While Tri has never been my favorite Monster Hunter (Freedom Unite still holds that honor) there's no question that Monster Hunter 3: Ultimate is a huge step up from its predecessor.

Serious Sam 3: Jewel of the Nile goes a long way towards resurrecting the feel of the franchise that Serious Sam 3 was so sorely lacking, and I can only hope that this pack indicates that the developers have course-corrected, ensuring more bombastic and overwhelming Serious Sam games in years to come.

Despite all these issues, Dead Space 3 isn't a bad game—but it's not a particularly good one, either. The focus on co-op, attempts to ditch the horror elements in favor of more mainstream sci-fi shooter aesthetics, and the disjointed, repetitive feeling of the project as a whole prevent it from ever becoming something that pops.

As the difficulty escalates through the area, culminating in a unique left-running boss battle, Runner 2 realizes the full potential of its synaesthetic design, and playing the game becomes an experience of joy.

I'm not that witty, but I am pretty vulgar—as a result, all I can say is that if Aliens: Colonial Marines had been fished out of a Marine's colon during emergency surgery it wouldn't surprise me in the least.

The high stakes created by The Wise Monkey's first scenes propel the player through the rest of the episode. Although the game stumbles mechanically in a few spots, it manages for the most part to maintain the tension that The Hangman lacked.

Although Mirror of Fate doesn't live up to its full potential, it often comes close. I can see the beginnings of a fantastic new-school Castlevania experience trying hard to emerge here, and with just a little more polish and precision, MercurySteam would have turned out a solid winner. It's not yet fully evolved, but the work done here is still a valid step towards the future state of this ever-changing series.

For those who love Trials and want a serious challenge, Trials Evolution: Riders of Doom is the right stuff. For those who already feel like they’re in over their heads, give this one a pass.

It looks sharp and it may be perfectly serviceable, but with all of the other interesting things happening in video games right now, something as surprisingly soulless and rote as Crysis 3 has absolutely nothing to recommend it.

Now that this great title is available with high definition graphics, it's a great way for fans of 3D platformers to spend ten bucks.

In a certain sense, Ni No Kuni: Wrath of the White Witch seems to be exactly as advertised. The quality of the artwork is unimpeachable, just as one might expect from the studio that created it. Unfortunately, the beauty of Ghibli has been painted onto the unimaginative and poorly-executed design of Level-5. As a result, Ni No Kuni turns out as blandly as its name suggests.

There's no denying the sheer amount of joy and mirth to be had in Mass Effect 3: Citadel, even if knowing what led to its creation and how the story ends afterwards casts it in a strange, sad light.

For fans of the dungeon-crawl genre or for those who just want their Nintendo 3DS to host something a little off the beaten path, Etrian Odyssey IV: Legends of the Titan is at the top of its class, and guaranteed to be one of 2013's best.

While DmC: Devil May Cry—Vergil's Downfall is exactly the kind of story-based DLC that I enjoy the most and getting a new slice of a fantastic game like DmC: Devil May Cry is always welcome, this add-on could have gone from "okay" to "outstanding" with just a little more work.

It may not be entirely to my taste due to the fairly demanding time requirements—upwards of an hour per complete run—and a lack of selectable waves from the menu screen, but as a free addition to what's already an absolutely kickass core game? It can only be seen as a good thing.

Cognition fails not from a lack of execution, but from a lack of imagination.

If a sequel is made with a more consistent vision and a better development schedule, I wouldn't be surprised if it ended up being one of the best hack-and-slash games ever made. Until then, Metal Gear Rising: Revengeance will simply stand as a "very good" action game that survived cancellation through the hard work of an incredible developer.

This defines the limit of Antichamber's scope. Bereft of any real narrative, it becomes a game about games. Indeed, it becomes a game about a game: a game about itself. Like the singularity that collapses the game's world in its final moments, Antichamber folds in on itself until its revelations get obscured by its own self-absorption. The player can ultimately escape the Antichamber, but it seems like its creator didn't.

With its edges and corners firmly creased, Paper Galaxy deserves to sit among the most recognized titles in the mobile gaming space.

Rather than a game created to hook people with strong gameplay or a novel idea, Noble Nutlings feels like it's all about the Benjamins. Pass.

Although the ability to maintain multiple, asynchronous matches can be appealing for the puzzle-fiend in a rush, Sushi Mushi is ultimately a serviceable but generic match-three that lacks a distinct personality.

