Edge Magazine's Scores

  • Games
For 2,506 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 Super Mario Galaxy 2
Lowest review score: 10 FlatOut 3: Chaos & Destruction
Score distribution:
2,506 game reviews
    • 61 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]
    • 54 Metascore
    • 40 Critic Score
    Levels feature numerous boss battles and a stream of identikit foot soldiers, but merrily send the player back to square one when their lone life is over and make the singleplayer story mode an agonising exercise in self-abuse. [June 2005, p.88]
    • 71 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
    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]
    • 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]
    • 50 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]
    • 51 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]
    • 56 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]
    • 52 Metascore
    • 40 Critic Score
    The overall impression is of a game that's both bravely and badly designed, and weighted towards the latter. [July 2006, p.84]
    • 65 Metascore
    • 40 Critic Score
    Something of a departure, sure, but it's nothing new. Falling awkwardly between action and strategy, it's unlikely to satisfy anyone other than rabidly obsessive fans of the character.
    • 57 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]
    • 66 Metascore
    • 40 Critic Score
    Unfortunately, no sooner does Geist suggest it can blossom into something fresh and exciting that it's undermined at every turn by a frustrating insistence on being nothing more than a mundane firstperson shooter. [Oct 2005, p.88]
    • 59 Metascore
    • 40 Critic Score
    It’s a promising set-up, but one that’s flawed at nearly every level... You’re left with the overwhelming sensation of a Christmas present with no batteries to go in it. [Nov 2004, p.111]
    • 62 Metascore
    • 40 Critic Score
    It's telling that the more dejected and hoarse your voice becomes, the easier it seems for the forces to understand their orders. Whoever programmed Odama's English speech recognition clearly wasn't having much fun either. [May 2006, p.90]
    • 59 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]
    • 59 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]
    • 51 Metascore
    • 40 Critic Score
    It's just too hard, the physics too capricious, and the tasks too frustrating for words. [Aug 2006, p.85]
    • 67 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]
    • 43 Metascore
    • 40 Critic Score
    It's almost a relief that the game struggling to break free from these severe technical shortcomings is mundane. [May 2011, p.104]
    • 64 Metascore
    • 40 Critic Score
    Whether there truly is a demand for the high-fidelity thrills found on other formats among shooter-starved Wii owners is largely academic, because Conduit 2 - like its predecessor - just isn't up to the task of providing them. [June 2011, p.92]
    • 65 Metascore
    • 40 Critic Score
    Darkspore remains a humdrum deep-space Diablo, but one doomed to be defined more by what it's missing than what it offers. [June 2011, p.98]
    • 71 Metascore
    • 40 Critic Score
    The plot may be filled with sub-Lynchian fumbles, but it weaves an intriguing story, while the charismatic muddle of awards that accompanies each solution goes some way to wiping away the grey memory of what you're actually being congratulated for.
    • 60 Metascore
    • 40 Critic Score
    What Level-5 has created is a Frankenstein's monster. It's half singleplayer and half multiplayer, and both of them are half good: a compromise that leaves much of this game feeling soulless. To give WKC2 its due, it certainly improves on the original. But in trying to fix a poor template rather than start anew, it was probably doomed from the beginning.
    • 47 Metascore
    • 40 Critic Score
    If the Old West is anything, it's a giant myth, and one that the Call Of Juarez games have always embodied. What The Cartel replaces this with – a mishmash of 
The Shield and conspiracy theories – is a much less substantial vision, played out within a world with no real resonance to it.
    • 61 Metascore
    • 40 Critic Score
    Occasionally, the glow of sheer ambition nudges polish-related problems away from the light, allowing a few glorious moments to gaze upon what EYE could've been. But un-met ambition isn't enough.
    • 53 Metascore
    • 40 Critic Score
    Bodycount's lack of consistent game design, flitting between arcadey action and a sub-par story-driven campaign, ultimately causes the game to misfire. The lesser parts of Bodycount's gameplay ultimately shout the loudest, drowning out its charms and distracting from the flourishes of inspired ideas.
    • 54 Metascore
    • 40 Critic Score
    The bottom line is that Rise Of Nightmares isn't as engaging or exciting as AM1's established brand. It's also too adult in its content to appeal to the younger users who might enjoy its gimmicky use of Kinect.
