I'm not exaggerating when I say that Jewel Summoner is at least half dialogue, if not three-quarters - a fatal mistake when the quality of such is so unappealing.

It's fun and violent and asks nothing at all from its player than to spend a few minutes blowing things to pieces whenever they feel like it, rewarding them with epic levels of blood and gore when they do.

The box art might not be interesting (and personally, I think the title of the game is terrible) but once past those superficial elements it's impossible to ignore the superior design and technical mastery that's present in every minute of gameplay. Gurumin puts most of the PSP's library to shame without even trying.

Overall, I was quite impressed with Rogue Galaxy, and as one of the presumably last RPGs for the PlayStation 2, I think it's a fitting tribute to the machine that is home to the most games of this genre.

I don't expect World War II to fall in popularity as a game subject any time soon, and Battlestations: Midway is a perfect example of why.

I hope that future Phoenix Wright titles are able to keep the character and plot development at the same level achieved in Phoenix Wright: Justice For All.

It's to Lost Planet's credit that the skillful handling of the difficulty and level design puts the player in a state of desperation for almost the entire length of the game.

The game is a showcase of everything Nintendo hopes for its new console: the novel simplicity of the Wiimote, deceptively simple gameplay that's easy for non-gamers to learn yet a challenge for gaming veterans to master.

I for one think console gamers can handle a real tactical sim, but I suppose that in this increasingly competitive industry, taking even the slightest risk has become passe.

Mazes of Fate might have had a slim chance a few years ago, but arriving alongside infinitely more capable competition renders rough, mediocre and annoying content immediately, undesirably obsolete.

Despite being something of a mixed bag from any perspective, there's no doubting the fact that even a middling Metal Gear game easily outclasses most of its competition.

In the end, gamers are all just a bunch of people sitting in front of a television holding a controller, so simulation games must be judged on their ability to make gamers feel like they're performing an action within the limitations of the technology. Cabela's African Safari's poor controls, design choices, and graphics keep this immersion from ever happening.

It's no easy feat to invigorate a genre that has remained fairly set in its ways for the last few generations, let alone do it with the imagination and energy present here.

It is a game that utterly fails to capture any of the elements that make its source material so enduring and beloved.

Although it acts as a wonderful selling point for anyone considering developing an FPS for the Wii, Red Steel is too much of an unsatisfying tease to succeed as much else.

Using the wolf's sense to see the Twilight Realm is a ghastly, beautiful effect to be sure, but contributes little to the player's sense of discovery, save for a few holes to dig or making a few jumps that would otherwise be impossible.

The greatest strength of Wii Sports—its unparalleled accessibility—ends up being its greatest weakness. Although the game initially feels like a breath of fresh air, the failure of its novel control scheme to provide the sensitivity needed for continued growth and mastery ultimately sucks much of that air right back out.

I will say that Sneak King was successful from the perspective that it provides an hour or two of incredibly offbeat play, not to mention the fact that it got me into a Burger King for the first time in years. If it wasn't for the stomachache and heartburn afterwards, I'd say it was a win-win situation.

So once again, Traveler's Tales gets the Lego right, only this time they screw up everything but.

There is simply no way to play this game comfortably while turning and moving forward.

Final Fantasy III was fun while I played it, but now that the world's been re-harmonized and the credits have rolled, I feel no need to dig it out of my closet again.

Rather than a gimmick or a quick add-on like some other Wii titles, Second Opinion's gameplay feels tailor-made for the Wiimote and clearly displays its potential.

Call me a jaded critic, a wet blanket, or anything else, but I'm not going to be dazzled into submission by stunning visuals and overlook a core game design that doesn't impress.

For me, the ultimate success of Guitar Hero II's formula lies in the pick-up-and-play accessibility of its controller, the strong selection of catchy songs, and the game's uncanny ability to make players feel like they're actually rocking out on stage.

Familiarity aside, however, Mizuguchi’s latest experiment in merging simple mechanics with mesmerizing feedback remains an invigorating success, and probably more compulsive and complete than any other he’s conducted, even if it’s not necessarily the final word on the subject.

Although some may claim that the single-player campaign is on the short side, or perhaps that the ability to move the camera would have been a nice addition, there's no getting around the fact that Killzone: Liberation is a better game than the original in every way and a standout title in its own right.

While it doesn't pull off everything perfectly, it injects enough originality into a familiar framework to make it one of the more enjoyable releases since the release of its more auspicious Source engine cousin.

Reservoir Dogs the game takes a groundbreaking film and jams it into a formula it wasn’t meant to fit in the first place. Some heist movies don’t have heists, some stories are told out of order, and some movies aren’t meant to be games.