The presentation, while certainly more mature, has lost that almost imperceptible 'something' – personality or individuality perhaps – and you'll either dig the change, or you won't really care. And why won't you care? Because the gameplay is still just as solid, entertaining, compelling and addictive as ever.

Its larger than life sci-fi world and speedy, explosive gameplay really work on console and the whole thing runs like a dream. A great PS3 port, and a ready demonstration of what the system can do in the right hands.

It has as much depth as we can ask for a true real-time RTS based in Ivalice, with some of the best production values this side of a first-party Nintendo release.

The value of the game is really dependent on your passion and commitment.

The accuracy of the shooting is a little off – even though the 5-point calibration aims to fix this. The gun is only suited to righties or the ambidextrous, too.

The whole Trauma Center experience trends towards the sterile.

It effortlessly captures the feel of a classic, rollicking pulp adventure film through charming, fallible characters, great dialogue and voice acting, over-the-top action sequences, and a story featuring plenty of twists and turns.

An adventure that, for all the self-important dialogue and forced morality, is unquestionably worth your time - particularly for fans that can differentiate between action/platformers and stealth/RPGs.

Sadly, the positives don’t outweigh the negatives, with the clunky gameplay, poorly structured missions and woeful AI making this game more of a chore to play than a joy.

Rapturous. There is simply no better word to describe this game. It’s a joy to play from start to finish; jam-packed full of both inventive new ideas and nods to Mario past, with a difficulty curve that climbs slowly and steadily.

The old-school controls and clumsy menus are even more evidence that not a lot of thought went into this sequel.

It might not have the lengthy feature list of certain other shooters, but there’s no denying that COD4’s strength is KISS – Keep it Simple, Stupid. By not trying to reinvent the wheel, Infinity Ward has done what it does best – build a shooter that is unrivalled when it comes to the sensation of being in a real warzone.

Zack & Wiki is very much what happens when talented Japanese game designers decide to revisit classic point-and-click adventure gameplay, and proceed to inject it with their own aesthetics and sensibilities, all with a modern coat of paint.

There’s just so much to collect, so much explosive firepower to wield, and so much charm to the environments and characters that you’d be crazy to let this game pass you by.

It's as addictive and amusing as it ever has been, so if you can put up with the quirks and shortcomings, take The Prince for a roll.

Damn you Valve. That's what rival game publishers must be thinking.

Does the idea of a lipstick-wearing gorilla in a tight shirt and cut-offs who blows you a kiss from in front of a pink heart frame when you beat a challenge turn you on? If the answer is yes then this may be the game for you.

There's no denying how awesome the replay and Forge features are – but they're not the core of the game. Don't get me wrong, the single player campaign is very strong, the action is tight, and the AI is F.E.A.R.-killing. But for every positive, there was an area of the game that left me wanting more – the backtracking, the overly cheesy storyline, the underwhelming visuals. And multiplayer feels too much like a HD-version of Halo 2 with a few gadgets you can toss around.

Like the game's maniacal entrepreneur himself loftily aimed, Irrational put art and intellect above and beyond schlock of the common game. They accomplished something wonderful.