All I want to do is go back and keep trying for better scores and greater progress. In this regard, Spelunky is less a game than an obsession. If it does get its hooks in you, it will get those hooks deep, sending you into a downward spiral of torrential swearing and tear-choked misery the likes of which you may never completely recover from. And I mean that as a compliment.

The story in Spec Ops: The Line isn't amazing, but the way that it's told really stands out and, in many ways, saves the entire project from being a complete waste of time. But that doesn't make it easy to recommend.

If the fundamentals were a little more refined or the new ideas a little more fully implemented, I'd feel better about recommending it wholeheartedly, but given the new elements in play here, you can at least take heart that Traveller's Tales isn't resting on its laurels.

It's designed in such a way that only pixel-perfect aiming and split-second responsiveness will get you through its missions unscathed, but your ability to react quickly and take in your surroundings is so severely compromised that you'll die, repeatedly, in each attempt.

To put it succinctly: it is more Civilization V to add to your copy of Civilization V. If you still have even a flicker of a desire to play more Civilzation V, that news should be all you need to justify picking up Gods & Kings.

The gravity-shifting gameplay offered might be complete enough for game-starved Vita owners on the hunt for something to do with their device. But do manage your expectations, lest you be disappointed by how hollow Gravity Rush is underneath its breathtaking shell. This is a game that does one thing very well. If you need more than that, then Gravity Rush isn't for you.

A third-person shooter that feels caught between doctrines--it's not tactical enough to feel like a deep, strategic experience yet it punishes run-and-gun tactics just enough to prevent fans of those sorts of games from having a great time, either.

Capcom built this huge place to run around in but didn't fill it with anything interesting. The saving grace: Capcom's expertise in building robust, customizable, and super fun combat systems pays off.

The combat has enough depth and variety to keep you interested for the duration of the story and beyond, but in terms of what might have been, what should have been, Dragon's Dogma falls gut-wrenchingly short.

That's pretty much the whole of Game of Thrones. Sad dialogue, combat, sad dialogue, combat, sad dialogue, more sad dialogue, something outright horrifying happening, sad combat, and so on repeated in varying orders for a bit more than 20 hours.

Its cooler moments are offset by a long list of missions that aren't engaging at all. You're a man with an ever-increasing list of insane powers, but the tasks you accomplish with those powers are usually pretty ho-hum. Add to all that a script that makes you want to turn the sound down and a dose of awkward control quirks and you've got a run-of-the-mill open-world game.

Its cooler moments are offset by a long list of missions that aren't engaging at all. You're a man with an ever-increasing list of insane powers, but the tasks you accomplish with those powers are usually pretty ho-hum. Add to all that a script that makes you want to turn the sound down and a dose of awkward control quirks and you've got a run-of-the-mill open-world game.

It's such a rare thing that my interest in continuing to play a game keeps increasing not just toward the end of the game but past the end, yet somehow the more Diablo I play, the more Diablo I want to play. It doesn't do anything especially new with the action-RPG genre, but it does all the old things very, very well, and sometimes that's more than enough.

While fans might have a hard time processing the dramatic change in tone, it's approached with a seriousness and conviction that I respect, and frankly, have come to expect from Rockstar.

The 360 game offers enough value for block-building neophytes to justify its existence in a world where Minecraft has already seemingly been wallpapered everywhere you look for the last couple of years.

The single-player story mode is still astoundingly deep and the challenge tower is an exciting and maddening climb.

It can't even craft a halfway competent action game out of the myriad things it stole from much better action games.

The Pinball Arcade provides a safe virtual home for your pinball worship, complete with accurate re-creations of real tables and appropriately realistic physics.

It's also hard to stop playing Trials Evolution for very long. The action is as tight and demanding as it ever was, and this time around it's such a fully featured and attractive package that you shouldn't miss it if you have any interest in this style of game at all. It's one of the best games to hit a downloadable service in a good long while.

It's just the right mixture of charm and insanity. Even if you end up letting a collective of Internet sleuths guide you by the hand as you work your way through the game's cubes, anti-cubes, artifacts, and other items, Fez still somehow manages to be worth seeing, if only to marvel at how much weird work went into making what we all thought was just a retro-styled perspective-shifting puzzle game into something decidedly more mind-bending.

