To my mind, BattleBlock Theater is (a crude) Adventure Time to Super Meat Boy's Ren And Stimpy: just as crazy, but more forgiving.

This is a frustrating game, not just because it can be occasionally unfair but because these guys clearly have an idea how to promote fear. Running around playing kiss chase with a trans-dimensional being doesn't really cut it.

A lot of what comprises Army of Two: The Third is total crap, and yet I had a lot of fun playing it. We don't know how EA has done it. They probably don't know how they've done it. But they have. And I'm glad they did.

It is fascinating, and also boring. It is important, yet forgettable. Its world is enticing and unappealing. It attempts to move things forward, yet is in places stuck in the past. For a game that has the potential to open up the franchise up to a multitude of different ideas and interpretations, BioShock Infinite can feel curiously limited.

Luigi's Mansion 2 is a joy, showcasing a love for characterisation and wonderful attention to detail that gives the game an inimitable personality. It never outstretches the limitations of the 3DS, but continuously proves the system's lofty capabilities.

The game's main problem, everything considered, is that it makes what should be a test of skill and patience into a series of shooting galleries that require little skill. Instead, it's a woeful Call of Duty with a telescope.

The multiplayer and campaign go to great lengths to make themselves more inclusive for new players, and yet the requirement that you already own Wings of Liberty ensures that very few of these people will play it. For a campaign this excellent that’s a huge shame, but the damage is more substantial when you look at the competitive multiplayer.

A solid effort that, in some ways, changes the Gears formula for the better. Whether it will be remembered as anything other than a stopgap is questionable, but small qualms aside, it's a good one.

Ultimately, it’s kind of hard to judge Lego City Undercover as a typical open world effort, because in truth, Lego City Undercover isn’t actually that much of an open world game. Some missions do let you smash the place apart in a car chase or pootle about in a chopper, but outside of this there’s little to do.

The campaign is simultaneously more of the same and less of the same, being marginally shorter than God of War III’s story, yet lacking that game’s ferocity and pacing. It arguably has the lowest ‘wow’ factor of the four mainline games to date, and in a series that trades on spectacle, that’s not the best sign. Yet the multiplayer component is as fresh as the single-player is familiar.

Its mixture older-style exploration with LoS' combat results in not only a truly great Castlevania game, but also a great action title and one of the best offerings on Nintendo's console.

It is extremely impressive, on both technical and artistic levels. With that degree of sheen does come a lack of edge, of course, and Tomb Raider is not a brave game. Nor is it one that’ll likely live long in the memory, but while you’re walking in Lara’s muddy size fours, it is spellbinding.

By the end of the game I was bored silly, and considering the scope of what was going on that shouldn't have been the case. Sadly, bar a few exceptions – a Jurassic Park-style hunting section in long grass, an open-ended assault on Ceph AA emplacements – I'd rinsed and repeated the same thing so much that I couldn't care less.

Revengeance is pretty sweet, then, but the aftertaste it leaves can be disappointingly bitter.

What is most frustrating is the constant self-sabotage: every time the game does something right, it immediately then ruins it. A section of the game takes place in the derelict ship from the first film. There's a wonderful sense of intimidating scale here – think Kane lowering himself into the same ship. And then, as you contemplate the space jockey, a group of brainless PMCs run in and start shooting.

Unlimited may once again frustratingly fail to reach the potential of Scribblenauts’ terrific core conceit. But if any game this year makes my son and I laugh as much as this has over the past week or so, I’ll be absolutely delighted.

Dead Space 3 is a let down because it’s not a very good action game, and a really substandard horror game. It is devoid of ideas, hung up on laborious combat and obsessed with making even the exciting seem boring. In truth, it’s a bit of a shocker.

It may be stunningly unoriginal, but Table Top Racing still manages to deliver a functional racing game. The short race times lend themselves to the platform and it's at its best when power-ups are fizzing all over the screen.

