Saints Row: The Third heads further down this route, building on the craziness of predecessors; lapsing further and further from a crime story and into the realm of madcap, chaotic hijinks. As with the previous games, you’re playing a custom-built crime lord-slash-psychopath. From the get-go its clearer than ever before that something’s not quite right with your character, whose opening act is to plan bank robbery with a gang dressed as your BFF, Johnny Gat, adorned with giant bobblehead masks. We all know this scene from the trailers. The game offers no more advancement on why this was a great plan.

Your arrival in Steelport (the city in which the game is set) is accompanied by an explanation of a plan – told while skydiving, obviously – which goes something like this: “I’m going to drop you, jump through the plane’s cockpit, shoot up the place, drop out of the back and catch you.” It’s ridiculous. But the thing is…when the plan actually comes together…it’s nothing short of spectacular. Shortly after this, you hit up a military base to get weapons. In this setting – and in your character’s head – this makes absolute sense, but he (or she) is a stone cold psycho. And planning is apparently not their strong point.

Saints Row: The Third may offer an impressive range of character customisation, but you are very much locked into one personality. Compared to the conflicted Niko Bellic and Red Dead Redemption’s John Marsden, you are an unrepentant lunatic with high ambition, a love of strippers and a complete disregard for instructions. Where there was often a tension between Rockstar’s Marsden and the Marsden we wanted to be, Saints Row’s protagonist displays all the psychopathy needed to legitimise the disturbing behaviour a player has them go through.

In a world drowning in sandbox games it pays to be stand out, but the streets of Steelport are grey and indistinct. There are some impressive sights – like driving into town to witness the projects Saints-brand adverts lighting up the sides of skyscraper – but not enough. Indoors, things get better, with some great set pieces making for some unique battles, but the set dressing could be nicer throughout.

Fortunately, the people of Steelport really make it shine. Furries wander the streets, fans of the saints bug you for autographs or photos while you’re stabbing a cop in the face. They start getting fighty when you’re trying to steal their motorbike, or chase you down the motorway if you ding their car.

The enemy gangs are also somehow even more colourful and insane than the previous groups. In Saints Row 2 you fought against yellow yakuza, red gangstas and green Jamaicans. In Saints Row 3 there’s still a colour scheme thing going on – with the Deckers who wear neon blue Tron outfits and carry jRPG swords. Morningstar’s main forces are slick gothic types who dress in red, then there are luminous green luchadores (my personal favourite). You heard me, luchadores. As time goes on, while you’re still fighting against these guys, you’re also having to take on “The Man”. The GI Joe-like S.T.A.G. walk around in plastic-looking armour and laser rifles. They fly in sleek toy-like planes and spout out crazed propaganda. It almost becomes Fun versus Anti-Fun, with your gang as cocky, brightly-coloured rebels.

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For those who missed out on the initial release, Joe Danger is all about driving a bike through a large number of courses filled with traps, ramps and springs that will either help or hinder your progress. You could argue that it bears a striking resemblance (gameplay wise at least) to Trials HD, except the difficulty isn’t nearly as crushing. The game begins with an easy opening few stages, but the challenge ramps up considerably as things progress, eventually pitting you against other racers and forcing a quick restart should you have missed the object you were gunning for. The beauty of this is that restarting is immediate with a tap of the Back button, though you will have to sit through a brief ragdoll animation when Danger’s skills fail him.

It’s extremely easy to pick up and play, so accessibility is a strong selling point here. Controls are simple enough, and like in Rayman Origins you find yourself with a great deal of control, meaning that failure often comes from a lack of judgement on the player’s part rather than through unfairness coming from the game itself. Learning each course and how to deal with its dangers is paramount, as is deciding on the best time to perform tricks to increase your combo and fill the boost meter. It can be genuinely tough to achieve the high score required or to reach the last collectible letter in the word D-A-N-G-E-R, but it’s in this respect that the game provides replayability and keeps you pushing for success.

In any given stage you could be tasked with collecting every blue star, collecting the aforementioned letters, landing on every target, completing a course under a certain time or a mixture of two at once. You won’t be able to do everything in your first try, and each level is used effectively by the developer. The game has enough going for it that you won’t mind replaying in the name of collecting stars, especially when it rewards you by unlocking new levels based on how many of these are earned. It’s entirely possible that you’ll reach a point where returning to earlier levels becomes a necessity, so it’s unlikely that you’ll tear through to the end having done just a small fraction of the work.

The presentation is one of the things that you’ll instantly notice about Joe Danger. The colours are vibrant, the animations are smooth and the music (which in all honesty can begin to grate after a while) befits the wacky atmosphere of the game. It does suffer from a lack of variety when it comes to course environments however, so you can expect to see much of the same design over and over again – in this sense, repetition may well become an issue. The collisions depicted can be genuinely entertaining, and the physics engine handles these humorous moments well.

One of the biggest additions to the Special Edition is the Lab, which provides fresh challenges for players to sink their teeth into. It evokes a blue-print crash dummy feel and looks different to the main campaign, serving as something of an add-on that surprisingly wasn’t released as downloadable content. The level editor makes a welcome return and will offer hours of play for those who wish to use it, but this game is rich with content regardless. Another addition is the Pro Medal system, which only awards you every task has been performed in a single run (no small feat as you can imagine), plus loading times have been significantly improved.

Local multiplayer modes are present, but online functionality is almost non-existent, with only leaderboards and sandbox raceway sharing made available to friends. It’s unlikely that you’ll be spending out on this game for anything but the addictive nature of the single-player anyway, plus it’s tough to criticise the lack of an online component when so much content has been packed in to begin with, and all at the humble price of 1200 points through Live Arcade.

Joe Danger: Special Edition is the definitive version of the game and one that the plucky stuntman can be proud of. It is disappointing that the new content isn’t available to PSN users who supported the developer in the first place, but it does give Live Arcade users the chance to experience this enjoyable title for the first time and in full glory – essentially increasing Joe’s fanbase in the process. Joe Danger is colourful, daring, challenging and charming… making it a solid choice for players with a bit of endurance in the face of a good challenge. It might not be for everyone, however, and if you rely on net functionality rather than addictive point-scoring for longevity, then this may not be the one for you.

For our Games of 2011…erm…Awards, the D+PAD team have each picked their two favourite games of the year – the games are listed in no particular order, but all shone in one way or another…and all are worthy of your attention.

