 5’s inherent instinct for charm and compulsion that this game manages – even in 2007 – to hold its head above the crowd. [Apr 2007, p.78]

The game's second half descends into a fiasco...One thing's for certain: if there's a great action game in Infamous 2, no one's actually built it yet.

There’s more to be got out of this new kind of play than Nintendo has found this time around, and some of it could be better implemented. But, for now, it offers an experience that can’t be matched. [July 2005, p.89]

A gaming of charming positive spirit that, three years late and a generation off the pace, sill stands out in a crowded, wantonly destructive field. [Christmas 2015, p.114]

Complex but accessible, inventive yet familiar, a game that has gripped browser windows is every bit as troublingly addictive in the palm of your hand.

It all adds up to a remarkable mixture of emotions, seldom encountered in a commercial videogame: kinetic thrill and the satisfaction of optimising your time, but also mounting claustrophobia, empathy for co-workers, and a sense that somewhere out among the stars there's a kinder society waiting to be riveted together. [Issue#373, p.104]

Bad Company’s multiplayer happily checks off the expectations the series has created. [Aug 2008, p.90]

Housemarque's adventure wears its ambitions so openly that the comparison is inevitable. By no means a classic on those terms, Outland is nonetheless a well-executed game that - hopefully - lays the groundwork for future iteration upon its central ideas.

Enjoyably whipped through in three hours, And Yet It Moves finds rare extra pull in unlockable modes.

Above all, it's funny...If anything, this is the most bizarre game in the series to date. [Jan 2007, p.72]

The Sexy Brutale's world is a delightful place in which to immerse yourself...This assured adventure will draw you into its world, and keep you there. [June 2017, p.100]

The most comprehensive and involving driving simulator we've seen on consoles in years. [July 2015, p.106]

Treyarch has taken just enough from COD4 to make World At War a broad success, but it remains firmly in its shadow. [Christmas 2008, p.90]

Runic Games has created something bright and punchy, if a touch aimless, which makes up for the lack of personality (and multiplayer) with a beaming smile and lots of encouraging pats on the back. [Feb 2010, p.90]

Learn its quirks, however, and Prison Architect's sandbox permits a dizzying breadth of options for establishing for-profit penal facilities. [Christmas 2015, p.120]

Netherrealm has taken a number of welcome steps forward with Mortal Kombat X, but no momentum is gathered, because it's stopped in its tracks by an avalanche of needless distractions, some miserable netcode and - oddly, for a game so obsessed with death in all its grisly forms - poor execution of decent ideas. [June 2015, p.106]

There’s more to be got out of this new kind of play than Nintendo has found this time around, and some of it could be better implemented. But, for now, it offers an experience that can’t be matched. [July 2005, p.89]

It doesn't quite match the out-of-nowhere brilliance of the first game, not is it as bold as the daring, but flawed, follow-up. Still, those seeking a game large and enveloping enough to carry them through the holiday season and beyond will find that particular box well and truly ticked. [Issue#314, p.108]

Its fortunes rely on satisfying a burgeoning community of simulation racers, for whom authenticity is the top priority, and in that respect it’s a success. [Dec 2007, p.94]

Gravity Rush might not always live up to the promise of its tutorial, but it's exactly the kind of original game that a fresh-faced system such as Vita needs, taking subtle, thoughtful advantage of its control inputs while showcasing its power.

These are the most generous entries since HeartGold and SoulSilver. [Jan 2014, p.123]

Team Ninja's finest, most intelligent game since Ninja Gaiden Black, it leaves high hopes for the imminent 360 sequel. [June 2008, p.92]

Above all else, it's an infectiously cheery game that marches to a very different tempo. In that respect, Beat The Beat might just be the perfect swansong for Wii.

When you're playing a Ninja Gaiden game and not dying until the eighth chapter, it doesn't bode well for the future of the series as we know it. Oh, and the camera's still rubbish. [Nov 2009, p.100]

There may not be anything eye-catchingly bold about Rocket Slime, but there’s close to nothing to criticise: this is the work of masters of their craft. [Dec 2006, p.92]

Is there any need, on vertically scrolling levels, for your character to die when they touch the bottom of the screen, despite the fact you know there are platforms there? Do bosses have to seem impossible, and then prove tedious when their patterns have been learned? [Jan 2008, p.89]