• Format:3DS
• Unleashed: Out Now
• Publisher: Nintendo
• Developer: Nintendo
• Players: 1
• Site: http://www.nintendo.co.uk

Wii based Galaxy titles have introduced a new level of inventiveness to the Mario formula; so how have Nintendo kept a balance between traditional 2D Mario gameplay, Galaxy style gameplay, and the 3DS’ form factor? Well, they have gone back to their roots for the core DNA. There are no open 3D areas to explore here. Instead think streamlined experiences with the gameplay of traditional 2D games, yet in full 3D with a degree of flexibility to experiment with route and method. Indeed the best comparison is the often overlooked ‘pure platforming’ type levels which were a minor part (but the best sections) of Super Mario Sunshine back on the Gamecube.

This style of gameplay suits the screen size of the 3DS perfectly. With the 3D effect turned up, it’s like looking into a little box of Mario (hence making the Mario land in the title quite apt). The fact that the levels are clearly linear and constrained means it’s like having a little Mario play-set to run around in, there in the palm of your hand. It is rather beautiful in our opinion with bright hues and well rendered characters, platforms and backgrounds.

The gameplay and level variety do not disappoint. As with other franchises, such as Mario Kart, Nintendo seems to know how to add just enough to move the series on, without alienating seasoned veterans. You would have thought that when it comes to platforms we would have seen them all, from all angles; but Nintendo keeps finding new ways of making the old seem new. As with Galaxy, the levels are abstract, with settings such as underwater or firepits, with moving platforms with forward and backward triggers which Mario can control. There is a superb level which is based on old 8 bit, pixelated graphics which uses cannons to propel Mario between different faces and designs made out of these 8 bit blocks. You kinda have to see them to believe them.

Clearly inspired by its 2D bretheren but with added depth....

Some levels are very 2D in design, but rendered in 3D. However they are true 3D and you can move Mario to the foreground or background of the levels, often finding alternative horizontals paths, in a fashion similar to how story levels are constructed in LittleBigPlanet. Mario, though, controls much better than Sackboy and the addition of real 3D allows you to judge the depth much easier. However some levels are clearly influenced by games such as Galaxy, with different areas to progress to, free standing and floating in the air. Whichever level you are on though it is a linear playthrough from one end to another as there are no ‘get the star’ targets here. You start at one end and have to reach the flag at the other, just like with the 2D games we love so dearly.

Throughout the game, Mario will be able to slip on various suits which give the type of superpowers we have become accustomed to over the years such as fireballs, boomerangs – and for 3D Land we see the comeback of the Tanooki suit! The Tanooki suit allows the player to hover in the air for a bit (very useful for all this platforming) and kill enemies with a flick of Mario’s Tanooki tail. Beware, though, as this time the enemies get their own Tanooki suit to use against you! Two suits can be carried at once, and by touching an icon on the bottom screen you can easily switch between them.

The first eight worlds are great and they are super accessible. If you keep failing you’ll get given a super suit that essentially means you can’t be killed. Great for beginners and the experienced alike, to wean them onto the difficulty which kicks in once the main quest is over.

That’s right, the game keeps giving. Once the main quest is complete, another eight worlds appear, with a remix of levels made harder and not coming with any special ‘I can’t be killed’ suits to help you out. Each level comes with three gold coins which need collecting to unlock new levels (and also act as a reason to replay levels for the completists amongst us), whilst the spotpass feature means you end up competing on best times against other 3DS users you might have bumped into via other games such as Mario Kart 7. It’s a great shame Nintendo didn’t go the whole way and offer public leaderboards.

It’s also a shame the game doesn’t offer any multiplayer mode whatsoever. New Super Mario Bros on the DS had a quite compelling coin collecting competition going, and so did the DS remake of Mario 64. However 3D Land has nothing, when an online mode would have added even more replay value.

With the 3D turned up, this looks lovely.

Whilst we feel content to make suggestions regarding what is missing in this review, please don’t confuse that with our actual view on the title. It is excellent. It is better than New Super Mario Brothers on the DS, in that it offers a real difficulty curve for experienced players, and way more replay value. It looks lovely, and the levels delight in their ingenuity whilst the 3D makes a tangible difference to how you experience the game, with some simple puzzle elements being easier to solve with the 3D on rather than off. There is also a nice variety of special suits, as you would expect in a Mario game, which add a degree of strategy and gameplay variation to how you might approach different levels.

Nintendo has shown once again that a proper Mario title is not just a cynical way of printing money, but is a franchise that justifies its greatness time and time again with each release.