The Elder Scrolls V: Skyrim (PC, Xbox 360, PlayStation 3)

If one game represented value for money for the single-player this year it was the latest entry in the Elder Scrolls series. Both a sequel and advancement over Oblivion, Skyrim presented gamers with a lush fantasy world filled with danger, intrigue and choice. Perhaps you fulfilled your destiny as the Dragonborn of Legend and defeated the World Eater Alduin, or maybe you rose to power as a remorseless scourge upon the land and took up arms for the Dark Brotherhood. Or maybe you never managed to pull yourself away from the vast selection of side quests afforded by the townsfolk, because as we all know, running errands beats saving the world from a soul-sucking dragon lord any day.

The chatty townsfolk, ferocious enemies, rolling tundra and outstanding soundtrack all came together to create an atmosphere that turned the land of Skyrim into a living world, and that’s before you’ve considered the random threat of dragon attacks. The attention to detail given by Bethesda was nothing short of staggering, with a variety of skills (which level up the more you use them), armour, spells, unique dragon shouts and even a selection of books detailing the history of Tamriel all serving to bolster the experience. This is exactly how first-person adventuring should be done and with the promise of exciting and substantial downloadable content on the horizon it’s likely that we’ll be returning to Skyrim for a good while yet.

Crysis 2 (PC, Xbox 360, PlayStation 3)

As a sequel to the original PC melting behemoth, Crysis 2 delivered on all fronts. Granted, the island paradise filled with Korean soldiers was gone, but Crytek’s crumbling rendition of New York held as much artistry and chaotic atmosphere as any true fan could have wanted. First-person shooters tend to lack stealth sections that are open and fun, but Crysis 2 made the cloaking device central to the game play, providing a satisfying vocal effect to boot. The star of the show was very much the Nanosuit; an all-over covering that would imbue even a broken body with incredible – but not limitless – powers.

Taking too much damage would spell doom for our silent hero, but the suit ensured that he would always have the edge, even when hunted by packs of unrelenting Ceph. Of course, we can’t talk about Crysis without mentioning the sumptuous visuals. Running on the CryEngine 3, the game stood out as one of the best looking titles to grace home consoles, and with the original Crysis recently made available via Xbox Live and the Playstation Network, those who missed out can finally dive in and see where it all began.

- Chris Morell

Dark Souls (Xbox 360, PlayStation 3)

To date, I’ve ploughed about 45 hours into From Software’s Dark Souls; at this point in virtually any other game I would likely be an all conquering, near-indestructible killing machine stalking a world that had long since been conquered. That, however, is not the case here – though my character is infinitely stronger than when he first stepped out of a dank prison-cell at the game’s opening and though my competency as a player has grown, every step forward is still accompanied with a palpable sense of dread and a horrible foreboding that death will come at any second.

It should be painfully frustrating, but instead Dark Souls is exquisitely, sweetly, frighteningly immersive. From Software have crafted a game world that, in my mind, is second to none – it lives in your psyche long after a play session has ended, constantly daring you back, tempting you with dreams of empowerment that it often fulfils only to snatch them briskly away. To play Dark Souls is to have your emotions toyed with, as feelings of fear, victory, awe, desperation, hope and hopelessness ping-pong around your head like some kind of twisted pinball-machine – making for an experience that is nothing short of unforgettable. Choosing my Game of the Year has never been so easy.

Battlefield 3 (Xbox 360, PlayStation 3)

As far as first-person shooter packages go, Battlefield 3 is irresistible, with a solid single player campaign and (more importantly) a scintillating multiplayer experience that I have little doubt I will still be playing this time next year. The series has never looked or sounded better, but Dice haven’t stopped at just giving the series a presentational overhaul – there’s a mode of play for nearly any and every taste, and a staggering number of weapons and other gadgetry to unlock, all of which service the game’s biggest strength: the wonderfully dynamic and immensely tactical single player.

Much has been made of EA’s desire to make Battlefield 3 a true Call of Duty killer, but this really does the game a great disservice; this is the latest instalment of a trailblazing series that has long had a clear sense of its own identity and very unique gameplay. It’s success then should not be measured in how well it’s sales stack up against Activision’s juggernaut, but on the experience it offers – and in this respect Battlefield is a work of astonishingly engaging magnificence.

- Simeon Paskell

Portal 2 (PC, Xbox 360, PlayStation 3)

Released back in April it’s easy to overlook Portal 2 when it comes to making game of the year decisions, but make no mistake Valve’s long-awaited sequel to the 2007 surprise hit is worth a place at the top of every list going in 2011. Expanding the scope of the original, whilst building on the backstory of GLaDoS, Chel and Aperture Science, Portal 2 was incredibly ambitious, which makes its triumph even more impressive. It managed to simultaneously retain the charm and smarts of the first game, but keep the scenarios and puzzles fresh enough for the duration of its much extended campaign.

Portal 2 also managed to maintain the razor sharp writing of the first, the brilliant casting of Stephen Merchant as Wheatley allowing Valve to expand the gentle humour of the first game to a much broader scope without losing any of its edge. What ultimately sets Portal 2 aside though was how effortless it felt, how meticulously created every room was, and how efficient the storytelling was. It remains a prime example of one of the world’s best game developers at the absolute peak of their creative power.

Dead Space 2 (PC, Xbox 360, PlayStation 3)

Visceral games’ follow up to their breakout sci-fi survivor horror title starts with a bang and never looks back. Eschewing some of the initial build up of dread from the first game Dead Space 2 emerges as much more of an action game, a natural progression of the story of Isaac Clarke as he once again battles against the rising necromorph invasions, this time amongst the Sprawl, a vast man-made metropolis located on one of Titan’s moons.

As well as upping the scale and polish of the first game Dead Space 2 is unusual as it goes to great pains to detail the effects that the events of the first game had on its protagonist. Suffering hallucinations and breakdowns the game does a good job of investing your journey with an emotional weight amongst all the death and destruction. The gameplay itself was neatly refined and expanded upon whilst retaining the look and feel that made the first game so successful. With some expertly crafted set-pieces, some genuinely creepy scares and a memorably unique and interesting final boss battle Dead Space 2 stands as a worthy sequel and an intense and exciting gaming experience in its own right.

- Dave Stuart

Super Mario 3D Land (Nintendo 3DS)

Though our typical vision of Super Mario involves him saving princesses, this year he faced his most formidable quest yet – saving the ailing Nintendo 3DS console, after a lacklustre launch left the Japanese giants with their first company loss in 30 years. Yet weeks after the release of Super Mario 3D Land and Mario Kart 7, the glasses-free 3D handheld is finally starting to look like a sales success and it’s all down to that moustachioed plumber.