Three very worthwhile games then, in a package sadly marred by poor decision making from the publisher. With a bit more care this could have been essential. As it is, there's a load of nonsense waiting for players to wade through before they get to the good stuff. Which seems to be a fitting description of the franchise as a whole these days.

The lack of an overarching story seems unfortunate considering Ron Gilbert's pedigree, too. However there is a strong thematic link throughout the game: archetypes are turned on their heads by egotism, and by the time you make it to the bottom, one man's treasure has become another's trinket.

But with one massive, graceful, Welsh-tinged sweep, the combined might of Level-5 and Studio Ghibli has reinstated credibility to a flagging area of gaming. It's taken years of craft and - likely - a hell of a lot of money, but Ni No Kuni is a wonderful, wondrous experience and will keep you captivated and enchanted for dozens of hours.

It's a game that's more respectful to the ethos of the series than its narrative canon, and as such it's more sure-footed in its systems than its storytelling. That's a surprise coming from Ninja Theory, which waits until the very end to match that early moment of daring. It's likely to prove every bit as divisive, but would a developer this ballsy want it any other way? Not in a million years.

So, there's little doubt that Ninja Gaiden 3 Razor's Edge is a superior game to Ninja Gaiden 3, but in a console market that's about to be assaulted by Dante, Raiden and even Kratos, it's seriously lacking in precision and balance. And considering the subject matter, you'd think that would be paramount.

It's easy to lump all military online shooters together and cast them aside if they're not your bag, but going back into the Battlefield is as rewarding an experience as I've had online this silly season.

Such is the disappointment of Epic Mickey 2 that fans of the original will feel that the entire soul of the game has been ripped out and replaced with a cheerier but gormless imposter, while anyone who didn't rate it will find even less to enjoy here.

The magic of exploratory freedom is rife here, and not even the weaknesses of the main plot manage to excessively taint what is top-quality DLC.

ZombiU has more than enough value as a solo experience to strongly recommend. It's a hell of an achievement for a launch title from a third-party team getting to grips with strange new hardware – who'd have thought that not Nintendo but Ubisoft would have created the defining Wii U experience?

Stealth Bastard Deluxe is a competent little head-scratcher, then, and while the death of your anonymous clone subject is constant, it is rarely aggravating.

Sticker Star's lavish tapestry of neat touches keeps you pushing forwards in spite of the wonky puzzling and boring combat, and its vibrant, buoyant world marries so well with the script's deliciously wry take on Mario's classic tropes. It's just a real shame that the rest of the game feels paper thin.

If you're likely to get together with at least two friends and have the required extra hardware, there's enough here to warrant a purchase - just know that you're essentially buying the game for three incredibly fun party games. If you're going to be playing solo, there are better options available for the Wii U.

One of the year's best games, even when it forgets to hand over the controller and let you have a turn.

Far Cry 3 shines in its campaign, which is more layered and compelling than any game proffering a power trip through escapist ultraviolence has any right to be.

Things like the lack of online co-op are undoubtedly more prevalent with each iteration, but Lego Lord of the Rings is still a huge success that's wonderfully adorable and an absolute delight to play.

For all of SuperBot's noble efforts in creating an accessible yet technical fighter, you can't play PlayStation All-Stars Battle Royale without ever feeling like something crucial is deeply lacking. The weak roster and poor presentation actively works against the title, and while there's enjoyment to be found this is a game that's highly unlikely to stick in your mind or, more vitally, ever be asked for at parties.

Occasionally you'll witness flashes of brilliance, glimpses that suggest Io could yet salvage something from this wreckage for its next Hitman game. And then you finish a stage with a tedious quick-time event, snapping the neck of a morbidly obese Danny Trejo-alike in a wrestling match watched by hundreds - astonishingly earning yourself a Silent Assassin rating in the process - and you shake your head sadly and wonder how it all went so badly wrong.

Mixes some wonderfully loving nostalgia and ambitious design to create the first credible Mario Kart alternative since Crash Team Racing in 1999. Fact.

