Infinity 2.0 shows that the franchise is on the right track, and it might just wind up on top.

Disney, as with Activision, is going to face stiff competition from Nintendo with its Amiibo line (which taps into the same sense of nostalgic loyalty as Disney Infinity, in fact, and is a bigger threat to it than Skylanders). But Infinity 2.0 shows that the franchise is on the right track, and it might just wind up on top.

Had the game been a tiny part of a greater whole it would have worked. But as it is, and particularly on the Wii U, Cosmophony ends up playing like a demo, stripped of its powers to sustain by its confused design, lack of content and its impossible level of difficulty.

The game comes so very close to being an amazing experience but the gameplay doesn't quite match with its excellent concept.

Minutes is a simple, minimalist, but high-action arcade game. It's an impressive, creative and enjoyable indie game, though it lacks the brilliant high thinking and narrative that went into like-minded arthouse games like Hohokum and Entwined.

Aside from the cooperative experience and the massive amount of online options for competitive multiplayer (the number of maps is absolutely staggering at over 100 and the mode variety is quite extensive), Halo's single-player also feels compelling.

I loved the first Battle Academy, and while the sequel doesn't do much more than adding new maps and scenarios, that's more than enough. Slitherine already has the premier wargames on the iPad, and now it has one more.

But as someone who deeply cares about narrative in game, it's immensely frustrating to see the money that Activition is clearly throwing at the narrative not bearing fruit.

The underlying cause of the Disney magic is at times hard to pin down, but for my mind it's a combination of great, unique characters, nostalgia and an endless stream of wonderful, quality, animated movies.

Power Rangers Super Megaforce is completely uninspired, but at least knows who it is trying to target and is adequately made. As a bit of fan service, it succeeds in being connected to the show, but as a game it is repetitive, with half-realised ideas that could have made the experience more engaging but never really live up to their potential.

We have a very strong contender for one of the best exclusive games in the Wii U library. It is sadly held back by minor control issues, but those issues are easy to overlook due to the sheer fun that you will get out of the gameplay.

There's no soul to Falling Skies. It's a generic, cheap turn based tactics game. It lacks any identity of its own, fails to represent its license, and fails to understand what made the game it copied its base mechanics from so great. And as such I can't really recommend it to anyone.

It would be nice to see Just Dance further innovate as a series, or it runs the risk of becoming incredibly repetitive going forward. Some new features provide interesting wrinkles in the existing formula, but it feels like the series has plateaued and is in need of a few new moves before the next inevitable release.

Taking a mobile free-to-play game like this and copying it wholesale to the console was a ridiculous error in judgement by the developer. Someone in the team should really have understood better the difference in what works for console compared to mobile, and understood that this kind of game just won't sit well with the kinds of people that like playing console games.

If you enjoyed the original Legend of Grimrock, odds are you will feel right at home here. It is bigger, more polished and provides greater variety than its predecessor.

What it is is a challenging fantasy game with a good sense of progression that is entertaining to play, even if it's got no chance of being remembered as a classic like Demon's Souls and Dark Souls are.

It's a highly focused game designed explicitly to fill up the Christmas list of the child in the household. But it is a well produced game, well above the standards of most children's games, and those miniatures are highly collectible stuff. The kids will love having this under that pine tree.

Jet Car Stunts is the kind of game that appears simple on the outside, but smacks you in the face with its sheer difficulty.

The talent is there, and it's wasted on a game like this which, fun as it is, doesn't live up to the promise of its screenshots.

Bayonetta 2 will challenge some people. It will make the uncomfortable. It's transgressive in numerous ways, and with that comes the potential to offend. But in causing offence, Bayonetta 2 encourages conversation, and that's the very definition of a good work of art.

Sunset Overdrive is just what the Xbox One needed - a distinctive exclusive to set the thing apart from the PlayStation 4. Titanfall was adequate and the Forza games are great for racing fans, but Sunset Overdrive is a glorious breath of fresh air.

With a rocking soundtrack, loads of content, plenty of fan service and some clever gelling of two disparate video game universes, Hyrule Warriors is easily my favourite game of 2014 so far.

It does what it promises in offering a fast runner-style game, and it's nice that the developers went as far as to offer completely new level layouts each day, but ultimately this is as shallow as the likes of Doodle Jump or Temple Run, and costs an order of magnitude more money.

I don't want to sound too harsh with this game, because it does have that beautiful ability to make the hours fly by. I just can't see this being more than a flash in the pan kind of game that's going to lose its appeal far more quickly than it deserves.

I love that games like Fluster Cluck are leading the charge of local, social, multiplayer, and I hope it continues indefinitely. Being able to experience actual living room mayhem again as you did back in the day when friends would come over for epic SNES and N64 sessions is still a blast 15 years later.

Prophour23 is clearly not a game built for the mass market - it's for the gaming equivalent of mad scientists, treasure seekers and cult-genre lovers.

I just hope that F1 2015 has an engine for the new generation of consoles and puts the series back on track.

For all the games’ narrative themes of consciousness-probing, identity-subsuming science, the reordering of the psychic self for a greater application of the flesh, I needed to look no further than my own pathological gameplay in its honour. The rage quits, the restarts, the late nights, the infinitesimal adjustments to my thirteenth, fourteenth, fifteenth attempts, all part of my drive to survive to the end, no matter how many hours of hell it took.