With clever gameplay decisions that mean that 3D Land plays as a cross between the 2D retro revival of New Super Mario Bros (narrow design, lack of hub worlds) and the critically revered complexity of the Super Mario Galaxy series, here we have the perfect combination of the Super Mario series’ invention and accessibility. As one of the few games that also fully takes advantage of the 3D effect (with certain puzzles involving invisible blocks that can only been spotted alongside their sturdier 3D models), Super Mario 3D Land is my pick for the handheld game of the year and yes, that includes any mobile apps that you could care to mention, Kairosoft be damned.

Pullblox (Nintendo 3DS)

My favourite downloaded game of the year is not available in the App Store, Xbox Live, the Android Market or the PSN. Instead, it can be found alongside overpriced GameBoy games and something called 1950’s Valet Parking. It is Pullblox and it is absolutely majestic.

A block puzzler like none you have ever played before, Intelligent System, the team behind the legendary Advance Wars series, task players with pulling blocks to create the vertical passage of devilishly complex structures. Though games start out pretty easy (or at least for the first 100 puzzles – there are around 250 on offer), the introduction of side pulls and colour co-ordinating pipes can mean that one deceptively simple puzzle could last up to an hour. Thankfully, the game is never unfair in its design so expect plenty of Portal 2-style ‘Eureka’ moments, as long as you haven’t slammed your 3DS against the wall in the minutes previously.

The icing on an extremely tasty downloadable cake (these metaphors can be tricky) is the ability to design your own levels and scan QR codes to download those of others. Already I’ve reached the peaks of Super Mario and Mega Man’s respective heads and despite trawling through forums to add to my scanning collection, I’ve yet to encounter a single blocky digital penis.

That fact alone says all you need to know about the respect Pullblox and demands and ultimately receives.

- Emmet Purcell

The Legend of Zelda: Skyward Sword (Nintendo Wii)

Made with one eye on legacy, one eye on the future, Skyward Sword was the Zelda game that people had been nervously hoping for ever since words like “reinvention” started to be thrown around, back when the title was first announced. Skyward Sword was one of the year’s most unforgettable games for many reasons. As moving as it was witty, its story weaved together childhood romance and apocalyptic danger, while the environments were a reminder that (with the exception of this year’s Skyrim and Dark Souls) nobody weaves together a game-world as convincingly, as richly, as Zelda’s designers.

Possibly the last major Nintendo-published game for Wii, Skyward Sword was poignantly also the game to finally convince that motion controls could genuinely elevate ‘traditional’ game experiences. 2012 promises to be a fascinating year for Nintendo, the benchmark laid down by Skyward Sword a vertigo-inducing one to aim for.

Child of Eden (Xbox 360, PlayStation 3)

A beguiling mix of on-rails shooter, rhythm-action and music visualisation, Child Of Eden was everything one hoped a current-generation Rez sequel could be. Replacing Rez’s emphasis on hard geometry with lush foliage and various forms of organic life, Child Of Eden was one of the few games in 2011 in which every core design component – the colours, the beats, the subtly intricate shooting mechanism – were working in perfect harmony. It may look, sound and feel astonishing, but as a core videogame it worked beautifully, and this was Tetsuya Mizuguchi’s greatest achievement. With a soundtrack that veered from states of bliss to industrial clatter, a challenging bonus game that channelled Rez even more directly, and a plentiful array of collectables, Child Of Eden also – despite its superficial short game length – showcased a great depth. Sensory disorder has never been so fun.

- Zoheir Beig

Do you agree with our selections? Are any of your favourites missing? Feel free to let us know below.

The title ‘Origins’ implies that the story might actually hold some relevance, but as with most 2D side-scrolling platformers, the premise is almost entirely irrelevant. There is some mumbo-jumbo about saving the Glade of Dreams from the grip of evil, but it’s all a very basic set-up for the adventures that follow. In Rayman Origins, almost one hundred per cent of your time will be spent walking, running, smashing, jumping and grabbing your way from left to right, but to claim that’s all there is to the proceedings would be to do this game a disservice. Exploration plays a major role and as you’ll see after just a few hours of play, collecting the golden lums is every bit as important as reaching the end goal.

The Glade of Dreams consists of a handful of worlds each with a central theme. Initially, it will seem like you’re charging to victory at breakneck speed, unlocking stages with seemingly little effort. Make no mistake however, Origins is very much a wolf in sheep’s clothing; where you were once collecting every lum, smashing every cage to rescue the captive electoons held within, things soon become harder to the point where you might end up cursing under your breath and having to remind yourself that it’s only a game. Some very late stages are so tough that you’ll feel like a snowball going up against a volcano, but the sense of relief upon success is rewarding in itself. There’s no life count and infinite continues, with each door serving as a checkpoint for when Rayman (inevitably) kicks the bucket, making for a stiff challenge as opposed to an insurmountable one.

Each stage features two or three secret areas where electoons are being held captive by a number of enemies. More electoons can be freed depending on how well you did in collecting the lums, directly influencing the amount of stages available to you. The result of this is that you’ll be pushing Rayman to the limit, pulling off all manner of platforming trickery to grab the lums and lum-increasing medallions. The degree of control and fluid movements makes for a fast-paced platformer that will ensure that you stay on your toes and never get bored, plus a mistake early on is usually due to your own failing – it can be very difficult to blame the game, despite a clear emphasis on trial and error. There are a solid number of stages that crib from the R-Type classic shooting genre, where Rayman hitches a ride on a mosquito who can suck enemies and fire them out, or stick to the rapid fire method of attack (which is even more effective if you tap the button rather than hold it).

You would be forgiven for thinking that your adventure is coming to a premature end given the speed at which the worlds unlock. In truth, Rayman makes a sweep around the worlds in order, but later unlocks a second part to each, having to defeat a corrupted boss at the end. You’re certainly getting bang for your buck with Origins, plus the deal is made even sweeter by the co-operative multiplayer mode. Rayman and his pal Globox can join forces with two other characters to make for a four-player journey in the same vein as New Super Mario Bros. Wii, though things can become hectic when other players jump into the fray. Solo adventurers should have no fear, as the game works perfectly well as a single-player experience, despite the zoomed-out camera which was clearly designed with another person in mind.

One of the game’s most noticeable aspects is its whimsical presentation. Those demanding realism and a high polygon count should probably think again, as Rayman Origins sports an excellent cartoon feel that positively thrives on an HD screen. You’ll traipse through forgotten jungles, dodge fiery lava pits and slide a path across icy terrain, with each environment offering a fresh look and unique challenges. It’s no slouch in the sound department either, as the cute noises and amusing vocals all provide an adorable charm, albeit one that might not appeal to everyone. There’s no proper voice work to speak of, but this isn’t much of a failing given the lack of story overall.