A fantastic game hindered by a disappointing opening act. It feels like a game of present and past, where the first half reminds us why today's games greatly miss the second half's nostalgic excellence.

There's just enough F1 style though to make it stand on its own. Yes, it perhaps should have been an XBLA game, and yes it's not really the type of game that sets the world ablaze with innovative audacity, but like most of the lineage it nods to, F1 Race Stars is just good, clean fun. What else was it ever going to be?

I prioritise the giddy highs of the Black Ops II's exhilarating multiplayer over the disappointment of its poor and brief campaign. Be very careful if you don't.

LittleBigPlanet Karting is an enjoyable game, but it's far from a great one, and it doesn't feel like it's had the love and attention previous games in the series have clearly benefitted from. Play it, mess around with its tools, and have fun, but LittleBigPlanet Karting's lack of personality will result in no long-lasting impression.

WWE 13 is far more fun than its predecessor, but this is largely down to some slight improvements to the core mechanics and the addition of hero-era nostalgia.

This is no longer Bungie's Halo, but much of what made the series such an irresistible proposition has remained intact for this new beginning. Rich, lavish and often spectacular, Halo 4 is an encouraging first effort from 343 Industries and a deserving entry into one of gaming's most beloved franchises.

Criterion has made no attempt to disguise the fact they're making a game designed to be played socially, so it's no surprise that Most Wanted only gets better once you party up.

This is a quite beautiful game at times: attractive, detailed, and beautifully lit. The soundtrack is less noticeable, though the main theme, with driving rhythms and a strident melody that recurs in other tracks is an instant classic. But ultimately the quality of the mission design has taken a huge nosedive from the series peak of Assassin's Creed II.

Loads of new features, the vast majority good and useful once you get used to the new layout. There are, naturally, some issues.

Layton is a good distance removed from the hysteria that surrounded his debut title, then, but the fifth game in this stylised series is enough to keep you entertained.

This is a bland, buggy and often boring title, one that belies the intentions of its developers and leaves the much-maligned modern shooter looking worse as a result.

Hotline Miami is a fair game, as much as it is hard, and you always know why you're dead, even if it was a fickle turn of the controls.

Captain Scarlett and Her Pirate's Booty is an affirming example of the right time, the right place and, crucially, the right content.

Despite the occasional glimpse of dollar signs in its publisher's eyes, Skylanders Giants is that rarest of beasts: a kids' game that's very, very easy for adults to like.

Here's a game that raises a glass to the past, and while Retro City Rampage is never as good as the strength of its references there's still plenty here for lovers of nostalgia to get involved in.

Treading an all too familiar path with little in the way of major changes, Black and White 2 will satisfy the itch while we wait for a true 3DS successor, but this tried and true formula is well overdue for a few more evolutions of its own.

Refining most of the series' hallmarks make Black and White 2 top of their class, but they highlight as many ageing qualities as they do endearing ones.

Around Every Corner might not reveal who's on the end of that blasted walkie-talkie, but it ends with such an almighty bang you're bound to return for the final fifth.

I find it easy to ignore Forza Horizon's traditional multiplayer when the single-player is so captivating and enriching.

As it is, though, The Unfinished Swan is little more than a pretty picture.

While I didn't bond with my horse as much as Molyneux may have liked, I fell head over heels for Albion.

There's just nothing else quite like it. NiGHTS HD doesn't transition as elegantly into 2012 as it deserves, then, but it's clear this 16-year-old cult classic still knows how to soar.

It's about controlling the terror levels of the countries you need money from, calming the alarm of your squad members as their leader is killed and their behaviour grows erratic and your own fears as you try to remain level-headed in the face of a terrified populace, a concerned council, and the sharp, poisonous appendages of a trio of chittering creatures advancing towards your wounded sergeant. After all, remaining calm under such overwhelming pressure isn't so easy when the person in mortal danger is named after your partner or best friend.

