Not a great value package, really. [Apr 2016, p.90]

The controls of your spaceships just aren’t good enough. You rotate your ship in 3D. You rotate the camera in 3D. You fight in 3D – it’s all just too much 3D.

One complaint - why make the unlocking process so drawn out? [Apr 2011, p.111]

A disorienting mix of the classic, the needless and the forgotten. [Apr 2014, p.89]

Offering neither the thrilling gymnastic momentum of Prince of Persia, nor the flexible sneaking of its superstar sibling, ACC: India finds itself spinning off into a cul-de-sac. [March 2016, p.76]

There's no doubt that there's a push towards narrative and mechanical innovation at its heart. This won't earn plaudits for what it achieves, but what it attempts is another matter - it might be destined for the bargain bucket, but it's worth picking up once it gets there.

There's a general technical ropiness. [Nov 2018, p.80]

Sadly, the floaty handling returns, which limits the feeling of tactile connection to the game. Similarly, while the simplistic trick system is adequate for boost hoarding in races, the stunt events are a fiddly chore. Techland still hasn't entirely 'nailed' it then, but you definitely won't feel robbed for the price.

So Undercover is a bit off-balance. Its bright spots, like the anticipation it builds for unlocking all the ridiculously fun race types, are dragged down by the slow-paced progression. A good time can be had, but only if you're patient or a really big fan of Most Wanted.

It’s not quite as open-ended as genre titans like World of Warcraft, but there’s a lot to like about PSU; it offers a vast, engaging and personal online and offline experience – plus there’s just something blissful about hitting robot Ewoks with a giant sword.

Armored Core is best enjoyed with other enthusiasts, and For Answer has an impressive array of online options. [Sept 2008, p.88]

It'd make a great TV show, though. [Nov 2011, p.107]

Nero is a flawed but admirable project, a clear labour of love, and absolutely an experience worth having. One in the win column for self-publishers everywhere.

The tantalising world and systems are fine in their own right, but shoddy car handling saps any desire to play beyond a few minutes at a time. Dock a point if you don't have likeminded pals.

It's also very short. Laserlife tries tackling existentialism, but doesn't have the space to do it. [Christmas 2015, p.83]

A tightly-designed, child-friendly, cute platform game that will challenge adults too. [Jan 2018, p.84]

With around 50 levels to chew on, the game is substantial but no banquet, and the later levels don't really build on their predecessors in any mind-blowing ways. It's a welcome break from the frenzy elsewhere on Xbox Live, but it never threatens to become a fixture.

Fun - but only for an afternoon. [Feb 2011, p.98]

Functional, uninspiring tie-in. [Christmas 2011, p.109]

Football without rules equals a mess. Add some crap gameplay and annoying animations and it's a complete joke. [April 2006, p.94]

Reasonably fun in local multiplayer, but too basic to justify the price you pay. [Sept 2018, p.82]

Given time and space we finally appreciate RE6 for the dumb actioner it is. Nice port, too. [June 2016, p.84]

It's a good job the multiplayer's so enjoyable because, if we're being honest, the single-player mode is pretty shallow.

Each of the three play styles - stealth, gadgets and guns - become tedious if you doggedly stick with where your skill points have been spent. But if you're able to keep changing your style, and can forgive the attention-breaking idiocy of the enemies, you'll see there's potential here for a great sequel and series.

Can't compete with "Elite" or "Colony Wars." [July 2010, p.103]

Clumsy but just about competent, this plays its one note well enough to satisfy anybody who wants to spend hours peering through a scope.

Let's just say there are no huge surprises, but it's extremely well executed. The narrative has always been the strength of ACIII, and the DLC campaign is no exception.

A darkly poetic homage to horror cinema, but one that lacks its own identity. [Issue#179, p.89]