Rayman Origins signifies a welcome return to form for the hovering hero, presenting a world bursting with charm and adventure. It’s a title that really shouldn’t be missed, but we have the sneaking suspicion that it’ll be overlooked this season amongst the slew of bigger names (the strange selection of levels offered in the demo probably won’t help either). The gorgeous visuals drip with style and the game play is instantly accessible, making for a solid purchase that anyone up for a challenge will enjoy. Play it alone or play with some friends… whatever you do just play this game!

It’s worth mentioning up-front that if you’re not totally up to speed with the Assassin’s Creed story up until the end of Brotherhood, then the events in Revelations will make very little sense to you. Sure, the same could be said for most sequels existing in any kind of narrative, but Revelations makes no real effort to highlight the significance of its story beats to those who haven’t been already following the journey till this point. The game does offer a fairly brief “previously on…” reminder at the outset, but it’s still not quite enough to properly remind of the crazy impact felt from the series’ last two outings. As it has been for those last two outings, the focus of the story is squared mostly on Ezio Auditore.

This time around, Ezio is in Constantinople (or Istanbul, as you’ll now know it), where he is on the hunt for a vital set of keys to unlock the mysterious library belonging to the original game’s star, Altaïr. (As ever, the Templars on are also on the trail with the same goal in mind.) A smattering of new characters are brought into the fold along the way, but neither they nor the events that surround them prove to be entirely engaging. Revelations finds Ezio on a particular narrow and banal path as a result and provides few moments of genuine surprise or candour in regards to previous twists. Brief segments involving Altaïr are also underwhelming and shallow, offering only small moments of insight into his later years with little impact along the way. Desmond Miles, the series’ every-man host whose genetic memories of ancestors Ezio and Altaïr have been revealed by the Matrix-like Animus machine, is meanwhile left in a catatonic state. Without giving too much away, the representation of Desmond’s currently unalterable state is portrayed in some relatively interesting ways, although none of it comes off as supremely fleshed-out beyond some basic character background.

Gameplay-wise, the majority of Revelations treads familiar ground. The routine practice of free-running and climbing above and below various city structures is still fun and easy to navigate; the combat is still as focused and stylish as it was in Brotherhood, and performing assassinations remains to be a satisfying feat to behold when pulled off effectively. Revelations throws in a few new side distractions into the mix, however, the most notable of which are tower defense-esque Stronghold missions in which you protect your Assassins den from swaths of incoming enemy invaders. Its execution is clunky in spite of its simplicity, although it’s never too difficult either. Bomb crafting is also new, providing the ability assemble and use your own home-made bombs (as crude as they are) to create multiple diversions or distractions, depending on the situation. The best of these bombs is surely the one that splatters lamb’s blood over anyone who hovers by its blast upon impact with the floor—it’s both useful and strangely amusing to let one off when the time is right.

Multiplayer returns from Brotherhood and is far improved. There are new modes, characters, customisable
matches and profile options available to tweak, as well as some general gameplay refinements to keep things nice and balance. For instance, it is now much easier to stun an approaching killer for a handy incapacitation: this feat was much harder in the previous game, as you were only every granted a small window in which to pull off a clever counter manoeuvre. Revelations’ multiplayer is also devoid of any of the crippling connection issues that plagued Brotherhood upon release, which is obviously good news.

Assassin’s Creed: Revelations is a perfectly fine addition to the series, but that can only be said with the acknowledgement that everything at its core is starting to become old-hat. It tells of an unfortunate duality that stops the game from being wholly recommendable to someone who isn’t totally invested in the series’ narrative. But even with that in mind, Revelations doesn’t quite suffice, either. Ultimately, the best piece of advice would be this: if you like the idea of more Assassin’s Creed in its current incarnation, then you’re bound to enjoy Revelations on some level. Anyone else would probably be better off leaving well alone from this stop-gap of a sequel and await the arrival of the next fully-fledged sequel instead.

As much as the above may sound like indulgent and romanticised hyperbole, it’s a fact that The Elder Scrolls series is well known for providing each player with a unique and personalised experience. There have literally been thousands of fond memories and unique experiences recounted from Oblivion – Skyrim’s predecessor released in 2006 – and given the rich world laid out in this instalment, it makes sense that anyone taking those first few steps into the world of Tamriel will come away with a few memorable tales of their own. Whether you wish to spill blood with a one-handed broadsword, hurl lightning as a mage, play the role of an arrow-shooting elf or become a solid mix of all of the above, it’s a certainty that Skyrim will have you covered. From the word go, you’re given a nice selection of customisation options (race, gender, appearance), but it’s in the way you choose to play that defines who you become and in which areas you excel.

Wearing heavy armour will net you experience in that field, while jumping into the fray with a one-handed blade will make you more proficient in combat and open up more options via ‘perks’ upon levelling up. The very term ‘level up’ may cause some to shudder, but the development team at Bethesda has done a fantastic job of trimming the fat and tightening the experience to the point where accessibility is king. The menu is also far more manageable this time, so at no point should you find yourself wrestling with the inventory or stats like with other games in the role-playing genre. Choosing the right perk is important and will help tailor your character more to your liking –this ensures that you become exactly who you want to be, and you only have yourself to blame should the case be otherwise.

Battling your way through the open world is no small task and it may be daunting when you first begin. The sheer breadth of the world, the ominous locales and enemies out for your blood means that you’ll always have to watch your step and be prepared for threats that lie in wait. Combat wasn’t particularly strong in the previous title and while this aspect has certainly been improved upon here, it wouldn’t be right to proclaim it as one of Skyrim’s strongest suits. It’s in no way bad as battles are good fun (with the crunch of steel, Fallout-esque finishing moves and variety of death-dealing methods on offer) but only rarely does strategy come into play; you’ll generally be fine with the right perks, a restoration spell, a few potions and a powerful weapon in hand (unless you’re unlucky enough to stumble across the wrong enemy type at a low level, or pick a fight with a giant).

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Dungeon Defender’s ambitions are relatively modest; supporting up to four players (online, offline or a combination of both) who are set loose in compact fantasy arenas and given the simple task of defending mystical ‘Eternia Crystals’ from hordes of goblins, orcs and trolls that spew forth from gateways situated throughout the area. Though a campaign mode is included, it is in a broad levelling-up system and multiplayer in which the game’s real focus lies.

At the outset, players must choose from a selection of four different classes, each with a different set of abilities, strengths and weaknesses. The heavily armed Squire flourishes in hand-to-hand combat while the Apprentice is your typical mage – fairly weak up close, but capable of delivering significant damage with ranged spells. The Monk is the all rounder and, finally, the Huntress specialises in ranged weapons. As well as their more immediate methods of attack, each is also capable of laying ‘towers’ designed to damage or delay the evil hordes spewing from the spawn gates. The Monk, for example, can conjure up ‘auras’ that, amongst other things, slow down foes or zap them with electricity. The Squire on the other hand, can construct barricades and razor-sharp spinning-traps. The use of each requires that you employ different tactics, and – as you are able to switch classes on the fly – you’ll soon find a character to suit your own preferences.

