Edge Magazine's Scores

  • Games
For 2,511 reviews, this publication has graded:
  • 14% higher than the average critic
  • 3% same as the average critic
  • 83% lower than the average critic
On average, this publication grades 8.8 points lower than other critics. (0-100 point scale)
Average Game review score: 64
Highest review score: 100 Half-Life 2
Lowest review score: 10 FlatOut 3: Chaos & Destruction
Score distribution:
2,511 game reviews
    • 77 Metascore
    • 50 Critic Score
    The Gunstringer's biggest problem, however, is that it's a score-based shooter with little incentive to return. With only one weapon type available at any given time, there's none of the tactical interplay between attacks that makes aiming for high scores in Child Of Eden so tempting.
    • 74 Metascore
    • 50 Critic Score
    So despite the winner podiums and big sponsorship contracts and – yes – even the hours you'll spend in this askew universe, Grand Prix Story feels more like deja vu than entertainment. The formula is rapidly palling.
    • 59 Metascore
    • 50 Critic Score
    It's too easy and basic for adults and likely too mellow for children drawn in by its bubbly aesthetic. It's a shame, because Okabu's is a quietly charismatic world, one destined to be overlooked thanks to its grind of an opener and failure to match its visual vigour with mechanics that haven't been used better elsewhere.
    • 76 Metascore
    • 50 Critic Score
    A reminder of both what you adore and abhor in a series that's had its simple joys diluted by flash-in-the-plan iterations and ideas.
    • 82 Metascore
    • 50 Critic Score
    It's becoming a 5th Cell tradition: strong ideas compromised by erratic level design and structural weaknesses. One day, the developer will find the right balance to support its undeniable creativity, but sadly, it hasn't found it here.
    • 60 Metascore
    • 50 Critic Score
    Like any good zombie fiction, the real enemy in AZMD! isn't the walking dead, but the humans who created them.
    • 79 Metascore
    • 50 Critic Score
    This is a big game, clocking in at about the 40-hour mark, but the lack of challenge in combat combined with the formulaic missions and frequent cutscenes too often make it feel like a sticky trudge.
    • 70 Metascore
    • 50 Critic Score
    Gesture recognition is loose and forgiving, and it makes no attempt to suggest Kinect's genuinely interpreting every movement. Instead, each manoeuvre feels like the empty-handed equivalent of pushing a button – albeit a button that tends to idle a little before it triggers anything.
    • 57 Metascore
    • 50 Critic Score
    Little Deviants' real problem is simple: it's not moreish, and its challenges fail to reveal the kinds of nuance on the second and third tries that will have you refining strategies and aiming to better scores. Without that incentive to return, you're unlikely to.
    • 71 Metascore
    • 50 Critic Score
    This is a freemium game, masquerading as a paid download.
    • 82 Metascore
    • 50 Critic Score
    SSX
    
In looking outside itself for inspiration, SSX has found a worthy infrastructure to establish an online community and culture. But this same approach has found the brand veering away from some of the fun and fireworks of yesteryear, leaving its more seductive silly side out in the cold.
    • 65 Metascore
    • 50 Critic Score
    Balancing real-time action with tactical micro-management proves beyond Vanpool. With arbitrary limitations placed on an already meagre cash supply, and towers and fortifications proving equally flimsy, what little money is available is best poured into single-use items and permanent ability boosts for Dillon.
    • 71 Metascore
    • 50 Critic Score
    For all its luxurious visuals, it knows little about how to marry them to gameplay, or how to end the suffering of artists who 
see their work butchered to meet gameplay's demands.
    • 74 Metascore
    • 50 Critic Score
    As a free download, Frobisher Says may not be a waste of your money, but there are many better diversions on Vita to occupy your time.
    • 58 Metascore
    • 50 Critic Score
    A less accomplished but more immediate Ninja Gaiden, then, one that will temporarily distract newcomers and disappoint dedicated followers. Yet it feels destined to be forgotten by both audiences, chalked up as another casualty in the east's drive to conquer the west with bravado rather than its sought-after, ever-rarer Japanese steel.
    • 73 Metascore
    • 50 Critic Score
    Crytek's landed on the App Store, then, but it's only half of the company: the wrong half.
