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]

It takes several hours of frustrating play to get to the more enjoyable sections of the game. [Mar 2009, p.116]

The only time the game takes advantage of the 3DS features is in the social aspects: with a couple of SpotPass, StreetPass and 3DS link options available, the game slightly redeems its lazy porting.

Vampyr has a bold and ambitious concept at its heart, but the execution is sorely lacking, so while it may be packed with good intentions, it's not really worth the effort. [July 2018, p.68]

There's something wrong with a genre where self-parody is interchangeable with inspiration. [Issue#96, p.120]

One of the most interesting shooters of the year. [Issue#108, p.114]

A charming yet brief little platforming gem. [Issue#194, p.83]

It’s the videogame equivalent of a firework show: you’ll marvel at the pyrotechnics, but while your eyes and ears are in for a treat, there’s little here to engage your brain.

In many ways The Sims 4 is a beginning, its core foundation of functions playing their parts beautifully. But in others it feels like a step back, like a set of systems designed around future expansion in mind and not providing the necessary wealth of options from the start.

If Black Flag was a self-contained explosion of quick-witted brilliance, Assassin's Creed: Unity is nowt but wreckage. Stand aside. [Issue@155, p.99]

As a retail product, this just isn't strong enough to be called a sequel. A shame considering how pleasing Sega's arcade sim can still be. [July 2009, p.118]

This was the episode that made us fall back in love with Telltale. [Issue#161, p.88]

Dragonball Z: Shin Budokai is as soft a beat-‘em-up as you’re likely to find and, worse still, one that offers nothing more than the previous games, aside from the fact that it’s on a portable console. [May 2006, p.130]

Only the coldest of hearts could fail to find joy in whispering sweet nothings to a pretty young girl while an old man is distracted by a giant monkey. [July 2010, p.119]

Digital Extremes should be reasonably proud of Pariah, even though it falls short of being the be all and end all of the genre that the developer claimed it would be. [May 2005, p.90]

There’s a good game at EA Sports UFC’s core, it’s just a shame that it’s not as seamless in its delivery as we’d hoped it would be.

Between the variety, the playability and the great feeling of accomplishment that comes from completing one of the many tasks, FMX is really quite good fun. Overly ambitious but fun nonetheless. [Oct 2003, p.115]

As a free PS Plus game, it's worth a look. [Issue#190, p.84]

Its numerous annoyances prevent it from enjoying ‘must-have’ status but if Nintendo’s promised patch eliminates its most irritating one, it could be great rather than merely good like it is now.

The Punisher does exactly what it sets out to do. Picking up the controller gives immediate access to a theatre of death and destruction, and while originality is gunned down at some point during the first few levels, there's plenty of fun to be had, especially for fans of the comic. [March 2005, p.106]

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]