Precise, demanding, and about as tough as rally racing gets, Colin McRae Rally 04 should be approached by those predisposed to driving on dirt.

An affront to Mega Man fans, card-battle enthusiasts, and gamers everywhere. [June 2004, p.83]

Fails at almost every level. The framerate shudders like a dying horse. [June 2004, p.86]

An interesting attempt at innovation in the genre. Unfortunately, it's also a frustrating, throw-down-your-headset, curse-generating one.

None of the game's various segments is better than the source material that inspired it.

While it may intimidate casual gamers, the hardcore will eat this up. Ninja Gaiden is the work of developers at the peak of their powers and is, pound for pound, light years beyond anything else in the category. [Jan 2004, p.47]

The physics, camera, and controls are great: Everything feels perfect, and there's an awesome sense of speed (helped out by the rock-solid 60 fps). [June 2004, p.81]

While PSO began as a genuine phenomenon, it ends with something more like a fizzled experiment.

If you can handle LOC's steep learning curve, you'll enjoy an experience unobtainable on any other platform - the game is that compelling. [June 2004, p.85]

If it weren't for an enhanced combat system, it would be a definite step down from "Kingdoms VIII" - ultimately, it's more of the same. [Apr 2004, p.92]

The cohesion between 007's on-foot mission and driving excursions further adds to the cinematic feel, which is Everthing or Nothing's strongest trait. [Apr 2004, p.86]

We struggle with MXU's collision problems, floatiness while jumping, and the decision to scrap "MX Superfly's" stunt track editor. These work to frustrate and unfortunately take things down a bit. [Apr 2004, p.93]

Besides the not-quite-fluid-enough controls, the main problem is that shooting is a bit of a pain (you tap the right analog toward your target and use the R2 to shoot). [Mar 2004, p.85]

It's the little things that count, and from the minor (new training minigames) to the major (24 new club teams) to the why-didn't-they-think-of-that-before (referees playing the advantage with fouls), it's all here. [Mar 2004, p.86]

Particularly thrilling is the motorcycle chase on the narrow freeway, evoking strong visions of what EA could have done had it been blessed with The Matrix license. The cohesion between 007's on-foot missions and driving excursions further adds to the cinematic feel, which is Everything or Nothing's strongest trait.

Particularly thrilling is the motorcycle chase on the narrow freeway, evoking strong visions of what EA could have done had it been blessed with "The Matrix" license.

With its comedic bent and offbeat gameplay, Lupin the 3rd is a blessed alternative to the current wave of "Splinter Cell" clones, and a game that stealth fans and Lupin geeks can dig on equally. [Feb 2004, p.88]

Wrath's only problems are small but important: Loading unfortunately breaks up the game's pacing, the fighting engine could be deeper, and there's no online mode.

Throw in three difficulty levels and multiplayer support (with either a Multitap or a Network Adaptor) and you've got a lengthy and highly replayable adventure. [Mar 2004, p.86]

Two words: bottomless pits. That foul design element, which should have been eradicated from gaming's lexicon decades ago, shows up in Nightshade - and with maddening regularity. [Apr 2004, p.88]

Wrath's only problems are small but important: Loading unfortunately breaks up the game's pacing, the fighting engine could be deeper, and there's no online mode. [Feb 2004, p.90]

Scratch the "Complete" BS - this really should've been called "Silent Scope 3 Plus," because the first two games are so short that your time is best spent uncovering the third game's myriad secrets. [Mar 2004, p.85]

The only thing unreal that awakened while playing this game was the uncontrollable urge to vomit. [May 2004, p.80]

Another slight issues is that while the world seems fully realized, and the interface is standard Pokemon issue, the game isn't nearly as massive or deep as something like "Ruby." [Apr 2004, p.83]

Where Zero Mission really adds to the legend is in the game's challenging surprise ending...this isn't your daddy's Metroid. [Mar 2004, p.92]

The level of satisfaction you derive from Final Fantasy: Crystal Chronicles correlates directly to whether you look at it as a poor man's Final Fantasy or as the best damn game of "Gauntlet" you've ever laid eyes on.

Intensely beautiful, highly playable, and downright inspired, R-Type Final is a somber but fitting end to a legendary series. A stellar combination of style, substance, and class.

Most combat objectives are immediately recognizable to anyone who's logged a few hours in either "Ace Combat" or "Airforce Delta". Not that htis is really a bad thing, because ultimately, the sci-fi story and design is sufficiently compelling. [Mar 2004, p.88]

When all is said and done, Mafia still has a lot to offer: The competent graphics, incredible music and dialogue, top-notch story, cinemas, and ambience all work to create a virtual time machine.

