After finishing the disappointingly anticlimactic game, I felt like I just read through a graphic novel side-story, but one that doesn't reveal anything new or interesting. From a technical standpoint, the game is passing, but its narrative, structure, and inattention to detail reveal this game for what it is: Yet another lazy cash-in on a "blockbuster" film.

An example of just how much the little details matter in game design. They're what make Gears of War work so well, and where Quantum Theory stumbles just too often to be worth much of anyone's time. The experience of playing it is something like watching a student copy off of an answer sheet for a test...and somehow getting the answers wrong, anyway.

This game attempts to combine the best aspects of serious tactical shooters like Flashpoint with the run-and-gun action of the Battlefield series, but does neither very well. [40 = original score]

Unfortunately, the end result is a little more Rambo, a lot less Rocky. It's going to take a rethinking to pull the 3D brawler out of its "me too" phase, and Streetwise certainly isn't helping.

The Rise of Cobra's biggest problems aren't in the way it uses the license -- the problems are that, on anything but the lowest difficulty setting, the game is unnecessarily unforgiving and uses a completely counter-intuitive health regeneration system.

Its basic design philosophy is one of laziness and glossing over problems rather than really putting out the effort to make a decent game. That's a bitter pill to swallow for a kid who just shelled out 50 bucks of lunch money.

Its basic design philosophy is one of laziness and glossing over problems rather than really putting out the effort to make a decent game. That's a bitter pill to swallow for a kid who just shelled out 50 bucks of lunch money.

The game is like Manhunt, except with adorable teddy bears. Wait -- can you compel your victims to kill themselves in Manhunt? No? OK, maybe Naughty Bear's actions are slightly worse.

The game is like Manhunt, except with adorable teddy bears. Wait -- can you compel your victims to kill themselves in Manhunt? No? OK, maybe Naughty Bear's actions are slightly worse.

The classic games are completely underutilized due to the time limits placed on them, causing each to offer no more than a few minutes of gameplay. There's fun to be had -- just don't expect it to last very long.

The dictionary entry will read, "Rengoku ren - go - ku n: 1 A game design flaw in which great effort is expended on concept art but little else. 2 An activity that presents itself as entertainment but is, in fact, a form of torture."

Mindjack's execution is just ludicrously poor at times.

We've come to expect a missing coat of polish on film tie-ins, but Iron Man seems to lack even a level of care, resulting in a drab adaptation that sinks well beyond simple mediocrity.

The difficulty ramps up so much by the game's finale that I'm not convinced it's even possible for a solo player to finish this thing. And even if you could, I'm not sure why you'd want to; Sanctum of Slime has little to offer the die-hard Ghostbusters fan, and even less for the twin-stick shooter crowd.

Unfortunately, the end result is a little more Rambo, a lot less Rocky. It's going to take a rethinking to pull the 3D brawler out of its "me too" phase, and Streetwise certainly isn't helping.

The Rise of Cobra's biggest problems aren't in the way it uses the license -- the problems are that, on anything but the lowest difficulty setting, the game is unnecessarily unforgiving and uses a completely counter-intuitive health regeneration system.

Other than the exclusive ArchLord gimmick, we're left with a dated-looking game with limited classes and a lot of grind, and a miniscule chance of something cool at the end if you really throw yourself into it. Not exactly our cup of mead.

Aside from the frustrating control inconsistencies and the abbreviated storyline, this is still a well-made trek through a history that thankfully never happened. Though the sluggish multiplayer mode doesn't even deserve a glance, the predominantly solid mechanics and terrifying premise make this a more than competent deviation for someone itching to kill more Nazis.

At a glance, SPRay seems like a mediocre outing on a platform already overstuffed with useless titles. But shipping an outright broken game is inexcusable.

But the inadequate drum peripheral and minimal extra content expose the fact that development's been problematic since day one. Konami's always been synonymous with awesome rhythm games, but with Rock Revolution, the rock crown and scepter have officially been passed to a new generation of games.

Xiaolin Showdown has the elements of a good game, but the execution is so sloppy and shallow that it ends up falling flat.

Sega Studios San Francisco's final game, Iron Man 2, based on this summer's movie, combines the worst pitfalls of both genres, leaving me with one simple conclusion: Iron Man 2 the videogame is not for anybody.

Pandering to every college student and aspiring rap artist's deep-seated "Scarface" fantasies, 25 to Life is a 3D action-shooter that not only fails to innovate on any level, but rolls back design and technological advancements to the early PSone era.

It's the wide-ranging lack of polish that really damns Emergency Heroes to a forgettable existence, as the player vehicles have all the floaty steering and shaky physics of a shovelware budget title (but with twice the price tag), and I even managed to crash the game by falling through the ground during one mission.

Disappointing, unpolished, and disjointed, the game is thankfully short enough that the minigames and Pan's animal powers don't grow overly tiresome. That sentiment applies for the entire game though -- the simplistic gameplay is tedious, but there's little of it so it never manages to provoke high levels of vitriol.

Genki's seeming inability or unwillingness to fix the slidey physics even a little bit keeps each game from greatness. Hardcore TXR fans will likely cry foul at that remark, but anyone who wants their virtual racing to at least slightly resemble the feel of real driving will feel the same way.

0 Day is a complicated mess of imbalanced levels, ineffectual A.I., and ghost-town online multiplayer, culminating in no incentive to keep playing.

Sega Studios San Francisco's final game, Iron Man 2, based on this summer's movie, combines the worst pitfalls of both genres, leaving me with one simple conclusion: Iron Man 2 the videogame is not for anybody.