It's the cutest game we've seen in a while, but not nearly as good as it looks. [July 2010, p.105]

Jett Rocket's mistakes remind us of the N64 days, when developers were feeling their way through Nintendo's brave new 3D world. [Aug 2010, p.99]

The fun is spread far too thin. [Sept 2010, p.94]

A mediocre game a genre stocked with the highest quality. [Sept 2010, p.99]

Its concept feels almost thrown together. [Sept 2010, p.103]

So indebted is dev studio Matrix to the old ways that it seems to have granted a free pass to the old problems. Quest signposting is buried in unclear dialogue snippets, bosses are beaten through trial and error, and grinding is rife. [Dec 2010, p.99]

All the interaction it requires could be better executed, with equal intuition and far greater reliability, on a joypad with an analogue stick. [Nov 2010, p.94]

MicroBot is a technically accomplished but sterile experience. As the game settles into a rut, its stylistic strengths lose more and more ground to the sluggish combat, uninspiring upgrades and repetitive stages.

MicroBot is a technically accomplished but sterile experience. As the game settles into a rut, its stylistic strengths lose more and more ground to the sluggish combat, uninspiring upgrades and repetitive stages.

Its stripped-back beat-matching will leave you tapping your foot - but out of impatience as much as approval of its grimy dubstep. [Feb 2011, p.103]

Access Games' take on the Monster Hunter formula attempts little beyond a straightforward recreation of that series' structure. [Mar 2011, p.107]

The irony is that in mining some unforgettable games, Curve has delivered a forgettable hodgepodge. [Mar 2011, p.105]

A pretty but vapid experience. [Sept 2010, p.98]

While there are some interesting mini-games to break up the wandering, Grunty's Revenge is mainly an abject lesson in breadcrumb following game design. [Dec 2003, p.106]

Faithful as a bloodhound to the Dreamcast original, this GBA port is a stunning example of when authenticity ought to be sacrificed to utility. This is not a lazy port. But the loyalty of the conversion is ill-advised. [Sept 2003]

A maddening, misguided mongrel of a game... Luck plays a huge part, and simply navigating the world can be exactly as hard as the hardest challenge: a random, enraging, minutes-long bore, especially with moving enemies straying across your line. [Dec 2005, p.115]

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]

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]

Once guns are acquired you feel less helpless, but the combat is awkward with enemies reacting poorly to hits and a compulsory manual reload that is ponderous beyond belief. In trying to make the game realistic, Headfirst has grievously shot itself in the foot. [Dec 2005, p.112]

The Great Escape is saved by a few good set-pieces and the licence, but it's hard not to feel hard done by. Those willing to endure yet another stealth game could find their morale ebbing away by the end of this. [Sept 2003]

This is a perfectly awful conversion with poor controls, cumbersome combat, an antiquarian save system, inadequate maps and clumsy menu design. [Jan 2004, p.111]

As [Vince] laments the formulaic impositions of the game in successive cut-scenes, it only serves to remind you how much of a chore it is to play - and raises the question; why does every platform hero have to be a wiseguy? [Dec 2003, p.108]

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]

Shadow Ops feels like a game put together by a team bored by the clichés of the genre and the special forces material it was given to work with. This quickly communicates itself to the player. [Aug 2004, p.102]

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]

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]

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]

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]

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]

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]

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]

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]

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]

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]

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]

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]

The overall impression is of a game that's both bravely and badly designed, and weighted towards the latter. [July 2006, p.84]

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.

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]

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]

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]

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]

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]

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]

It's just too hard, the physics too capricious, and the tasks too frustrating for words. [Aug 2006, p.85]

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]

It's almost a relief that the game struggling to break free from these severe technical shortcomings is mundane. [May 2011, p.104]

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]

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]

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.

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.

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.

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.

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.

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.

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.

In music, bad tribute acts play pubs and weddings: in games, they sit at the top of the charts.

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.

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.

An over-complicated take on a classic recipe.

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.

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.

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.

Occasionally gripping but frequently unfulfilling, Sniper Elite V2 comes in at a heavy price for a package that's all gore and little reward.

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.

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.

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.

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.