Get it now.

• Format: 3DS
• Unleashed: Out Now
• Publisher: Capcom
• Developer: Capcom
• Players: 1-2
• Site: http://www.residentevil.com/revelations/

Resident Evil: Revelations can probably be considered one of the more mature games to be released on the 3DS to date (though it only manages a 16 rating from PEGI) and from the outset was a refreshing change from Mario, Mario, some remake, and that other Mario game.

Jumping into the newest Resident Evil title is a little daunting at first because it feels like being forced to start at episode ten of a twenty episode season. Despite having no direct ties to the plot of previous titles with the exception of Chris, Jill and the BSAA group they work for, the player is fed a lot of information about significant previously unknown events of a global scale.

We’re told that in 2004 a city was created out at sea which ran on 100% solar power. This city, called Terragrigia, was for some reason the prime target of a terrorist group named Veltro which chose to attack it using bio organic weapons to zombify the population of the city with a new virus variant called T-Abyss. Pulling another Raccoon City, the government decided that the only way to contain the virus was to blow up the city. Skip ahead one year and Chris has gone missing chasing rumours that Veltro has resurfaced; so Jill and new partner Parker go searching for him on orders of the BSAA boss – who looks so much like the late Peter Falk that it’s distracting.

The story is ridiculous even if you do manage to swallow everything that’s happened before the events which play out in the game, but that is not to say it’s bad. Most people probably go into a Resident Evil game expecting nothing more than a cheesy action horror plot with monsters and zombies thrown in, so as long as that doesn’t change here you’ll be fine. That said you do also have to cope with it jumping around timeline wise a lot; sometimes by a year, sometimes by an hour, sometimes by mere minutes to tell events from another perspective.

Controls are tight and responsive and players of Resident Evil 4 or 5 will feel instantly at home, though using the new dodge ability takes some getting used to. The circle pad attachment is utterly unnecessary for playing the game to the required standard of reaction times and aiming prowess.

Presentation is to a very high standard. We don’t just mean graphically either (though it’s one of the best looking 3DS games we’ve played to date), more that Capcom has tried very hard to make the 3D worth having on. Now, 3D always has and always will be an unnecessary gimmick and a lot of developers are using it just as that – something to tack on to justify being on this handheld. Revelations feels like it’s better with the 3D on, even if it technically isn’t. Each cutscene, each camera angle, each panning shot feels like it was choreographed so that with the 3D slider up full it looks better. It isn’t too ‘deep’ either, so much like The Mercenaries 3D eye strain from prolonged play isn’t really an issue either, yet you still get enough visual depth that it adds an important effect.

Either by design or format limitations, Revelations returns to a more enclosed experience. You spend a vast majority of it on the ship traversing tight corridors never sure what’s around the next corner. The 3D effect helps amplify this feeling of heightened caution as you awkwardly edge around the corner (or cheat using the finger dexterity requiring first person strafe returning from The Mercenaries 3D). That’s not to say there aren’t large rooms or other areas because there are, and they help break up the experience. The first time you see the hall of the promenade deck you’ll be impressed by both the visuals and the scale.

As with previous games the gameplay boils down to finding weapons, upgrading weapons, shooting enemies and solving relatively simple puzzles. There is both forced and optional backtracking across twelve episodes which will take you around nine hours to get through, which is a very healthy length.

If we were to nitpick at things it would be that the game goes on for about another hour after it feels like it’s reached a satisfying conclusion, bosses take about five minutes longer to kill than they should, the ‘previously on Resident Evil: Revelations’ sections at the beginning of each episode are truly painful, and if you watch the after credits cutscene all it does is confound you and bring up all sorts of nasty plot holes.

So, what else is there besides a nine hour or so campaign mode that you’ll play through once or twice? Thankfully the game has that covered in the form of Raid Mode. This is where the game’s excellent local or internet co-op comes into action (though it can also be played alone if need be).

Raid Mode lets you pick a character from the main story and then you play through enclosed levels with different enemy and item layouts, levelling up as you go and finding better gear too. You can run into special versions of enemies which are super quick, super tough, or a mixture of the two and players can even fight bosses together. There are also achievement-like missions which can be traded with people you co-op with or via StreetPass.

It’s a great shame the co-op couldn’t also apply to the main campaign, but Raid Mode is a clever addition to an already full feeling game which will create longevity it wouldn’t have otherwise had. For those still in two minds about trying Revelations a demo is available on the eStore; but few people would be disappointed after playing this game.