Despite the game's myriad achievements, Dishonored never really rises up to the greatness of its potential. Arkane Studios' effort isn't quite as clever as it needs to be: it doesn't really build up to anything momentous, or have anything special to say, and it's particularly galling to see a world that's been so painstakingly created not live up to its potential when it comes to narrative and context.

Resident Evil 6 is not one but four games, and Capcom has done a beautiful and stupid thing in its attempt to recreate a rich, diverse and storied series into one single title.

Tweaks and refinements help Torchlight II's mechanics sing beautifully together, and certain efforts to streamline the whole kaboodle go down a storm, but innovation isn't really the focus of this blisteringly colourful, entertaining but ultimately familiar romp.

Despite originally pitching itself as a more serious fighter, Dead or Alive 5 stays very true to its roots by offering a gentler introduction to the genre. Tits, thongs and throws, it still offers everything you'd expect from Team Ninja's famous fighter, though maturing fans might find themselves put off by all the titillation.

Even on easy mode, FTL is another capital-D Difficult game and its random nature means even the most careful of explorers might find themselves unexpectedly asphyxiated.

Definitely an improvement on its predecessor. The additions from last year have been worked on and sit far more comfortably this time. Developed physicality and complete unpredictability mature proceedings on the pitch.

Hopefully the quality of Rayman Jungle Run will herald a wave of developers rethinking how to transition their titles to mobile, hopefully making it so we can all live in a world free of dodgy virtual d-pads. I imagine, though, that natural simplicity and finesse of Rayman Jungle Run will just lead to loads more games that are a lot like Rayman Jungle Run.

On paper, this sequel reads much the same as the original. But it's not - it's a vastly superior game with a sharper focus, better quests and more enjoyable blasting. Borderlands 2 is a gamer's game, so if you like shooting things, levelling up and exploring every cubby hole across a massive, varied world - if you love games, basically - then it's definitely for you.

PES 2013 manages to do something only the best arcade experiences achieve. It offers playability to those who want to dip their toes in and hardcore techniques for the serious gamer.

The subtle improvements are almost invisible to an untrained eye, but F1 nuts will find immeasurable satisfaction in taming and tuning this year's cars to performance perfection.

Armored Kill is proof that DICE is still the best in the business at crafting these colossal worlds in which to play, and it's an expansion that makes Battlefield 3 feel vital and current once again.

There's plenty to see and do, then, and I managed to whittle away 100 hours quite easily. But this isn't the transformative revival of the MMO genre that some were expecting, with many of the quests falling into the same pitfalls of repetition that often blights the genre. ArenaNet's efforts to encourage discovery and exploration are rewarded, and their efforts to streamline the genre help Guild Wars 2 raise the MMO bar ever so slightly.

Tokyo Jungle should be praised for its originality, even though it isn't a consistently engaging experience. If you're willing to suffer the slog of survival through testing environments and even more testing game design you'll be rewarded with a 70-year dynasty of beagles. If you don't have such patience, you might find that your mutt barely makes it to his first birthday.

This is ultimately a modern game deeply rooted in nostalgia, and you can still see the component parts of Tony Hawk's Pro Skater, Trials, Sonic the Hedgehog and Excitebike in Joe Danger 2: The Movie, but this time around the amalgamation is seamless, unique and completely coherent.

There's never enough of a challenge to match how complex the levels look, resulting in a joyous jaunt through some wondrous lands that never reaches the gameplay heights that always seem to lie tantalisingly around the corner.

Time will tell if it can hold up in real world conditions, but I found myself playing comfortably against American players, which felt remarkable in a world where Tekken 6 became a stuttering, wheezing mess as soon as you even considered taking it on the Internet.

Despite the whopping size of your new stately mansions, Hearthfire feels cold and empty.

Super Hexagon is hard enough to infuriate, but its competent design makes it inviting as well. This game will invite you to have one more try (taking less than a second to restart), and it'll invite you to immerse yourself and play instinctively too: for a game like this, that's the greatest invitation of all.

Leviathan manages to just about recapture what makes Mass Effect compelling, but by failing to develop any of the game's most central characters it struggles to find a place in a narrative that many of us will already be done with.