The glorious 3D speed rush is still broken by moments where you will scream with rage inspired by whatever sadism or idiocy has kept Sonic Team from fixing its camera and control schemes after five years of 3D Sonic games.

GT Online's price merely makes it attractive in a low-budget, disposable way. [Jan 2004, p.90]

Although there are plenty of missions to complete and mosters to vanquish, even die-hard D&D fans might struggle to stay awake throughout this game. [Mar 2004, p.84]

What really distinguishes this charmer is its finely honed sense of pacing: While the first game's notorious difficulty level is fully intact, the levels, objectives, and boss battles are mixed and matched to near perfection.

If you've ever played "Jagged Alliance 2" and thought "Hot diggity, if this took place in World War II and was in 3D, it would rock," here is your dream game.

Although there are plenty of missions to complete and monsters to vanquish, even die-hard D&D fans might struggle to stay awake throughout this game.

Games like B.O.S. tend to become tedious and long, compelling you to continue simply so you can level up and get stronger armor and bigger weapons. There's not really any roleplaying to speak of. [Mar 2004, p.84]

The gameplay, although strong at first, wasn't meant to be stretched this thin; if you're someone how intends to attempt all four games at a stretch, prepare for plenty of tedium to set in halfway through. [Jan 2004, p.52]

A decent example of the genre and has some creative design, but it won't blow any minds or win many awards.

The only thing missing is a simple pro season mode. But things like online play and the inclusion of some classic players (Walter Payton, Howie Long, Ronnie Lott, etc.) more than make up for it. [Mar 2004, p.87]

The only thing missing is a simple pro season mode. But things like online play and the inclusion of some classic players (Walter Payton, Howie Long, Ronnie Lott, etc.) more than make up for it.

The only thing missing is a simple pro season mode. But things like online play and the inclusion of some classic players (Walter Payton, Howie Long, Ronnie Lott, etc.) more than make up for it.

The glorious 3D speed rush is still broken by moments where you will csream with rage inspired by whatever sadism or idiocy has kept Sonic Team from fixing its camera and control schemes after five years of 3D Sonic games.

At times it's great, at other times, it's buggy and unfinished. What a waste. Condition Zero does not do the Counter-Strike name proud. [Mar 2004, p.90]

With its open-ended structure and unusual story line, Arx Fatalis is the polar opposite of traditional console RPGs, and that's why I like it so much.

It's a well-made game, but its high points start to fall as you experience them over…and over...

The emulation is solid, delivering sound and gameplay that's up to par. [Jan 2004, p.86]

It's somehow mind-numbingly mundane and brilliantly addictive at the same time. [Jan 2004, p.92]

It's somehow mind-numbingly mundane and brilliantly addictive at the same time. [Jan 2004, p.92]

It's somehow mind-numbingly mundane and brilliantly addictive at the same time. [Jan 2004, p.92]

The fighting is absolutely mad-dog-howling good. [Mar 2004, p.93]

If you enter All God's Village, enter with a spare pair of underwear.

A feature-lite driving simulator that neither offends nor excels in any particular area of design, and one that doesn't elicit a sense of excitement, rather a feeling of déjà vu.

The only problem with SNK's KoF double-pack is the two KOF's SNK chose to pack together. [Jan 2004, p.72]

Isn't a remake of the PS1 game of the same name, but rather a conceptually similar reimagining. [Jan 2004, p.68]

A feature-lite driving simulator that neither offends nor excels in any particular area of design, and one that doesn't elicit a sense of excitement, rather a feeling of déjà vu.

A feature-lite driving simulator that neither offends nor excels in any particular area of design, and one that doesn't elicit a sense of excitement, rather a feeling of déjà vu.

A hateful creation, demanding more attention than a sugar-buzzed toddler and never showing you what you need to see, including anyone who might be shooting holes in your stomach.

Encounters in Space makes up for its inevitably repetitive lock/dodge/shoot action with tons of replay value.

The best board game and card game of this generation, Culdcept features simple, deep, addictive gameplay that's topped off with great four-player multiplayer support. [Jan 2004, p.52]

The best DBZ game yet. It's a fighter with enough personality and depth to appeal even to all seven nonfans of the franchise. [Jan 2004, p.56]

Adding to the pain are the annoying escort and defense missions, the meaningless story line, and throwaway two-player modes. This is the rare sequel that gets it all wrong.

But POP's only really significant flaw lies in its adventure/action ratio: Both aspects are thoroughly fleshed-out but rarely intertwined.

A stellar third-person shooter that pulses with feverish invention, A&D welds together top-notch controls, a truly mental plot, and some of the most strategic gunplay to hit consoles in ages.

