Need for Speed: The Run's biggest problem is how much it has in common with a real drive from one end of the US to the other. There are a few bright spots here and there, but it's mostly full of unexpected stops, lots of flat tires, and too many assholes on the road. This isn't the worst Need for Speed, but it can't place against other, better racers from the last year.

Beatbuddy's incorporation of music into its gameplay is truly wonderful, but the repetition of its challenges holds the experience back.

Driveclub is a well-made, sometimes irritating juxtaposition of the old and new.

The one aspect that most defines Silent Hill, story, is lacking here in both presentation and content, again providing a missed opportunity for material to lure me back in.

The cel-shaded graphical style and kid-friendly characters keep the game from delving into morbidity and the message, overall, is one of positivity and joy. Nox and his friends aren't hoodlums, they're just young artists caught up in a dangerous situation. It's just a shame the game's frustrating design makes it so hard for you to help them.

I find myself wishing that The Testament of Sherlock Holmes were more like a Professor Layton game than a free-roaming adventure, since the puzzles are where the game truly succeeds.

Attempt to play this style-over-substance offering as thoughtfully as its creators intended, and you'll wind up disappointed. Accept it as a button-masher, rather than the deep brawler it wants to be, however, and working out Crom's anger issues might become your next go-to guilty pleasure.

Of all the issues with online play, the lag during matches is the worst. Even when playing against people in your local region, and even with the stereoscopic 3D effect automatically turned off for online battles, lag manages to stutter into bouts more often than not, typically at the worst possible moments.

Thankfully, even when the blades are dull, the writing is sharp. Even so, many jokes are of the family-friendly sitcom variety, and play off of RPG tropes. If you've never laughed at the convoluted plots, overdramatic heroes or NPC behavior seen so often in the role-playing genre, this weapon may not be for you.

The game's ultimate failure is that it doesn't quite create an identity for itself. Beyond some entertaining moments, Warp isn't particularly memorable.

The core gameplay in Pro Evo 2011 3D is enjoyable, but it's constantly failed by the rest of the cart's fundamentals. Even with the game's limitations and shortsighted exclusions of some modes, the few options available to customize your experience makes for one of the best portable soccer games on the market. That may not be saying much, though.

Grid 2 has its moments, but every racing game comes down to the relationship between car and driver, and here it is almost exclusively an adversarial one. Were the cars more fun to drive, the events more coherently constructed and the AI given a sense of a self-preservation, Grid 2's best moments could have been the norm, instead of the exception that proves the rule.

If you're in college or live near lots of friends who regularly visit your abode as a group to play games, Slam Bolt Scrappers is perfect for you. Unfortunately, I don't have either of those luxuries. If you're in the same boat, you may want to think twice before laying down your money.

There is a certain purity to admire in Contrast, spotted throughout its dream-like world and theatrically contrived platforming, but it's just a little too concise and a little too thin, like a fleeting shadow.

Rather than variety, Shinobi embraces the daunting challenge leitmotif seen in games like Super Meat Boy, but it does so absent any particular charm.

What's heart-breaking about it all is that Grasshopper can do better. With a few tweaks to the combat – weaker zombies, and perhaps more of them – the experience could be much more entertaining. As is, Lollipop Chainsaw is a serviceable confection, though something of a bitter one.

The characters are well-designed and the story well-performed, but actually playing through the campaign is a chore. The multiplayer can be great, especially in the team or Death Ball modes, but the limited combat is bound to wear thin before too long, and matchmaking troubles are irritating.

There are deep, deep pockets of joy embedded in the mantle of Burnout Crash, but for reasons beyond understanding, you're going to have to do your chores before you're allowed to play them.

Make no mistake, Matt Leinart is a Heisman Trophy winner, and USC retired his number for a reason. He was excellent in his college years. But he's not my first pick as an all-time great, and neither is NCAA Football 13.

There's a fun shooter, exciting powers and some neat weapons in there, but it never quite comes together thanks to dull levels and half-baked puzzles.

Here's hoping Square Enix decides to perform some flaw-flushing open-heart surgery on the series before its next entry, because hiding the messy bits under arbitrary new systems clearly isn't doing it any favors.

Hohokum offers more than you'd expect but less than you'd want; without gameplay depth to back up its visuals, it sparks the imagination but doesn't kindle it.

Yes, the campaign is unexciting compared to the delights outside of it, but there's great promise too. It feels like developer TT Fusion is, quite appropriately, building towards something more with Undercover, something that really shows Lego games can stand on their own two leg blocks. It just isn't there yet.

As a shoot-'em-up, though, A City Sleeps feels half-baked. The foundation is solid, but since it only includes three levels, it has to ramp up its difficulty too quickly, and it becomes overwhelming and frustrating as a result. With a more measured approach to difficulty and more levels to give players time to acclimate to its mechanical quirks and control issues, A City Sleeps could be exceptional.