    • 66 Metascore
    • 50 Critic Score
    The detection of item-grabbing slashes is often fumbled, and since moving your finger can leave you prone to missing punches, it ruins a promising risk-reward system.
    • 64 Metascore
    • 50 Critic Score
    The convincing sense of speed is dulled by a lack of weight to the handling, while collisions betray some erratic physics: you can easily be shunted into a respawn by other racers, yet left relatively unscathed by a head-on smash into trees.
    • 52 Metascore
    • 50 Critic Score
    That it largely fails to deliver does not quite snuff out its allure – not, at least, for devotees of the fiction. For those yet to be tempted by Martin's work, however, the blunderous combat, mangled dialoguing and profoundly unlovely looks will make it seem, as a Westerosi idiom goes, a mummer's farce.
    • 65 Metascore
    • 50 Critic Score
    Despite its lunges for the mainstream, in other words, The Act has forgotten one of the most important things about escapist cinema and cartoons: they generally don't require this much effort.
    • 66 Metascore
    • 50 Critic Score
    While Neversoft's course design holds up, its objectives sadly don't; setting high scores is as thrilling and rewarding as ever, but we're less forgiving of being asked to collect five objects dotted around a level without a right-stick camera than we were at the turn of the millennium.
    • 65 Metascore
    • 50 Critic Score
    The guns and costumes you'll be buying make Random Heroes a little more appealing, perhaps, but they're poor compensation for a wider lack of imagination.
    • 59 Metascore
    • 50 Critic Score
    The Power Of Two may have fewer technical issues than its predecessor, but it's a less adventurous, less courageous, and overall less interesting game. It struggles to make you care about its world, and as a result its one big idea – that of the Wasteland reacting to your choices – feels decidedly flaccid.
    • 53 Metascore
    • 50 Critic Score
    Like Borderlands, the promise of fresh guns, equipment and powered-up skills offers an incentive to press on. But unlike its parent series, the combat in Legends means it's not worth doing so.
    • 64 Metascore
    • 50 Critic Score
    Sluggish loading times tend to cause frame-rate hiccups at the outset of a multiplayer game, and such issues are exacerbated in the busier environments with a full complement of players.
    • 71 Metascore
    • 50 Critic Score
    Being among the first of the console MOBAs, Guardians Of Middle-Earth could've been a gentle introduction to an intimidating genre, providing a welcoming hand for players new to the MOBA, but a split focus between accessibility and complexity means neither genre greenhorns nor greybeards will end up feeling truly satisfied.
    • 67 Metascore
    • 50 Critic Score
    There's tactical depth, then, but it's squandered on a game that doesn't understand the importance of balance.
    • 71 Metascore
    • 50 Critic Score
    Embracing and supporting a community project like this is still a commendable move, and one that Mega Man's passionate fans may see as encouraging. But only his most die-hard followers will be willing to overlook such unwelcome, avoidable flaws.
    • 71 Metascore
    • 50 Critic Score
    There's enough warmth and wit here to make Middle Manager Of Justice one of the more palatable exercises in building a game around waiting and offering micro-transactions to skip the wait, but sadly all our spider-senses detect is a missed opportunity.
    • 62 Metascore
    • 50 Critic Score
    A cynical, if predictable approach to monetisation also sours the experience.
    • 64 Metascore
    • 50 Critic Score
    A more novel addition is a crafting system lets you convert items you find into items and potions, but it functions more like a secondary currency than an alchemical minigame. There’s nothing egregiously wrong with Mini Ninjas, but nor is there a reason to give up on genre highlights like Punch Quest and Jetpack Joyride.
    • 62 Metascore
    • 50 Critic Score
    Due to a heavier emphasis on all-out action, however, the gratifying bullet-cam pay-off becomes tiresome even sooner than it did in V2.
    • 69 Metascore
    • 50 Critic Score
    Gorgeous and silky smooth it may be, but the level design feels like it was made with in-app Continue purchases specifically in mind, hiding enemies cruelly – and punishingly – behind obstacles, preventing the game from flowing and dazzling as it clearly has the potential to. Accomplished and beautiful, then, but Sonic Dash shows that, for Sega, learning from the competition comes at a price – one it’s passed onto its fans.