    • 73 Metascore
    • 40 Critic Score
    You can see things worth admiring here. The promise of sandbox combat emerging from the interplay between environment and gun-modes never comes good, instead devolving into a repetitive, gruelling bedlam - but that promise alone is more than many shooters offer. To make anything of it, however, Hard Reset would need to go right back to the drawing board.
    • 74 Metascore
    • 40 Critic Score
    In music, bad tribute acts play pubs and weddings: in games, they sit at the top of the charts.
    • 66 Metascore
    • 40 Critic Score
    As an interim project, it's good to see Criterion still interested in its most beloved IP, but it's just a shame there's so little of interest in the game itself.
    • 72 Metascore
    • 40 Critic Score
    This is a smart template for future fun, but the details need work. When it comes to getting this kind of game onto iOS then, Madfinger has, in more ways than one, done all the boring bits.
    • 55 Metascore
    • 40 Critic Score
    An over-complicated take on a classic recipe.
    • 65 Metascore
    • 40 Critic Score
    In-app purchases require delicate balancing, but with T-Coin bundles costing up to £69.99, and annual T-Club subscriptions available for £20.99 a year, EA could hardly be more obvious in letting you know that, as far as it's concerned, the 69p you paid to download the game was only the beginning.
    • 59 Metascore
    • 40 Critic Score
    The first Flipper wasn't a great piece of work, necessarily, but it had its own agenda and was powered by some pleasantly esoteric coding. The sequel, wonky and compromised, can't even claim that honour.
    • 55 Metascore
    • 40 Critic Score
    It says a lot that a dancing game is the best thing on offer in this muddled, cynical package. For the most part, Kinect Star Wars feels ill-conceived: kids will be bored, and adults will be embarrassed.
    • 67 Metascore
    • 40 Critic Score
    Occasionally gripping but frequently unfulfilling, Sniper Elite V2 comes in at a heavy price for a package that's all gore and little reward.
    • 57 Metascore
    • 40 Critic Score
    You'll trudge endlessly around the forest, cursing your protagonist's languid walk speed as you wander from one already visited landmark to the next in the vague hope of triggering the next bit of scripting in a narrative which goes out of its way to confuse the player.
    • 60 Metascore
    • 40 Critic Score
    Cheap bosses and stingy save points ensure that it's a drag as well as a bore, while a handful of crash bugs do very little to improve proceedings. My Little Hero's greatest charm is its air of sweet innocence, perhaps, but in truth this adventure is primitive rather than childlike.
    • 60 Metascore
    • 40 Critic Score
    The series' modest ambitions are here scaled back to a glum inventory of FPS conventions, its spectacle dampened by hardware limitations and dormant art direction, and its platform-specific novelties largely revealed as fussy irritations, presumably born of a need to promote the struggling Vita's features.
    • 54 Metascore
    • 40 Critic Score
    Moops isn't a bad idea for a iOS title, then, but it's extremely poorly implemented. For a game about bug hunting, it's failed to catch enough of its own.
    • 52 Metascore
    • 40 Critic Score
    It's a long, repetitive grind that fails to reward your efforts. [Sept 2012, p.100]
    • 72 Metascore
    • 40 Critic Score
    Should a game about surviving an alcoholic, abusive parent be fun? Probably not. But it gains nothing from being wearying and frustrating.
    • 49 Metascore
    • 40 Critic Score
    Even at its best, when using the AV8R stick, Damage Inc feels clumsy, badly implemented and lacking in imagination. Mad Catz is unlikely to drive sales of its peripherals with a game in which every flight feels like work and every kill is, at best, a Pyrrhic victory in a tedious war.
    • 62 Metascore
    • 40 Critic Score
    At its best, Orgarhythm's disparate ingredients coalesce into scenes of thrilling tribal warfare, a winningly eclectic soundtrack stirring your men to march into battle. Too often, however, you end up feeling like your fragmented cabal: disorientated, frustrated and battered into submission by an unforgiving enemy, with little reason to keep on fighting.
