Homeworld 3 isn't quite the homecoming we had hoped for. At worst competent, at best exceptional, it has been crafted with evident care, though the originals still cast a shadow as dense as a black hole's event horizon. [Issue#399, p.108]

If you share director Ragnar Tornquist's view that being engaged in dialogue is a form of gameplay, then there's a richness here that few other titles have the ability or luxury to create. [June 2006, p.86]

The most remarkable thing is how smoothly it runs: a flawless 60 frames a second that makes any caveats about the slightly pixellated visuals disappear in the wind. [Dec 2008, p.99]

If it’s a demo, Ground Zeroes is the best demo ever; if it’s a prologue, it sets up the story so well you’ll spend the next year thirsting for revenge; and if it’s a tutorial, the systems it teaches are so intriguing that the prospect of spending an entire game with them is irresistible. Ground Zeroes is a resounding success in every respect bar its price tag, but value is relative. Fourteen hours in, we’re still learning.

Ferociously compulsive.

Dante’s Inferno fails to rise above its peers, the punishment for which is not damnation, merely a place in limbo.

It's hard not to forgive such contrivances when the mask-making process itself is such a joy. [Issue#359, p.119]

Fat with content, melodrama and fun, few DS games can match its ambitions. [Apr 2010, p.98]

While there are awkward moments on this malignant management escapade, it’s never less than charming. The exaggerated ‘60’s spy-movie design is familiar and entertainingly fresh, and although flawed, it’s still far more appealing than Republic. [Nov 2004, p.104]

Whatever its bias or excisions, MOH rejects the sort of gung-ho globetrotting baloney seen in Modern Warfare, and makes an honest attempt not to trivialise the lives of US soldiers, creating an air of sober authenticity which is unusual among shooters.

The sights and sounds of the Star Wars universe, delivered with enthusiasm and authenticity throughout, at least make it easy enough to be swept along. [Issue#403, p.104]

It gains points for plot and the audacity of simulating an online world, and could have scored higher, but its simplicity and inflexible save system drag it down. [Apr 2004, p.108]

Games are so rarely funny by design, but Jazzpunk is much more than a funny videogame. It’s a comedy, and one that wouldn’t be possible – or anywhere near as powerful – in any other medium.

Whatever it becomes in time, the GT Sport of right now is defined by the features it leaves on the cutting-room floor, rather than those it adds. [Christmas 2017, p.118]

This wasn’t a game created to win any design awards. It was created to give any DS owner the power to turn a roomful of friends into squealing, scheming, cursing, laughing Bombermen, and as such, it’s hard to imagine why anybody would want to be without it. [Aug 2005, p.96]

It's just a shame that this unique combination of still-alivers didn't result in something truly innovative.

More broadly, it's let down by how it treats its brutal subject matter, all the way through to a dramatic but glib conclusion. [Issue#401, p.110]

You get the impression the only person who cares about Kain's legacy any more is the writer. The turgid battling lets an average game down. [Jan 2004, p.107]

More intelligent than your average online shooter, ... this quirky concept deserves recognition. [May 2004, p.108]

When it clicks, though, you'll find yourself in the middle of a thoughtful and intricate puzzle game, in which you feel more like an electrical engineer than the magic builder or celestial removal man most match-three titles cast you as.

There's a prevalent fashion at the moment for games to contain a multitude of games styles, a presumption that suggests consumers have become bored of single genre games. But Rogue Squadron III exposes the lie. It's a game that tries too hard to do many things, but only manages to do a few of them well. [Dec 2003, p.92]

DaWindci's a sedate, slow burning thrill.

It's a sparse recipe that makes for a sometimes infuriating, but always compelling, puzzler which is spiced up by the inexorable progress of your dot.

True, these lively, boisterous scuffles are probably best enjoyed in short bursts. But it's hard to dislike a game that dares to break the sacrosanct rules of its genre - even if it sometimes reminds you why they existed in the first place. [Aug 2018, p.106]

A freeplay mode and breezy multiplayer component let Hexagroove's bare essentials shine through. [Issue#338, p.106]

A game with energy and personality in abundance, but it fizzles out too easily [Issue#358, p.114]

The resulting sense of forward momentum helps keep the frustrations from growing tiresome. [Issue#367, p.114]

The best Alien-licensed game not made by Creative Assembly. [Issue#387, p.114]