    • 80 Metascore
    • 50 Critic Score
    But for parents and adults, Undercover is a less inviting prospect, even with its satirical undertone. It’s a plastic facsimile of GTA – a game that was hardly humourless to begin with, and one that has already spawned a genre’s worth of more sophisticated rivals and clones.
    • 67 Metascore
    • 50 Critic Score
    There’s a satisfying Shadow Complex-meets-Smash-Bros. style romp somewhere in The Showdown Effect, but it’s buried beneath gameplay mechanics that interfere with the joys its premise suggests, and there are currently stability issues with the servers that demand some urgent attention.
    • 43 Metascore
    • 50 Critic Score
    The representation of the xenomorphs is the game’s most damaging failure. They’re just not dangerous enough, reduced by a first mission deluge into a swarm of targets bearing the shape of a familiar, once-horrific symbol of death. But they have none of that pop icon’s grace or deadliness.
    • 77 Metascore
    • 50 Critic Score
    Nimble Quest is cute and compelling, but it’s also a cynical complication of a classic design.
    • 64 Metascore
    • 50 Critic Score
    A bigger problem still is the absence of a motivation to work with other players. Objectives are usually thinly disguised fetch quests or encounters where you must defend a character, usually Cass, against waves of enemies.
    • 57 Metascore
    • 50 Critic Score
    The artwork goes some way to redeeming The Other Brothers; for all the detail to be found in the backgrounds and sprites, everything moves fluidly, but ultimately this is still a platforming game on the wrong platform.
    • 63 Metascore
    • 50 Critic Score
    In-app purchases, however, are handled with more nuance and kept pleasingly out of sight.
    • 70 Metascore
    • 50 Critic Score
    It’s easy to admire the developer’s evident love for the NES game – it’s clearly been handled with the kind of care only a genuine fan would provide – but after a few repetitive hours bouncing around DuckTales’ pretty but unremarkable worlds you’ll begin to realise that some treasures aren’t worth the effort of unearthing.
    • 72 Metascore
    • 50 Critic Score
    Unlike iOS title The Room, here intricacy proves a weakness, and Open Me doesn’t have the rich atmosphere of Fireproof Games’ award-winning puzzler to compensate for its mechanical awkwardness.
    • 71 Metascore
    • 50 Critic Score
    When directing death from above, Strike Team offers a glimpse at what might have been, but when it’s time to go loud, the whole thing collapses as limply as the enemies you’ve dropped.
    • 66 Metascore
    • 50 Critic Score
    Lucid is carrying on the spirit of its PGR days with this sim-arcade hybrid, but where Bizarre Creations’ driving games pushed their platforms’ boundaries, 2K Drive is incapable of breaking through the limitations of iOS.
    • 66 Metascore
    • 50 Critic Score
    There’s no sense of strength or weight to your actions despite how extravagant the carnage becomes.
    • 76 Metascore
    • 50 Critic Score
    With no meaningful equivalent to the communal goals and tactical layovers that gave Planes a stay of execution, once the paywall stalls your progress like leaves on the line, there’s little reason to continue. Even for those who’ve ‘supported’ NimbleBit with regular IAP donations, you suspect the Bux stop here.
    • 72 Metascore
    • 50 Critic Score
    Rain’s core ideas remain frustratingly underdeveloped throughout, and it comes off more like a watercolour sketch than the oil painting that was promised.
    • 70 Metascore
    • 50 Critic Score
    This is a far more systemically diverse game than Heavy Rain, and its story is certainly more believably told through Holmes, Dafoe and a fine supporting cast. Yet this is a game almost entirely bereft of tension, one in which failure goes largely unpunished and is almost always inconsequential. There is emotion here, but it’s felt passively, as spectator instead of player.
    • 65 Metascore
    • 50 Critic Score
    There’s a familiar, welcoming charm to Wii Party U, which offers an evening spent in the company of nice-but-quiet friends. We wouldn’t blame you, however, if you snuck out to visit the more vibrant party hosted by Wario or Bumpie next door.
