On balance, its lack of ambition is supported only by a very basic underlying solidity in its execution: too weak to tackle bigger monsters, but strong enough to soldier on with some perseverance. [Nov 2006, p.89]

Thematically eccentric, mechanically shambolic and technically stunning, Dead Rising is the kind of infectious experience that yearns for a sequel. [Oct 2006, p.80]

Where FlatOut felt like racing in a field, FlatOut 2 feels like racing on a film set. It has been reshaped into the archetype, competent arcade racer. [Aug 2006, p.89]

Where FlatOut felt like racing in a field, FlatOut 2 feels like racing on a film set. It has been reshaped into the archetype, competent arcade racer. [Aug 2006, p.89]

It’s just too hard, the physics too capricious, and the tasks too frustrating for words. [Aug 2006, p.85]

Where FlatOut felt like racing in a field, FlatOut 2 feels like racing on a film set. It has been reshaped into the archetype, competent arcade racer. [Aug 2006, p.89]

It's just too hard, the physics too capricious, and the tasks too frustrating for words. [Aug 2006, p.85]

The series is so hemmed in by its own history - and the demands of fans - that it is largely unable to innovate. As such, the PSP version, while a solid iteration of an eminently playable formula, is able to grow only in width rather than concept. [Sept 2006, p.85]

The charismatic animation and evocative, sunset-hazed setting make up for a lot of the game's shortcomings, and although limited in lasting appeal, Miami Vice is solidly and imaginatively made. [Sept 2006, p.86]

While most shooters handle the genre's design tradition like fragile cargo, careful to ensure that its arrangement of pieces doesn't fall into disarray, Prey cranks it like a Rubik's cube, cocking its world delightfully askew. [Sept 2006, p.76]

While most shooters handle the genre's design tradition like fragile cargo, careful to ensure that its arrangement of pieces doesn't fall into disarray, Prey cranks it like a Rubik's cube, cocking its world delightfully askew. [Sept 2006, p.76]

Outerlight will patch out the inconsistencies and interface issues, and the community around it will settle. The final delight: this game will get better. The last frustration: we're being made to wait. [Sept 2006, p.83]

It's in need of plenty more flair, not so much that it strains against what its buttoned-down framework is trying to achieve, but just to inject some feeling of variety into its skirmishes and sorties. [Sept 2006, p.88]

There’s a nugget of brilliance at the heart of Micro Machines that’s too simple and solid to crush, it’s true, but the laughable track editor, fussy interface and baffling load times certainly don’t justify this release. [Aug 2006, p.93]

There’s a nugget of brilliance at the heart of Micro Machines that’s too simple and solid to crush, it’s true, but the laughable track editor, fussy interface and baffling load times certainly don’t justify this release. [Aug 2006, p.93]

Titan Quest’s hyper-realism is, at least when above ground, dazzlingly picturesque, with lighting so natural you expect there to be an elemental resistance for sunburn. [Aug 2006, p.84]

Ultimately, Urban Chaos doesn't have the reach to deliver what it promises, and ends up retreating into cliché. A few months more, a few dollars more and this could have made a much more defiant stand. [June 2006, p.93]

As a sideline between sessions with meatier games it's generally right on target. [Sept 2006, p.88]

Ultimately, Urban Chaos doesn't have the reach to deliver what it promises, and ends up retreating into cliché. A few months more, a few dollars more and this could have made a much more defiant stand. [June 2006, p.93]

It isn’t perfectly realised, but the subtleties of tactical planning and the bloodiness of frontline slashing combine to suggest a new way forward for realtime strategy. [Aug 2006, p.90]

MotoGP may only bring a handful of new bikes and tracks, but it’s still a handsome package. [July 2006, p.82]

Astonishia ultimately proves to be little more than a charming catalogue of decade-old foibles and cliché. [Aug 2006, p.93]

Despite the obvious staying power of the game’s mechanics that has made it a hit in all its various iterations, it strains to push itself beyond its one-note colour-matching principle into truly engaging puzzling. [Aug 2006, p.92]

Half-Life’s narrative does nothing altogether new, and nothing to upturn the quite reasonable condescension of Roger Ebert and his peers in more mature media. But in an interactive genre bound to the traditions of the pop-up gun and invisible hero, it simply doesn’t get more sophisticated than this. [Aug 2006, p.80]

Blood Money feels only slightly closer to the series’ ideal of a gameworld that’s both complex and cogent, and is more accessible and entertaining with it. [July 2006, p.80]

Blood Money feels only slightly closer to the series’ ideal of a gameworld that’s both complex and cogent, and is more accessible and entertaining with it. [July 2006, p.80]

Blood Money feels only slightly closer to the series’ ideal of a gameworld that’s both complex and cogent, and is more accessible and entertaining with it. [July 2006, p.80]

Blood Money feels only slightly closer to the series' ideal of a gameworld that's both complex and cogent, and is more accessible and entertaining with it. [July 2006, p.80]