Feels like some lost XBLA title from 2006, like it just wandered in from the cold after years adrift at sea, totally unaware of what's happened in the six years that transpired since. Its insubstantial puzzle mechanics and generally bare-bones presentation are the stuff of yesteryear, somehow transplanted into a time that's all but forgotten that games like it ever existed.

There are a few glimmers of what could have been in here, but this is not the game that legitimizes Kinect as a game-playing device, nor does it do a single thing to restore any vibrancy or value to the Star Wars license. Fans of Star Wars, Kinect hopefuls, and little kids all deserve better.

I'm comfortable in saying that South Park: Tenorman's Revenge is a gigantic middle-finger extended in the direction of anyone who might actually want to enjoy a game featuring the myriad memorable characters and storylines of South Park in video game form. And because of all of that, I'm completely comfortable declaring that you should stay the hell away from South Park: Tenorman's Revenge.

The game looks marvelous, and it's an impressive effort in this little-seen genre, but the gameplay is wrapped too rigidly around mechanics that feel a bit at odds with one another for me to feel good recommending it wholeheartedly.

It has a criminally low number of courses that have all appeared in previous Ridge Racer games, no interesting career structure whatsoever, a new car customizing feature that somehow manages to make the "machines" feel less unique, and a bunch of music that also appeared in the old games. You'd have to be extremely hard up for any form of ridge racing for this to add up to something worth purchasing.

Killing the combat system that made this franchise so enticing, and robbing it of any modicum of challenge was so far beyond what was necessary that it leaves Ninja Gaiden 3 feeling like little more than a stripped-down husk of its former glory. If the previous Ninja Gaiden games were like carefully built, brutally fast hot rods, Ninja Gaiden 3 feels like it should be up on bricks on somebody's lawn.

It's only at its peak when you're sitting next to another player, locally engaging in SFXT's brand of tag battles. Online, I found it to be a bit of a mess, and the game's attempts at meaningful character customization fall victim to layers and layers of slow-moving menus and a bundle of additional content that only serves to further confuse the issue.

It's only at its peak when you're sitting next to another player, locally engaging in SFXT's brand of tag battles. Online, I found it to be a bit of a mess, and the game's attempts at meaningful character customization fall victim to layers and layers of slow-moving menus and a bundle of additional content that only serves to further confuse the issue.

I Am Alive is extra disappointing because it has so much potential right up front, and then wastes no time squandering all of it. Its premise is exciting but its promise goes wholly unfulfilled, and at some point you've got to stop lauding a game's good ideas and think about how much you actually enjoyed playing it.

Certainly a game that offers up aesthetic beauty, both in its visuals and score. But where it truly shines is in the experience of playing it. In Journey, the mere acts of jumping, running, and sliding around a painstakingly crafted world are enough to invoke strong emotional responses from the player. Every element, every mechanic, every single little thing works in seemingly effortless concert to deliver a game that is experientially beautiful from surface to core.

Even though it has some interesting ideas, it's hard to get excited about yet another take on wave-based survival, especially one that uses the occasionally-clumsy Mass Effect combat as its base. Once you start thinking about how most of the campaign's side content either uses these same multiplayer levels or has you performing extremely basic retrieval tasks, it's easy to start feeling slightly indignant about the whole thing...But only slightly. At the end of the day, Mass Effect 3 is a game for people who liked Mass Effect 2 so much that they absolutely need to see how it all ends. Despite claims to the contrary from the game's publisher, I really don't think newcomers will get much out of it at all.

Even though it has some interesting ideas, it's hard to get excited about yet another take on wave-based survival, especially one that uses the occasionally-clumsy Mass Effect combat as its base. Once you start thinking about how most of the campaign's side content either uses these same multiplayer levels or has you performing extremely basic retrieval tasks, it's easy to start feeling slightly indignant about the whole thing...But only slightly. At the end of the day, Mass Effect 3 is a game for people who liked Mass Effect 2 so much that they absolutely need to see how it all ends. Despite claims to the contrary from the game's publisher, I really don't think newcomers will get much out of it at all.

