Inclusive, streamlined, faster than ever, and looks radiant on Unreal Engine 4. Street Fighter V has no challengers. [April 2016, p72]

All combined, it’s enough to elevate Virginia above PS4’s typical story-led fare, divisive bow-out and all. [December 2016, p74]

We're not entirely sure who's going to play this game, or even who it's ultimately suited for. People who are fans of Mikami and Suda will no doubt snap it up without a thought, and so will those who are tired of the 'usual' slew of action games. Sure, Shadows of the Damned has character and shows of incredible, grotesque and inventive beats, but as a game it's left lacking. [August 2011 p70]

This is the prettiest and most polished Omega Force game to date. [Christmas 2015, p72]

This series is no longer for football puritans. Its for Pro Evolution puritans, and has the same strengths and weaknesses as its last few iterations. The animation and player models are brilliant, but there's still an oppressive, drab tone that could suck the fun out of a happy meal. [November 2010 p70]

Despite the flaws, Crysis 3 is a triumph that shows a willingness by Crytek to push itself to new heights, achieving a beautiful three-way union of graphical fidelity, compelling storytelling and a honed gameplay experience.[April 2013, p68]

Raven Software's deft handling of the oft-tricky notion of time travel disrupting the workings of the world is very clever. It's clever enough that, as you stand poised to make one of three ending-altering decisions at Singularity's calamitous finale, you're really not sure which choice to make. The question is, will you stick around that long? Most of you probably won't. [September 2010 p.74]

A pretty spesh experience that asks a lot of your time and, yeah, sometimes your patience, too. [April 2014, p79]

The formula's barely changed since Just Dance 3. Brightly coloured representations dance on screen, you follow with a Move controller in hand. Or you can do as we did towards the end and sit on the couch and wave it as convincingly and energetically as you can. This works just enough to keep the score counter ticking up, but you'll never hit the max number of stars or nail the new and tough sub challenges that way. These sub challenges ask you to achieve a certain rank in specific part of songs. We just want to let our aching arms recover. [December 2012, p81]

Like Test Drive Unlimited 2 before it the cutscenes in Apocalypse are universally terrible. The obviously deliberate digital comic approach feels cheap too, making the sequences feel like placeholders for real animation that never eventuated. It's all a bit childish, really, and features the worst approximation of a foreign accent since Christopher Lambert tried to sound like a Scotsman in Highlander. You'll know it when you hear it. We do question why Evolution bothered devoting manpower to the story mode and we'd be happy not to see it again. Fortunately, players will spend far more time playing Apocalypse than they will do with awful cutscenes. The racing is still furious and fun – and that's always the main thing. [May 2011 p.74]

Very pretty, but pretty shallow. Unchallenging – both emotionally and as a puzzle-platformer. [September 2014, p71]

A stellar addition to any local social gathering. Decent competitive online components, too. [December 2013, p83]

Our biggest gripe is it's just too cheap and mean, leaving you very alone and swamped in single player against the hordes of enemies and overpowered bosses. Foes come thick and fast and players who charge at the edge of the screen whilst it's scrolling will get a sudden foot to the face for their eagerness [Oct 2010 p.76]

Currently an uneven mix of old school vs. new, and goofy vs. serious. A somewhat shaky start. Hopefully this won’t make for a receding heir line. [November 2015, p75]

There are many little bits to love in WOFF, but there’s far less cohesion than there should have been when it’s all thrown in together. [January 2016, p72]

Unfortunately Ninja Storm 3 doesn’t really do anything to distinguish itself from its predecessors utilising the ‘bigger is better’ formula, and while novel in the short term, the huge character list isn’t enough to hide the glaring simplicity of its combat. [April 2013, p77]

While the predecessor was a solid albeit short outing with optional co-op, this sequel seems less polished. The backgrounds lack the eye-catching finish, the plot is just a discombobulated mess strewn together and while Klei Entertainment has evened out the difficulty spikes it lacks the charm of the original. [April 2012, p71]

Sure, the monsters are nothing new – we’ve seen more gruesome stuff elsewhere – but at moments throughout the game you’re suddenly in a psychologist’s office, answering questions about your fears and sexuality. Depending on your answers the game changes, though some changes are cosmetic (certain characters dress in a different way) but it pushes the emphasis firmly on the cerebral rather than twitch gunplay. [Apr 2010, p.77]

Where Spec Ops succeeds – just – is with its themes of the end justifying the means, the ravages of war on a man's psyche and its portrayal of extreme violence. This is simultaneously its downfall as the team haven't quite nailed the execution until the final moments, where the full extent of what's happened over the last eight or so hours dawns on the protagonists. We wish Yager had teased and fleshed out the concepts sooner than leaving it to the beguiling endings; we doubt many players will bother reaching the credits. A year and half ago we might have been more impressed with The Line, but its poor presentation and boring shootouts completely let it down. [August 2012, p70]

The game looks crusty. The sprites introduced last year are pixilated and their animations limited. Plus the game lacks any creative flourishes during the massive super moves. We love the idea of a stunning 2D fighter, but there's no technical or artistic creativity here. Note to SNK – invest some money to make it look like a cartoon made by a ninja Walt Disney. [January 2012, p.76]

Don't let your natural wariness of licensed games steer you clear, because there's more than meets the eye here. [Christmas 2015, p75]

Don’t put out an APB on what is a hilarious yet technically flawed Lego adventure. Apprehend it for little ‘uns at a reduced price. [June 2017, p77]

It feels like Game Of Thrones has finally got going in this, the penultimate instalment. [November 2015, p79]

Redeems Infinity Ward, but is uninspiring. In the face of DICE’s efforts over the fence, this wasn’t the year to stick to the old formula. [Christmas 2016, p69]

Soul Sacrifice isn’t the deepest Action-RPG out there, but it’s certainly one of the most interesting, and it feels right at home on PS Vita. [July 2013, p78]

A step in the right direction for the franchise. [Christmas 2008, p.84]

We’ve missed the WWII theatre, and Sniper Elite 4 is a rollicking good reason to get back to Nazi-blasting. Story isn’t amazing, but the joy of stealth-sniping – particularly in co-op – is Reich on target. [April 2016, p74]

But no mask – no matter how flamboyant – can fully hide The Sexy Brutale’s faults. [July 2017, p74]