Edge Magazine's Scores

  • Games
For 2,584 reviews, this publication has graded:
  • 15% higher than the average critic
  • 3% same as the average critic
  • 82% lower than the average critic
On average, this publication grades 9 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:
2,584 game reviews
    • 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]
    • Edge Magazine
    • 44 Metascore
    • 30 Critic Score
    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.
    • 51 Metascore
    • 30 Critic Score
    By even the lowest expectations Superman Returns is a staggering shortfall. [Jan 2007, p.86]
    • Edge Magazine
    • 64 Metascore
    • 30 Critic Score
    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.
    • 66 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]
    • Edge Magazine
    • 62 Metascore
    • 30 Critic Score
    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]
    • Edge Magazine
    • 38 Metascore
    • 30 Critic Score
    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]
    • Edge Magazine
    • 51 Metascore
    • 30 Critic Score
    Where Escape From Butcher Bay and Assault On Dark Athena showed how games can complement and expand a film franchise in unique and interesting ways, The Merc Files feels like a rushed, irrelevant addition to David Twohy’s B-movie universe; one that would have been best left on the cutting room floor.
    • 54 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]
    • 43 Metascore
    • 30 Critic Score
    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]
    • Edge Magazine
    • 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]
    • Edge Magazine
    • 49 Metascore
    • 30 Critic Score
    Given the state of Knights Contract, the famously hellish result of Dr Faust's own little deal seems comparatively sweet. [Mar 2011, p.101]
    • Edge Magazine
    • 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]
    • Edge Magazine
    • 72 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]
    • Edge Magazine
    • 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]
    • Edge Magazine
    • 43 Metascore
    • 30 Critic Score
    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]
    • Edge Magazine
    • 50 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]
    • Edge Magazine
    • 47 Metascore
    • 30 Critic Score
    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]
    • Edge Magazine
    • 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]
    • Edge Magazine
    • 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]
    • Edge Magazine
    • 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]
    • Edge Magazine
    • 54 Metascore
    • 30 Critic Score
    The game also fails as a high-profile PS4 launch title in terms of what it’s putting onscreen. The particle effects serve their purpose, but everything from the vapid story sequences to the hackneyed goblin foes feels blandly feeble. A chapter setting entitled The Barren Wastes? Yes, you think, no need to ram it home.
    • 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]
    • Edge Magazine
    • 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]
    • Edge Magazine
    • 44 Metascore
    • 30 Critic Score
    Plays unbearably clumsily. [June 2010, p.104]
    • Edge Magazine
    • 51 Metascore
    • 30 Critic Score
    Sadly, too often your powers feel anything but godly.
    • 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]
    • Edge Magazine
    • 51 Metascore
    • 30 Critic Score
    Baffling design decisions and over-reliance on the same tricks further mar this already unpleasant journey.
    • 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]
    • Edge Magazine
    • 37 Metascore
    • 30 Critic Score
    Unlike its namesake, Quantum Theory makes no attempt to depart from classical mechanics - it merely diminishes them. [Nov 2010, p.96]
    • Edge Magazine

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