The PS4 finally has a strong racing simulation debut to set the new gen pace. [Aug 2014, p.94]

Despite the shonky performance issues and woeful combat, there's still something that compels you forward. [Aug 2014, p.91]

This short ep is as close as we've come to filler. [Aug 2014, p.91]

In a game build around multiplayer, it's baffling that the developer would undermine any gains made through Infinity being freely available by making it so difficult to play once you have it. [Aug 2014, p.91]

Compelling and respectful in a way few games can match. [Aug 2014, p.90]

Places the emphasis back on racing over contrived storylines - and leaves its peers eating its dust in the process. [Aug 2014, p.88]

An interesting concept with half-decent story beats, dragged to hell by shonky puzzles, odd dialogue jumps and bugs that are far more terrifying than the subject matter. [Aug 2014, p.87]

Some shoddy finishing touches ruin a shooter that's genuinely full of potential. [Aug 2014, p.86]

It sadly lacks the knockout power of the late THQ's Undisputed series. [Aug 2014, p.84]

Juddering. [July 2014, p.93]

An interesting concept, but the game's lack of control over the scares removes any possible creeping horror. [July 2014, p.92]

It stands out as the most complete version of one of the greatest fighting games of all time. [July 2014, p.90]

We're approaching unbroken cutscene territory. [July 2014, p.88]

Despite the steep entry barrier, it's essential for partying types. [July 2014, p.86]

It's a game in danger of tossing away its decade-long undefeated streak. [July 2014, p.85]

A unique creative vision that's not to be missed. [July 2014, p.82]

Slinging around New York remains a pleasing hoot. [July 2014, p.81]

This is barely a game. [July 2014, p.80]

Does little to open the door for anyone other than JoJo vets. [July 2014, p.80]

The lack of multiplayer is baffling. [July 2014, p.80]

With a starkly powerful grasp of aesthetic and some profound artistic ambition, The Swapper's instinct for puzzle design isn't quite matched by its storytelling. But it's close. [July 2014, p.78]

Watch Dogs relies on unfiltered girth to entertain. Another victim of cross-gen releases, there’s nothing particularly ‘new-gen’ about the game, but there are plenty of good ideas and a lot of activities to keep you busy. The fundamentals for a truly special game are in place – but as was the case with Assassin’s Creed and Far Cry, it now falls to the sequels to fully realise it.

Never revolutionary, but it's still a cheery, tipped-out toybox filled with jokes, puzzles and loving references to Peter Jackson's new film trilogy. [June 2014, p.92]

It's an odd game, this. [June 2014, p.92]

More technically stable than previous episodes. [June 2014, p.92]

If you're new to Warriors, this is the place to start. [June 2014, p.92]

A loveable hot mess of a game. [June 2014, p.91]

The theatre of destruction around your ship will leave you in awe. [June 2014, p.90]

Few puzzles offer the complexity and design smarts that are on show here. [June 2014, p.88]

It was good before, and certainly isn't any less so now. [June 2014, p.84]

This is a very dark story, but it's told with colourful verve and a keen wit. [June 2014, p.85]

It's never enough to help you forget the game's warts. [June 2014, p.85]

Battles rarely deliver on the promising setup and there's no sense of peril. [June 2014, p.82]

Huge, diverse and thronging with life. [June 2014, p.81]

A supremely challenging (and occasionally infuriating) test of skill, control and composure. [June 2014, p.78]

The most subversive and suprising new-gen shooter so far, Wolfenstein delivers heart (and a load of entrails) in a gory FPS that should stay with you for years.

Broadens and enriches the racing sim landscape. [May 2014, p.93]

Dead Nation's plot is as substantial as a slice of Bernard Matthews turkey ham. [May 2014, p.86]

Not even the savvy touchscreen controls can gloss over the real problem: the uninspired world you're forced to inhabit - and for a 20+ hour commitment, that's a bit of an issue. [May 2014, p.83]

An HD collection to seriously consider. [May 2014, p.83]

Depressing fare. [May 2014, p.83]

Creator Matt Thorson has achieved a ludicrous standard of gameplay in Towerfall Ascension, one that seduces you instantly and jettisons all thoughts of million-poly character models and full-performance capture from your gaming consciousness.

