But playing the game makes you realise just how little effect any one pilot has on a war, and how futile and dehumanising the whole thing is. I'm sure it wasn't meant to, but there you go... The world's first pacifist space combat sim?

It's just a shame that one of the best ever action games has become another casualty of the Wii controller. Indeed, for a controller that was supposed to herald a new dawn of inclusive gaming there are a lot of third-party publishers who have yet to get their heads round it.

The single player campaign is, if anything, too long, and focuses more on continuous combat than actual role-playing. The lack of any support for parties in the single player mode is also disappointing, and makes the game far less involving than it should be.

GRAW lets you down just when you start to believe in it, and the net result is that although it's still very good, it's simply not as polished or amazing as it should have been.

The marginal improvement on display here is happily eclipsed by rival extreme sports titles which do take steps to reinvent themselves, and partly because there are four other Tony Hawk games out there and they all do much the same thing.

In its quest to be the most meta game ever made, Alan Wake 2 becomes a spectacle about writers and writing that badly needs an editor.

Of the shooters available on the 360 at launch, Call of Duty 2 is easily the most accessible and consistently entertaining single player offering, but if online is your thing you're better off considering what Rare has to offer ["Perfect Dark Zero"].

The camera view is frustrating, the controls are frustrating, the AI is frustrating, the resource system is frustrating, the missions are frustrating, and above all the fact that this game isn't half as good as we were all hoping it would be is very, very frustrating.

Yes, just to add an even greater degree of random nonsense, you can shake the device to jog the coin a little, and therefore give you a chance to influence its direction. Once you start employing this tactic, of course, you can't bloody well stop, and so spend most of the game spasming like a drunk with an involuntary tic.

None of these criticisms will detract from your enjoyment, provided all you want from a game is the opportunity to repeatedly turn evil monsters into red mush in gorgeous HD detail. Dead Space easily delivers on that promise, but fails to turn its polished production values into something truly memorable over the long haul.

It is a hard and maddening slog at times, but one that still has its moments where it surprises and quietly delights. Like the original, this isn't an RPG designed to make you feel good - you continue to be little more than a passenger in this historical tapestry, following along behind the horse tails of Henry's betters, and clearing up the mess they leave behind. Some will revel in that work, but I for one won't be chomping at the bit for another sequel any time soon.

So - here's a rating for the casual gamer. Add one point for every air show you've ever attended.

By no means the best the genre has to offer any more.

Stranger's Wrath simply isn't a better game for having first-person mode, and many of us would have maybe preferred the choice.

While the repetitive nature of the sub-games is what really keeps this away from true greatness, what leads to an increasing sense of the game being a chore is something as simple and ethereal as a wind.

Mobile games always work best when they're simple and refined, but LEGO Harry Potter's debut on iOS feels flabby and unfocused.

The storyline, while clearly bonkers, makes a refreshing change to the standard RPG fare, if only because it draws at least superficially, on historical characters and events.

A smart combat system straining under the weight of a characterful but ponderous pseudo-medieval soap opera, with some of the grandest bosses and dullest sidequests in FF history.

With so many games promising the Earth and only serving up dirt, it's reassuring to know that good old-fashioned balls-out action, when produced with such care and skill, is still as reliable and thrilling as it should be.

It's only masquerading as its own game - really, coming straight to this without having played its predecessors will be frustrating and bewildering, and the inability to play as Space Marines, Orks et al online a real slap in the face.

It's not that A Crack in Time is all fur coat and no knickers. The problem is, it's all fur coat and the same knickers it's been wearing for seven years. Time for a change.

As a statement of intent, Gone Home is laudable; as a technical exercise in game narrative, it's compromised, but it definitely has its strengths and is worthy of study. But you can't escape the sense that Gaynor, Zimonja and Nordhagen started on this project with grand designs for games as a storytelling medium, yet without a story they desperately wanted to tell.

Put bluntly, the combat and AI is merely average, the visuals don't really wow, and the much-vaunted weaponry makes little difference to how it plays. To say we're underwhelmed is the understatement of the year.

There's no doubt of the passion and heart that went into the creation of Sword & Sworcery. The artistry is extraordinary. The resulting art is not, not quite. Artistry is important, and I admire it to the fullest extent. In considerations of art, though, I want something more profound. Love, perhaps.

RPG fanatics without a PC will probably want to fight their way through these flaws to get to the meat of Dragon Age: Origins - which is all still hanging off the bone, and which still makes for a filling, if slightly flavourless, meal. But they won't be able to escape the knowledge that they're playing an inferior version, a game that's been squeezed into a suit that doesn't fit. PC gamers can - with a flick of the mouse-wheel - look down on them.

