Don’t Starve is by no means a bad trial run for Klei’s new way of working, but it’s a pursuit for those with a wealth of patience and an appetite for pain. Klei may have modelled Hell brilliantly, but that doesn’t mean we want to live there.

The game isn’t clear how its surgeries work – which bits need be cut where, and with what tools – not a problem when you’re merrily and messily experimenting, but annoying if you’re keen to progress. Still, few games take that odd, occasional gulf between what you intend to happen and what actually occurs on screen and fill it with such comedy.

This isn’t Far Cry 3 at its best mechanically, but it’s definitely the game at its most charismatic. Because as a bunch of well-worn VHS tapes at Ubisoft Montreal undoubtedly prove, the ’80s knew how to do personality.

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.

It’s a brave game that dares to weaken players in one way as it empowers them in another. Comcept may be wrong in thinking Monster Hunter would be better if it was just about hunting monsters, but Soul Sacrifice is courageous and thematically bold enough to distinguish itself from the clones that have followed in the wake of Capcom’s phenomenon. As with Inafune’s recurring criticisms of Japan, however, it proves repetition isn’t always the best way to make a point.

Few games are as initially opaque as Starseed Pilgrim, and few offer as rich a dawning sense of discovery in return.

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.

This welcome focus on spectacle – and the highly recognisable cast – makes Injustice more accessible than most modern fighting games, but there’s plenty to appeal to seasoned players.

The steadily dwindling friend tallies on our post-run leaderboards are convincing proof that Runner’s sharpest edges remain intact.

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.

It may not be the game of stealth the blueprints and lingo of red exclamation marks suggest, but Monaco’s loot and scoot play has a winning personality that’s all its own.

A level design and stylistic triumph but often a frustrating puzzler for the wrong reasons, They Need To Be Fed 2 is a good iOS game. But it could become a great game if it mimicked its hero and jumped to other platforms.

Evoland’s short length means the conceit never tires, and it does provide a rather brilliant excuse for the game beneath being rather unoriginal. Sadly, Evoland’s barebones take on turn-based battles leads to some other unnecessary padding – but this is still a pleasant walk down memory lane.

It may not take the genre into uncharted waters, and occasionally stumbles into cliche, but Gemini Rue is an accomplished homage that rivals the very titles that influenced it.

It’s formulaic, then, but sticking with what you know doesn’t often produce such satisfying results.

Awakening offers an excellent game of strategy, but it’s the relationship system that makes it.

Popcap’s latest digital narcotic is a particularly potent concoction, building on a game we’ve all idly wasted quiet working hours on with an adorable aquatic theme and a ticking clock to make it extra moreish. Be prepared to spend, however, if you don’t want the hit to wear off quickly.

The artwork goes some way to redeeming The Other Brothers; for all the detail to be found in the backgrounds and sprites, everything moves fluidly, but ultimately this is still a platforming game on the wrong platform.

A bigger problem still is the absence of a motivation to work with other players. Objectives are usually thinly disguised fetch quests or encounters where you must defend a character, usually Cass, against waves of enemies.

It’s a solid formula, of course, and like its wrestler star Drinkbox’s game is dressed up luridly and with flair – but this entertaining romp is more about the costume than what’s beneath it.

The presence of IAP can’t prevent Fearless Wheels from ultimately delivering a robust and worthwhile ride for those looking for the colourful bursts of shallow play its minute-long tracks encourage.

It’s a great shame, because with tighter controls Frogmind’s charismatic debut would be a memorable one, but as it is it lacks the power to draw you back into its world.

Bright, colourful and mostly dismissive of current trends, it’s clear The Behemoth wants to delight players with every moment of its latest performance. That it succeeds in only most of those moments is still a remarkable achievement.

Like so many similar games, Zombie Road Trip makes you question why you’ve sunk two hours into it rather than BioShock Infinite, but you grudgingly admit to enjoying the ride nonetheless.

The improvements are largely cosmetic, with everything about this sequel – from the menus to the maps – more polished and user friendly, springing to life on Retina-equipped iOS devices with bursts of colour and character.

Nimble Quest is cute and compelling, but it’s also a cynical complication of a classic design.

Toki Tori 2 deserves praise for asking its players to take a leap of faith; it’s just a pity it’s not always prepared to follow them over.

Goat Up 2 wears its influences on its sleeve – from Pac-Man to Portal – and its attempt to blend the immediacy and pace of the former with the brain strain of the latter is a unique, effective proposition.