For a title as interesting as this one with such high production values, I thought that one-time investment was a very fair price for what's now become one of my favorite iOS titles.

The silver lining to this otherwise mediocre (at best) experience is found in the rich visual presentation. The giraffe is well animated, the art not unlike the average family CG animal adventure by Pixar or Dreamworks, and the backgrounds have depth and richness. Although I hate to make the lipstick-on-a-pig comparison, the graphics just don't make up for an otherwise lackluster mobile distraction.

For fans of titles like Final Fantasy Tactics and Advance Wars, Ravenmark will certainly scratch that strategy game itch.

It may feel a bit out of place on current hardware, but viewing it as something of a "lost classic" from the last generation affords it a more appropriate context to be judged in, and a more comfortable one to be enjoyed with.

Were Clan of Champions a skeletal presentation piece designed to convince a publisher that these developers were worth investing in, I would give it extremely high marks. As a finished product that people are asked to pay money for, it's completely unacceptable.

Double D was one of 2012's most pleasant surprises, a budget-priced promotional title that managed the unthinkable and outdid the game it was designed to get people excited about. Normally I'd be in favour of leaving well enough alone, but Mommy's Best Games has taken everything that worked about Double D and built something even more spectacular on top of it.

Theatrhythm: Final Fantasy starts off as a celebrated adventure through the musical history of the long-running Final Fantasy series, and the fanservice is apparent and appreciated. However, after only a few hours, the nostalgia wears off and the experience loses its luster. There's just too little to drive this title forward, and without more substance, even the best fanservice in the world will start to lose its appeal.

In the end, Arkedo has shown up to the party to share with us a huge ball of digital cotton candy; as soon as we get a taste of its ultra-sweetness, it's already evaporating. Fans of the game might counter that there's nothing automatically bad about a trifle of a game, but there's also nothing automatically good about one, either.

Transcripted's mashing of genres does work despite its hiccups. As a game to play here and there, it is a nice distraction with plenty of ways to change how it's played.

Virtue's Last Reward takes everything that 999 did well and does it better.

The freeform combat, gorgeous locations, and excellent multiplayer are strong, and Far Cry 3 does a fantastic job of putting the player in the middle of a lawless, chaotic world and letting them get up to whatever they please. Yes, video games are capable of achieving much more than Far Cry 3 does, but it makes a persuasive argument that there's nothing wrong with a guilty pleasure now and again—especially when it's as slickly presented as this is.

Skylanders: Giants remains every bit as satisfying to play as the original was, and in my house at least, it's still the game of choice when the family is in the mood to pass the controller around.

Every weakness is compensated by a strength, and while I would prefer to have the latter without the former, I can't complain too much about the overall effect. I found Primordia charming and intriguing, and its mysteries well worth solving.

I enjoyed the characters, I enjoyed the strategy, there's a ludicrous amount of content, and there's even pass-the-handheld multiplayer for those into that sort of thing. Apart from the less-than-sizzling looks, this one's a must-have for any turn-based strat fan with a 3DS.

Fans of the Giana Sisters likely Kickstarted this game, thus earning a copy of it in the process. However, for those who don't already own a copy, there's no way that I can recommend it without it weighing on my conscience. Giana Sisters: Twisted Dreams is simply not worth the time.

Simply put, F1 Race Stars is the kart racing equivalent of a self-help seminar, or of a powerpoint on learning real estate sales. Like those sorts of intellectual death marches, it frequently made me yawn while playing and the whole thing has a painful sense of inevitability to it-which at least draws a further comparison with the sport on which it places primary focus.

The slightly disappointing storyline aside, it's impressive just how well the whole thing gels together, and DmC: Devil May Cry succeeds on pretty much every level imaginable.

Dead or Alive 5's a very good game, but one that also seems slightly confused in its intentions-the neat new mechanics and impressive environmental interactions seem to be butting heads with Team Ninja's desire to make it a more competitive fighter-and by extension, a more traditional one. That said, it's still the best game in the series and incredibly enjoyable, regardless of whether or not it'll finally appease the hardcore fighting gamers out there.

Anyone looking for a deep, complex brawler is best be served elsewhere, but fans looking for some Super Saiya-jin action or younger folks that just want to button-mash will find something here to like.

Anarchy Reigns is an attractive, bombastic entry that retails for half the price of a normal title while delivering a fantastic level of quality. If you ask me, smaller-budget titles that try to do something different should be supported and celebrated-definitely give this one a shot, but keep an eye out for double chainsaws approaching from the rear.