It's as though the team behind SSX were never quite sure how far toward realistic danger nor straight-up arcade ludicrousness it ought to veer toward, relying on the old school silliness of SSX's snowboarding gameplay to carry the load as the team built a gaggle of new mechanics and concepts around it--some of which don't really gel with that classic SSX flavor. The end result is an experience that can often be tremendous fun, though sometimes almost feels accidentally so.

It's as though the team behind SSX were never quite sure how far toward realistic danger nor straight-up arcade ludicrousness it ought to veer toward, relying on the old school silliness of SSX's snowboarding gameplay to carry the load as the team built a gaggle of new mechanics and concepts around it--some of which don't really gel with that classic SSX flavor. The end result is an experience that can often be tremendous fun, though sometimes almost feels accidentally so.

It feels like the kind of guilty pleasure that you and me, serious players of video games, should be embarrassed for enjoying. What satisfaction could there possibly be in a game that largely plays itself? In spite of the one big, obvious caveat, I kind of love this game.

It's damn hard to talk about video game tennis without bringing up Virtua Tennis, particularly when a game, like Grand Slam Tennis 2, hems so close to that original arcade formula. It's a facsimile that's executed well enough; there just aren't any good reasons to recommend Grand Slam Tennis 2 over the games that it cribs from.

It's damn hard to talk about video game tennis without bringing up Virtua Tennis, particularly when a game, like Grand Slam Tennis 2, hems so close to that original arcade formula. It's a facsimile that's executed well enough; there just aren't any good reasons to recommend Grand Slam Tennis 2 over the games that it cribs from.

Fumbles by stretching what little story it does have much too far.

This is a great game at a great price for a console currently gasping gravely for games. If your Wii is still plugged into a TV-like device, Rhythm Heaven Fever is a game that demands your attention.

Most disappointing is the game's conclusion, which lacks the kind of all-encompassing, universe devouring qualities of some of the series' best entries, switching instead to a sort of Rainbow Road-esque fantasy land that just tosses a bunch of random giant things from the other games together into a technicolor slurry.

The smart players will rise to the challenge and feel like they've been appropriately rewarded for their prowess. The campaign gives you a great look at an interesting world, though its abrupt, too-clean ending feels out of place. It's a somewhat disappointing reward for an otherwise exciting adventure that puts a terrific and fun spin on first-person shooting.

The smart players will rise to the challenge and feel like they've been appropriately rewarded for their prowess. The campaign gives you a great look at an interesting world, though its abrupt, too-clean ending feels out of place. It's a somewhat disappointing reward for an otherwise exciting adventure that puts a terrific and fun spin on first-person shooting.

There are some neat ideas of how to effectively use the various touch screens of the Vita, and the art is gorgeous enough to make the game an able showpiece for what the system can do visually. There just isn't quite enough to the game beyond that to make up for some of its more irritating aspects.

Your ability to possess, displace, and disintegrate a wide range of objects and human beings gives the designers ample opportunity--which they mostly use wisely--to set up unique and mindbending puzzle scenarios, but clunky controls and some basic game flow issues undermine what's otherwise a pretty neat little game.

Electronic Symphony doesn't rebuild the concept of Lumines block-by-block, but this Vita launch game is still the most fun I've had with the franchise since it debuted on the PSP back in 2004.

It can be hard to look past the game's technical issues, which include insane pre-race load times and a frame rate that tends to rob the traditionally breakneck hover racer of its sense of speed. Toss in a UI that's a little too slick for its own good and you end up with something a little more ho-hum than you might be expecting.

Now those very same visuals, and that very same campaign has been placed on a PlayStation Vita cart, and it's actually shocking how well it's fared in translation.

It would probably benefit from an additional mode or two (which, if the trophy list is to be believed, will be coming in the form of a DLC add-on), but with a $10 price tag and a terrific frame rate, Super Stardust Delta makes for a good, strong opener for the Vita's download-only catalog. If sharp-looking action is your thing, it's certainly worth your time.