It's a long, repetitive grind that fails to reward your efforts. [Sept 2012, p.100]

Should a game about surviving an alcoholic, abusive parent be fun? Probably not. But it gains nothing from being wearying and frustrating.

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.

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.

Its foundations aren't sturdy enough to hold any longterm weight. [Feb 2013, p.110]

It’s simply baffling that it manages to make so many mistakes within such a well-worn template.

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.

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]

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]

Clock Tower 3 is never scary: rather it's unwitting proof of the banality of evil. [June 2003, p.101]

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]

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]

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]

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]

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]

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]

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]

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]

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]

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]

By even the lowest expectations Superman Returns is a staggering shortfall. [Jan 2007, p.86]

The dialogue is belief-defyingly bad, the characters who deliver it lazy, one-dimensional caricatures. [Oct 2006, p.94]

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]

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]

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]

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]

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]

It’s just a murky brew of meaningless, exploitative dysfunction filling an empty game, and it leaves a bitter taste. [Dec 2006, p.90]

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]

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]

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]

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]

At World’s End would shame Jack Sparrow himself: it’s boring, nondescript and significantly lacking in adventure. [July 2007, p.91]

This is a series that probably needs to be retired, because the joke isn’t funny anymore. [Feb 2009, p.89]

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]

Puzzles are of the ‘give doughnut to the doughnut-desiring character’ variety, rarely extending beyond chores. [May 2008, p.97]

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]

Facebreaker is vacuous, its interface without flair and its novelties without purpose beyond littering the boards at Gamefaqs. [Oct 2008, p.95]

The game's ambition far outstrips its creator's abilities: damned by execution rather than intent, but damned nonetheless. [July 2009, p.99]

The game's ambition far outstrips its creator's abilities: damned by execution rather than intent, but damned nonetheless. [July 2009, p.99]

The game's ambition far outstrips its creator's abilities: damned by execution rather than intent, but damned nonetheless. [July 2009, p.99]

This recurrent rehash is branding to serve the genre, and of little benefit to Poke-fans. [Sept 2008, p.96]

This recurrent rehash is branding to serve the genre, and of little benefit to Poke-fans. [Sept 2008, p.96]

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]

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]

When compared to its rivals, Rock Revolution is an embarrassment regarding content, presentation and playability. [Jan 2009, p.96]

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]

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]

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]

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]

So wasteful of its source material that it should be held up as an example of how not to handle this kind of production. [July 2009, p.101]

The poor relation of its canceled 360 and PS3 brothers. This is a stripped-down version of a game that never was, offering only fleeting glimpses of a magnificent concept through a console and engine that could never, even with four more years to work at it, have handled it. [Aug 2009, p.98]

The root problem is that the board controller is poorly conceived. The notion of mimicking while stationary an activity entirely reliant on motion is deeply flawed. [Jan 2010, p.88]

It's the first game we can recall, for instance, to feature a them tune comprising a single note. [Sept 2009, p.96]

Even when you disregard the charmless character, ignore the relentless music and eventually manage to tame the handling, something comes along to spoil the party - an odiously placed bump on the road that causes an unnecessary spin, the sudden inability to respawn even when off the track, resulting in a lost race... the list goes on. [Jan 2010, p.90]

Partial blame can be laid on the less-than-stellar CG film Astro Boy adapts, but considering High Voltage so vocally invoked Omega Factor during development, it is not unfair to hold the game to a higher standard. It doesn't come close. [Jan 2010, p.96]

Plays unbearably clumsily. [June 2010, p.104]

Clash Of The Titans' many failings are all the more surprising given that the movie is just one of many CGI-heavy offerings accused of feeling more like a game than a movie.

So much of Aqua, though, feels merely like the crude payoff to a tank rush, your fire moving from one stubborn target to the next until victory is declared. [Aug 2010, p.99]

Glitchy. [Sept 2010, p.99]

ToL's only saving graces are the hammy acting and daft moves. [Sept 2010, p.102]

Wrist ache is inevitable, but it's the imprecision of the strength gauge that ends up causing the most pain. [Sept 2010, p.103]

An experience lacking flavour, with a transparent design, the game shares many qualities with its elemental subject matter. It is entering a super-competitive environment, and its premium DLC will need to be something special to turn things around.