It's a staggering achievement that makes it difficult to imagine a better handheld God of War today. And yet, as with the stories upon which it's based, this is a game with nothing new to say, a myth told many times before and, in some cases, told better.

Sucker Punch's sequel offers more great swordplay and heartfelt storytelling, but would be better served as a linear action game, freed of its poor sidequests and dated open world.

The series has always ridden in the wake of its own spectacle, but after years of unfocused deviation, we finally have an evolution that demonstrates clear progress. It's the best 3D game in the series by a long way, and that's because it embraces the 2D heritage which always made Mortal Kombat its own kind of game.

With iPhone games, it's the absolute minimum requirement to get the controls right, but in that regard Plunderland fails. And considering that it seems to get everything else right, that's a big shame.

You can't escape the feeling that Rockstar just isn't as good at a pure third-person shooter as it is with the open worlds of Grand Theft Auto or Red Dead Redemption, and in this linear context it's much harder to put up with its usual missteps in mechanics and difficulty.

Although very different from the Japanese veteran's usual ferocious output, Mushihimesama soon grows into the kind of exacting, gleefully sadistic experience you expect from this lot.

I can't say what their future holds as I'm not much of an economist (nor am I really a magpie). But I can say I've had many, many hours of fun in a game that still has much more to show me and which all of us, right now, can play for nothing at all. We're being spoiled.

As effortlessly charming as the beautiful art style is, Bumpy Road veers perilously closely to being style over substance.

I can't see anyone who enjoyed Oblivion enough to get through the main quest <I>not</I> buying this. There's lashings of new fighting and exploring, and it's more gorgeous than ever before.

WayForward frequently sends you from one corner of the map to the other on simple fetch quests and back again, and with enemies respawning every time you pass from one area to the next, finding new secrets is much more of a chore than it should be.

I just didn't feel the same magic, the same excitement that flowed from "Sorrow."

At its best, Conviction is played as a high-stakes puzzle game, taut and thrilling when everything is going your way. But when cover is broken, the floodlights go up to reveal a mediocre shooter. Perhaps the greatest irony of all is that Splinter Cell: Conviction appears brightest in the dark.

Unless you're a seriously hardcore Midnight Club fan, the Remix isn't really worth buying if you've already got MC3.

Time in the cooler has allowed our favorite frozen sport (sorry, curling) some time to roll out genuine improvements. The enhanced AI isn't quite a cure-all for 07's passive defences, but it does bring a satisfying, sim-like feel to the franchise for the first time in years.

At my most charitable I felt like I was playing an experimental mod of a game I really love. All the time you're thinking 'well done chaps, nice work', but at the same time wanting to get back to the game you love.

It feels like an undecided halfway house between two genres - both of which the PC excels at - and it's incapable of deciding which one it wants to be.

As crisp and vibrant as the game looks, there's little to elevate this above far cheaper and more interesting games designed around the controls - rather than shoehorned into them.

If you're planning on playing the single-player much, it's an abomination, and you shouldn't touch it with a bargepole; and on Xbox Live, it's simply so flawed as to be unplayable in anything other than a basic 1v1 lobby, which arguably makes it into a pretty poor investment unless you have a friends list teeming with people who want to play.

A stunning simulator that true racing enthusiasts will be able to marvel at for months, but one that will be an incredibly daunting prospect for those of us just merely looking for racing entertainment. It truly goes off the scale in terms of difficulty if you've any intention whatsoever of playing it remotely seriously, and I've never come across anything quite this brutal.

The voice acting in the game is downright awful - especially painful after hearing the excellent voice acting in "Tales of Symphonia."

The handheld's d-pad cannot be used to move your character (instead it triggers taunts) and the analogue stick prevents precision inputs. Here, stripped of its fan service and joyful chaos the grim truth is revealed: Super Smash Bros. is a mediocre fighting game.

Experiments feels more like a straightforward level pack than a bona-fide sequel - and one that most players will blitz through in no time.

There is gold in these old genres, and Shovel Knight is a successful dig.

I'm all for games that want you to reach the end, and encourage you to stay on board for the whole ride, but, assuming that the vast majority of people following the series are experienced point-and-click players, this is starting to feel patronising. When the actual core gameplay becomes an undemanding routine, that's a dangerous position for an episodic series which needs to keep players playing.

