An imperfect, but highly original game that pokes affectionate fun at the not only very Japanese, but very human, desire for everybody to get along. [Issue#342, p.120]

There's no denying the milestone that Infinity Nikki marks for the Nikki series, taking it from a modest mobile dress-up app exclusive to China to an expansive global release of a stature rare for femicentric games. Yet... [Issue#406, p.116]

All we can say is that six hours of Resident Evil 3 is just enough - and we're aware that's both compliment and curse. [Issue#346, p.88]

Much remains to be done, certainly, but after a dire six months, Destiny is, at last, back on track. [Aug 2018, p.104]

Spiritfarer loses itself in so much tiresome back-and-forth, ladling on delightful incidental details in the hope that you won't notice that each character's story has become little more than an extended shopping list. [Issue#350, p.96]

The most contagious thing about Echoes Of Time is its humour, and there's no shortage of intrigue and mishap in the quests to come. Nor, however, is there a surplus. [May 2009, p.96]

The main quest’s predefined battles do throw up enemy combinations that require more complex tactics, but there’s no denying that, having breached the fourth wall, Behold Studios’ charming game is content to head back inside the building.

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 is certainly the MOST tennis Camelot has served up, if not the smartest or slickest. [Issue#422, p.108]

Squids is clever, but it's a cleverness that can slowly give way to devious manipulation: the game has fallen for the easy money of microtransactions, and it's fallen hard.

The problem that remains, however, is its lack of anything profound to say, as it tees up complex topics before leaning towards comfortable answers. [Issue#406, p.120]

A fragile container for a tale of such inestimable value, and what ought to be universally welcoming instead must be approached with caution: come expecting revelation on an emotional level, not a mechanical one. [Jan 2014, p.121]

The problem is that, in the areas where Esoteric Ebb differs most from its clearest inspiration, it's imitating something else. [Issue#422, p.112]

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]

With its Ikea backdrops and clipart objects, Bright Light has perhaps paid too much attention to functionality and not enough to form. [Christmas 2010, p.90]

Given that Smoke and Sacrifice's end point truly feels like it means something, it's heartbreaking that many will get stuck riding its mundane merry-go-rounds. [Aug 2018, p.110]

Is this the most violent game of all time? Maybe. Its ragdoll physics may not match the flying limbs and broken faces of Soldier of Fortune, but its throwaway approach to life and death is genuinely shocking, leaving a bitter, metallic aftertaste. This is neither a fall nor an ascension. This is an update. [Jan 2004, p.105]

The fifth in the Colin McRae series is still a fine game if - and here's the major caveat - you didn't play last year's update. Those who did will get more fun out of playing spot the difference. [Nov 2004, p.107]

Shiren The Wanderer still has its own charm and deep and lasting individual value that, for all its abstract irritations, surpasses many more modern gaming experiences. [May 2008, p.96]

By the time you reach the end of Blacklist everything has grown so big and so explosive that you’re left exhausted but not entirely satisfied, and maybe after all that incoherent action you’ll recall the time when a single flashlight in Chaos Theory’s Panamanian bank made you hold your breath.

Until these closing stages, though, Relooted doesn't match its cast's bold determination and flexibility. Despite well-laid plans, the execution isn't as slick as it might be. [Issue#422, p.116]

Pseudo may have avoided the formlessness that afflicts so much vehicular combat, but it has failed to play to its game’s strengths. The greasy, weightless, unmodulated handling and largely unimaginative course design aren’t remotely as satisfying as the raw, explosive scraps between racers. [Mar 2006, p.84]

There are pleasures in these moments, and plenty of charm (see: 'A Human Touch'), but the adventure itself never quite satisfies out wanderlust. [Issue#421, p.118]

Only the most ardent grognard will do more than dent the surface of this enormous strategy game, which rather diminishes the overall impact for the rest of us. [Mar 2004, p.110]

Fatal Fury may have to think again before taking on another fight. [Issue#411, p.108]

It is a shame that Konami so overinflates the experience through early chores, especially as it has struck the balance between hardcore fans and casual explorers so well in the past. [Jan 2009, p.88]

Despite deep customisation (right down to the trajectories of your bullets) and some truly striking monster designs, it's impossible to shake the feeling that you're playing an inferior imitation of a better game. [Apr 2011, p.103]

While See the Future undoubtedly delivers on its title, giving you a single feverish glimpse of a potential new direction for the series, this odd collection of entertainments offers far more than a mere early-warning hype machine dressed up with a few free haircuts for your dog. In its cheeky refusal to conform, it’s also a chance to see Albion’s present, and take another look at a game that’s both fascinating and gently flawed.