The issues aren’t ruinous, and in the case of the multiplayer more an inconvenience that EA needs to address than anything else – but it’s enough to take the shine off what should be one of the best shooters on PS4.

There’s a mega-compulsive core to Dustforce, but a desperate polish of the Vita controls is needed for the platforming to truly shine like it deserves.

The overbearing cartoon license does its best to gobble up all the fun. [Apr 2014, p.92]

Despite the familiarity of its mechanics, it's definitely way more fun than stepping on one of the damn bricks. [Apr 2014, p.87]

A game I love like a brother. [Apr 2014, p.87]

A neat and deceptively inventive puzzler. [Apr 2014, p.87]

The cast, cues and fracas are still bringing down the house. [Apr 2014, p.86]

While its presentation is bogged down with messy menus and woeful atmospherics, packing in all 203 eligible teams and simply letting the tournament happen provides a platform for the magic to be recreated over and over again.

This handheld version is meant to be less life-sapping and somewhat shallower, but you don’t go around offering weak lager to alcoholics, do you?

FFX/X-2 HD is everything you could want in a hi-def remake – a beautiful re-imagining of two games that are now a bit more brilliant than they already were. Even the music’s been tweaked – it’s the same classic soundtrack, only slightly richer. Everything you loved about the gems in the series over a decade ago, modernised with fanatical devotion and helpful – rather than horned in – PS Vita touch controls.

It only avoids the worst score I can give by virtue of the fact that it (just about) functions. Rambo inspires more anger than biting your tongue just after you’ve stubbed your toe.

Just keep this endgame glory in mind when pressing through the chore-like opening.

Periodically, a malicious doll-like girl appears to stress-test your sphincter.

Much of the risk here is in keeping your precious resources in check: you don’t just need a decent health bar to make it here, but also good reserves of water and serviceable light levels. Find the right balance of those elements, though, and you’re in for a satisfying nugget of platform mining action.

Among the most enjoyable episodes Telltale has released – it just doesn’t let you take ownership of events to the extent previous episodes did. A thrilling two hours rippling with tension, but interactivity is becoming marginalised in favour of an cinematic pacing. You won’t use the pad much – and you won’t care.

Every combo is a perfect and unique snowflake, though some are more conducive to high-score chasing, while others are just a mad curiosities.

Gorgeous, and instantly satisfying to control, inFamous: Second Son shimmers across the screen in a way that simply wasn’t possible on PS3. The core missions lack sparkle, but this sandbox yarn is heroic in full-flow.

Yaiba is guilty of the most heinous crime: creating difficulty not with precision combat, but with myriad borked design calls and some utterly broken camera work.

Ground Zeroes offers a couple of evenings of essential PS4 stealth. And really, who could put a price on that? Other than Konami… who plumped for the overly stingy one. Rich in depth and quality, if not quantity, this prologue provides an exciting peak into a potential PS4 classic. Just steel yourself for a bite-sized Big Boss.

Uncompromising in its challenge, this supremely balanced slasher destroys your fingers and delights your soul with its unrivalled sense of triumph through trial.

Brimming with some of the best dialogue and characters on in a game, The Stick Of Truth is only let down by needless framerate issues and a lack of additional locations beyond South Park itself.

Yes, the game is in the middle of the series timeline, but the devs do themselves a disservice by drowning a rich experience in an ocean of complexity. [March 2014, p.92]

Looking for a content-crammed explore-'em-up for your Vita? Well, dig no further. [March 2014, p.92]

Unevenly brilliant and infuriating, CLOS2 combines incredible, tight combat and some spectacular visual treats with ropey stealth and a clunky narrative. Thankfully, the good outweighs the bad.

Thief is worth it for the setting and hardcore stealth, but it’s marred by some poor AI and passive gameplay.

Capcom revives one of its most hallowed franchises and conjures up one of the most rewarding side-scrolling slash-‘em-ups in recent memory. Loud, proud, and always a blast.

The pounding beats and explosions of colour that used to punch you square in the brain fade into the background as time slows and TxK arrests every second of your attention the way few games ever can.