I played Crimson Shroud for a total of 6.5 hours before I got frustrated and gave up because five hours of that playtime was spent fighting the same group of enemies over and over for the random drop which never appeared. Holding back rare weapons or magic items is one thing, but it's incredibly disrespectful of a player's time and a waste of a consumer's money to make forward progress reliant on pure luck.

Although the core Uncharted titles might not do much for me, Fight for Fortune is a respectably entertaining title for players who enjoy the CCG genre. It might not have the same run-and-gun Nathan Drake is usually known for, but I'll take card combos and strategy over killing a thousand generic thugs and auto-climbing ledges any day.

As a visually-renovated trip down memory lane, NiGHTS into Dreams largely succeeds. Unfortunately, the game design has two competing forms: one is breathless, invigorating, and fluid, while the other is lumpy, broken, and boring. However, in the moments when the game's flight, flow, and nostalgia combine, it's difficult to think of a more satisfying experience.

Need for Speed: Most Wanted is caught between two worlds. The game can't quite decide if it wants to be an arcade or a simulation racing game, and it takes a lot to get used to this in-between zone it occupies. That said, once the adjustment period is over, there is a lot of enjoyment to be had when it's not being frustrating.

It's impossible to tell where the fault lies with Call of Duty: Black Ops Declassified. Did Activision force Nihilistic to rush it out the door? Did Nihilistic simply put out the bare minimum effort? Is this half-hearted experience exactly what Activision wanted? Regardless of the reasons behind it, what we've ended up with is a completely wasted opportunity to bring some heavy firepower to the Vita.

Gamers looking for an art-house experience would do well to spend a couple of hours soaking in what Suda 51 has served up. Those more concerned with gameplay they can chew on might want to think twice.

Chaos on Deponia has enough charm to salve the wounds of its worst design flaws (a delightful quest to hatch a team of platypus guardians is a great example) but there's no getting around its narrative problems.

With its limited customization, uniform enemy AI, and ineffectual weapons, Cargo Commander tightly constrains the player's tactical and strategic options, no matter the mode. The game may be set in deep space, but Cargo Commander's gameplay feels like it's trapped in a box.

It gets the job done (and I do admit that finally finding the chainsaw was pretty choice) but in a style of game that lives and dies by the quality of the writing, it's not quite up to snuff.

On paper, this should be the most boring, simplistic game ever: The player tosses a paper airplane, the end. However, the reality is surprisingly more engaging than it sounds.

Touch controls are a perfect fit for this title since all that's required is to poke where the creature needs to attach, and the physics engine that powers it makes it all happen.

Even so, it's well worth checking out for players who would be interested in a different spin on the Angry Birds formula.

The final nail in the coffin was that the in-app store offers instant level-ups and level skips to help you "speed up" the game. I frown on this kind of stuff, and between this and the low production values, it was hard to shake the feeling that this title is perilously close to being just a money-sink in disguise.

On a mobile platform like this one, a title has to look good, feel good, and be comfortable to play. This one strikes out in all three areas.

As an iOS title that offers literally dozens and dozens of hours of engrossing entertainment, it is hard not to recommend Defender Chronicles II: Heroes of Athelia to avid fans of the tower defense genre.

My very minor disappointment with the story aside, Sine Mora is an outstanding shooter that excels in every other area-the design, aesthetics and mechanics are all top-notch, and couldn't be a better fit for the Vita. For players who own Sony's machine and have an appreciation for games of this sort, they honestly don't come better than this.

It's different, it's solidly built on a smaller scale, and it delivers an easy-to-grasp, focused concept. It also earns praise for being a streamlined and problem-free RTS without falling into the pitfalls that have doomed so many others before it. That in itself is no mean feat, and Targem Games makes it look easy.

Sure, it might not reinvent the wheel as built by Diablo II over a decade ago, but Runic deserves props for perfectly recreating the formula. Many others have tried to bring their own take on Diablo to the market-and failed. Runic didn't, which makes Torchlight II an essential purchase for anyone who loves to crawl through dungeons while scoring phat loot.

As it stands, Pid is a misguided platformer that is set to quickly disappear from memory.

The Testament of Sherlock Holmes's execution is ordinary, and its flaws elementary.

In Guardians of Middle-earth, console players finally have the chance to investigate a hitherto unknown area of gaming, and it's arguably one of the most positive experiences I've had in the genre.

