Gamers will revel in the destruction that unfolds as they guide Spanx and Redmond through the Genron labs, but you soon realise that the humorous touches are hiding a basic and rather childish title. [Mar 2004, p.119]

There are moments when player adrenaline levels will rise above the base level, but they are so few and far between that in the end most will decide that slogging through the copious average sections simply isn't worth the effort. [June 2005, p.116]

A plot slower than a walker. [Issue#183, p.81]

Players now react quicker and more like their real-life counterparts when handling the first touch of the ball. And first touches are generally smoother now, with players being able to flick on, trap or kick straight away on receipt. In practice, however, it’s not such a massive advancement and the player movement and control is still fairly sluggish. [Nov 2004, p.121]

An expensive taster that will leave you hungry. [Issue#180, p.45]

A plot slower than a walker. [Issue#183, p.81]

Manages to be inviting without being too condescending. [Issue#112, p.124]

Fable: The Journey only has Kinect, and once again it's too unresponsive, too fiddly and too annoying to carve a genuinely enjoyable experience out of Albion. Whether Fable: The Journey was a labour of love or a contractual obligation matters little; when all's said and done the only thing that matters is that this feels like another nail in the coffin for this generation's version of Kinect – and perhaps even its last.

Controls are Ultra Smash’s biggest problem.

A clever story married to dull gameplay. [Issue#183, p.83]

The action is a little too samey, and things become just too repetitive. Aside from scenery variations, FMV cut-scenes and the odd boss fight, the game is practically the same from start to finish. [Jan 2004, p.125]

It’s a fun, frothy take on a scene that could have easily led it to drown in detestable ghetto references and urban nods, but even though B-Boy manages to avoid travelling that dangerous path, it remains no more than a guilty pleasure. [Oct 2006, p.121]

Rocky Balboa is the second best boxing game on PSP, but then there are only two of them. [Mar 2007, p.102]

If only Namco had put a bit more variation into the actual content of the game instead of placing all the emphasis on the innovative interface, this might have been more than just a good starting point for the future. [July 2004, p.117]

At least it provides some hope for the franchise's future. [Issue#155, p.130]

Mediocrity wins out. [Issue#93, p.124]

For now, Moto GP is still ahead of the pack. [July 2007, p.127]

Settle into the initially jarring pace of the game and it eventually becomes the sort of RPG that you simply play for the sake of playing, immersing yourself in the world and discovering its many surprises as you go. [Sept 2008, p.108]

Its attempt at being a jack-of-all-trades could seem quite appealing to gamers who casually approach the driving genre. Connoisseurs, on the other hand, will own the highest quality examples of each trade that do the job better, leaving R: Racing Evolution feeling mostly redundant. [Mar 2004, p.98]

Its simplicity counts against it in the long term. [Issue#155, p.131]

A poor payoff for hours spent trudging through this black-and-white world. [Issue#147, p.120]

With so much going on, getting any enjoyment out of the multiplayer modes is far too much work and the simple, fun aspect found in titles like Mario Golf: Toadstool Tour and Mario Kart: Double Dash!! has been replaced by, well, clutter. [Jan 2005, p.112]

It’s hard not to like Cold Fear for what it’s trying to do, but it’s also hard not to see the glaring errors that it makes along the way. [Apr 2005, p.119]

It’s often said that co-op makes any game better but in this case, co-op is the only way to glean any enjoyment from the game at all. Played alone, Temple Of Osiris struggles to evade box-ticking tedium and it’s only when confusion and banter come into play that it’s even worth considering.

By trying to compete in the 'ultimate first-person shooter' squabble, many a title finds its grasp underplayed by its reach. The beauty of Serious Sam is its totally nonchalent attitude towards the genre and the way it plays what could be seen as its weakest card as its strength. [June 2004, p.109]

It’s a fun, frothy take on a scene that could have easily led it to drown in detestable ghetto references and urban nods, but even though B-Boy manages to avoid travelling that dangerous path, it remains no more than a guilty pleasure. [Oct 2006, p.121]

Playable, yes, but nothing new. [Issue#141, p.110]

Outside of a few key moments when things get changed up, gameplay is only ever average at best. [Issue#138, p.108]