Frustration is bad enough, but pain? Unacceptable. [Issue#186, p.82]

The story is muddled and not engaging, which could be forgivable if the action was more involving. Using the monocle to see clues is a nice idea, but it’s underutilised and poorly implemented (though it’s possible some of this could be a porting error). The encounters with the Mother are successfully tense, and the (few) monster designs are good. It’s almost a shame you don’t see more of them. Silver Chains does achieve some solid jump scares and would be worth a run-through with friends if you can pick it up in a sale. Overall, though, it sadly lacks both substance and polish. [Issue#186, p.85]

A game that while atmospheric, turns monotonous very quickly, and whose ideas are never developed in a way that makes it interesting to play. [Issue#184, p.86]

Ironically, this played better in 2003. [Issue#183, p.81]

If you never got the chance to experience the original when it came to PS3 and want to pick this up out of curiosity, it’s probably best to avoid it – it’s outright damaging to the legacy of Crysis. [Issue#181, p.88]

With a fantastic lineup, interesting fresh mechanics like the minions, and a bounty target being placed on the player performing best, Bounty Battle was in a good position to succeed, but it’s frankly hampered by being clunky and not much fun to play. A real shame. [Issue#181, p.86]

You’ve played this before, 25 years ago on PS1. The ideas are ancient, the implementation poor, and when a dubiously named hero is the only fun you get from a shooter in 2020 it’s time to avoid. [Issue#182, p.160]

It’s not terrible, but it’s not the game we (or anybody else) wanted either. This game gets tired long before 90 minutes have passed. [Issue#180, p.80]

This is visually bare-bones and an incredibly sloppy port of the PC original. The menus have an eye-jittering delay that makes navigating a chore. Worse still, hard crashes occur every 20 minutes in the final third of the story, forcing you to replay tombs already conquered. It’s hard to recommend a game that punishes you with its bugs. Pray for this one. [Issue#178, p.82]

Poor signposting is a problem throughout, compounding frustration in by-the-numbers stealth/chase sequences (though each of these is mercifully to the point once you figure out what you’re supposed to do). Bright spots, such as the early story’s compassionate portrayal of childhood bereavement and some genuinely unsettling sound design, are too often overshadowed. We’re not leaving the light on for this. [Issue#177, p.156]

Is it enough to make you forget you spent ten minutes trying to load a gun, or ignore the way the characters look like they were made in 1998, or forgive a story that delivers the emotional impact of Question Of Sport repeats? No. [Issue#176, p.74]

Well-intentioned training minigames don’t really help, and nor does the multiplayer mode. There’s always something in the environment that seems more interesting than the game itself, such as a Japanese garden you can’t explore, or arcade cabinets that you can’t use. Give the table tennis experience this game serves up a miss. [Issue#170, p.92]

Patches may rescue this to some degree. For now, it’s an unfinished game which should remain unpurchased by your wallet. [Issue#170, p.86]

It’s got passion but is far from having all the answers. We can’t recommend what we played but hope that a patch has addressed the bugs obscuring its bright ideas. [Issue#170, p.90]

Travis Strikes Again spends so much time calling back to other games, it forgets to be fun itself. [Issue#169, p.92]

One of the worst open worlds Ubisoft has released. Even if its issues have been patched by the time you read this, this is one seriously uninspired sandbox. [Issue#168, p.88]

A once-in-a-generation release that changes absolutely everything, and resets what a ‘game’ can be. Dreams is essential and should be on every PS4. Especially yours. [Early Access Review score = 100]

The shooting is less responsive, because Space Junkies doesn’t allow you to use PS Move controllers. Instead, you aim by pointing the DualShock – something that can work in slower-paced VR shooters like Resident Evil 7, but just isn’t suited to frenetic head-to-head combat, especially when the game’s crossplay links you up with PC players using full motion controls. [Issue#162, p.82]

RICO fancies itself as the sterotypical hard-bitten police officer who gets results but refuses to play by the rules. In reality, it’s more like Paul Blart: Mall Cop. [Issue#161, p.96]

Left Alive is most disappointing because it had such potential to revitalise the stealth genre. Instead you get something far behind even the titles it tries to emulate. [Issue#161, p.85]

A fighting game that won’t appeal to anyone. Newcomers won’t be endeared to the Shonen Jump series, and longtime fans will know there’s better out there. [Issue#160, p.96]

What you get for your money is terrible, rendering the mid-level price insulting. There's no reality in which this is worth buying, virtual or otherwise. [Issue#158, p.97]

Even at a penny shy of five quid, this is hard to recommend. [Issue#158, p.86]

The Quiet Man is a once-in-a-generation terrible game mired by technical and racial issues, pretentious ideas, and poor execution. It’s an ineffable game that fails to land any of its posy punches. That it merely exists… now that is something to cry over. [Issue#157, p.97]

As big a letdown as Tim Henman's efforts at Wimbledon, it does a huge disservice to Top Spin's legacy. No amount of Pimm's should sanction you buying this. [Issue#151, p.96]

One of the most unfinished, least fun games of recent years, and almost unplayably jerky on a standard PS4. A total disaster of a game. [June 2018, p.97]

By turns mildly irritating and laceratingly dull, Extinction is a hopeless mess with one of the worst third-person cameras you'll ever encounter. Give it a miss, eh? [June 2018, p.86]

It's all too simple, and a little basic, and aside from brief moments of arcade fun brings little new to PS VR. [June 2018, p.80]