Those searching for the traditional Silent Hill experience on a portable (story? What story?) should stay far, far away. However, players who enjoy dungeon crawling and aren't afraid of a little difficulty will find that Silent Hill: Book of Memories gets it pretty right-it's just a shame that an FAQ is required to enjoy it.

At least the petty indignities of the multiplayer are optional and situated around gameplay that's solid and unique, if frustratingly stagnant. In the single-player campaign, however, it's impossible to escape the ham-fisted manipulations of the Assassin's Creed III development team.

When the elements of Orgarhythm come together, it's transcendent-raging music fills the ears, the tapping gives a tangible connection to what's happening onscreen, and watching the multi-colored army dominate the opposition is a singular experience. That said, the small amount of content, low production qualities and general lack of polish make Orgarhythm come off more like a proof-of-concept demo. I absolutely love what it does when it pops, but there's more work to be done here.

The Unfinished Swan isn't without its charms, and there were moments in the abandoned city, with the vines overgrowing walls and bridges in all directions, that I almost loved it. However, in its very short runtime The Unfinished Swan introduces too many different ideas and doesn't sufficiently explore or refine any of them-not even the bad ones. That might suit the theme, but it makes for a game that feels frustratingly incomplete.

While there are a few sequences that thrill the way a proper Hitman should, like stalking a dark cornfield or combing Chinatown without being dressed as a chef, these brief glimpses of 47's predatory roots are outnumbered three-to-one by kludgey segments more about duckwalking towards exits than they are about killing professionally. I would imagine that the goal of Hitman: Absolution was to take Agent 47's detailed, methodical gameplay and make it appeal to players more familiar with modern action/stealth hybrids, but all the devs have done is eviscerate their unique franchise with poorly-implemented mechanics and left him to die an awkward, humiliating death.

From the rousing space battle at its beginning to the surprisingly intense firefight at its end, Mass Effect 3: Omega is just the sort of add-on that I would want for a game of this kind… apart from the fact that it's a bit mindbending to revisit a virtual time and place that had such an unforgettable final act. I might still be trying to wrap my head around it, but I enjoyed my time with Aria and Nyreen just the same.

All complaints aside, Lee and Clementine are characters that will stay with me for the rest of my life, there's no question in my mind that The Walking Dead is a milestone that should be recognized and honored for the achievement that it is.

As much as I found myself groaning through the parts I knew I would dislike-namely, the grinding and overwhelming sense of repetition that emanates from combat and time management-I grew to respect Persona 4: Golden. I can't say I completely enjoyed my time with the game, but I'm not the kind of person who would be interested in buying it. Those who are will find an admirably polished JRPG and a welcome addition to their burgeoning Vita library.

So, is Darksiders II: Argul's Tomb worth playing? It's only about an hour long, and the exclusive weapon contained within is a set of armblades that drain Wrath with each hit. While they're pretty effective when partnered with the scythes that drain life from opponents, running out of Wrath was a problem that never really came up in the course of the game, so-perhaps ironically-nothing in the Argul's Tomb proved more valuable than the club I acquired by dealing with Argul himself. For players who can't get enough of Death beheading monsters, Argul's Tomb will be a welcome addition, but anyone who completed the main game and set it aside without further thought won't find anything worth slotting the disk back in.

While trying to revitalize the Zelda formula with modern developments is an admirable goal, Darksiders II's developers just can't seem to get a handle on how to make such a thing work. For two games now they've tried adding hi-octane combat, a Western-style story, and ability trees, but it's never managed to gel. The things that made games like Zelda, God of War, Prince of Persia, and even Shadow of the Colossus great are all on display here, but the Darksiders series still hasn't figured out how to use them effectively enough to stand on its own.

Overall, the entire endeavor is extremely costly and a good chunk of playtime is necessary to amass enough money to trick out the small mansion after blowing thousands on the initial structure. Yet this is perhaps the true quality of Hearthfire-the ability to simply get players back into the world of Skyrim after abandoning it after exhausting the main quest or slaying through the Dawnguard expansion.

When all's said and done, Ragnarok Odyssey takes almost all of its major cues from the leader of its genre, and then flatly fails to deliver a commensurate level of depth in combat, quest design, and equipment tinkering.

With just seven levels-three of which have serious problems working with the current control scheme-it's not like the game has a wealth of content, and its hostility to new players prevents me from recommending it to any but the hardcore.

Aesthetics aside, there's a certain level of patience and stubborn belligerence that will probably be needed to best Kung Fu Strike: The Warrior's Rise, even on Easy difficulty. The target audience, those that love old school brawlers, would probably be happiest here, but the sharp difficulty will certainly turn off anyone looking for a casual affair.