    • 76 Metascore
    • 50 Critic Score
    It’s a perfectly serviceable adventure that you’ll play through with few frustrations, but will likely have forgotten by the following morning. Ratchet and Clank’s story ends, then, not with a bang, but with a half-hearted shrug.
    • 56 Metascore
    • 50 Critic Score
    It’s during its harder moments that Crimson Dragon pushes you away. A combination of heavy handling and poor communication make you feel hoodwinked rather than outmatched, and the ability to buy continues with Gems you’ve purchased with real money sullies the challenge. It’s a good job that the Zen gardens of those easier levels are always there to return to.
    • 62 Metascore
    • 50 Critic Score
    Board game fans might be able to overlook these sins to find the deep game within, but developers Full Control has done too little to evangelise the cult of Space Hulk.
    • 63 Metascore
    • 50 Critic Score
    Strip out the poor parkour and clunky melee and all you’re left with is a shooter, and a workmanlike one at that.
    • 68 Metascore
    • 50 Critic Score
    All but shorn of their narrative context, the missions can feel rather inconsequential, disconnected from the truncated plot and lacking the variety and invention of some of the 3DS game’s later missions.
    • 69 Metascore
    • 50 Critic Score
    Octodad: Dadliest Catch asks you to overlook an awful lot more than plot holes.
    • 71 Metascore
    • 50 Critic Score
    Unepic is a perfectly serviceable platform-RPG, but Unremarkable might have been a more apposite title.
    • 68 Metascore
    • 50 Critic Score
    EDF was never about careful aiming or strategic cover or any of the other things that drive modern shooters, though – it’s about superior firepower earned through RPG grind, but 2025 has made the happy grind gruelling.
    • 34 Metascore
    • 50 Critic Score
    It’s a B-movie game in every sense, but approach it with sufficiently lowered expectations, and you may just be pleasantly surprised.
    • 76 Metascore
    • 50 Critic Score
    Sadly, any gains made here are squandered by woolly controls, a dearth of feedback and infuriating inaccuracy even with aiming assist dialed up to maximum.
    • 63 Metascore
    • 50 Critic Score
    On a console where tried and tested ideas continue to dominate, it would be wrong to entirely dismiss an experiment like this, even if the result is only fleetingly worthwhile.
    • 76 Metascore
    • 50 Critic Score
    As a whole, Mercenary Kings is a case study in the perils of Early Access. The need to provide a steady flow of content to early buyers has birthed a glut of superfluous systems and a swollen set of missions – the wrong sort of substance to accompany Robertson’s style.
    • 65 Metascore
    • 50 Critic Score
    Free-to-play works when you earn the trust of your players over time, but RedLynx instead prods you at every opportunity to remind you that you haven’t paid for your game yet. Even so, once dredged from beneath the cloying mass of microtransactions that suffocate it, Trials Frontier isn’t a bad game as such. It is, however, a very bad Trials game.
    • 61 Metascore
    • 50 Critic Score
    Rivals’ biggest problem is that its chances of success are inexorably bound to the performance of the device around which it is designed.
    • 69 Metascore
    • 50 Critic Score
    It’s a cheap thrill, a shallow way to connect input with outcome that doesn’t, in the end, compensate for Pocket Football Club’s lack of responsiveness elsewhere.
