Spectacular but struggles to maintain momentum. [Issue#180, p.43]

By far the most engrossing and beautiful space game on the PC or any other format. [Christmas 2005, p.104]

A solid - albeit flawed - RTS. [Issue#167, p.96]

Amazing highs marred by a few missed opportunities. [Christmas 2009, p.102]

Where it really excels is in its world design. [Issue#102, p.104]

Every other development studio that dabbles in movie licences should look at what High Moon has accomplished and take note. [Aug 2008, p.100]

So compelling are the first seven or so hours that the filthy tricks of the finale can't even sour them. [Issue#166, p.96]

There is something oddly reassuring about a game that keeps its horizons narrow to get the job done well... A fun, smart and refreshingly uncomplicated experience. [June 2006, p.112]

A gutless turn for a franchise that prides itself on being the exact opposite. [Issue#118, p.115]

A very tight fighter, with tried-and-tested 2D mechanics cloaked in a 2.5D visual presentation. [Sept 2008, p.111]

Although it misses a beat on one or two of the RPG genre's values, the rest is classic dungeon-crawling through and through. [Issue#111, p.106]

A bargain-priced challenge with complexity and depth almost beyond compare. [Issue#104, p.122]

When played with real humans, and mainly in singles matches, Smackdown! Vs RAW 2008 is the closest a Western wrestling game has come to greatness since the Asmik AKI efforts on Nintendo 64. [Dec 2007, p.112]

Drift Mania can be a reasonably fun and nostalgic racer. Just not a great one. [Oct 2009, p.127]

Electronic Arts' decision to free the series from simply being one man on a very direct mission by creating a virtual battlefield is a wise one but one that hasn't quite reached as far as it could. [July 2005, p.106]

Fixes addressed, Sacred 2 should scratch that nagging ARPG itch between now and Diablo III. [Jan 2009, p.121]

An engrossing dabble into otherworldly forces. [July 2018, p.72]

Underbaked. [Issue#146, p.114]

A great concept that’s bereft of longevity... It’s definitely a title that needs to be experienced, but whether it should sit proudly on your gaming shelf is less certain. [July 2005, p.113]

A flawed but enjoyable rework of Papers, Please. [Issue#205, p.84]

Clever inventory management. [Issue#107, p.102]

Beautiful, engaging, lacking in content. [Issue#175, p.84]

It's harmless mass-market entertainment; the kind that any discerning gamer should already know to leave well alone. [Christmas 2005, p.116]

There is something oddly reassuring about a game that keeps its horizons narrow to get the job done well... A fun, smart and refreshingly uncomplicated experience. [June 2006, p.112]

Ultimately, the game's sloth-like progression of the first six or seven hours relies far too heavily on each player's patience. [Issue#120, p.99]

Resort offers a briefly satisfying jaunt, which only fleetingly manages to recapture the magic of its predecessors.

Ideal for portable gaming - handy, with it being a PSP game - and its mix of action, RPG elements, a challenging (though sometimes unfair) level of difficulty and a few nifty tricks to keep things strategic make it another solid title in the PSP's catalogue. [Issue#107, p.108]

The game’s innate charm and mixture of overbearing tension and fear still works as well today as it did back in 1996. [May 2006, p.117]

Ultimately, the way you play No Man’s Sky is going to have as much of an impact on how much you enjoy it as the quality of the game itself. Hello Games has talked about this being a ‘chill’ game and has questioned whether it should have made heading to the centre of the universe an objective at all since it distracts from the more fulfilling approach of simply being and existing in this world. If the old adage that the journey rather than the destination is what has worth holds true for you then you should find much to admire.

While this is unlikely to attract a new EyeToy audience, the post-pub contingent that plays games for the enjoyment rather than a desire to excel will lap it up - provided, that is, their fitness levels are up to the challenge. [May 2005, p.110]

Even if Xbox Live does prove Chromehounds’ saviour, there’s no denying that the single-player mode will be relegated to little more than a tactical playground to warm up for the online battle because it’s just a little too one-note, a little too slow, a little too lifeless to truly engage. [Aug 2006, p.112]

A simplified spin-off that misses the mark. [Issue#199, p.79]

It's a mile-long love letter to the fans. [Issue#148, p.120]

You're doing very little other than eating things, and the game's other ideas don't gel well enough to make it an experience worth more than the sum of its parts. [Aug 2009, p.130]

It's such a tough sell, as it's so short and so little of its running time can actually be defined as 'gameplay'. It's such a maverick, though, and such a bananas way to spend eight hours, that it's almost certainly something everyone should experience. Just don't go expecting the Earth. Asura's already smashed it to pieces.

Well-made, enjoyable, and completely forgettable. Kind of like a rollercoaster. [Issue#159, p.102]

Paraworld stands perfectly well on its own as a solid, if a little plodding, RTS game with some neat touches, particularly in the selection and development of units. [Nov 2006, p.114]

All the same, this is by far the best of the franchise so far and if you’ve ever considered giving one of the Sherlock Holmes games a go there’s been no better option to start with.

