This is a fairly immersive and rewarding experience, but more variety would help keep you hooked. The AI generated levels do make Cloudberry an interesting place, but the princess might have to wait a little longer than expected for you and Bob to get around to rescuing her.

Stealth Inc’s mechanically fascinating, and holds you in just the right level of contempt as a player to keep you bashing your head against its heavily guarded walls. Now go forth, and break my heart on those leaderboards, you nimble-thumbed dream-stompers.

A shoddy, cynical cash-in that has absolutely no right to be retailing at 32 Pounds. [Aug 2013, p.95]

Warning: if you hate hard games, don't play this. [Aug 2013, p.94]

The already absurdly wooden voice acting is sometimes marred with bugs. [Aug 2013, p.94]

A surprising, raucous, lovingly updated loot-fest. [Aug 2013, p.93]

It says a lot about Dust 514's quality when shooting through menu screens is more fun than shooting guns. [Aug 2013, p.88]

Interesting is the word. It’s interesting to see how each level works, how each element works together in a level so ingeniously. Stealth Inc’s mechanically fascinating, and holds you in just the right level of contempt as a player to keep you bashing your head against its heavily guarded walls.

Riding to actual Hell over 1000 miles of broken glass using your own scrotum as a toboggan would be more enjoyable.

In a game as average as this humour is the X-factor. For some, Deadpool elevates it; for others, he renders it nigh-on unplayable. I call it nearer the latter and – for the sake of your taste – hope you do, too. Like the main man himself, this is utterly chaotic: funny, fun, rubbish, forgettable. Sadly, the hit rate of that first attribute is too poor to save it.

Unless you’re anti-games lawyer Jack Thompson, you’ll enjoy Hotline Miami for what it is: an impossibly stylish indie tour de force about playing with your food. With its incredible soundtrack in your ears, neon flashes in your peripheral vision and endlessly, shamefully gratifying combat in your hands, you’ll learn to stop worrying and love the wrong.

This is a game that understands the hardcore racer, and that it’s important to choose the font of your bike number. But it’s also a game that believes its handling to be so compelling it doesn’t need to dress up nicely to achieve, say, an 8/10. It isn’t.

Basic gameplay, a by-the-numbers story, and graphics from a bygone era leave this PSP port stuck between a rock and a really outdated place. [July 2013, p.100]

More spider in the bath than friendly neighborhood superhero. [July 2013, p.100]

It's all rather one-note. [July 2013, p.100]

Charming, engaging and affecting, this is a unique experience that any indie fan should take in. Finally, a positive use for the term 'bro-op.' [July 2013, p.98]

When such a talented developer hits these creative, narrative and technical heights, the result is a game that wouldn’t look out of place smuggled into PS4’s launch lineup. The acting is more believable than LA Noire’s hi-tech gurning. There are sneaky set-piece excursions that outdo even Metal Gear Solid 4 at its best. And tying it all together is an utterly mesmerising world instilled with a seamless sense of time and place. This is a work of art in which amazing sights and sounds fuel an emotionally draining, constantly compelling end of days adventure.

Visionary ideas unfortunately fall to a formatted medium. The game world is ambitious and brilliantly realised, but sadly the fighting and platforming can’t keep up. Still, Remember Me is fictionally fresh with a finger on the pulse.

Like four boring cover-shooters layered together. Inventive firearms aside, there’s a crippling lack of ideas: the weapon interplay is mild fun, but it can’t elevate the bland whole.

Lacking its predecessors’ ideas, but a worthy twilight joyride for the Ego engine that nails the white-knuckle speed and screaming tyres like few others.

Immaculately presented and infectiously bombastic. [June 2013, p.108]

The hot toddy of PSN games, if you will. [June 2013, p.107]

More characteristic of the franchise. [June 2013, p.101]

Sometimes ugly, often stupid and always unoriginal, but it still does 'shooting men with guns' well enough to be fun. [June 2013, p.100]

There are absolutely leagues of depth lurking beneath the cutesy surface. [June 2013, p.104]

While nobody could accuse this £11.99 PSN offering of being smart or original, like a fancy-dress night out in an animal onesie it still provides plenty of act-first-think-later thrills.

Like one of nature’s colossal ice cubes trying to crash poor Leo and Kate’s trip, Revelations sadly hits a stumbling block. In one key area, the action has unforgivably regressed from 2005’s Resi 4. Specifically, enemies now barely react to your bullets.

This is - at pretty much all times - entertaining, stylish and hugely enjoyable. There are tightly scripted blasts of action one minute, more open, pensive situations the next...There are individual parts of Metro: Last Light that are easily the equal of Bioshock Infinite, and sections that are better than COD. [June 2013, p.95]