The control scheme deserves high praise, as does the evocative portrait of outer space. What doesn't deserve praise is its cloying use of randomly generated content, lack of creative mission design, and generally awkward narrative ambiance.

Even without the open-ended level design, it was every bit as absorbing as the first game was at its very best and then some. And because of its mission-based structure that allows for quick access to all unlocked levels, it became a very hard game to put down.

Much like Dr. Frankenstein's creation, this game possesses too many flaws that are hard to ignore and that prevent from appreciating the enigma it offers.

Xenosaga spins one of the most engaging science fiction tales I've seen in recent years.

The new methodology required to deal with this large scale makes MOO3 the first <I>progressive</I> strategy game and avoids previous mistakes of the genre, such as overwhelming floods of micromanagement near the end of the game. It is precisely this refreshingly dynamic experience that makes MOO3 so appealing.

The game is ultimately too stripped-down and simplistic to warrant a higher score; a more engaging surface world, compelling storyline and ambitious gameplay would have driven the final tally up considerably.

The fights, though violent, are unfortunately completely bloodless&#151;not a drop of claret is spilled&#151;and the bodies of his enemies, once beaten, magically vanish. This makes the game feel as tidy and antiseptic as a Disney ride.

A slightly better than average game that coasts along on the fact that it tweaks the traditional RPG formula. The innovations in the title are a hit-and-miss affair that generally obfuscate the fact that the game is little more than a traditional dungeon crawler with a few new wrinkles.

The definition of what a perfect sequel should be, and an excellent game in its own right.

For a game that could have been that potential leap forward, it's a real shame that all Apex manages to do is present a mediocre-to-poor driving experience in a painfully threadbare setting.

Add to that some late-game plot twists, several path-altering choices, a wide variety of obstacles to overcome, multiple endings to discover, and a wealth of small touches (like your character's clothing deteriorating with each narrow escape) and you've got a progressively energetic game set in a fantastic locale: one step beyond everyday life.

A lot like the middle-class, suburban kid in high school that tries to make everyone think he's cool by wearing nothing but black and listening to Metallica. It's all an act; a dark pretense put up to hide a depressingly normal game that doesn't really know what it wants to be.

The most impressive and unique highlight of Pride FC is its international cast of playable fighters. Unlike UFC, which only has a handful for foreign-bred entrants, Pride's line-up consists of a wide-range of fighters with different fighting styles from around the world.

The illusion of an online community is maintained flawlessly.

The strength of this title still remains in the decision to simulate the promotion/relegation structure used throughout the major leagues of the world.

I'd much rather play as a horny male chauvinist in an engrossing game than as a strong woman in a bad one. Playing the part of a warrior queen should be fun, but my enthusiasm was gone by the time I beat the game's final boss. "I never have to play this again," I thought. "Thank God(dess)."

I tried playing sober for the first few times, but I just couldn't get into it. It took a bottle of wine and a few shots of Southern Comfort to inspire me to play long enough to come to the conclusion I've come to with this game: Galerians: Ash feels like one bad hangover.

GGX2 is probably the most vibrantly animated two-dimensional videogame ever made, with each attack and movement drawn to exceptional detail.

[Vyse's] simple and fun-loving personality is a welcome trait compared to the angst-ridden heroes of today's more popular RPG titles.

The most monumental loss is style.

Without marrying any substantial content or meaningful context to the visuals, this is the type of depth-free cheap titillation that we need to move past if we're ever to break away from the stereotypical gutter that society at large perceives current videogames to be in.

Getaway isn't a shining beacon for all to follow, but its greatest contribution is that it is a ray of light that brings progressive ideas and expressions to the gaming conscious and deserves credit for it.

The introduction of a new type of weapon to a military organization really hit home with me and probably added to the allure of this game.

The PS2 port certainly lacks the metamorphic quality of original PC version, but its reach and scope are far greater than many of the current titles available to the console crowd.

Suffers from a developmental imbalance between the excellent mechanics and the actual gameplay. The best example of this is illustrated by the difference between the superb two-player and the grating single player experiences.

Those susceptible to motion sickness be warned: Smilebit were able to devote very convincing flight physics to the camera and movements, some of the best ever captured in a videogame cartridge or disc.

The obvious incoherence of many of the design decisions allows the player to see past the realistic graphics and to observe the unrealistic logic that underlies the game.

The videogame equivalent of striking gold... I flat-out loved every second of this disc. The controls are spot-on, the graphics are clean and attractive, there are no camera problems, and it's just right for picking up and jumping in.