With a host of bugs, a fundamental lack of gameplay variety, and a key mechanic that doesn't serve the purpose it should, Ravaged is profoundly not the Mad Max game we've been waiting for.

It may be a lot more of the same, but it's prettier, smoother, longer, and filled with more stuff.

While the question of whether it's a good idea to put players in the role of a dead-eyed mute psychopath is open for debate, it's undeniable that Lucius's developers have captured the feel of their inspiration perfectly. There are missteps that keep the game from truly excelling, and the story is serviceable at best, but Lucius provides a unique horror gameplay experience, and any hardcore fans of the genre owe it to themselves to give it a look, provided they have strong stomachs.

Without the kind of stage this story requires, all players are left with is an amusingly iconoclastic oddity, worth trying out, but not falling in love with.

Rather than preaching, Hotline Miami asks the questions and forces the player to confront the answers himself, without exculpating its own creators. That's the real mark of maturity.

While I still call myself an XCOM fan and was thrilled to see the property return after so many years, I couldn't commit to XCOM: Enemy Unknown wholeheartedly. Although I appreciate the update for modern audiences, the game comes off as a bit undercooked and stumbles on things which should be airtight. On the other hand, it's still a very welcome addition to a genre that's gone a bit stale-just be prepared for a little probing when dealing with these creatures from another world.

Without technical accomplishment or a compelling narrative, Natural Threat never rises above the crowd to distinguish itself in any meaningful way. There are better ways to spend time hunting pixels.

With its relatively small menu of uninspired puzzles and cast of irritants, One Against All fails in its attempt to capture the Layton magic.

For what it's worth, if I wanted a simulation of being crammed into a tiny, metal, low-tech claustrophobic coffin while people yell and attempt to kill me repeatedly while I struggle with basic controls, then Heavy Armor offers up quite the war experience. However, that's not what I was looking for, and I suspect that it's not something anyone else is after, either.

Although some sequences in the second half may have players running to find an FAQ if they don't skip the puzzles outright, I found The Testament of Sherlock Holmes to be an enjoyable, offbeat experience that serves as a great change of pace for players who don't mind putting the guns and explosives aside once in a while.

Thirty Flights of Loving is precisely as long as it needs to be, and contains exactly what it needs to contain. This efficiency makes it a richer experience, not a poorer one, because it insists that the player engage with the story and piece it together himself, rather than sitting back and absorbing an endless train of cinematics.

Not only is Dishonored a strong game set in a fascinating universe, it's one of those rare and incredible titles that holds the player's attention right from the start and then leaves them wanting more as the credits roll.

In any event, The Walking Dead has been one hell of a ride up to this point. Even the less-intense episodes are better than the vast majority of releases in 2012.

For most of its length, FTL is good, bordering on great, but the end is so poor I'd rather quit than win the game.

Fractured Soul is not a bad game by any means, but its keen concept is played out again and again with a taskmaster's sternness, and little else.

There are endless variations on the small level/three star structure made popular by Angry Birds, and I've come across many that don't warrant a second look. That's not to say that the structure has nothing left to offer, however. Creative developers can certainly put a new spin on things, and that's just what's happened with Space Holiday.

It's easy to learn, it's got a sexy design, and it's entertaining alone and with friends. Without a doubt, this has been one of the best iPhone games I've come across so far.

Players should be aware that the first batch of twenty levels are free and function as a demo. It's over pretty quickly though, and the remaining areas of the game are split into two in-app purchases at .99 each.

Gamers who can't stand reading should probably stay away, but for everyone else, Judge Dredd is great stuff.

After all is said and done, Resident Evil 6 isn't a runaway success, but most of the time, it succeeds at what it sets out to accomplish. Unfortunately, it's such a departure from the rest of the series that those expecting more of the same will find themselves frustrated and foiled-despite the "6" in its title, this is an entirely new animal, and the developers have hamstrung their own work by doing an unforgivably bad job of explaining what the game is, and how they intend it to be played.

Neon is probably the best Double Dragon game yet, and it contains enough great elements it to warrant a sequel or two.

Tokyo Jungle is exactly the sort of unconventional project that I live for, so it's easy to forgive its issues; the low-end production values, two extremely ill-conceived stealth missions that don't suit the mechanics, and a few boss fights that were more frustrating than fun. Although irritating, none were dealbreakers-just be prepared to restart a few missions here and there.