Gaming Nexus writes: "One of the ways in which Spyro spells out frustration is in level design. Without hinting one way or the other (the tutorial setting is helpful only in specific "use this breath weapon here" ways, and that's infrequently) the levels trip around from linear, to circular, to spoked: Go from point A to point B and return to point A; go from point A to point C and return to point A, etc. Some levels hint at a greater freedom -- before summarily denying it; others hint at moving along fast-paced railways -- and running it off track and against walls. And some levels (defending the Dragon City swoops to mind) exhaust you back and forth across a besieged rampart, juggling multiple strategic objectives in a game that does not rack up strong strategic points in its design.
But not all is lost for Spyro. One early level gives you a breathtaking Oblivion moment as you glide out of molten caverns fringed with cutscene-interrupted escapes. That Oblivion moment shows stalagmites and stalactites giving way to a waterfall spilling out over Twilight Falls, the dim but opulent view yawning towards a Jupiter-sized moon, and a swelling orchestra laying out a supple landing pad in a firefly-lit clearing. It's perfect. Absolutely perfect."