The whole thing feels like a "B Team" sort of feel to it, but there's just enough Uncharted here to ensure that the experience isn't a total loss.

There's nothing especially original about Gotham City Impostors' mishmash of multiplayer modes and character progression, but the game goes to such absurd lengths to distinguish itself from the vast field of modern-military mediocrity that you can't help but love it at least a little bit.

Gotham City Impostors shows how far a clear sense of personality and humor can take you even when you're making the same old style of game.

There are plenty of really great things to see and do in Kingdoms of Amalur: Reckoning, and that stuff--the main quest line, the faction quests, and the interesting combat--makes the game fairly easy to recommend. But it's hard not to be at least a little disappointed when you start seeing the various spots where the game doesn't live up to the high bar set by its best content.

There are plenty of really great things to see and do in Kingdoms of Amalur: Reckoning, and that stuff--the main quest line, the faction quests, and the interesting combat--makes the game fairly easy to recommend. But it's hard not to be at least a little disappointed when you start seeing the various spots where the game doesn't live up to the high bar set by its best content.

Nothing in The Darkness II's story line feels out of place or unnecessary. It doesn't digress needlessly into side missions or other time-wasters designed to just keep you playing for longer stretches. Instead, Digital Extremes believed in the strength of both its combat system and Jenkins' script to inspire players to play through it again once the credits roll.

That's the fundamental issue with shoehorning a big, console-style game like Resident Evil into a form factor the size of the 3DS. You just can't get a game that plays as well or makes as big a visual impact as it would on a big TV, and if you start bolting peripherals onto the system to alleviate those problems, you start to negate what makes the system elegant in the first place.

No amount of perfunctory challenge maps can make up for a game design so functionally lazy, so utterly indifferent to your enjoyment, that it can't even be bothered to make its lone gimmick work even slightly well within its hacked-together world. If the developers in charge of NeverDead didn't care enough to make it a remotely enjoyable experience, why should you care enough to bother with it?

THQ wants you to pay $7.00 for eight missions and a handful of mostly meaningless unlockables. That's just crazy.

There's some great design in here and the game is genuinely entertaining in short bursts, but its weaker aspects add up over time to produce an experience that's less satisfying than its best ideas deserve.

There's some great design in here and the game is genuinely entertaining in short bursts, but its weaker aspects add up over time to produce an experience that's less satisfying than its best ideas deserve.

Feels like a genuine step up from its impressive predecessor. Everything about the game is better in only an incremental way, leading to the occasional feeling of excessive familiarity. But then, Trine was already so good that it's hard to argue with more of the same great game, right?

Feels like a genuine step up from its impressive predecessor. Everything about the game is better in only an incremental way, leading to the occasional feeling of excessive familiarity. But then, Trine was already so good that it's hard to argue with more of the same great game, right?

All of this misery for $50 a pop. An hour and a half of busted-ass light gun shooting that barely masks the deplorable PR message underneath. In effect, buyers of Blackwater are paying for propaganda. They're handing over money to a shady group of alleged killers for the privilege of being told that these guys aren't shady or killers or anything to that effect.

The cool part is the tech side of Skylanders, which merges its Gauntlet-like gameplay with physical objects that unlock new characters, levels, and bonus items. It all comes together to form a sort-of-insidious-but-surprisingly-fun mesh of collectible and video game.

It's equally silly and serious, a frivolous adventure that becomes infinitely more meaningful as you trek deeper and deeper into it. And yet, I can't quite call To the Moon a great "game," exactly, because for as much as To the Moon is something you play, its attempts at interactivity are often relegated to the sidelines in favor of pure narrative.

Despite the game's slavish adherence to the Mario Kart formula, Mario Kart 7 has moments where it shines simply by executing that formula really well. Still, other than your personal history with Mario Kart, your enjoyment of Mario Kart 7 will likely hinge on your continued appreciation of that formula, and friends to enjoy it with, more than anything else.

Still, this is the first year where I feel like I can actually recommend a WWE game in earnest. Granted, it's a caveat-laden recommendation, but a recommendation nonetheless. Considering how long it's been since one of these games actually felt playable, let alone enjoyably so, it's almost worth putting up with the various peculiarities and more antiquated elements just so you can actually have fun wrestling again.