• Format: 3DS
  
• Unleashed: Out Now
• Publisher: Nintendo
• Developer: Nintendo/Retro Studios
• Players: 1-8 (local & online)
• Site: http://mariokart7.nintendo.com/

Double Dash (which irked some fans) aside, the Mario Kart games haven’t changed an awful lot since the original was released on the SNES almost twenty years ago. The series remains massively popular nonetheless, as evidenced by Mario Kart 7 outselling every other videogame in Japan last year – despite not being released until December. Are these sales due largely to a sense of duty amongst Nintendo fans, or is the magic still there?

So, yes indeed, Mario Kart 7 will be instantly familiar to anybody who’s played any previous game in the series. Lifelong fans will notice a mix of the old and the new here, however. As with Mario Kart Wii, you can unlock your Mii as a playable character, and motion controls are an option for steering (though only, oddly, if you use the new driver’s seat view). The recent introduction of karts with differing stats in regards to handling, acceleration etc. is taken one step further here, allowing you to mix & match a frame, wheel set, and parachute attachment.

The introduction of said parachute could so easily have ruined the whole experience. It’s arguably the biggest change the game introduces – but it works so well because it is, ultimately, hardly a change at all. You’ll rarely be in the air for more than a few seconds at a time, and some opportunities for gliding are entirely optional; meaning that, basically, the new attachment is mainly used for super-long jumps. There’s still a tactical element mind you, as you choose whether to try swooping under or over certain obstacles; and judge whether prolonging your flight as long as possible or diving groundwards at the first opportunity will give you that crucial half-second lead over the kart behind you.

Thankfully, this impractical perspective is not used.

The other change of note is the introduction of brief underwater sections in certain tracks. It must be said that, with no propeller-style attachment available, these sections do seem somewhat pointless. Driving underwater does seem to slow your kart slightly but apart from that, there are no noticeable benefits or drawbacks. They do nothing to improve the experience but, thankfully, nothing to detract from it either.

Coins, which are dotted around each track and here respawn after a slight delay, make a return. Collecting them (up to a maximum of ten) slightly increases your max speed, and you lose some as a penalty each time you fall off the track, hit certain obstacles, or are hit by an item used by an enemy. They also act as currency for unlocking new parts for your vehicle, as the game keeps track of your cumulative total in the background.

There are a total of 32 tracks here. 16 retro ones – tinkered with slightly to accommodate the new parachutes and underwater fetish – and 16 brand new ones. If you’re feeling generous enough to count those in the Mirror Cup as separate tracks, that’s… um… 64. The new ones are just as deviously designed as the old ones, full of turns ready to catch out those who time their powerslides wrong and shortcuts that will actually slow down those who come in at the wrong angle and/or don’t have the right item.

The item list includes series staples such as shells, banana skins, the star and so on, as well as more recent additions such as the bullet, which automatically whizzes you along the course (knocking over anybody who gets in the way) for a limited time – and the infamous blue shell. While the blue shell still homes in on whoever is in first place and is completely unavoidable, it now travels along the ground rather than through the air. This means it now hits anybody in its path on the way to first place, making it (slightly) less unfair to whoever ends up on the receiving end of the explosion at the end. The new kids in the item list are a tanooki tail (knock over anyone and anything that gets too close with a tap of the button, for a limited time) and ’7′, which awards you with seven items all at once. This isn’t the gamebreaker it may appear to be, as you’ll never be awarded with a blue shell or bullet (though you will get an invincibility star). As the items constantly rotate, choosing exactly what you use when in the middle of a race can be tricky to say the least.

There's even rain now. Rain!

As ever, what the question mark blocks award you with after you drive through one is almost completely random. Now more than ever though it adds to the challenge, rather than rendering final results entirely down to chance. Recovering from spinning out, or even suffering an explosion, seems to be a little quicker than before; and not knowing what those behind you are armed with when you’re in the lead just makes you very aware of the mini-map (which now helpfully shows what item each racer is carrying/using).

Local multiplayer is possible both with and – kudos to Nintendo, without – multiple copies of the game. Online multiplayer is also present; but is the game’s Achilles heel.

You still can’t change your character or kart between races; you’ll have to quit and start a new online race for that. The races themselves are superb however, with no noticeable loss of graphical quality and absolutely no lag. The problem is that, for some players, the words ‘communication error’ come up far too often. Just before a race, just after a race has started… exactly when you don’t want it. At CG, some of us were forced to try this (which helped, but didn’t fix the problem entirely).