The shooting just happens to be glorious so you end up shooting until you realise you haven’t done anything that resembles ‘skill’ in around 50 levels, and you’ll go loopy. EDF 2025 is proof it’s possible to have too much of a good thing.

The main problem with Lightning Returns; it’s a game so desperate to refine each individual element that they’ve become disparate. There’s undoubtedly stuff here worth exploring – the cerebral combat, fan-serving storyline and grand finale to a three-game story – but despite Square Enix’s intentions, it’s not a world you’ll make time to revisit.

There are themes within this that I’m simply not good enough a writer to dissect (and I doubt few will do it justice). It’s incredible, considering the broader perception of video games, what Naughty Dog has managed to achieve in certain areas here.

Somewhat limited by its own mechanics this is still a masterclass in videogame horror. The overuse of its core ‘run away and hide gameplay’ lessens the impact overtime but the visual and aural execution are flawless, making for a terrifying opening few hours, an unpleasantly distressing close and a satisfying exercise in fear throughout.

Prettier and choked with superfluous PS4 control additions, yet still the same brilliant game underneath. Never played it? Buy this. Want to re-play it? Stick to the PS3 version.

Final Exam is for completionists only. [Feb 2014, p.94]

A good narrative could have saved Saint Seiya from bargain bin oblivion. [Feb 2014, p.94]

Attention to detail is one of the strongest points of this compelling RPG. [Feb 2014, p.94]

At 5.45, this is still a big ask for a mobile title retailing for 1.99 over on Apple's side of the gaming fence. [Feb 2014, p.94]

This is a game that seeks to find the good in you, so why not return the favour? [Feb 2014, p.93]

This straddles the generation gap rather awkwardly. [Feb 2014, p.90]

Artistically it's a bit gaudy. [Feb 2014, p.87]

Eufloria’s humble indie roots can be seen in the crude visual design.

Involving if arthritic, boring yet fleetingly brilliant, Carnivores’ cerebral shooting is genuinely unique in spite of its miserly unlocks.

An unrefined Portal-lite it may be, but this first-person puzzler occasionally weaves sharply spun noggin teasers to provide some proper ‘Eureka!’ moments.

With plans for naval and ground vehicle combat, War Thunder has the potential to become one of PS4’s darkest horses. It’s punishing, sure – but guiding a precious bird to victory causes your chest to swell with imaginary medals every time.

In its defence, Retribution is free to play – so while it can’t compete with Killzone Shadow Fall, that’s an unfair expectation to begin with. But it’s still a PS4 release, and in this regard feels like a grubby stowaway that’s snuck aboard a glitzy cruise liner bound for the golden shores of next-gen.

With a stupidly generous variety of modes, challenges and room for player expression, OlliOlli is one of PS Vita’s most fun and alluring games to date.

Sadly, Liberation can’t escape its limited gameplay, technical unevenness and poorly told story. While Black Flag kicked the series on, the past holds no glory for Aveline.

If you can live with the pervading sense of confusion, there’s a lot of game here for no money. Whether it convinces you to part with some cash or not, you’ll still keep coming back.

Broken Sword 5 is clearly a real labour of love on Cecil and co’s part, but their desire to recapture the spirit of the beloved early games has left this one feeling more than a little dated.

If you ally yourself with the ‘I don’t get it brigade’ you’re missing out on some of the best storytelling in gaming.

Learning is half the fun and even the smallest victory makes you feel like you’re winning with a capital FU.

The game that changed games arrives on PlayStation in fine form with an improved crafting system, tarnished only slightly by a cramped map size. Until the full-fat PS4 Edition arrives, this’ll do nicely.

The game feels a lot like it was designed for PS Vita's touchscreen and found its way onto PSN, where it's a bit lost. [Jan 2014, p.95]

A browser game on a disc. [Jan 2014, p.95]

If I stopped to process the notion that I'll never get the time back I spent wrestling with A-Men 2's spongy, imprecise jumping and clunky puzzles, I might never stop trembling with impotent rage. [Jan 2014, p.95]

There's only so long you can spend looking at this piss-poor running animation before you start seriously wondering "What if I just looked out of the window for a few minutes instead?" [Jan 2014, p.95]

Offers a decent afternoon's leisure at best. [Jan 2014, p.94]