    • 49 Metascore
    • 40 Critic Score
    Its foundations aren't sturdy enough to hold any longterm weight. [Feb 2013, p.110]
    • 54 Metascore
    • 40 Critic Score
    It’s simply baffling that it manages to make so many mistakes within such a well-worn template.
    • 42 Metascore
    • 40 Critic Score
    Star Trek has more bugs crawling on it than a Fear Factor contestant. Sometimes the results are amusing, as in the turbolift example, but frequently they just make life a drag.
    • 59 Metascore
    • 40 Critic Score
    With Dust, CCP promised something that had never even been attempted before, and it delivered. Dust takes place in Eve. The setting is the same, the currency is the same, and the corporations can hold players from both universes. It’s just not enough. Because without Eve, there’s no point to Dust, a bland free-to-play FPS that can’t even capture the continent-spanning scale of PlanetSide 2, despite having a whole galaxy to play with.
    • 62 Metascore
    • 40 Critic Score
    If Fuse had been made by a lesser known studio, it would simply be forgettable, but set against the expectations of a new game from the house of Rachet & Clank and Resistance, it’s a crushing disappointment.
    • 58 Metascore
    • 40 Critic Score
    The game is also lumbered with a tragic split personality. On one hand, there’s a lot to do, and if you like the look of one of the initial five heroes you can do all of it for free with a little grinding. On the other hand, Marvel Heroes is so eager for you to spend – and so keen to extract the most out of your wallet when you do – that the price tag of the game in real-world terms can soon become astonishingly disproportionate to its quality.
    • 47 Metascore
    • 40 Critic Score
    Hexodius’ dungeon sections aren’t involved enough to offer interesting choices or exploration, but last just long enough to qualify as clunky menu screens.
    • 57 Metascore
    • 40 Critic Score
    While the original aimed to capture our hearts, the sequel only seems to be after our wallets.
    • 63 Metascore
    • 40 Critic Score
    Sonic games, and platformers in general, have always been about memorising the lay of the land, but rarely have mistakes been so costly or heavily punished, and it says much that one retailer’s preorder bonus consists solely of 25 additional lives.
    • 58 Metascore
    • 40 Critic Score
    At a base level, this is simply too forgettable to give players a good enough reason to return. Perhaps it would be different if Zombie had been more lenient with its economy, allowing you to try more before committing to buy.
    • 63 Metascore
    • 40 Critic Score
    Lords Of Shadow 2 is clunky, ugly and deeply misguided. It’s a game that sees the lord of the damned as a vehicle for rat-powered linear stealth, and that takes a future-Gothic London setting and then sets the action in tower blocks and sewers.
    • 64 Metascore
    • 40 Critic Score
    Arzest has laid an egg here, but not of the golden variety.
    • 64 Metascore
    • 30 Critic Score
    There's practically no aspect that doesn't appear half-hearted. Black Isle's drawn-out death has undoubtedly poisoned Brotherhood, but it's hard to tell if there was ever a good game here to begin with. [May 2004, p.109]
    • 51 Metascore
    • 30 Critic Score
    Inspired moments, such as the vehicles' mulitple weapons systems, are forced from the mind by the relentless slogs across the levels... In the end, you're likely to discover that the real battle is to continue playing. [May 2004, p.100]
    • 69 Metascore
    • 30 Critic Score
    Clock Tower 3 is never scary: rather it's unwitting proof of the banality of evil. [June 2003, p.101]
    • 65 Metascore
    • 30 Critic Score
    The levels are so gloomy, grey and fog-drenched (there's even fog in the mall) that it's hard to see buildings in the near distance, nevermind enemies. Dark, oppressive and torturous, Omega Strain is about as much fun as a wet weekend in a Kafka novel. [July 2004, p.107]
    • 57 Metascore
    • 30 Critic Score
    This game did not need to be a bad one: the premise remains ripe with extraordinary possibilities. This, however, simply squanders them, showing a determination to prioritise style over substance which cripples the game and damages gaming as a whole. [Aug 2004, p.94]
    • 51 Metascore