A little more spit and polish on the mechanics, and the confidence to build a game around original ideas rather than sitting in the shadows of giants, and it could create a classic of its own. For now, this is a fine calling card.

At the very worst, it's an ingenious multimedia toy that'll have you dusting off the untouched corners of your MP3 collection for a few happy evenings. But for those twitching fingers that still enjoy the thrill of the high score, Audiosurf has the potential to become a bite-sized obsession thanks to its quick fix gameplay and infinite musical possibilities.

Admittedly better value for money than the rather uninspired "version 2" Dreamcast release, but for a game which has seen as much development as this to suffer from fundamental flaws and dodgy design decisions in so many areas is bizarre.

Madden 08 stands by itself as a respectable, rewarding sim, but judged in the context of last season, it's merely a mild, expensive improvement.

What it is is a well written, enjoyable adventure that nevertheless feels slightly underwhelming once the credits roll.

It's a surprisingly deep, involving and intense hackandslash experience that belies its apparent simplicity.

Red Faction is the very definition of a solid 7/10 - a game that should have been better, but offers more than enough to warrant a purchase during the quiet months.

While it does its best to be an amalgam of all the best street racing games - and is certainly one of the best looking - it fails to haul itself onto the top of the podium by virtue of not enough variety, no new ideas and a few too many minor irritations that take the gloss off the final package.

There is more charm to inFamous than Cole's face and voice suggest, but basking in the glow of the end credits, there are also a lot of painful memories to recall; of too many missions that funnel you into shooting galleries, of difficulty spikes and enemy-spamming, and of staring at the upgrades page rather glumly, aware that for the most part you're only being invited to make things strike harder or across a broader range.

At the very least a more responsive stick-based system would have been a plus. but as it stands it almost feels too much of a simulation at the expense of action - although doubtlessly some of you will admire that approach.

The dull gameplay, horrible interface flaws and cringe-worthy political message of the game mark it out as a wasted opportunity, and a very black mark on the copybook of the C&C franchise.

Its immediate charms are tarnished only by some repetitive level design and some minor control frustrations.

Tiny Wings is hideously addictive, supremely cute, and at 59 pence you'll play it for hours and never really know why. Such is the way atop the cloud-hidden peak of the App Store.

Sounds Shapes is not a brilliant game, but it is a bold, often beautiful experiment that stands and sounds apart. And in one of the driest, dreariest periods for console gaming in memory, that's music to my ears.

When we finished "DMC3," we wondered what Capcom would do with new hardware. The answer is not an awful lot. The visuals are better, the combat's more accessible, the upgrade system's pleasingly flexible, but in practically every other sense Capcom has passed up the opportunity to do something new and exciting.

Guacamelee has real heart and a blazing desire to put on a good show.

Midnight Club 3 may have more cars, more customisation options, new special moves, look better and sport an enhanced online component this time around, but the lack of a tangible challenge and carelessly implemented progression system rips the soul out of what was an immensely promising series.

Resident Evil 4 is a brilliant game, but that's exactly why Resident Evil 4 HD is such a disappointment. This is no definitive version or director's cut (wouldn't that be something), but a criminally half-baked attempt to winkle a little extra cash from the still-beating heart of a classic. Resi 4 deserves better than this; Resi 4's legions of devoted fans deserve better than this; and Capcom should be much better than this.

When we finished "DMC3," we wondered what Capcom would do with new hardware. The answer is not an awful lot. The visuals are better, the combat's more accessible, the upgrade system's pleasingly flexible, but in practically every other sense Capcom has passed up the opportunity to do something new and exciting.

Provides just about enough to be worthy of the price of entry if you're an Age of Mythology fan. The new single-player campaign is slickly presented and a lot of fun, while the addition of the new race and the Titans themselves should give a fair bit of extra longevity to the multiplayer aspect of the game.

There are some nice stretches of track to travel on and plenty of things to do along the way, but several of the activities are downright dull, while others are marred by questionable design decisions such as lengthy stops and the excessive use of temporary speed limits in the most boring parts of a track.

It's not a bad game to any degree, is technically very polished with beautifully rendered craft bursting with technical detail and slick in almost every sense - but it lacks soul.

There are traces of that excess here, but they arrive too late and change the formula too little to really make a meaningful difference. It's still a cynical slice of dirty fun, but the most damning aspect of Saints Row: The Third is that where the all-important lulz are concerned, there's precious little here that you couldn't already do in Saints Row 2.