A nicely executed, nostalgic way to keep Master Chief active in the public consciousness on an off year.

For the most part, what was great about Assassin's Creed: Brotherhood is still good in Assassin's Creed: Revelations, but the new stuff doesn't do much to improve the experience, and all the best moments just feel kind of familiar.

It squanders its terrific concept by saddling it with poor handling, insanely inconsistent off-road and crash behaviors, and straightforward, race-only multiplayer that isn't good enough to keep you coming back. If you want to play this type of light, arcade-like driving game, stick to last year's Hot Pursuit.

It squanders its terrific concept by saddling it with poor handling, insanely inconsistent off-road and crash behaviors, and straightforward, race-only multiplayer that isn't good enough to keep you coming back. If you want to play this type of light, arcade-like driving game, stick to last year's Hot Pursuit.

Origins' hours of wonderfully crafted entertainment deserve to be seen, to be played, and to be enjoyed by as wide of an audience as possible. Seek this one out.

The slow start burns up a lot of levels with areas that aren't particularly challenging or effective as tutorial sequences to prepare you for the rest of the game. But if you've already made the investment in a 3DS and you're looking for something--anything--that resembles a must-own game, Super Mario 3D Land is precisely that.

With all of these things in mind, I respect that Saints Row: The Third might not be a game for everyone. Specifically, those who do not find joy in the act of inflicting terrible, fiery, dildo-y pain on whatever innocent polygonal creature happens to wander too close to their personal blast zone will probably not get much out of Saints Row's unrelenting dedication to preposterous anarchy. It is a game specifically designed for annihilation junkies, those who can embrace the idea of an infantile playground of seemingly infinite obliterative pleasures. For those who prefer their games a tad less absurdly--perhaps needlessly--violent, any number of other games this fall will likely suit your fancy just fine.

With all of these things in mind, I respect that Saints Row: The Third might not be a game for everyone. Specifically, those who do not find joy in the act of inflicting terrible, fiery, dildo-y pain on whatever innocent polygonal creature happens to wander too close to their personal blast zone will probably not get much out of Saints Row's unrelenting dedication to preposterous anarchy. It is a game specifically designed for annihilation junkies, those who can embrace the idea of an infantile playground of seemingly infinite obliterative pleasures. For those who prefer their games a tad less absurdly--perhaps needlessly--violent, any number of other games this fall will likely suit your fancy just fine.

Designer Shigeru Miyamoto once said "the first 30 minutes of a game is the most important," and Skyward Sword fails to pass that test. It takes several hours before you're given any sense of real freedom, which is too bad, as the game manages to merge the sublime openness of the sea from Wind Waker (without the Triforce madness!) with the directed fun of most other games, as it's easy to just keep moving forward without much fuss. And by the time you start seeing what the designers really have in store for you..., you actually don't want it to stop, even if you're able to constantly, cynically predict when the game will ask you to find just One More Thing before it's all over.

No other game I know of operates with this many moving parts to create such an immense world filled with this much choice in how you engage its excellent, endless fiction. It's one thing when a game offers dozens of hours of gameplay; it's quite another when that gameplay is good enough you'll want to live in its world for that long.

No other game I know of operates with this many moving parts to create such an immense world filled with this much choice in how you engage its excellent, endless fiction. It's one thing when a game offers dozens of hours of gameplay; it's quite another when that gameplay is good enough you'll want to live in its world for that long.

Still one of the best first-person shooters of the year...But the whole thing feels old at this point. The new tricks feel more like a distraction designed to make you forget how revolutionary Call of Duty 4 was. I will certainly buy and play a copy of Modern Warfare 3, but there's nothing here that makes me want to shut off the rest of the world and obsess over it anymore. It makes you wonder if the franchise's best days are truly behind it.

If you can accept that BurgerTime: World Tour is something fairly different from the arcade classic you may remember, there's a good chance you'll find some enjoyment in it. Like your average fast food hamburger, it's insubstantial, but so is its $10 price point. It's a solid multiplayer snack, if not a proper meal.