If you’ve the patience, Monster Hunter is worth a look – just don’t expect to fall in love with it immediately. [June 2006, p.132]

It's a quick thrill – a little bit of fiery eye-candy and raw destruction to pass the time – but as its explosions grow more tiring, there's little else to see among the streets of Shatter Bay, and its focus is clearly muddled. While Unbounded is no doubt a step in the right direction for the franchise, perhaps it was a little early to leave the safety of Ridge City behind.

The combination of approaches offers gameplay that's initially engrossing. But a lack of emerging ideas and differing enemy types robs latter sections of that same excitement. [Issue#192, p.83]

This is exactly the sort of thing Diablo fans have been waiting for and although there’s little chance that it will change your life, there’s every possibility that it will consume it. [Chrismas 2007, p.126]

At once unforgivably terrible and accidentally brilliant, Deadly Premonition remains a gaming anomaly. And no amount of directorial cutting is going to change that. [Issue#135, p.115]

Ironically, the developer has actually been very successful in mapping a superbly intuitive control system to the gamepad, and by enabling direct control of your Titan a basic action element is introduced. Yet by totally amputating any strategic scope from the RTS equation, the ensuing battles becoming virtually pointless affairs. [Mar 2004, p.111]

After several hours of increasingly punishing shoot/swing repetition, all the good ideas come at once in the last hour or so. [June 2009, p.108]

If you enjoyed last year’s iOS/Android sleeper Fallout Shelter, but wanted more complexity, less predictable combat and a greater sense of achievement even in abject failure, look no further.

It's a shame that these excellent physics and novel weapons haven't been given a better showcase. [Issue#112, p.112]

Ark is near masterful in its ability to keep you caught up in a sense of discovery. There always seems to be more. [Issue#192, p.74]

The one thing gamers quite reasonably demand from a sequel is a sense of progress, and for the most part that's strangely absent. If Crackdown's mix of free-form structure, grinding and exploration was enough to pull you in, then Crackdown 2 will almost certainly do the same. But when all's said and done, you might be left ruminating over the same question as us: Is that it?

Gunpey Revenge is a game you can love. Even when it's testing your patience to the limit. [Christmas 2006, p.126]

Most devotees openly proclaim they like the game because they wanted to, not because it actually deserves it. [Feb 2009, p.108]

A delightful and demanding trip down memory lane. [Issue#203, p.82]

Sega may need to up its game before the next iteration. [Issue#109, p.116]

The Urbz feels like a step back for the franchise; despite EA's efforts to bring gamers a "console exclusive' there's not a lot on offer here. Fans won't find anything new, but newcomers may well discover the pleasure of the series and seek out EA's back catalogue of simulated lifestyles. [Christmas 2004, p.114]

It’s jarring mechanics are a little too unnecessarily complex, but those who often find themselves drawn to the subtle puzzles of similar strategy and simulation games will have plenty to chew on here.

Firing in the opposite direction of the seasoned games, The Outfit will only appeal to casual gamers who prefer to smash and grab their way through levels rather than apply strategy. [Apr 2006, p.126]

While Ubisoft's commitment to the struggling Vita format is to be applauded – the console is in dire need of exclusives of this calibre – Assassin's Creed III: Liberation lacks the lavish quality of its big-screen relatives. Hardcore fans will not doubt be more forgiving and will quite rightly warm to the game's feisty heroine, but she deserves a better vehicle than this to showcase her talents.

It works well enough, but doesn’t really offer an advantage over the joystick controls of the arcade game and is significantly slower in practice than the flicks of the DS stylus. [Sept 2008, p.124]

Only the mere prospect of reversing a grenade, or shooting a missile in slo-mo will save the gamer from feeling completely brain-dead at the end of the game. [Dec 2007, p.102]

There's a steep learning curve in place after the tutorials. [Issue#148, p.129]

Limited gameplay appeal. [Issue#102, p.116]

It's harmless mass-market entertainment; the kind that any discerning gamer should already know to leave well alone. [Christmas 2005, p.116]

While Worms 3D essentially delivers what it says on the tin, in surrendering its intuitive interface the concept has evolved into a far less attractive proposition. A shame. [Dec 2003, p.126]

At once entertaining, frustrating, beautiful and fleeting, The Cave is way better in concept than execution. And as much as it has going for it, some poor design decisions mean that frustration and boredom will quickly get rid of players that would otherwise have lapped this up.

Capcom may well have delivered a game that can offer an online experience like nothing else currently available, but it's presented in such a haphazard fashion that many gamers will grow frustrated with the connection problems and simply go back to their other online titles. [May 2004, p.106]

Those who have been waiting for this port can relax. However, Konami has done little to improve on what is still a winning formula. [Christmas 2008, p.103]

This is the first time, apart from games such as Zoo Keeper and Meteos, that the DS’s capabilities have been used to good effect and - in some areas - expanded on to the point that we can see many developers in the future ‘borrowing’ ideas for their own games. [Aug 2005, p.100]

We'd happily take this over anything Sonic Team has produced in the last eight years, but we can't help wishing that Let's Tap had a little more longevity. [Mar 2009, p.111]

Swing as it might between different genres and gameplay styles, Wrath Of The Dead Rabbit never dips below brilliant. An inventive and entertaining big-budget debut for Arkedo, and one that confirms its ability to deliver both on the indie scene and the main stage.

