It's a colourful, heartfelt and well-judged spin on one of the most reliably engrossing genres knocking around.
The roguelike gets an inventive jolt of genetics in this gloriously witty dungeon crawler.
These issues aside, Vanguard's created a decent blaster which offers a couple of moments of genuine bullet-dodging glory: Halo's touch-screen debut is good-looking, colourful, and fun. It's all rather bittersweet, really. If Spartan Assault was terrible, nobody would ever have to know about it, since the combination of release platforms makes it a bit of a curio from the off. In the end, it's actually pretty entertaining stuff. Here's hoping it eventually gets ported around a little.
Kite the good fight.
Compared to the dull, empty-eyed stoicism of so many triple-A games, it's still a welcome blast of idiot humour, too.
A tale endlessly retold, wrongs endlessly righted, a map endlessly tweaked and embellished and folded back on itself. If, heaven forbid, this was the last Zelda ever, I couldn't think of a more fitting tribute to the series' strange ritualistic preoccupations than this cheerful, slight, and ultimately rather strange game.
Ultimately, the whole thing is depressing more often than it's annoying. Twisted Pixel's lineage suggests that LocoCycle is made by talented and creative designers who had a handful of potentially entertaining ideas to play with. The implementation is rushed and slipshod, however, ignoring fundamental problems and expending limited energy on the wrong things. What you're getting for your money feels a little like somebody else's office in-joke: you can sense the well-intentioned laughter, but you can't really join in.
Beneath the warm familiarity of 3D World lies one of the strangest Mario games in years - and that's wonderful news.
Resogun really is that rare kind of arcade game that feels like an entirely different beast when played on the toughest setting. It's also the closest the PS4 launch line-up gets to offering a genuine next-gen thrill. Granted, Housemarque's not offering the shock of the new, perhaps - all of the developer's best ideas are actually reassuringly elderly - but it's working with energy, enthusiasm, precision and love. Oh, and voxels. Look at them scatter!
Peggle 2 is still a wonderful game, but to a super-fan there are too many things that feel miscalibrated. In a way, that's more damaging than the suggestion PopCap isn't sure what else to do with Peggle: it suggests PopCap needs to rediscover itself.
Hectic local multiplayer madness ensues in this punkish flurry of colour and violence.
Luftrausers is a breathless arcade delight - video game dogfighting has rarely been better.
That those challenges are housed in a weird trans-dimensional coastal getaway where you can kick a physics-enabled beach ball about or lie in a hammock is just one of many unusual things to enjoy about Transistor. Enjoy the artful approach to science-fiction, enjoy the hoops Supergiant's jumped through to position you in the right place to engage with its combat, and you can even enjoy the very fact that the game often struggles to get its deeper messages across. After all, if the developer had something straightforward to say, it might not have had to make a game in the first place.
While Valiant Hearts struggles to make sense of itself as a game, in its odd, playful innocence and in its focus on four friends (and a dog) it at least offers a fleeting human perspective on a new kind of war that turned out to be far, far worse in its mechanised violence than anybody was quite expecting.
Lifeless Planet is bold and memorable and oddly sweet in the earnestness of its message and its preoccupations. It's a truly efficient payload. Fire it up and be transported.
New 'n' Tasty! is angry because it holds a cartoon mirror up to the injustices of the modern world: to every clothes factory that falls down or blows up because corners were cut in the race to make 99p T-shirts, and to every water supply privatised in the name of hamburgers or fizzy drinks. Graphics lose their luster. Design tricks become predictable and then forgettable. Injustice, it turns out, rarely goes out of fashion.
Ultimate Evil feels like a good place to stand back and see what Diablo 3 actually looks like now, with the auction house dead and the first expansion bedded in. There has been time, hopefully, for players to set aside the game they wanted Diablo 3 to be and understand the game that it is.
Sadly, the biggest problem with this whole package may be that Arrowhead has already made a truly great Gauntlet tribute anyway, and it was Magicka. There was a game with the freedom to choose its own first principles, while still having Gauntlet's mean-spirited playfulness baked into it. The difference, I suspect, is between being creatively inspired by the spirit and ethos of a legendary design, and being cast as a kind of well-intentioned caretaker.
Kuru Kuru Kuruin meets gleefully silly FMV in this wonderfully tactile arcade game.
Civilization has always had something to say about this stuff (and civilisation has always had something to say about this stuff) but Beyond Earth goes further than ever, suggesting that even if we do eventually live on Pluto, the distractions will have joined us there, and will probably have multiplied. When we get into space, the real danger - and the real wonder - will be the fact that we have brought ourselves along.