    • 62 Metascore
    • 40 Critic Score
    There's a fine line between graphic artistry and immaturity, and while Alter Echo makes an attempt at the former, it probably falls into the latter. The hues are creative enough, and the faux-naturelle structures suitably curled and alien but perhaps the real problem is that a world made from plastic would look as dull as it sounds. [Nov 2003, p.109]
    • 77 Metascore
    • 40 Critic Score
    With no real sense of connection with your monsters, or of engagement with the clumsily delivered plot, there is little here to help the game overcome its tendency towards charmless, chore-based repetition. [Jan 2004, p.106]
    • 55 Metascore
    • 40 Critic Score
    Feels cheeky to be criticising a scrolling beat 'em up for being too shallow, but TMNT is possibly one of the most tedious ever. Repetition is only acceptable when you're repeating something gratifying. [Jan 2004, p.109]
    • 75 Metascore
    • 40 Critic Score
    You get the impression the only person who cares about Kain's legacy any more is the writer. The turgid battling lets an average game down. [Jan 2004, p.107]
    • 71 Metascore
    • 40 Critic Score
    Nasty, brutish and short - and that's once you've got past the interface problems. Temple of Elemental Evil is a huge disappointment by any measure. [Christmas 2003, p.124]
    • 59 Metascore
    • 40 Critic Score
    Feels cheeky to be criticising a scrolling beat 'em up for being too shallow, but TMNT is possibly one of the most tedious ever. Repetition is only acceptable when you're repeating something gratifying. [Jan 2004, p.109]
    • 73 Metascore
    • 40 Critic Score
    Instant deaths, glitchy combat, uninspiring boss encounters and twitchy controls conspire to make this a below-par experience. If it wasn't for the occasional flashes of imagination and the familiarity and richness conveyed through the license then The Emperor's Tomb would be utterly forgettable. [May 2003, p.99]
    • 73 Metascore
    • 40 Critic Score
    Somebody up there probably regards this as a trailblazing taste of high-concept, one-size-fits-all blockbuster games to come. Consider that, and know true Primal fear. [March 2003, p.92]
    • 65 Metascore
    • 40 Critic Score
    Instant deaths, glitchy combat, uninspiring boss encounters and twitchy controls conspire to make this a below-par experience. If it wasn't for the occasional flashes of imagination and the familiarity and richness conveyed through the license then The Emperor's Tomb would be utterly forgettable. [May 2003, p.99]
    • 82 Metascore
    • 40 Critic Score
    In action the game is undeniably pretty, as long as you can stomach the monstrous camera. But beyond ther anime-inspired visuals, the action turgidly limps along without ever really engaging or entertaining. [May 2003, p.94]
    • 66 Metascore
    • 40 Critic Score
    For a title trying hard to inject personality into the genre, the experience feels irreparably mechanical. There's plenty of variety in terms of racing categories and machinery, but the overall lack of involvement is inexcusable. [Feb 2004, p.102]
    • 46 Metascore
    • 40 Critic Score
    There's no style in LowRider's low-riding - it's all about robotic timing, brute force and repetition over elegance. [March 2003, p.99]
    • 70 Metascore
    • 40 Critic Score
    You get the impression the only person who cares about Kain's legacy any more is the writer. The turgid battling lets an average game down. [Jan 2004, p.107]
    • 61 Metascore
    • 40 Critic Score
    It's a shame, but LifeLine is just poorly implemented. With the laborious pacing complicated by the dodgy voice-recognition, flaws in the gimmicky technology negate what satisfying moments are on offer here. [May 2004, p.106]
    • 63 Metascore
    • 40 Critic Score
    A soulless videogame that stands as a grave indictment of how stale a series can become if it loses its spark of creativity and imagination. [March 2005, p.93]
    • 58 Metascore
    • 40 Critic Score
    Voyeurs will be disappointed, since the sex portrayed is the very model of conventionality. The really shocking thing is how close Singles gets to being wholesome. [June 2004, p.111]
    • 58 Metascore
    • 40 Critic Score
    Firefights become more surreal than menacing when the worst-case scenario is of your fellow GIs having to catch their breath for a few seconds after being riddled with bullets. [Aug 2004, p.96]
    • 50 Metascore
    • 40 Critic Score
    Firefights become more surreal than menacing when the worst-case scenario is of your fellow GIs having to catch their breath for a few seconds after being riddled with bullets. [Aug 2004, p.96]
    • 68 Metascore
    • 40 Critic Score