The popular Japanese anime gets butchered here, and the in-game characters seem to have been modeled after the developers' nose goblins. [Mar 2004, p.93]

A hateful creation, demanding more attention than a sugar-buzzed toddler and never showing you what you need to see, including anyone who might be shooting holes in your stomach.

No better and no worse a game than its predecessor, and there's absolutely no shame in that. And it's no airport novel, as it requires some serious time investment.

A stellar third-person shooter that pulses with feverish invention, A&D welds together top-notch controls, a truly mental plot, and some of the most strategic gunplay to hit consoles in ages.

A great realization of Nintendo's much-vaunted connectivity strategy.

Diehard EQ addicts and RTS junkies will get some fun out of this game (especially with its monstrous 12-player LAN/Internet support); everyone else should probably just stick to "Warcraft III."

Once you begin playing, though, you realize that Sword of Mana's interface is among the most ill-advised in recent memory.

What Avalanche does right is give the gamer the sickest sense of speed in any snowboarding game to date.

Parents will probably have to play this one along with their toddlers. When they do, they'll find a fun but flawed kid's program.

A decent racing game if you're into monster trucks and stadium races that are just over a minute long... Barely worth the effort. [Dec 2003, p.82]

A gritty, stylish noir sequel built to please the first game's many trigger-happy fans. [Feb 2004, p.86]

Problem is, the missions are largely cookie-cutter (do tasks like "destroy four generators without being spotted" sound familiar?) and lack the thrill found in similarly themed games, like "GoldenEye 007" (N64). Worse yet, your opponents are unbelievably excellent shots who almost never miss.

Adding to the pain are the annoying escort and defense missions, the meaningless story line, and throwaway two-player modes. This is the rare sequel that gets it all wrong.

The emulation is solid, delivering sound and gameplay that's up to par. [Jan 2004, p.86]

Armageddon, real or video style, should not be this uninspired. [Jan 2004, p.91]

All would be forgivable if the core gameplay were decent, but it sadly consists of pressing one button over and over again. There's absolutely no sense of rhythm, and results seem arbitrary at best.

There are no more than a handful of truly danceable tracks. The rest are either slow, boring, or both. [Jan 2004, p.64]

Controlling the camera is a minigame all its own. [Jan 2004, p.72]

A clear case of style over substance, XIII is pretty to look at but a bitch to play. Even all of its snazzy extra features can't make up for the hole that the evilly accurate A.I. puts in its head.

Problem is, the missions are largely cookie-cutter (do tasks like "destroy four generators without being spotted" sound familiar?) and lack the thrill found in similarly themed games, like "GoldenEye 007" (N64). Worse yet, your opponents are unbelievably excellent shots who almost never miss.

Ultimately, however, Manhunt becomes more laborious than shocking. Along the way, the vaunted enemy A.I. turns transparent, detracting considerably from its aura of paranoia.

As frivolous as it seems, FFX-2 is most effective later in the game, when the light stuff gives way to more serious tones. A bizarre, feisty triumph. [Dec 2003, p.90]

A modern-day masterpiece that will be talked about for years to come.

The schizophrenia works, but just barely, because the game does nothing particularly brilliantly. [Jan 2004, p.72]

Or you could get them and play them again and again the way you play a favorite album, because your $30 will get you two of the funkiest, most charming grooves you'll ever see in videogame form. [Jan 2004, p.90]

Powered by a solid 3D engine, an innovative control scheme (including user-controlled bullet time), and revolutionary shaky-cam views. [Dec 2003, p.92]

Holland has done a brilliant job of focusing on gameplay over realism.

Easy to pick up and damn fun to play.

The graphics are horribly bland, the freeways never end, and apparently all of Tokyo's traffic is represented by a single yellow van. [Feb 2004, p.91]

Eight-bit "Double Dragon" was more fun and more complex than this ostensibly 32-bit outing. What are they doing with all those bits, anyway? [Dec 2003, p.104]

Should have been the next glorious chapter in that game's story. Instead, it's a mildly disappointing epilogue.

When it comes to online play, PGR2 knocks it out of the park. [Jan 2004, p.76]

But POP's only really significant flaw lies in its adventure/action ratio: Both aspects are thoroughly fleshed-out but rarely intertwined.

What it does do well is capture the back-and-forth flow of hockey, especially during odd-man rush situations, neutral-zone navigation, forechecking, and power plays around the goal. [Jan 2004, p.84]

Holding back the fun are severe slowdown and scripting problems; hectic firefights and complex rooms often crush the game's framerate, and some event triggers can be irrevocably hung up, forcing a restart. [Dec 2003, p.92]