    • 30 Critic Score
    We’ve a right to enjoy this kind of brainless, murderous throwback, but we’ve also a right to expect it to be made to the standards of videogames of five years ago, never mind those of today. [July 2005, p.91]
    • 57 Metascore
    • 30 Critic Score
    Six 'f*cks' in the opening cut-scene set the tone for a game that's desperate to appear edgy, uniquely British and grown up... Ironically, the script is so desperate to be adult that it ends up sounding as mature as a teenager rebelling against school uniform. [Christmas 2004, p.85]
    • 73 Metascore
    • 30 Critic Score
    European Assault is one of the ugliest current-gen games we’ve seen. Boring textures, a weak palette and a flimsy design ethic all round make it appear like slightly dressed up PSone data. The animation seems inspired by amateur puppetry and even the menus look like they were knocked up in the last day before submission. [Aug 2005, p.94]
    • 56 Metascore
    • 30 Critic Score
    Bet On Soldier’s non-linearity of progression, its riot-shield combat and internationally ranging scenarios suggest a game that might well have looked exciting on the drawing board. The final production, however, will leave anyone better off putting their money on the dogs. [Nov 2005, p.112]
    • 45 Metascore
    • 30 Critic Score
    By any standards that have existed during the last ten, Without Warning is a work of stultifying incompetence that seems to hate its own players. [Dec 2005, p.108]
    • 45 Metascore
    • 30 Critic Score
    Unforgivably unresponsive controls and a series of poor structural choices quickly reveal themselves and deeply undercut every positive point the game provides. [July 2005, p.95]
    • 59 Metascore
    • 30 Critic Score
    Sorrows is a hollow experience, misinterpreting the original as a sheer numbers game rather than one of constant risk and reward. It’s an issue made more glaring by an unsatisfying combat system, paying lip service to counters, juggles and combo strikes even though endlessly repeating the same moves is just as effective. [Feb 2006, p.88]
    • 61 Metascore
    • 30 Critic Score
    It’s a clean game, at least, texturally crisp and evocatively lit, but the feeling of playing an interactive 3D Mark demo is discouragingly strong. [Apr 2007, p.88]
    • 51 Metascore
    • 30 Critic Score
    By even the lowest expectations Superman Returns is a staggering shortfall. [Jan 2007, p.86]
    • 52 Metascore
    • 30 Critic Score
    The dialogue is belief-defyingly bad, the characters who deliver it lazy, one-dimensional caricatures. [Oct 2006, p.94]
    • 52 Metascore
    • 30 Critic Score
    Had The Official Game provided a consistent overall challenge, it would have been bearable, if unexciting. But it hasn’t, and it isn’t. [July 2006, p.88]
    • 52 Metascore
    • 30 Critic Score
    Had The Official Game provided a consistent overall challenge, it would have been bearable, if unexciting. But it hasn’t, and it isn’t. [July 2006, p.88]
    • 52 Metascore
    • 30 Critic Score
    Had The Official Game provided a consistent overall challenge, it would have been bearable, if unexciting. But it hasn’t, and it isn’t. [July 2006, p.88]
    • 46 Metascore
    • 30 Critic Score
    The consistently poor controls of Sonic’s 3D outings make it seem like Sonic Team has convinced itself that this is how this aspect of the franchise should rightly be, and everyone else should just learn to deal with it. [Christmas 2006, p.82]
    • 34 Metascore
    • 30 Critic Score
    It’s a souring of Bomberman’s classic formula, and it hasn’t been compensated for with any new thinking, leaving older editions to continue reigning supreme. [Nov 2006, p.91]
    • 59 Metascore
    • 30 Critic Score
    It’s just a murky brew of meaningless, exploitative dysfunction filling an empty game, and it leaves a bitter taste. [Dec 2006, p.90]
    • 38 Metascore
    • 30 Critic Score
    Vengeance feels like a small-minded attempt to corner the Remote-controlled shooter market at the earliest opportunity. "Red Steel" may have failed in a similar bid, but at least it had the excuse of being a new franchise, not one already established. [Feb 2007, p.78]
    • 53 Metascore
    • 30 Critic Score