If you find you have a knack for the basic gameplay of FlingSmash, beyond willing yourself through the levels as I did, there's plenty of replayability.

Skullgirls should have spent another year in development. What we got is good for what it is and will adequately fill a very niche void for serious fighters pining after a non-Blazblue Guilty Gear methadone, but it could have been so much more.

It embraces and relishes in the legacies and identities of the companies, characters, and worlds it encompasses. If you don't know or care about a lot of the cast, then this will do nothing for you. For others, engaging with characters from the unlocalized Valkyria Chronicles 3, or seeing Tron Bonne after the cancellation of Mega Man Legends 3, will hold a unique significance. Project X Zone may be a poor strategy game, but it will still be a very special experience for many.

Resident Evil fans will want to see the story, and will forgive the design flaws and wacky dialogue. For everyone else, the game doesn't hold the HD spotlight well. This was a quality handheld title, but on a larger screen it falls into the middle of the pack.

Dive's problems seem more glaring because I liked it so much initially.

I honestly can't say Wii Party is a bad game. I just also can't say it's a great game. It's ... fine. But, then, is that really the reaction you want to have to your party entertainment?

The kind of game we think we want. It aims to be thoughtful and mature as it ponders our recurring role as the trigger-happy mass murderer. And yet it casts us in that same spot again, making a boring job out of it and highlighting why even "stupid" games can better engage, entertain and challenge.

But especially on the PS3, the menus and various engine bugs really make it tough to justify the initial purchase (with one free month of gameplay), much less the eventual monthly fee.

As a work of art, Rain masterfully captures and maintains a mood that will speak to players, but as a game, it's soggy and unrewarding. It's also quite short, so if you'd like to explore which side of Rain appeals to you more, you can do so in an afternoon – rain or shine.

Like messy upper lip hair, MLB 2K12 is so bad at times that it's good. Learning to play along with its imperfections reflects the sport well, but that doesn't excuse its rough patches. This year's edition doesn't do enough to truly stand out from past games in the series, save for the welcome added strategy in pitching.

Your Shape Fitness Evolved won't replace your gym membership or motivate those who aren't already fitness-inclined, but for those looking to mix up their current routine or supplement their workout regimen, it may do the trick.

Looking only at its core mechanics, Project Diva F is about as basic as a music game can get. It's not that it makes any huge missteps; more that it simply fails to do anything particularly interesting in a very well-trodden genre.

The core gameplay of sneaking, assessing the situation, downing enemies, disabling cameras, pilfering plans and occasionally snapping necks is great fun. Setting up a string of sticky bombs for a connect-the-dots series of explosions is especially satisfying, but delights like these are weighed down by CounterSpy's random structure and, in particular, its "more more more" approach to difficulty.

Not unlike a cartoon, Octodad: Dadliest Catch shines brightest when it allows you to revel in the insanity of its premise, but every running joke has a limited shelf life, even when the gag is this good. If you can forgive that, and the sometimes incongruous challenges, Octodad's charm may just win you over.

Wasteland 2 is so packed with stuff to do and things to see that the game demands multiple plays, yet its story options are so intricate that replaying the plot never seems like a chore. But all of that is overshadowed by omnipresent bugs.

Swarm is a good idea in need of better executions.

A high-quality localization and a wealth of content, however, can't make up for a gameplay experience that quickly grows stale.

Gladiator Begins' smaller successes still can't compensate for its significant problems, and the game as a whole never quite gels in an effective way. Brutality, splashes of blood and gigantic swords might look and feel great, but I feel like Caesar wouldn't have mercy for this fighter's incompetence and missed marks.

That world, by the way, is the same one you already explored in Crackdown, if a touch more run down. Tack that on to the loads of comically plain textures and frequent slowdown and you've got a graphical package that's doing nothing to alleviate the sense of déjà vu.

If the Xfinity-branded hypercar race a few hours in is anything to go by, The Crew is an overt attempt to capitalize on the popularity of modern car culture, and it would seem entirely cynical if not for a few redeeming design decisions. In the world of modern racing games that's just not enough to earn a victory lap.

Throwing a thunder ball often took multiple attempts, while calmly aiming for a headshot felt much more accurate and satisfying. Ultimately, as great as Diabolical Pitch's zany concepts are, the inconsistency of the controls dulled the overall experience -- and my pitching arm.

There's the potential for a great competitive puzzler here, but the missing features, along with the iffy odds of actually connecting to an online game without something getting mucked up, make Magical Drop 5 impossible to recommend.

It could have been an addictive mission-based multiplayer title perfect for a portable platform, but with its limited content and quickly tiresome combat, Mercenaries 3D is little more than a fully-priced proof of concept.

The staffers of Beenox may have done their research and read plenty of back issues, but if Spider-Man: Edge of Time is any indication, they never, ever wore the PJs.