    Playing Gungrave OD, there's a nagging sensation that the design team experienced the original through a shop window...In attempting to meet criticisms of Gungrave's single-minded focus, that focus has been squandered. The result is unlikely to satisfy. [May 2004, p.110]
    • 67 Metascore
    • 40 Critic Score
    Ends up feeling like it’s been built by PC game developers obsessed with quick saves. There’s absolutely no creative latitude; it’s a case of remembering where enemies appear and getting them before they get you. [May 2005, p.86]
    • 52 Metascore
    • 40 Critic Score
    With the exceptions of deplorably bad cutscenes and haphazard signposting, there are few significant flaws here that a steadier gestation couldn’t have resolved. [Aug 2006, p.90]
    • 55 Metascore
    • 40 Critic Score
    With the exceptions of deplorably bad cutscenes and haphazard signposting, there are few significant flaws here that a steadier gestation couldn’t have resolved. [Aug 2006, p.90]
    • 69 Metascore
    • 40 Critic Score
    The possibility of this all coming together in a more flexible and engaging manner is still a welcome one. But, for a game based on a culture of reputation, craftsmanship and leaving a mark, Getting Up is one that’ll pass by largely unnoticed. [Mar 2006, p.86]
    • 51 Metascore
    • 40 Critic Score
    For all its wit and swagger, Truckers is inescapably safety-conscious, rewarding the maintenance of a planned route and steady trajectory while more arresting notions - spontaneous risk, for example - fall from the back like poorly fastened cases of moonshine. [Sept 2005, p.99]
    • 58 Metascore
    • 40 Critic Score
    Frustratingly, the game’s on-rails sequences exacerbate its lack of invention, whipping up enemies that often inflict damage before their location is revealed. When a single rocket can end the game by killing you or your entourage, this tests the patience more than a prosaic shooter has the right to. [Aug 2005, p.97]
    • 61 Metascore
    • 40 Critic Score
    Even with just an additional pair of buttons for camera movement, a broad switch of irritations could have been avoided, but as it is, Death Jr is recommended only for forgiving platformer enthusiasts. [Nov 2005, p.113]
    • 75 Metascore
    • 40 Critic Score
    For such a costly flagship title to provide neither the promised statement of mainstream grown-up appeal nor even polished, lesser disposable thrills is a landmark failure. [May 2006, p.92]
    • 72 Metascore
    • 40 Critic Score
    For such a costly flagship title to provide neither the promised statement of mainstream grown-up appeal nor even polished, lesser disposable thrills is a landmark failure. [May 2006, p.92]
    • 48 Metascore
    • 40 Critic Score
    Yes, Beat Down revives the warped charisma of Capcom’s beat’em up heyday, but that’s the only area where it actually triumphs. [Oct 2005, p.90]
    • 60 Metascore
    • 40 Critic Score
    It’s a game that makes you desperately want to feel like a Jedi, arcing your lightsaber across the screen, ducking under attacks, parrying counters and going in for the kill, but the subtlety just isn’t there. [July 2005, p.94]
    • 28 Metascore
    • 40 Critic Score
    Bad Day LA is the game people often say they want and then ignore when it arrives; it prizes ambition over execution and flair over finesse and both pays the price and reaps the rewards for daring to do so. [Sept 2006, p.82]
    • 59 Metascore
    • 40 Critic Score
    Seemingly conflicted between delivering next-gen graphical impact and providing immediately recognisable objectives, Killer Game errs on the side of form over function, and in turn stumbles though a laundry list of poor design decisions. [Dec 2005, p.114]
    • 44 Metascore
    • 40 Critic Score
    For all its wit and swagger, Truckers is inescapably safety-conscious, rewarding the maintenance of a planned route and steady trajectory while more arresting notions - spontaneous risk, for example - fall from the back like poorly fastened cases of moonshine. [Sept 2005, p.99]
    • 60 Metascore
    • 40 Critic Score
    By keeping it real, the game retains many of the things that make navigating the real city more of a pain than a pleasure: countless faceless skyscrapers don’t make for memorable landmarks, and facing the wrong way down a jammed one-way street when you’re in a hurry to get somewhere is the sort of challenge few will relish. [Jan 2005, p.91]
    • 66 Metascore
    • 40 Critic Score
    The story is inventively fantastical but ridiculously so, like a child’s weightless daydreaming, and its shallowness is made all the clearer by Agetec’s lifeless and laborious translation. [Feb 2006, p.92]
    • 55 Metascore
    • 40 Critic Score
    It’s just not accurate or tangible enough to be rewarding, handling with the same kind of wool as Sonic’s 3D platformers. [Apr 2006, p.93]