If you're in the mood for a soft, sombre trip to another world, consider this for your next. [Sept 2014, p.116]

A rare gem that takes the time to commemorate a tragedy, exploring its human cost in a way that's both meaningful and moving, and relying upon core interactions that are mostly about helping others rather than harming them. [Sept 2014, p.114]

The Swapper manages to be both a perfect example of ‘genre fiction’ (it’s a sci-fi experience up there with Moon, Solaris or Alien), it also manages to make itself an exemplar of a ‘genre game’ – a puzzler so fresh in its ideas, yet so widely familiar, that no matter how you like your brain to get picked at, The Swapper will satisfy you.

We're hard-pressed to see how anything is going to come along and top this in the immediate future. [Sept 2014, p.108]

Like any good arcade game, it's best enjoyed in short bursts. [Sept 2014, p.107]

Shovel Knight is all about learning patterns. [Sept 2014, p.106]

To judge Enemy Front as a sum of its parts reveals it to be an FPS fraud - a pretender. [Sept 2014, p.104]

It may lack an ambitious single-player campaign but this value for money proposition serves to highlight that sometimes less really can be more. [Sept 2014, p.98]

The whole experience isn’t awful, just thoroughly uninspiring; a box of biscuits where some are moldy and all are digestive. It’s fun to be a pirate, but it’s far, far more fun elsewhere, with Risen 3 once again struggling and failing to rise above anything but its own mediocrity.

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.

It’s an elegantly detailed and calculated puzzle-adventure that throws players into an office-clerk nightmare of pie charts and statistics with the only means of escape is some good ol’ fashioned thinking. It’s a strong contender for the best puzzle game of the year so far and, if nothing else, will leave you marvelling at the sheer beauty of its unified ambition.

It’s hard to understand why the game exists. Did Gaiman desperately want to attach himself to an ugly, boring puzzle game? Did the Odd Gentleman really think this was the best way to display his work? It’s more of a mystery than the actual story of Wayward Manor itself.

Rise Of The Dark Spark feels rushed: a mess of half-baked ideas and sloppy execution that’s put Transformers on the same track as the Spider-Man games, approaching the point of no return.

Considering the scope of its predecessors and how far the genre has come since the series’ inception a decade ago, that’s as unnecessary as it is unwelcome. Still, there’s potential here and approached with the right mindset and a group of friends there’s some fun to be had. Streamline your expectations, in other words, and you’re more likely to view Sacred 3 as slick rather than shallow.

Worth experiencing, but there are better-made horror games around. [Issue#150, p.127]

Upgrades and changes make it a worthy upgrade over last year's, but while it might be an easy race for Milestone to win it still needs to put a little extra work in the garage to turn the series into a must-buy. [Issue#150, p.126]

Newcomers are in for a real treat. [Issue#150, p.124]

The gameplay mechanics are uninspired and borderline on being broken entirely. [Issue#150, p.123]

It feels almost like a full sequel. [Issue#150, p.122]

In truth, it's an average game, with the music and the presentation proposing a more dramatic and meaningful experience than is actually manifested in the gameplay. [Issue#150, p.118]

It's a little dull - particularly without PvP - but shouting "danger zone" at the top of your lungs will no doubt alleviate some of the mundanity. [Issue#150, p.116]

The first great sniper-themed shooter still hasn’t arrived.

Even with some customisation offered in the realms of online, the whole package still feels like a selection of disparate parts with no real core holding it all together.

While WildStar might not be nearly as 'big' or brash as it would like to think it is, the beauty of potential is that one day it may well end up that way. [Issue#150, p.109]

While the Walking Dead demonstrated the potency of interactive fiction, there are times here where Telltale struggles to dispel a disquieting notion: that The Wolf Among Us doesn’t necessarily benefit from the player’s involvement.

Childish, bright and gaudy - but great fun! [Issue#149, p.127]

It has all the scope and style of a triple-A release but combined with the craftsmanship and pride that can only be found in the independent market. [Issue#149, p.126]

Shows some potential, but ultimately uninspiring. [Issue#149, p.122]