As you can see, Remember Me inspires excuses and an attempt to polish up the parts that are capable of shining, even after making a case for mediocrity. The anxiety over homogenous AAA games is only growing, making us latch on to the odd ones that dial down the shooting and make way for smart heroines. If only that alone was enough to deliver excellence, and not just the kind of game that ought to be remembered for trying.

Though it uses the language of both games and movies, it's usually the most interesting when it abandons big-screen bluster to focus on minor dilemmas that strengthen the protagonist as a person. Beyond that, you're just the ghost in a ghost story, only appearing when the scene calls for a cheap scare.

Warriors of Rock adamantly refuses to evolve the series in any discernible way, and, as a result, the Guitar Hero formula's gone stale.

Wayward Manor has charm for the adorable-goth market, but not so much for puzzle game enthusiasts. It's simple, slightly janky and kind of cute, with an OK story and sub-par game design.

Jim Peyton's story as played in Lost Planet 3 is a mixed proposition, in need of trimming to the monster-shooting tedium, yet anemic at its core interactions.

Spinning around an opponent is fun enough, but the lack of of variety in game modes leaves you hanging after a few trips to the court. The latest FIFA Street could be the foundation of a great game down the line; it just isn't one now.

Evil Within just plain doesn't give you a fair chance to succeed. It doesn't provide enough information for you to make good decisions and it handicaps your ability to fight well. It requires so much repetition that it can't possibly maintain any sense of tension or unease, and its story is told so aimlessly that you'll likely forget the plot between scenes.

Rocksmith doesn't teach the player anything; they teach themselves, and there are much more entertaining and fulfilling ways to be a self-taught guitarist.

Fun for a few hours, better with friends, soon set aside for more complex experiences.

It tries to combine artistic vision and depth with traditional game objectives, and ends up being weaker for it.

Playing cards with some talkative favorite characters is great ... for about the first 30 minutes.

There's little power to the bland gameplay or awkward, convoluted story. Laika is a tragic figure whose real-life fate is depressing, but the Laika of The Sun at Night doesn't make me feel anything at all.

A Game of Thrones: Genesis feels cheap. The unique focus on treachery politics might have been enough to compensate for the lackluster graphics and gameplay a decade or so ago, but it's on the fast track for the bargain bin by today's standards.

In the crowded puzzle genre, especially on a handheld like the 3DS, Minis on the Move doesn't stand out in any significant way. There is no impressive gameplay twist, no mechanic that feels fresh or noteworthy. It may attempt to mesh hectic action with mind-bending challenges, but it doesn't particularly succeed at either.

Ryse: Son of Rome falls into the trap of your typical launch game: it does well to show off the power of the system, but it's slim on substance. Production value aside, Ryse is short, easy and lacks the punch of other action games. For all of it's pomp and flash, Ryse: Son of Rome is a shallow bore.

Red Faction: Armageddon manages to strip most of what was good about Guerrilla and fill the vacuum left behind with only mediocrity and a cool magnet gun.

If there's something we can all learn from HAWX 2, it's that, no matter how cool it sounds, flying a cutting-edge, multi-million-dollar jet fighter bristling with the world's most advanced weaponry is pretty dull without the opportunity to do anything really cool in it.

A severe disappointment. The chain wrestling mechanic is tiresome, and online play is a chore. A dearth of customization options across the board tear away at what made the series special.

Had the actual gameplay been less clunky, more well balanced, more challenging and less aggressively abusive, Black Knight Sword's sense of style and unique presentation would have been healthy bonuses on top of an already stable foundation. As is stands though, the game's artistic atmosphere and sense of self are all it has going for it, and sadly that's not quite enough.

Sadly, though its reanimated heart is in the right place, Rock of the Dead ends up a little too much like its undead antagonists: starving for brains.

Core ideas that exist in I Am Alive show an exceptional amount of promise, but the title shows its hand far too quickly, running out of captivating tricks within the first few hours.

There are some enjoyable bits here and there -- notably the flying sections and Rancor Rampage -- but for the most part, the Force pull of Kinect Star Wars far exceeds its Force grasp.

Maybe the issue here is whether or not a remake was a good idea, because the new Karateka has too many issues and too little substance to compete against current peers.

That butler is what I most clearly remember about Pid. In time (maybe just in a matter of weeks) it's probably all I'll remember about Pid. I'll see him flying around, crushing my spirit time and again, and cleaning up those broken pieces of glass. Too bad he can't pick up the pieces of this once promising game.

It's a shame, because there are moments when Daylight's ominous ambience is pitch perfect, but ultimately it's undone by ho-hum gameplay and a dull story. The witches are truly unnerving, but they're never a real threat, and the reward for your survival is disappointing.