    How to mess up a game in which you ride a dragon is quite simple. You make the control of that dragon answerable to motion-sensing technology that can’t distinguish subtle or even very forced gestures in anything like the detail required. [Nov 2007, p.90]
    • 43 Metascore
    • 30 Critic Score
    While the likes of Call Of Duty 4 and Halo have made console joypads feel snappy and responsive enough to challenge the PC mouse and keyboard, Turning Point has sloppily regressed the cause by a few years. [May 2008, p.93]
    • 63 Metascore
    • 30 Critic Score
    The frequent glitches and pop-up testify to a lack of preparation, and a question has to be asked about what exactly Treyarch has been doing for the past two years. [July 2007, p.89]
    • 55 Metascore
    • 30 Critic Score
    At World’s End would shame Jack Sparrow himself: it’s boring, nondescript and significantly lacking in adventure. [July 2007, p.91]
    • 34 Metascore
    • 30 Critic Score
    This is a series that probably needs to be retired, because the joke isn’t funny anymore. [Feb 2009, p.89]
    • 55 Metascore
    • 30 Critic Score
    Lost feels truncated to the extreme, a grand tutorial to island living violently cut off when the credits roll after four hours. [Apr 2008, p.93]
    • 55 Metascore
    • 30 Critic Score
    Puzzles are of the ‘give doughnut to the doughnut-desiring character’ variety, rarely extending beyond chores. [May 2008, p.97]
    • 58 Metascore
    • 30 Critic Score
    With juddering 3D that loses all of Altair's beautiful and intuitive movement, and inflicting a multitude of cheap deaths, this crude chapter neither comes close to emulating original's successes nor utilises the hardware's specific capabilities. [June 2008, p.95]
    • 53 Metascore
    • 30 Critic Score
    Facebreaker is vacuous, its interface without flair and its novelties without purpose beyond littering the boards at Gamefaqs. [Oct 2008, p.95]
    • 36 Metascore
    • 30 Critic Score
    The game's ambition far outstrips its creator's abilities: damned by execution rather than intent, but damned nonetheless. [July 2009, p.99]
    • 36 Metascore
    • 30 Critic Score
    The game's ambition far outstrips its creator's abilities: damned by execution rather than intent, but damned nonetheless. [July 2009, p.99]
    • 41 Metascore
    • 30 Critic Score
    The game's ambition far outstrips its creator's abilities: damned by execution rather than intent, but damned nonetheless. [July 2009, p.99]
    • 60 Metascore
    • 30 Critic Score
    This recurrent rehash is branding to serve the genre, and of little benefit to Poke-fans. [Sept 2008, p.96]
    • 59 Metascore
    • 30 Critic Score
    This recurrent rehash is branding to serve the genre, and of little benefit to Poke-fans. [Sept 2008, p.96]
    • 54 Metascore
    • 30 Critic Score
    The left to right weaving that gave Secret Rings old-fashioned zip has been jettisoned for narrow paths, funneling you from one fight to the next. Add on-rails cart rides and regular pauses to hand rings over to local villagers and this becomes Sonic's most static adventure yet. [May 2009, p.97]
    • 59 Metascore
    • 30 Critic Score
    Technologically something of an embarrassment and devoid of any vitality or personality, Undercover seems a sharp downturn for one of EA’s traditional bastions of seasonal sales. [Christmas 2008, p.101]
    • 42 Metascore
    • 30 Critic Score
    When compared to its rivals, Rock Revolution is an embarrassment regarding content, presentation and playability. [Jan 2009, p.96]
    • 54 Metascore
    • 30 Critic Score
    Die-hard roleplaying game fans might have shrugged off its technical flaws and turgid combat if only the story had a pay-off. But instead of a tragic hero, Jason’s a dud. [Feb 2009, p.86]
    • 57 Metascore
    • 30 Critic Score
    Die-hard roleplaying game fans might have shrugged off its technical flaws and turgid combat if only the story had a pay-off. But instead of a tragic hero, Jason’s a dud. [Feb 2009, p.86]
    • 59 Metascore
    • 30 Critic Score
    Die-hard roleplaying game fans might have shrugged off its technical flaws and turgid combat if only the story had a pay-off. But instead of a tragic hero, Jason’s a dud. [Feb 2009, p.86]
    • 46 Metascore
    • 30 Critic Score
    Where we once observed burgers grilled with the power of rap, we now meet a policeman who doesn't like littering. All very toothless. [June 2009, p.93]