Whether you're curious about trying Infamous for the first time, you wanted more after finishing Infamous 2, or you're just looking for a quick experience in a well-constructed Halloween setting, Festival of Blood is worth a look.

Exactly what Battlefield fans most likely wanted: a chaotic, gorgeous multiplayer game with small, but important tweaks to what already worked in past games. That it includes a short, somewhat mediocre solo campaign and some hit-or-miss co-op action does not detract from the fact that, online, this is the best Battlefield game yet.

Exactly what Battlefield fans most likely wanted: a chaotic, gorgeous multiplayer game with small, but important tweaks to what already worked in past games. That it includes a short, somewhat mediocre solo campaign and some hit-or-miss co-op action does not detract from the fact that, online, this is the best Battlefield game yet. The PC version's online matchmaking tools are way ahead of the curve and a good example of how to do social networking in video games the right way.

House of the Dead: OVERKILL Extended Cut so relishes wallowing in its own filth, that at a point it's easy to start questioning whether the stuff that's terrible about it is that way on purpose. (Spoiler: some of it is, some of it isn't.) It's the most shameful of guilty pleasures, brain-dead and proud of it, best suited for those with a lust for the minutiae of cinema's seedier side.

The Just Dance series feels like it's headed in the right direction with Just Dance 3, but it still has a long way to go. If you were satisfied with the Just Dance experience on the Wii, and you find the soundtrack to Just Dance 3 appealing, you probably won't be disappointed. But you should know that you can do better.

Dance Central 2 is better than Dance Central, though that margin will vary significantly depending on how dissatisfied you were with the original's lack of two-player support or a structured story mode to ease you into the experience. Personally, I was happy to just have more Dance Central, but what I got was better than that.

The only thing that might surprise you about Uncharted 3's relentless roller coaster ride is that it doesn't advance the standards for video game action like its groundbreaking, mind-blowing, superlative-generating predecessor did. But it certainly does match them. There's a slight sense of "been there, done that" in the way this game hews so closely to Uncharted 2's masterful blend of puzzle-solving, parkour, and dizzying action scenes.

There are moments of multiplayer thrill to be had here, but they're infrequent, and sometimes tough to get to.

Enemies don't require much strategy in All 4 One. Especially towards the end, crowd control demands the game boil down to endlessly cycling between rockets and grenades. Yawn.

A streamlined front-end and more clearly spelled-out progression would probably go a long way. But if you're up for digging around and find the idea of a driving game that's a little left-of-center exciting, TM2 is kind of incredible.

Were it not for the online issues, NBA 2K12 would be the closest thing to a "perfect" video game basketball experience we have yet come to. In fact, it still probably is. This is one of those rare sports games where the offline content nearly made me forget about the online component.

It might not rewrite the book on Batman video games, but when you're building off of such a strong position--and you're only shipping the second game with such similarities, rather than a third or fourth--it's hard to bicker too much about what changes the developers did or didn't make.

The way this game depicts Frank going through nearly the same story you've seen before sort of cheapens the existence of the original Dead Rising 2.

The way this game depicts Frank going through nearly the same story you've seen before sort of cheapens the existence of the original Dead Rising 2.

The way this game depicts Frank going through nearly the same story you've seen before sort of cheapens the existence of the original Dead Rising 2.

Save for some occasionally witty banter, this generally generic brawler is too concerned with the window-dressing of time-travel to capitalize on Spider-Man's character, abilities, or mythology.

It's still a beautiful game and it's probably the world's best driving simulator, at least for consoles, but a lot of Forza 4's changes feel incremental at best. The game includes many of the same tracks found in previous installments, and I found myself getting a very "annual sports game update" vibe off of it. With that in mind, it seems like the game's most die-hard fans and people who didn't play the previous Forza will get the most out of Forza 4.

This is meat-and-potatoes action game design with a few antiquated quirks, but it does what it does well enough--and looks legitimately stunning while doing it--to deliver a satisfying experience, all told.

This is meat-and-potatoes action game design with a few antiquated quirks, but it does what it does well enough--and looks legitimately stunning while doing it--to deliver a satisfying experience, all told.