Madden NFL 11 plays a good game of football. Unfortunately, about 80 per cent of the game has not been given any attention, and the question is whether or not this version is worth it for those who need their Madden fix - especially when it essentially amounts to paying a yearly subscription fee.

as adventures go Nightfall feels much more open than previous Guild Wars modules. While many of the quests had been tied to tightly linear the maps, the missions of Nightfall are far more open-ended.

A strange, frustrating and incredibly smart game, then.

While The Silent Age may not stretch your mental prowess, it's never less than engaging thanks to some great writing.

In short, there's a lot of game here but none of it immediately demands you buy it, unless you just need a few new things to insert into Civ 4 to justify returning to it. In which case, hey - go do it. Civ 4's awesome.

It&#146;s a shame EA feel the need to charge their swelling community for the privilege of getting their hands on a smattering of new missions and models which should have been in the game in the first place.

If the SmackDown! series doesn’t start making proper innovations instead of these minor cosmetic tweaks year after year, there’s every chance we’ll get a little bored of it. For now, though, SmackDown! is still as good as wrestling games can get.

Everything or Nothing represents progress, and proves that the abysmal "Nightfire" was a genuine blip rather than a sign of things to come, but the more discerning gamer will still come away nonplussed.

What the game lacks, though, is the self-referential humour that made GDS so adorable.

The key problem is that just about all the good things about it are lifted straight from the original Homeworld, and there's really not a lot in the "enhancements" to this sequel which distinguish themselves above the first game.

Thanks to the game's stubborn loyalty to stop-and-shoot, the result is distinctive, but with suspect partner AI to contend with, this is a game that only truly comes into its own with a friend who's up for a challenge.

Madden NFL 11 plays a good game of football. Unfortunately, about 80 per cent of the game has not been given any attention, and the question is whether or not this version is worth it for those who need their Madden fix - especially when it essentially amounts to paying a yearly subscription fee.

As a product of a unique moment in the medium's technological evolution, Resident Evil HD is a fascinating place to revisit. But for many contemporary visitors it will be an unpleasant stay, not because the game's inhabitants are unusually hostile, or because its idiosyncrasies are unfashionable, but because its formative designs have simply been bettered.

SHIFT is a solid basis to start building a motor sport series on. It's got all the features you expect, it looks fantastic, and the track action is exciting, if fraught.

If you're prepared to ignore its shortcomings and get to know it, there's an approachable beat-'em-up in here, even if it yields to your whim far too easily.

"The Sands of Time" set such a high standard in virtually every area that anything less was always going to be disappointing, and discovering that many of the bits that were nigh on flawless are less taxing, less focused, or are just the same with a scar across the face, is deeply upsetting.

Like most EA Sports releases, Madden 09 is a good re-entry point for anyone who's skipped a few years, but less than essential for anyone who picked up last year's edition. The changes may be numerous, but few feel essential and you're always aware that many of them will be back next year, in a further refined form.

It has a lot of potential and I'm interested to see how it grows, because it's a game that's all about trying new things: new tricks, new combinations, new possibilities.

The structure itself is brilliant, but within it is nothing more than the padding of a relentless succession of ultimately quite simple challenges that you soon tire of.

The audio doesn&#146;t live up to the visuals. Digitised audio has been a standard fixture of SF titles for years, but the infamous &#147;Hadoken!&#148; and &#147;Shoryuken!&#148; are both scratchily rendered for SFA3, and the music isn&#146;t much better.

If anything, Land-A Panda could have probably benefitted from cranking up the evil earlier on. For the first 20-odd levels, it's all a bit of a foregone conclusion.

IT'S LESS THAN AN HOUR LONG.

It has the de rigueur iOS mission structure - complete x number of objectives to increase your crab rank - and power-ups to spend your in-game coins on, but the joy of Crabitron is in just grabbing a claw or two and making a big old mess.

The impenetrable story makes it a no-go for younger gamers who might be more willing to forgive its adolescent excesses. But for the twenty-six, twenty-eight, thirty-year-olds who it's aimed at, the game has little to offer beyond polished sentimentality.

Starfield pairs near-impossible breadth with a classic Bethesda aptitude for systemic physics, magnetic sidequests, and weird vignettes. But in sacrificing direct exploration for the sake of sheer scale, there's nothing to bind it together.

What you're buying into is a fantastic celebration of a timeless classic, and one that does something genuinely interesting with the gameplay to make it relevant now. The problem is, basically, is that it's been put in totally the wrong price bracket for what is an impulse buy. A curiosity.