Unlike its namesake, Quantum Theory makes no attempt to depart from classical mechanics - it merely diminishes them. [Nov 2010, p.96]

There are minor things for which The Fight can take credit. The progression of skills is well-paced, its 'street' aesthetic pioneers a delightful new direction for extreme cheese, and your flailing proves quite the workout. [Christmas 2010, p.101]

The ideas and content here are thin on the ground, and limply implemented, too - it's inexcusable that a game whose sole interaction is hand-to-hand combat should not be able to tell the difference between dodging and headbutting. [Christmas 2010, p.98]

It's hard to come away from this without a sense of persecution. It isn't just that it's a poor game, it's that it thinks it's good enough to survive on the coat-tails of its license - and that you won't have the wherewithal to discriminate. [Jan 2011, p.99]

Its idea of merging solo, co-op and deathmatch combat into a single mode is as noncommittal as its story, which merges decades-old cyberpunk cliches into one appalling mess. [Mar 2011, p.92]

Given the state of Knights Contract, the famously hellish result of Dr Faust's own little deal seems comparatively sweet. [Mar 2011, p.101]

This nonsensical sequel in Capcom's mediocre survival horror spin-off fails in practically every sense, from fine detail to basic tenets. A catastrophe. [Sept 2003]

The tactical elements are actually quite clever – grabbing enemies will bait the police into cowering submission – but it soon transpires that this is the game's one good idea. [Nov 2006, p.87]

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]

Technically, ... Dead Man's Hand is a mess - which is a shame because this could have been a whole barrel of fun. [May 2004, p.107]

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]

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]

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]

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]

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]

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]

None of this is very entertaining at all. The game offers some of the most slender, inconsequential, and ultimately, boring distractions to be found on the GameCube. [Sept 2003]

Gotcha Force has all the requisite cute and vibrant stylings of another Japanese phenomenon, but it's let down by a pallid game dynamic. [Jan 2004, p.99]

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]

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]

A cycle of challenges that never transcend routine. If this is what new technology does to old heroes, perhaps they're best left in the past. [May 2011, p.97]

We at least have a chance to marvel at the hectic cost of ambition, and to be mystified, once more, at the strange, stupid, painful things that some of us will do for love.

The world doesn't have the charm to warrant forgiveness, and progress-halting bugs prevent it anyway. With regular AI freezes and vanishing items, a mistimed autosave can prove fatal. Ultimately it all invites the refashioning of another line from Romero. When there's no more room in development hell, the dead losses will walk the Earth.

Natsume's anaemic offering is a bit of a Halloween zombie, in other words. It's shambling, it's barely animated, and you really ought to avoid it.

Ultimately, Gamelion's lacklustre effort serves as a helpful case study for anybody interested in investigating why no-one's ever made a successful platform game about a character with almost no body weight before.

The Run doesn't have the structure or production values to carry off its concept. Even if it did, its successes would be smothered by a procession of awful technical flaws. Lacking charm and polish, only the Need For Speed name will sell the game – which will no doubt mean that it fares well enough. But in a year that has seen gaming's biggest franchises one-upping each 
other and demanding players' attention like never before, The Run simply doesn't cut it.

Successful only as an interactive showcase of Jurevicius' art – and arguably the Flash original was more effective in that regard – it's almost criminal that a world this vivid should be so wearying to explore.

Slant Six Games cut its teeth on handheld SOCOM games, but no tactical subtlety has filtered down to this title. Operation Raccoon City is a gory duck shoot in a series that's already produced the definitive action game, and letting you experience its gore-soaked trudge with friends is its only genuine appeal.

It purports to be a cross between pinball and puzzle game, but lacks the bells and whistles or tactile joy of the former, while the conundrums are nothing more than busywork.

A bitter reminder that pedigree is no guarantee of quality.

Sadly, too often your powers feel anything but godly.

Where COD maintains a smooth 60fps, Warfighter gets a nosebleed trying to put out 30fps. Modern Warfare boasts near-instant restarts after death; here, lengthy loading times merely add to the frustration.

Even ignoring all those failings – something at which Dead Island fans will have had plenty of practice – Riptide’s biggest flaw is that it never justifies its existence in terms of plot or new ideas. It’s not simply yesterday’s game, but a time capsule from 2011, a time when zombies weren’t as overplayed and games such as Far Cry 3 and Borderlands 2 weren’t around to cast their long shadows over the action.

