5th Cell has managed something very difficult: creating a game that's at once simple and also incredibly complex, and doing so with such composure and charm that you'd be doing yourself a great disservice not to give it a go. [Nov 2009, p.104]

An unexpected and unforgettable co-op gem. [Issue#199, p.77]

What Telltale has created here is a narratively-driven game that's as much about people as events, as much about inaction as it is putting walkers out of their misery, and as much about what cannot be changed as the countless choices the player is forced to make. If the developer can now make good on the game's initial promise, and deliver a truly branching narrative that adapts to the decisions taken throughout each episode – something, lest we forget, that not even the mighty BioWare could carry through the Mass Effect trilogy with any conviction – then The Walking Dead could be remembered as a genuine classic of the genre.

It's not the most technical or the deepest fighter you'll ever play, but you'll struggle to find something so skillfully designed to complement its platform in any genre. [Issue#110, p.106]

Lost Planet delivers exactly what you’d expect of a quality Capcom title – a challenging, atmospheric, well thought out videogame experience. [Jan 2007, p.86]

Chime is a small game, but it's one with a big heart. [Issue#95, p.127]

For all its loveliness and in spite of its adventurous battle system, Chopin’s Dream is ultimately too restrained to be classed as revolutionary. [Sept 2007, p.122]

Every moment spent with Echochrome is a refined and edifying one. [May 2008, p.109]

The Evil Within isn’t a return to the genre’s roots or a reinvention, but an exercise in reliving its greatest hits. It’s disappointing that Mikami has lost the wind behind his sails and there seems to be genuine creative apathy here. Nonetheless, The Evil Within is an enjoyable horror romp. It’s a shame it couldn’t be more.

Far too generic to be considered anything other than average. [Christmas 2005, p.114]

It’s far from perfect, but Marvel fans have been served well, and those who like their Gauntlet served with extra statistics will have a game they can place just behind the last Dark Alliance. [Dec 2004, p.109]

Unabashedly mocks you, itself and everything else. [Issue#194, p.82]

Side missions and hidden blocks are suitably distracting, although the use of a difficult-to-read radar over a mini-map displays a certain level of open world naivety that should probably be expected from a developer that has just been going through the motions for so long.

The tongue-in-cheek Cold War-era humour is preferable to Cities XL's hard-faced exterior, but Haemimont's skill in masking the behind-the-scenes mechanisms pales in comparison to Mote Cristo's effort. [Dec 2009, p.118]

Like titles such as Yakuza and Forbidden Siren 2, it’s a late-era PlayStation 2 game that will likely be ignored by the masses and cherished by a bedazzled minority. [Sept 2007, p.116]

Those who’ve played the first three might feel short-changed, especially with the omission of the two-player mode and online leaderboards from New Blood, but players pulling on those surgical gloves for the first time will be doing so with the best game in the series to date. [Oct 2008, p.112]

Another superb feat of strategy gaming...and while the depth of "Disgaea" simply isn't present, there's more than enough here to please the more cerebral gamer. [July 2004, p.121]

Easier than the classics, but not without difficulty. We got properly stuck once and found the rest mildly challenging. [Sept 2009, p.112]

If you've fallen out with the series, then this may be the best reason in years to return. [Issue#108, p.110]

High Moon is really starting to find form and do the franchise justice. And despite the game's flaws, fans will surely find Fall Of Cybertron to be the best reflection of their beloved robots in disguise in many a year. Too bad they couldn't get Grimlock right, though.

Everything about 2048 oozes class, screams quality and does more than enough to force the hardcore to take a serious look at Vita. [Issue#119, p.92]

By 'refocusing' the game to concentrate on the more realistic side of the sport, Hitz Pro takes the series down a new path that loses any sense of identity that it might have made for itself. [Dec 2003, p.124]

Here's hoping the rest of the trilogy also heads west. [Issue#117, p.122]

For some, the act of simply throwing little computer people around will remain its most compelling feature. [Dec 2009, p.128]

A strange beast. [Issue#100, p.132]

The biggest complaint is the size of the game - despite the 3D stylings making everything seem bigger, the game is just too darn small to last that long for any but the most inexperienced Castlevania player. [Jan 2004, p.110]

Until Dawn plays with you. It’s an extended metaphor for horror games, one that prides itself on how much it predicts – and counteracts – what you’re doing. If you care about the advancement of meta-narratives and the player/game relationship, this is for you.

Both wit and genre-expectation emerge almost unscathed. [Issue#99, p.112]