Gameplay is broken down into two distinct phases; firstly, the Build Phase gives you time to set up your defences (the number of which is dictated by the resources available) and to make plans as to where you will focus your efforts to keep the Eternia Crystal safe from harm. Depending on your preference and the degree of challenge you’re looking for, build phases can be time limited or not, with the former making for increasingly frantic episodes in which you and your team trawl the map for resources and items and attempt to set up sufficient defences. Time-free build phases are ideal for players looking to learn the ropes, but can suck much excitement out of the experience.

Once the build phase has come to an end, the gates open and your castle is soon awash with orcs and goblins. Here the game shifts towards a more action oriented experience, very much reminiscent of Titan Studio’s PSN hit, Fat Princess. Charging around the field you play, you engage in ranged and melee combat in a desperate attempt to protect the Eternia Crystals. Although new towers can be laid, a single hit from a foe will disrupt construction, meaning that you need to be damn sure your build phase preparations have been robust. Should you successfully ward off the attack, it’s back to the build phase you go in order to prepare for the next assault.

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There are two things I think I always mention in a Call Of Duty review, which might as well be dispatched now: one, that it’s difficult to see how the next entry in the franchise will be able to usurp this year’s edition without the excitement becoming a victim of diminishing returns, and two, that Call Of Duty needs to innovate to stay relevant. The facts, the hard numbers, suggest that these two ideas are wrong – if anything, it’s likely that any major deviation from this proven template would create more (financial) trouble than it’s worth. Besides, innovation for the sake of innovation (as opposed to a genuine desire for progression), can often be just as bad, and it’s perhaps unrealistic for a franchise as big and ‘dependable’ as Call Of Duty to experiment in any meaningful way. Leave that to, y’know, the little arty games; the ones you tell girls you play to impress them.

Although to the casual observer (casual – there’s a word you don’t hear often with regards to COD) the release of Modern Warfare 3 must feel like a simple formality, its gestation has been anything but. The firing of senior Infinity Ward heads Jason West (former president) and Vince Zampella (co-founder) on a charge of “insubordination” following the stratospheric launch of Modern Warfare 2 compounded the feeling that the game itself was a disappointment, especially when compared to its narrative predecessor, Modern Warfare (still my favourite first-person shooter campaign of this generation). MW2 may have broken all sales records, for a year at least, but something wasn’t right – both in a corporate and creative context – under the surface.

With over forty staff leaving Infinity Ward in the wake of the West and Zampella affair, Activision were forced to hire Sledgehammer Games (formed by the creators of Dead Space) to aid development and ensure MW3 hit its expected early November date. However, if the development process for MW3 was turbulent then it certainly doesn’t show. Modern Warfare 2’s single-player was evidence that the franchise’s trademark of overloaded action sequences counts for little when it comes at the expense of narrative cogency; the sensory bombardment should ideally be anchored by a definition of what role you play in the bigger plot. Story orientation linked with visual disorientation, would be one way to put it. This is a front that Modern Warfare 3 has vastly improved on.

Whereas MW2 was confusing, over-the-top and ultimately unsatisfying, MW3 is clinical, focused and, to my mind, by far the best COD campaign since the first Modern Warfare back in 2007. It has the requisite moments that are technically amazing, where physics, scale and aesthetic combine to fantastic effect (the hijacking of the Russian President’s plane, in which the aircraft splits with you inside, is probably the pick of these), but also many missions that, perhaps mindful of previous excesses, recall the studio’s early World War 2 period. These, especially the later levels such as the German beach landing and a night-time trek through Prague feel like local skirmishes, with the sense of resistance unmoored from a wider geopolitical plot, the rhythm of play and the feel evoking Call Of Duty 2.

Indeed, the whole game runs like a greatest hits of Infinity Ward’s COD with everything from assassination missions to vehicle sections to a bit where you crawl under trucks making an appearance. In this, coupled with numerous narrative threads being tied up, there is the strong suggestion that the Modern Warfare sub-title is being put to bed, a full stop hinting at bolder approaches to come in future games. But we won’t hold our breath. There are also, once again, some striking narrative tricks used throughout, including a memorable spin on the iconic nuclear bomb scene from the original game, and an attempt at undermining player agency which is far more successful than No Russian was back in 2009.

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Based on the front cover alone you would be forgiven for curiously picking Disney Universe up from the store shelf and expecting a budget version of LittleBigPlanet. In reality, everything from the camera and focus on collectible tokens to the simple one-button combat evokes thoughts of the Lego video game franchise. You might be disappointed to learn that you never actually play as your favourite characters at all, but rather only dress up as them. This goes for certain villainous appearances as well, though we won’t spoil it here by dropping names. The reason for this – whether you buy it as a good excuse or not – is that Disney Universe is actually a tourist attraction that has gone the way of Westworld, with the park’s robots turning against its guests. Your job is to free these guests and restore peace to the land of entertainment; everything is as cutesy as expected, bringing a light-hearted and typically ‘Disney’ touch to the proceedings.

While it’s disappointing that no characters are actually featured, Disney Universe makes up for this failing through solid use of its themed worlds. Unfortunately, the Pirates of the Caribbean world – the very first one you’ll play through in the game – is by far the least interesting and fails to engage with a strong first impression. Beyond this, the worlds are made up of three areas, each featuring three stages and a welcome dose of variety; some highlights include a spell through Wonderland and The Lion King’s elephant graveyard. There are graphical touches that make each world unique, though you could never go so far as to call any of this ambitious – the game is artistically sound and bright, vivid colours give life to a world that kids won’t want to ignore. In most cases however, it’s the recognisable backdrops that will please Disney fans the most.

Each stage plays out in a similar yet slightly different manner. One moment you might have to use cannons to blast away at a mermaid to collect tears, and soon you may have to throw water bombs onto seeds to make them grow, allowing access to higher areas. Disney Universe has many of these deviations that afford the game play some variety, and while the creativity in this regard is impressive, levels can still feel like a bit of a slog as you make your way to the exit. The biggest issue comes in the form of the enemies; be it the standard grunt, the common brute or the occasional spawner (which shoots enemies at you), the range of foes just won’t impress in any way. Instead, these encounters irritate and become predictable very quickly, slowing things down just as you’re making solid progress within a stage. Boss fights change between each world and do become quite challenging, though it’s worth mentioning that there is little penalty for death, affecting only your end score and losing you a handful of tokens.

