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.