The team at Telltale Games have done an incredible job keeping the series fresh, and they don't look like they're going to rest on their laurels anytime soon.

Transformers: Fall of Cybertron doesn't come close to recapturing the magic of fighting Autobots and Decepticons in the bedrooms and playgrounds of our youths, but High Moon Studios has created something that allows us to fondly recall those bygone times.

There are better 2D brawlers out there, better ones on Xbox LIVE Arcade in fact, but probably none prettier. And it seems like that's probably just enough to make my weird old brain smile.

It's destined to be nothing more than a forgotten idea, stuck behind a wall, trying desperately to get noticed.

There's plenty of things to like about today's modern shooters, but Counter-Strike is the only one of its kind designed to be anything other than a throwaway novelty you replace every year. It's the Audi compared to Call of Duty's Fiat.

Retro/Grade is built on a unique idea that simply isn't explored in an exciting enough way or to a sufficient depth to keep you interested for long.

You could ask for Darksiders II to be more imaginative, then, and it would be nice to see some sharper puzzles, tighter combat and loftier jumps, but for a game obsessed with revenge and murder Vigil has crafted something with a surprising amount of heart.

Sleeping Dogs may not offer anything particularly new and certainly nothing groundbreaking, but what it does do is deliver sharp, thrilling and just downright enjoyable action to savour. Other open-worlders have tried to veer from Rockstar's path, some have even tried to lampoon it, but Sleeping Dogs has shown, confidently and emphatically, that you don't always need to change the rules. You just have to know how to play.

I found it mightily upsetting to have something in my hands capable of such beauty, such triumphant gaming bliss, only to have that thing ultimately turn into disappointment and frustration. It's almost more upsetting than playing something that was never up to much in the first place.

There's plenty of unmemorable fun to be had here, but it's shocking how it only took three goes for Nintendo to make New Super Mario Bros. feel old.

Even though much of Orcs Must Die! 2 feels like it's an expansion rather than a fully-fledged sequel, Robot Entertainment adds and refines just enough to get away with it. Besides, you'll be having too much fun knocking back waves and waves of all those nasty Orcs to care.

The visual design is absolutely sublime, but these cinematic influences create a wonky gameplay experience much too afraid to do anything but guide the player through tedious chunks of unwanted script. Deadlight does not create a compelling narration no matter how hard it tries, and it's galling to see Tequila Works choose to sacrifice an entertaining game in the process.

'Wasted opportunity' is a phrase that keeps rearing its head, whether it's thanks to the garbled translation, a broken hints system, or completely absent puzzle logic. Anna has some great ideas, but it's the game's carelessness that'll stay with you, not its moments of inspired horror.

Wreckateer's main problem has nothing to do with Kinect; the game's fatal flaw is that it never manages to engage with its audience. The hollow, unmemorable levels are bountiful yet unspectacular, and the game's tumbledown physics feel so commonplace and uneventful that even the novelty of aiming with Kinect can't save it.

When I recall my time with Amazing Alex I can only really remember throwing a couple of tennis balls down a pipe. And that's not really that amazing, is it?

Fun for the most part, but infuriating control issues, crazy bugs and various omissions make you wonder why a game that isn't an untouched HD port wasn't bolstered and expanded upon in some way.

Zuma doesn't quite pop off the screen and infest itself into you brain like PopCap's bigger hits, but there's some entertaining, though slightly gentle, puzzles to be had within its therapeutic confines.

Beenox deserves some mild applause for constructing a game that succeeds in being consistently fun despite the fact it's a movie tie-in.

This is a game of strict and deflating challenges, then, and while Spelunky is a fine addition to the growing library of masochistic titles it doesn't always quite manage to elicit the right response from its players. There are occasional moments of intense euphoria to be found here, but all too often Spelunky just makes you feel crap.

Theatrhythm's real star is undoubtedly its music, however, which appeals far more than its cumbersome RPG elements.