It’s these tokens that make up the crux of the game. With an abundance of collectibles filling each stage (literally in every corner and inside every breakable object) it soon becomes clear that racking up a large amount of these ‘Mickey Mouse ears’ actually takes precedence over reaching the end gate. The developers want you to search out as many of these as possible and try to reward you for doing so, translating as currency to open worlds and unlock new costumes. If concept art is your thing (that typical ‘go-to’ unlockable that no one ever cares about), then each stage plays host to three special items that alter in appearance depending on the level’s theme. Whatever you think of the items you obtain, there’s enough on offer to keep prospective treasure hunters occupied.

Part of the selling point is in the fact that you need not venture alone, with up to four players supported for local play – no online modes have been included. Co-operation is king here, but the game encourages a certain degree of competitive behaviour, as you’re so often reminded during loading screens. The game can easily be completed without the aid of another, but as it’s been designed for multiple people in the room it’s likely that a few chuckles will be earned should other players enter the fray. This is an easy going, inoffensive game so it makes perfect sense that kids would want to experience it with a buddy or two, and this may even go some way to alleviate the repetitive ‘whack whack whack’ nature of the combat.

It can be hard to reach a fair score considering that the game is aimed squarely at a much younger target audience, but there’s no denying that Disney Universe holds its fair share of charm and harmless joys. The music – particularly that of the main menu – is unashamedly funky, as are the remixes of classic Disney tunes, although these can be almost unrecognisable at times. Fans of the Disney films will no doubt be disappointed that you’re suiting up rather than playing as the famous cast members themselves, so you’re advised not to invest too much in the brand name here. This is a simple, welcoming escapade that can (and probably should) be ignored by the vast majority of adult gamers this holiday season. Those with children or younger siblings however, would do rather well by giving this a look.

The main plot of Arkham City isn’t far removed from what we’ve previously seen, with the inmates of the newly relocated asylum once again seizing control. There is a deeper narrative with some surprising twists that help to keep the intrigue flowing; faces from the Batman lore give Bruce Wayne an even more difficult time of things here, though of course priorities shift as the situation progresses. Enemies such as Penguin, Ra’s Al Ghul and others put in major appearances, with a few from the last game keeping out of the spotlight in heavily educed roles. You could criticise the game for trying to cram in too many villains on the go, and while this criticism holds some ground it’s all in the name of snappy pacing, plus the writing brings out enough character that it likely won’t matter.

This is a high-stakes adventure that essentially borrows the best aspects from the comics and animated series. Long-time fans and newcomers will be able to dive right in and have a blast, so if your only experience with the Dark Knight is some basic movie or TV knowledge and a run-through of the first game then you’ll slip right in to Arkham City. This isn’t just a night in the life of the caped crusader, but rather one of his very worst – the story pushes forward and always makes you feel that the quest is of great importance. Ironically, the developers at Rocksteady have mastered the art of distraction via the art of collection and reward, which is something fans will remember the original was renowned for.

It seems utterly ludicrous that Batman would choose to glide around (a mechanic that’s been given extra wings here thanks to the new dive-bomb manoeuvre) in hot pursuit of Riddler trophies when in such a mad dash to save hostages/stop his enemies in their tracks, but that’s the beauty of the formula. You’re under no obligation to perform any heroics unless taking on the main story or the side missions, so expect to run around after those elusive green question marks when you feel like taking a breather. You can expect to unlock a host of extras such as challenge maps that increase replayability and provide instant gratification once the adventure is done.

Regardless of extras, the game is good enough that you’ll want to give it a second play through based on its own merits, particularly after seeing how the tale unfolds. Arkham houses many secrets just begging to be found, but failing that there are always thugs in need of an attitude adjustment via a good boot to the head. Speaking of which, the combat is largely unchanged, only with a few more enemy types thrown in for good measure. Enemies such as those with shields will need a special combo to be taken down, so you’ll want to look for the right opening or risk a smack to the head from a pipe from behind. The single button counter system works just as well as before, so it’s easy to get stuck in from the very first set of trash-talking thugs.

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The game’s general structure throughout the career mode has been encapsulated as a world tour, moving you from one race to the next to encounter the vast array of tracks and class-dependent cars the game has to offer. You are constantly acquiring new cars simply by winning races (or at least making the podium); and you also build up a healthy amount of the credits to splurge on other cars as well. Certain tournaments and the races within them are tied to specific car requirements, so if you feel the desire to upgrade any part of your chosen vehicle for whatever reason—whether you do so manually or choose the game’s pre-set configurations—you may find yourself eligible for previously restricted events, but then subsequently locked out of others.

Unlocking Driver XP pushes your career forward, granting you a new car free of charge every time you level up. Although finishing races in a high position is obviously preferred, you still unlock new parts, tuning setups and vinyl parts to equip your car with, even if you don’t end up performing too well. Even though you will earn more in return for better racing, you are always being rewarded in spite of your ability. If you find yourself struggling or even finding races too easy, the configurations to adjust difficulty are vast and suitably in-depth.

Just like the previous games, a massive array of car decal designs (as well as tuning setups and cars themselves) can be viewed, sold and purchased online using in-game credits and sifting through the online store can be a joy all in itself. It’s absolutely recommended that you check this stuff out—there are plenty of amazing user-made car designs to use for your own cars both in the single-player career and for online matches. The excellent menus also make perusing through all this content very easy and manageable, which is especially helpful considering just how much of it there is.

As ever for the series, your single-player career profile carries over into the online multi-player arena. You have a wealth of options to configure to your liking, including setting up class-specific races, disabling on-track collisions to stop everyone smashing into each other, and even forcing all players into one camera setting for the duration of a race. Cars can also be shared online, a feature that is implemented in the game’s car club feature which allows you upstart your very own online racing teams and compete on club leaderboards.

A new mode called Autovista is also introduced in Forza 4, although it doesn’t really involve you playing anything. Instead, it’s what you could consider a virtual car showroom. You walk around a chosen car in an empty space and select parts of the car to learn more information about its working parts; complete with commentary that is often narrated by Top Gear’s Jeremy Clarkson. Not every car in the game is given this special treatment, as it’s only really reserved for popular cars that have unique qualities about them. This is probably for the better, because ultimately, you wouldn’t really feel compelled to hear detailed analysis about any slower or less prevalent E-class cars over a Ford GT, for example. Kinect support is also available for this feature, although its implementation feels like an unnecessary addition and is better experienced with a controller in hand as a result. Nevertheless, it is an interesting addition that will be sure to satiate those who really are invested in everything to do with cars, but it’s not something you’re likely to revisit more than maybe a couple of times.

