Murky, muted visuals and a lack of ground detail let the game's presentation down, but the satisfying combat and customisation - especially when you unlock the Tune menu, which lets you add custom parts to your aircraft - do their best to hold your attention despite the frequently repeating missions. [Oct 2010, p.99]

Its battle system still provides an excellent alternative to the rigid chess boards of many a strategy RPG, but one which feels compromised rather than optimised for its new setting. [Oct 2010, p.88]

It's in Mafia II's second act that it takes a real dive, and familiarity plunges into cliché. When the writers run out of literary coal, there's little to keep you on the rails, and nowhere to take a time-out. It descends into a festival of stereotypes and expletives, laying waste to the hints of narrative depth proffered earlier and offending beyond justification as it ticks the down-and-dirty genre boxes.

It's in Mafia II's second act that it takes a real dive, and familiarity plunges into cliché. When the writers run out of literary coal, there's little to keep you on the rails, and nowhere to take a time-out. It descends into a festival of stereotypes and expletives, laying waste to the hints of narrative depth proffered earlier and offending beyond justification as it ticks the down-and-dirty genre boxes.

Like the movies that doubtless inspired it, Shank ultimately has more style than substance. It looks fantastic but it's hardly a lengthy game, and it does little to trouble your brain. As throwaway entertainment goes, though, it's solid popcorn stuff.

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

Though 2K Czech's operation doesn't run entirely smoothly, there's a definite spark of potential and the roots of an abandoned attempt to engineer something more than throwaway entertainment. [Oct 2010, p.90]

As the more intimate title suggests, this may be as much about Croft's brand awareness in the face of unprecedented (and Uncharted) competition. [Oct 2010, p.96]

Its most striking ideas don't fulfil their promise, and its successes are etched by pervasive minor flaws. The towering, terrifying city, and the lens through which it is shot, drag you onwards through the game's lesser parts, but you sense that the real crime in this whole bloody escapade is that it doesn't live up to its dark flashes of imagination.

Its most striking ideas don't fulfil their promise, and its successes are etched by pervasive minor flaws. The towering, terrifying city, and the lens through which it is shot, drag you onwards through the game's lesser parts, but you sense that the real crime in this whole bloody escapade is that it doesn't live up to its dark flashes of imagination.

A detailed and intelligent fraud: a slice of cool, corporate entertainment for an audience that probably sees no contradiction within that notion. [Oct 2010, p.98]

It's certainly going out with a bang. [Sept 2010, p.97]

At its core, though, is Hydro Thunder Hurricane's handling model. Swerving between subtlety and throttle every few seconds, it graces tracks that provide both competitive dashes and full-on fairground rides. All this is wrapped up in a perpetually rewarding structure that keeps these precious elements fresh, making up a comeback that holds its first principles close.

Clash Of The Titans' many failings are all the more surprising given that the movie is just one of many CGI-heavy offerings accused of feeling more like a game than a movie.

Given its lineage, it should hardly be surprising to discover that Blizzard has once again demonstrated such a keen sense of balance: with Wings Of Liberty, it offers established players a welcome return to familiar battlegrounds, while providing intrigued bystanders with their best chance yet of engaging with a bewildering, brilliant and punishing genre.

Playdead's debut title is a rare thing – a wholly realised place as well as a successfully realised game, and both Limbo and the Limbo inside it are one-of-a-kind places to be stuck in.

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.

Hothead games may just have discovered that the best way to dispel Diablo's shadow is to make light of it. [Sept 2010, p.92]

The voice acting, dialogue and narrative itself are all weak, thereby demanding that the underlying systems do all the heavy lifting in terms of player engagement - something they sustain, but only to a certain point. [Aug 2010, p.97]

Huge in scope and strong on detail, IX has ironed out the kinks that have made the series less palatable outside Japan, and with Nintendo's support, IX is sure to have the wider impact that the series has craved. [Aug 2010, p.92]

A mediocre game a genre stocked with the highest quality. [Sept 2010, p.99]

At its best, this is more than just the purest, most narcotic action game in the world – it's a cultural pinnacle. Every superhero, be it in comic books or the movies they've inspired, wishes they could visit its playground.

ToL's only saving graces are the hammy acting and daft moves. [Sept 2010, p.102]

Hits more than it misses. [Sept 2010, p.95]

APB has to learn how to play its obvious trump card, a brilliant customisation suite. With tools that give you power over every aspect of your persona – cars, clothes, tattoos, shape, logos, victory jingles and even the tunes pumped out of your stereo – the game really gets that people are the brands of the 21st century.

For all Raven's efforts with temporal gimmicks, this is a game which is stuck in the FPS past – but, perversely, in its gun-metal and gore, in its most archaic respects, Raven proves it can just about stand the test of time.

For all Raven's efforts with temporal gimmicks, this is a game which is stuck in the FPS past – but, perversely, in its gun-metal and gore, in its most archaic respects, Raven proves it can just about stand the test of time.

Lego Harry Potter is a more focused experience than, say, Lego Indiana Jones 2, but proves ungainly in its own way. [Aug 2010, p.100]