Ultimately, this offers little over the first Desert Storm other than a new campaign and several engine tweaks but given the game's setting, there's precious little more you could ask of it. [Oct 2003, p.126]

A beautiful world marred by irritating controls. [Issue#198, p.83]

So another tremendously well-made blockbuster from the LEGO factory, once again proving that there is no room for second-rate movie tie-ins any more and that no-one understands how to get the most out of classic movie franchises like Traveller’s Tales. But like the dinosaurs, it’s only so much time before they’ll have to evolve.

As an excuse to consume as many explosions as humanly possible, it’s an extremely wholesome affair. [Mar 2006, p.107]

Unfortunately, this ‘puzzle’ system doesn’t have as much depth as you’d want – especially during later levels, with things finishing before they’ve really gotten started. There’s a good idea here, presented in a way that is silly enough to be charming, but not dim-witted.

Charming and engaging. [Issue#119, p.118]

It’s worth pointing out, largely due to Aerosmith’s distinctive style of music, that this game is noticeably easier than its forerunners. [Aug 2008, p.107]

The Urbz feels like a step back for the franchise; despite EA's efforts to bring gamers a 'console exclusive' there's not a lot on offer here. Fans won't find anything new, but newcomers may well discover the pleasure of the series and seek out EA's back catalogue of simulated lifestyles. [Christmas 2004, p.114]

A wonderful fusion of genres that is perfectly suited to the PlayStation Portable. [Christmas 2005, p.115]

Maybe they should have just called it "Bike" instead. [Issue#91, p.127]

Hasn't soured our memories of the original completely. [Issue#139, p.114]

Randomly generated puzzles results in increased replayability, but it also means a lack of variety – and that forms the ultimate demise of Road Not Taken when it is so clear there is a direction, an end goal, a climax. Original and novel it is, but there just simply isn’t enough reward to keep you going against the odds.

What would otherwise be a pretty bog standard platform game is elevated by the workshop option. [Issue#159, p.109]

Conversations shared between Juliet and Nick are among the funniest videogames have to offer, and the range of pop-culture references Gunn weaves in (including an unexpected nod to Michael Bublé of all people) make this the most western-friendly game to come out of the studio without sacrificing its brand of lunacy. Which is something definitely worth cheering about.

Community Remix is the only really new feature that Just Dance 2005 adds. [Issue#155, p.126]

Every five or six levels the game ups the difficulty by throwing in the most frustrating levels we've ever seen.

Level design is a cut above most games of this type, using different brick properties as well as imaginative wall layouts to keep the player problem-solving and the ball in the air. [Sept 2008, p.124]

A buggy, uninspiring and formulaic shooter. [Issue#186, p.74]

It can’t hide the repetitiveness of its template but in the simple act of silently snooping and investigating every corner of the world, while circumventing every enemy, there’s a brilliantly tense, gratifying experience that Eidos Montreal sadly struggles to sustain over the eight hours of gameplay – resorting to cheap enemy types and crushing linearity.

While Killzone is fairly satisfying, with suitably gung-ho action, there's never any variation, meaning what seems fun becomes wearisome after an hour or so. [Christmas 2004, p.96]

It's a bit of a shoddy finish that doesn't marry up to the realistic bullet physics of the hardest setting, but this is still a sniper's Mecca, perfect for those that like to do their shooting from as far away as possible.

At times, it can be too clunky and a little finicky, but while The Swindle is undoubtedly a great idea, games of this ilk can’t suffer missteps like infuriating controls – and sadly that does hold this game back.

Meta-gamers might be frustrated as the tiresome task of getting from one section to the next becomes increasingly irritating, but the puzzles will have you thinking and the art style will have you hooked. Sometimes, that’s all it needs.

A cerebral and unusual war game with issues that don’t, in the end, detract from its effectiveness. [Apr 2006, p.122]

It’s an affectionately crafted homage to the first game, retroactively building on the grim story and Ayn Rand-ian themes, galvanising them with a fresh perspective whilst simultaneously tying Rapture more wholly into the Columbian narrative. It’s intelligent, indulgent and nostalgic in equal measure, left dangling on a transfixing narrative hook. It’s everything we love about BioShock, condensed.

Not all videogames should be like Beyond Two Souls. But be thankful that some are. Another flawed but essential tale from a man who genuinely cares and a publisher that believes in the power of videogames.

For all its inventive turns and standout moments, however, much of Alice's return feels a little too templated for it to truly embrace the nonsensical.

A more casual and accessible game than the more complex series to usually come out of Telltale. [Issue#99, p.123]

The game's lack of a two-player mode will be a profound disappointment for those gamers whose greatest Metal Slug flashbacks are fuelled by the showmanship and camaraderie of co-op play. [Oct 2008, p.123]