At no point does Forza Motorsport 4 feel as impactful as its predecessor did two years ago, but that certainly doesn’t mean it’s an inferior game. In fact, its refinements and production values are executed so well that it is arguably not only the best game in the series, but the best driving simulator on the market. If you missed out on the third entry, then Forza 4 is highly recommended. But if you’re not quite ready to delve back into an experience that is largely unchanged from the last outing, then you might not find much worth coming back for.

It’s safe to assume that nobody, after a few hours spent with Ubisoft’s affectionate take on Tintin, will be comparing the experience to, er, rape. Thankfully the game takes greater inspiration from the aforementioned comics and animated serial, as opposed to from Hollywood’s big-budget outing. Lovely touches abound; selecting the next level involves traversing a charming hand-drawn map, while the loading screens see Tintin and Snowy running together in front of a yellow spotlight instantly familiar from the show’s opening titles.

The success of Tintin the videogame is based on a simple design philosophy. Instead of heading down the thorny path towards CG ‘actors’ and 3D special effects, Ubisoft Montpellier (the studio from which this year’s superlative From Dust emerged, as well as playing host to the creative talents of one Michel Ancel) have instead embraced the aesthetic upon which Tintin’s success was first based: two-dimensional panels, crisply drawn, the trace of human involvement intentionally present. The visuals may lack the line-drawn clarity of Herge’s work, but they have a warmth and personality that is also reflected in the boisterous pace of the gameplay.

This is manifested in two central areas: the control over the player’s experience and the mechanics of combat. Of the former Ubisoft have, in the main story mode at least, adopted an unapologetically linear approach. Freedom does come in the shape of regular single-screen location-based puzzles in which the aim is to usually figure out how to clear the screen of enemies, but otherwise Tintin’s single-player adventure is tightly controlled, albeit punctuated by enough witty little ideas to keep the momentum zipping along. One minute you’ll be using a flashlight to illuminate a darkened room, the next you’ll be swinging along the side of a boat; Ubisoft have good form in 2D platform game design, and it’s a knowledge used with great effect here.

A simple control system supports the neat visuals and level design. In general the ‘A’ button is used for most functions, its context-sensitive nature allowing for jumping, rolling and climbing wherever necessary. Combat meanwhile is on a separate button. In general Tintin can take on the bad guys with basic punches, but it’s more fun to make use of various environment-specific attacks. These include banana skins causing enemies to slip straight into a wall, or a well-aimed projectile causing a chandelier to crash onto an unsuspecting group below. Of course, in Tintin nobody tends to actually die, but collapse to the floor in slapstick fashion, stars circling their heads.

Aside from the single-player Tintin also includes one further game mode of note. Co-op is a series of specifically designed platforming sections that take place in the booze-addled nightmares of Captain Haddock. The developers, presumably free from having to reflect the film’s narrative, here embrace surrealism with great effect, and there’s great fun to be had in playing through with a friend. The disappointing aspect to this is that online isn’t supported, as it would be easy to see an online supported co-op mode becoming something of a cultish pursuit.

The Secret Of The Unicorn is an extremely successful tie-in to what is a controversial film. It’s a slight shame that, whether for reasons of budget or resources, it feels a little truncated (the aforementioned lack of online co-op, and the necessarily limited nature of the single-player mode are the two most notable flaws), but then that just brings forth the tantalising image of how good a Tintin game based purely on Herge’s comics, with no filmic tie-in to consider, would be from the design team behind Beyond Good & Evil… Possibly the best family-orientated game of the year and certainly a must for Tintin fans.

Given the nature of this game, it feels totally justified to call it an expansion pack of sorts. But even then, it doesn’t properly evoke those things you may associate with add-ons of any kind. Vegas-a-like Fortune City still remains, as do all of its locations, secrets and characters. The most importance difference is that the story is told a-new from the perspective of Frank West. In the beginning, Frank is looking to revitalise his once-heralded celebrity status by competing in everyone’s favourite zombie-debasing game show, Terror is Reality. Later story events prove that the story doesn’t merely swap Chuck for Frank and call it a day—there are some appreciable changes in the dialogue and the general direction of the narrative that differentiate it from the main game. Dead Rising 2’s main man isn’t entirely written out of the game, but the spotlight is taken away from him almost completely.

The somewhat contrived ‘72 hours until the military arrives’ is a now classic formula belonging to Dead Rising that is still very much in effect in Off the Record, shaping the story in the same manner as the previous games. In terms of new content, there is an extended carnival-themed setting to explore, which offers up a fun set of typically silly new weapons in the genocidal war against rampaging zombie hordes.

More noteworthy is the inclusion of a sandbox mode that lets you run amok inside Fortune City without having to worry about any of those pesky time restraints (and which also supplants the online multiplayer component found in the main sequel). To keep things lively, there are also area-specific challenges that ask you to meet a certain criteria before running out of time. These can range from the basic, including simply killing a set number of zombies; to the non-combative, such as propping zombie heads with some oh-so ridiculous headgear. You’ll receive medal awards depending on how well you do, and there’s leaderboard support for every challenge as well, which is nice. Whatever mode you play, there’s still a lot of grinding to be done in order to accrue skills more quickly—it is Dead Rising, after all.

Because you’re back to being Frank, you’re also able to use his camera, something that was previously only featured in the very first Dead Rising game. It works the same way here: you frame the action and get XP (or ‘PP’) points for taking shots that convey a series of different criteria. Frank can also now meld weapons together to make one that is more uniquely powerful a la Chuck in the sequel. With all this in mind, though, perhaps the most welcome improvements in Off the Record are technical. The frame-rate can still be troublesome at times, but it is certainly better in spots where crowds upon crowds of the undead fill the screen. Plus, load times between areas have been significantly reduced. Online co-operative play seemed smoother at times, as well, even during more hectic moments.

On the surface, Dead Rising 2: Off the Record has more than enough content to satiate, but the question really comes down to this: are you sick of Dead Rising? If the answer is ‘yes’, then it would be wise to avoid this re-imagining of the previous game in the series. For those who say ‘nay’ however, it’s still good advice to remember that this game, in spite of its better parts, is still something you’ve mostly experienced already.

If you were to put Tom Cruise, Kazunori Yamauchi (the detail-obsessed creator of Gran Turismo), Michael Bay and Infinity Ward in the same room and ask them to make an air-combat game, the result would most probably look something like Ace Combat: Assault Horizon. The hallmarks of all are clear to see, with the game throwing obsessively detailed fighter-jets (that could easily stand shoulder to shoulder with Gran Turismo’s cars) around serenely beautiful skies to an impressively grandiose soundtrack while progressing a dizzying militaristic narrative. The slightly confusing plot may mean that you won’t be entirely sure as to what’s going on, but the fact that it’s loud, it’s fast, there are lots of explosions and that piloting the impressively broad range of fighters can be a heck of a lot of fun is hard to miss.

