For all the spectacle of Resonance's gunfights, the game feels restrictive. It's a strategy game in which your tactical options are limited to one or two reliable strategies, and an RPG in which character development is chained to similar lines. [May 2010, p.96]

Without the brutal challenge, it's a game that will take mere hours to finish and even fewer to forget. [May 2010, p.101]

FFXIII takes brave risks with the series’ foundations, but they ultimately create trembling fractures throughout the entire edifice, that robust battle system unable to support the weight of an entire world. Final Fantasy games are always an investment. This time, the returns are questionable.

A functional, pared-down JRPG and a feisty but flawed translation of the side-scrolling beat 'em up into the third dimension. [Apr 2010, p.94]

A few hairy moments in, and any attempt to get back under your skin is redundant. Mostly this is because the game's resident evil is largely incapable of harming you, and any sense of jeopardy is lost. [Apr 2010, p.97]

Tight ink limitations force creative solutions, but once learnt, certain tricks undermine the action. [Feb 2010, p.94]

Whatever the oddities and missed opportunities of its singleplayer mode, Bad Company 2 delivers a fulsome online game that continues to hone a winning formula. [Apr 2010, p.90]

Whatever the oddities and missed opportunities of its singleplayer mode, Bad Company 2 delivers a fulsome online game that continues to hone a winning formula. [Apr 2010, p.90]

Whatever the oddities and missed opportunities of its singleplayer mode, Bad Company 2 delivers a fulsome online game that continues to hone a winning formula. [Apr 2010, p.90]

Compared to its Wii counterpart - as generic a movie-licensed collect 'em up as you'll see - the DS version is swollen with ideas. [Apr 2010, p.98]

Open about the toys you can play with in the final stages of research, strategy in Supreme Commander 2 is pure – worked out before the battle begins and maintained as a line under your tactical moves.

The battles, meanwhile, are engaging despite their simplicity, and it's beautiful to watch each turn play out. [May 2010, p.102]

While the more conventional controls make for a more satisfying experience, they also expose the painful ordinariness of the game. [May 2010, p.102]

When you do surrender to Echoshift's world of relaxation, time management, and jarring cruelty, however, time - like your many lives - files by. [May 2010, p.104]

Heavy Rain pulls off its branching narrative by donning blinkers and sprinting down the chosen routes. Countless permutations of each scene are allowed, safe in the knowledge that they will never be addressed again.

Napoleon ultimately feels like the more successful younger brother to Empire. It fundamentally shares its DNA, for better and worse, but has learned from its mistakes, and has stayed trim and buff.

It's the cutest game we've seen in a while, but not nearly as good as it looks. [July 2010, p.105]

The game is sumptuously constructed - its spindly and grotesque sense of caricature is a delight and the lively score is maddeningly hummable. [Apr 2010, p.97]

A hastily assembled three-in-one anachronism which proves just one thing: that terrifying and terrible are not mutually exclusive. [Apr 2010, p.93]

A hastily assembled three-in-one anachronism which proves just one thing: that terrifying and terrible are not mutually exclusive. [Apr 2010, p.93]

A hastily assembled three-in-one anachronism which proves just one thing: that terrifying and terrible are not mutually exclusive. [Apr 2010, p.93]

The plot lacks the slight unpleasantness that tinted Wright's best cases. There are still killers, but their motivations are more straightforward. [Mar 2010, p.98]

The details of each individual victory may fade with time, but you’ll never forget the fractal patchwork rippling beneath you, or the stormy static of the clouds that clash overhead.

Most of all, BioShock 2 has one quality that makes us much more hopeful for the future of the series and its inevitable onward growth as one of gaming’s big franchises: it shows the capacity of Rapture to utterly change itself for the telling of a new tale, while somehow remaining the same.

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

It's not lazy and unworkable, then, merely pleasant, compromised, and irrelevant. [Mar 2010, p.98]

This is a game with ambitions that now outstrip the confines of an atrophying engine, but beneath the exterior lies a world rich in atmosphere - the credible and pervading horror of a landscape drawn with unusual finesse. [Mar 2010, p.95]

White Knight Chronicles is competent and solid without ever being beautiful or, you'll find yourself realising with a scratch of the head 15 hours in, particularly enjoyable. [Apr 2010, p.99]