The original HOTD: Overkill is no holy grail of the genre, but it did spice up the ailing niche with some eccentricity and zany thrills. To see it massacred in this way is a shame both for the series and for iOS newcomers whose first taste of this most guilty of pleasures will be a sour one.

Objects that can be interacted with are circled with an icon, but this only appears if you are looking at exactly the right spot. Indeed, much of Rogue Ops is spent trying to make this cursed cursor appear. It's not a pleasant way to spend an evening. [Feb 2004, p.108]

Sure, the production values are high and the narrative is updated with humour, but this is barely a game... it's all smoke and mirrors. You may win every battle, but underneath you know you're no hero. [June 2004, p.110]

If there’s one thing that 25 To Life gets to do right, let it bring an end to this destructive preoccupation with the cross-media lure of gritty, crime-flavoured urban violence, and the unacceptably low standards it so often brings with it. [Mar 2006, p.89]

It demolishes PC gaming’s dubious tradition of applauding technical ambition above all else with all the grace of a narcoleptic piling face first through a coffee table... A cold and flawed sandbox shooter, a rudimentary RPG and, for most, an almost unplayable experience. [July 2005, p.93]

The calibre of game you might well produce having been shot three times and then stabbed. [Jan 2005, p.91]

If there’s one thing that 25 To Life gets to do right, let it bring an end to this destructive preoccupation with the cross-media lure of gritty, crime-flavoured urban violence, and the unacceptably low standards it so often brings with it. [Mar 2006, p.89]

It’s not often that a war game captures almost perfectly the feel of walking drunk through a Las Vegas casino – that overpowering mix of randomness, mediocrity and nausea. [Sept 2007, p.94]

Describing the game at all is simply to tick off a litany of annoyances punctuated by one minor triumph, namely that the Transformers themselves look pretty good. [Sept 2007, p.90]

An unrewarding trudge that doesn’t have any ideas beyond the most primitive. [Feb 2008, p.97]

It's a numbing piece of design. [July 2008, p.97]

Trying to balance the ceaseless button-mashing with the necessary manual camera tweaking is a bad joke, and often leaves you slashing just out of view and hoping for the best. [Mar 2009, p.93]

Shellshock 2 is a scandalous FPS made with no apparent knowledge of the genre, little but contempt for its audience, and few tools beyond a spluttering engine and a hammer. [Apr 2009, p.116]

If there's a benefit to the game's focus on local co-op multiplayer, it's that players can stand suicide watch over each other for when the awfulness of it all finally overwhelms them. [Oct 2009, p.97]

A stab at innovation would usually constitute an excuse for an otherwise diabolical title, but in Kakuto Chojin there are no puncture wounds, just lots of internal bleeding. [March 2003, p.104]

Objects that can be interacted with are circled with an icon, but this only appears if you are looking at exactly the right spot. Indeed, much of Rogue Ops is spent trying to make this cursed cursor appear. It's not a pleasant way to spend an evening. [Feb 2004, p.108]

If there's one thing that 25 To Life gets to do right, let it bring an end to this destructive preoccupation with the cross-media lure of gritty, crime-flavoured urban violence, and the unacceptably low standards it so often brings with it. [Mar 2006, p.89]

The calibre of game you might well produce having been shot three times and then stabbed. [Jan 2005, p.91]

Objects that can be interacted with are circled with an icon, but this only appears if you are looking at exactly the right spot. Indeed, much of Rogue Ops is spent trying to make this cursed cursor appear. It's not a pleasant way to spend an evening. [Feb 2004, p.108]

Worst of all for a game hoping to sell itself on scares, Amy is never frightening. Instead, its horrors are derived from the game's shoddy execution, weak puzzles and frustrating play rhythms, a nest of poor game design decisions through which disappointment, not fear, are hatched.

The unspoken promise of Sony's portable is console quality on the move, but a thoroughly bloodless version of a massive franchise only feels like going back on that word. This wasn't what Jack Tretton had in mind when he talked about having "a triple-A shooter in the palm of your hands". Rather, Declassified is a single A: awful.