Set in 2015, the game plants you firmly in the helmets of the fictional Warwolf Squadron, a smaller element of the NATO-led 108th Task Force. Part International Rescue, part Action Man, this earnest bunch of fresh-faced pilots have a toy-box of multimillion dollar aircraft to play with as they flit across the globe (initially the skies of Africa) righting wrongs and taking down rogue groups intent on bringing the world order crashing to ground. While the game is unlikely to win any awards for characterisation, it is hard not to get dragged along by the protagonists energy in the same way that, for its 110 minute running time, Tony Scott’s Top Gun gave you “the need, the need for speed” and made it seem perfectly normal for grown men to publicly burst into song in order to impress a lady.

Warwolf’s global adventure soon gets serious as a new weapon – dubbed ‘Trinity’ – rears its devastating, nuclear-powered head and threatens to tear apart any notions of global security. What follows is a tale of bravery, sacrifice and betrayal told largely – though not exclusively – through the medium of vast amounts of ordnance going ‘BOOM!’. We say ‘not exclusively’ as Assault Horizon also showcases some impressive cinematic chops, with frequent cutscenes and switches to the first person view of combat ace, Lieutenant Colonel William Bishop, as he converses with colleagues, attends briefing mission and strolls around the Nato base. Though the latter sections are always on-rails (your input being limited to the turning of Bishop’s head), they help to immerse you in the game’s world and emphasise the human element that lies beneath the technological warfare being waged on screen.

But what of the air combat itself? Anyone who has played the previous games in the Ace Combat series will be instantly familiar with the gentle blending of simulation and more easily accessible arcade thrills. Though an advanced control option is available (dubbed ‘Original’ and which pushes the game slightly more towards the former), the default controls are easy to pick up, with the plane auto levelling and the manoeuvring of your craft assigned purely to the left analogue stick. The biggest innovation for this instalment is the introduction of “Close-Range Asssault” (or CRA) which comes in two flavours – “DFM” (or Dog-Fight Mode) and “ASM (Air-Strike Mode); when activated, the former causes your plane to automatically chase a target, freeing you to maintain lock-ons and target your machine guns. ASM works in a similar fashion, but designates pre-set bombing-run paths. Though in practice DFM is a little on the jittery side, CRA definitely adds another level of tactics to the game as planes attempt to manoeuvre into the required position (this also holds true for multiplayer) as well as facilitating cinematic moments, such as zooming down the streets of Dubai.

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You take on the role of Nomad, an American soldier granted superhuman abilities by the cybernetic wonders of the nanosuit. The sounds of ‘cloak engaged’ and ‘maximum armour’ will be familiar to anyone who played Crysis 2 (and if not, why not?), although this time they can be turned off or replaced with a female voice. What fans of the sequel might be disappointed in however, is in the omission of upgrades of any kind. No longer can you increase the energy meter or add any of the bells and whistles you may expect from late-game enhancements – Nomad is as powerful at the end as he is to begin with.

The tropical island on which the action takes place is pure Crytek magic. Crabs move along the sandy beach, the plant-life is thick and lush, and the only thing around to spoil it from becoming the perfect holiday spot is the presence of the Korean army. Each stage is set out in such a way that you move from A to B; it isn’t open world like Far Cry 2, but the chapters do often allow for a sandbox style of play particularly during the first half of the game. The day-night cycle is mission specific, triggering once a certain point is reached, and the hue of an orange sunset complete with light shimmering through the tress is as impressive as you might expect.

Presentation is a tremendous selling point for the Crysis series, but that doesn’t mean it is all style and no substance. The fact is, this game is extremely playable; the action engages and the shooting mechanics click. The one complaint we might level in this regard is in the floatiness of the controls –movement just isn’t quite as tight as in Crysis 2, plus navigating the terrain can be irksome given the lack of climbing as well as the clumsy jump mechanic. Given the amount of walking you’ll be doing, it can be irritating that sprinting is limited by the energy meter, mostly down to just how quickly it drains. You’ll have to switch smartly between the sprint, cloak and armour modes available (each can now be activated at the touch of a button) and split second timing can mean the difference between life and death when ambushed.

If you’ve ever read up or seen videos of Crysis, you may be aware that the game undergoes a something of a shift about two thirds of the way in. It’s true… there is something more sinister going on in the tropics that is alluded to in the very first chapter, but the truth isn’t revealed until much later on. This gives a sense that Nomad is unravelling the truth behind a mysterious threat unlike anything you may have expected, though the story never becomes anything other than serviceable. Given the freedom afforded earlier in the game, it can be jarring as the tone changes and every chapter becomes a desperate struggle to survive (you know you’re in for it when you’re handed a weapon with infinite ammo) and the Korean forces have disappeared from sight. Strangest of all is the extensive level that kicks this off – entitled ‘Core’ – which does away with the standard waypoints and drops you into a twisting set of areas full of charging enemies.

As with most modern shooters, the bosses in Crysis are very few and far between. The ones that do exist aren’t particularly enjoyable, with the final battle being more frustrating than genuinely challenging as you attempt to avoid all manner of flying foes looking to knock you to the floor. There are also a number of occasions where taking a vehicle is the best way to manage things, and on a couple of stages you really aren’t given much choice. Controlling them is thankfully easier than Halo’s warthog, though some gamers may find it preferable to hop out and take care of things on a more personal level.

There are a few issues with the conversion that must be mentioned before you go thinking that it’s all been plain sailing from the PC version. On the PS3, we frequently experienced the music cutting in and out at strange intervals as well as a few hiccups in the enemy AI. A few times, Korean soldiers would bob up and down in place, although such moments were admittedly rare. Far more frequent was a reduction in frame rate and the temporary yet off-putting freeze upon reaching checkpoints. As stated, Crysis is one graphical powerhouse, but it seems clear that Crytek had to play with the lighting effects (with the game now running on the CryEngine 3) to hide certain removals from the PC version to make everything look so impressive on home consoles.

As a budget title available for download over Xbox Live and the PlayStation Network, Crysis simply soars. It’s worth noting that the multiplayer component has been removed, but then you can’t have everything. It’s purely as a single-player adventure then that the game will be experienced, and what an experience it is, allowing players access to a beautiful and tense world full of character. This isn’t Far Cry and it isn’t Crysis 2 – it’s a game that stands tall off its own merits. PC users have no reason to make a purchase here, but for everyone else, Crytek’s smash hit is one of the best downloadable offers to date.