Unless Pokémon are an essential part of your toy-based video game equation, you'll find better, more engrossing options in the Skylanders series or Disney Infinity.

What could have been a return to form for the series ends up suffering an almost total loss of form. If this game didn't carry the SOCOM name it would be just another functional third-person military shooter that you might recognize when you saw it in the markdown bin after a few months.

The question then (and isn't the question always some variation on this?) is how did Kaos Studios and THQ go from that great germ of an idea to the brain-dead, dull and frankly pretty lousy final product they're releasing today?

The ability to do a celebratory dance (as reflected by the mimicked movements of your Xbox Live Avatar) upon even the most minor successes never, ever stops being entertaining -- if only there were more in Kinect Sports: Season Two to celebrate.

Ninja Gaiden 3 is all murder and no execution. It places utmost importance on the periphery, neglecting the mechanisms of combat while splashing blood across the screen and desperately sniffing the air for just a hint of remorse from its protagonist. The franchise has never been more accessible as a result, and never more disposable.

Ultimately, Patapon 3 is the product of big dreams half-achieved. Around every corner, it buckles beneath the weight of its own ambition, hoping that its catchy, four-measure jingles and visual charm can redeem its rage-inducing missteps.

Splatterhouse is like an undercooked blood sausage. It's sloppy, gooey, and all falls apart under any real amount of pressure.

It's a brief, underwhelming and unchallenging experience that never really gets up to speed as a sequel -- never mind a particularly good platformer.

If your goal is simply to be more active, of if you're just starting to dabble in dedicated personal fitness, Wii Fit U will probably fit the bill. If you're willing to put in the legwork to create a regular regimen and stick with it, you can definitely get a good workout. Anyone seeking detailed fitness guidance and structure should look elsewhere.

If there wasn't a decent racer attached to the gimmick, I wouldn't recommend it at all.

Cyanide's vision for Game of Thrones is ambitious, but the studio's end product has buckled under the weight of its intricate design document. Despite some ideas I've fallen in love with, it's a buggy and ugly mess of a video game. Even for its story and brushes with the franchise's fiction, it's difficult to recommend to either series vets or role-playing fans.

With a better matchmaking system and more multiplayer options, it would be easier to recommend. As it stands, with so many quality shooters in the budget download market (or even the free-to-play market, for that matte), the few intriguing pieces of Nexuiz aren't enough to lift it above the crowd.

There are some interesting, even good ideas in here. It would probably make a good multiplayer component for a better side-scrolling action game. But I honestly can't see the experience HoD offers remaining engaging for more than a few hours -- even for the most passionate Castlevania devotee.

Unfortunately, Lost World tries to pack in so many mechanics that it suffocates the rapid-fire platforming segments, which are breathless when all the mechanics are suited to Sonic.

It's a noble and sweet idea, held back by monotonous grinding and technical issues. And by "technical issues" I mean "the camera."

Its gameplay variety is appreciated up to a point, but Sonic: Lost World misses the mark more often than it succeeds, as frustrating level design and unimaginative boss encounters are enough to overshadow its fleeting moments of brilliance.

The game-breakingly slow pace of a game that isn't that exciting to start with took its toll. Fortune Street has no respect for players' time, turning what should be a breezy pastime into a languid, dull experience.

These superb touches only serve as a reminder of how good the game could have been, and how thoroughly its been spoiled by its one defining flaw: It tries to find a happy medium between two genres, but sadly fails to capture the essence of either.

Light reaches for greatness, but ends up merely serviceable; nothing breaks or falls apart within its mechanically sound design, but nothing inspires the game to step out from the shadows of better games.

It's a fully-featured, sloppy, frequently frustrating attempt to do well by everyone. Everyone would do well to study its anatomy, to learn what happens to a series stuck somewhere between a new life and an old body.

The trouble with this top-flight presentation is that it never feels like it's supporting or heightening a superior action experience, it feels like it's trying to mask a hollow one. Dog Days can throw out all the light blooms and shaky cams it wants, but it all seems a vain attempt to hide the fact that this particular enchilada is little more than a stale, rolled-up tortilla.

Unlike the Buddha, who waited for his students to grasp his lesson on their own, The UnderGarden felt the need to prompt me. That's not very Zen, dude.

If it had greater enemy variety and required players to utilize their full arsenal of abilities – and if its technical issues were ironed out – it might have really been something special.

It's conventional. Playing the game is like being handed a piece of paper and checking off a to-do list. The old games weren't much different in this respect, but this is supposed to be a modern game and it's lacking in stories to tell your friends. A city is millions of people living together in harmony and tension. It's a human achievement and it's messy. SimCity is gorgeous and bland.

Assassin's Creed Unity is the best and worst of Assassin's Creed. It's hard not to appreciate everything that it gets right, and you'll have a good time if you can wrangle some friends for co-op, but it's impossible to ignore where Unity falls tragically short.