In theory, Mario Kart 7 is the best of the series so far. With an online mode that’s crippled for an indeterminate number of players however, we can’t justify scoring the game quite as high as we’d like. Once everybody can enjoy an uninterrupted online session, add one more point to the number below.

In an uncomfortable reminder of exactly how and why manufacturers of complicated electronic products enjoy such huge profit margins, here is a story which brings the word ‘suicide’ into the world of console manufacturing – again. If the word ‘Foxconn’ means anything to you at all, it will almost certainly be due to reports of workers on the Chinese company’s manufacturing lines committing suicide. This latest story, thankfully, did not result in any deaths.

On January 2nd, as reported at Kotaku, three hundred employees stood on the roof of the Foxconn Xbox 360 manufacturing plant in Wuhan, threatening to jump to their deaths. The workers had asked for a raise; the factory’s response was to tell them to keep their jobs at the same pay rate, or leave with compensation. The majority chose to leave; but when their bosses reneged on the deal and refused to hand out compensation of any kind, the rooftop protest began. After intervention from the mayor of Wuhan, the group finally came down, unharmed, the evening of the following day. Microsoft issued this statement to Kotaku regarding the latest incident:

“Microsoft takes working conditions in the factories that manufacture its products very seriously, and we are currently investigating this issue. We have a stringent Vendor Code of Conduct that spells out our expectations, and we monitor working conditions closely on an ongoing basis and address issues as they emerge. Microsoft is committed to the fair treatment and safety of workers employed by our vendors, and to ensuring conformance with Microsoft policy.”

Foxconn’s Wikipedia entry includes a fairly brief but fully supported list of the best known criticisms and fatal incidents. Foxconn  (which has been forced to install anti-suicide nets at multiple sites) also manufactures the Wii, the PlayStation 3, the iPhone, the Kindle, motherboards, and much more.

• Format:  360 (version reviewed), 3DS, PC, PS3,
  
• Unleashed: Out Now
• Publisher: Sega
• Developer: Sonic Team
• Players: 1
• Site: http://www.sega.com/sonicgenerations/

How long and twisting the road for Sonic the Hedgehog has been these twenty-odd years since he burst into the gaming scene. Not to get excessively allegorical here, but the path has been much like the stages he blazes through: plenty of ups, some noticeable downs, and a few loops that may nauseate you. Sonic Generations is a game that joyfully celebrates every step of the journey with reckless abandon, and that optimistic attitude alone makes it easy to like. But keep in mind that we are, after all, celebrating everything Sonic, and that means putting up with a bundle of nagging problems. This is a shame, because Generations’ splendid combination of both the old and the new could have meant the greatest Sonic game this world has ever seen.

In a time-warping tale that makes little to no sense, Modern Sonic (the current hedgehog you know and possibly might love) and Classic Sonic (the portly dude from the Genesis days) must work together and save the world or their dimension or something. Regardless, it’s a flimsy setup that serves as a nice excuse to travel through Sonic’s colourful past. At first the stark white hub world is devoid of said colour, but that all changes as both hedgehogs explore a timeline that stretches from the early ’90s to 2010.

What's this? Classic Sonic in a stage from 2004? That's completely bananas!

We’re sure you remember how to play Classic Sonic: hop and spindash your way through a wild rollercoaster of badniks while you you try to nab (and desperately keep) shiny, life-giving rings. For all the eye-popping pizazz and polygonal shenanigans, the gameplay remains remarkably close to the source material; Sonic Team clearly spent time on getting it right. Ducking is no longer required to spindash (tapping a dedicated button is an option now), which is the only relevant change – and it’s a good one. Creative stages are layered with fun routes to take, but the controls can be touchy, bordering on frustration now and then. The levels don’t quite rival the best of the Genesis/Mega Drive days, but they fit in as fresh additions of their own. Of course, Classic Sonic is only half the story, and probably the less interesting side.

Sonic has been tearing around the third dimension like a loon for years, loyal Sega always trailing behind and trying to steer him in the right direction with erratic results. The formula has been improving recently, and Sonic Generations is the best result yet. Among other stunts, Sonic can squeal around turns in a spindash, gain boost to rocket through loops, and cross huge chasms with the physically impossible homing attack. The blinding speed might throw you off at first, breaking the stages into stop-and-go stumbles; but practice will reveal tight stage design that rewards level memorisation and quick wits. Such intensely rad action makes it all the more disappointing when a glitch rears its ugly head or the controls fail you entirely. Nobody else does what Sonic Team does, but that doesn’t mean they always do it well.

And Modern Sonic in a stage from 1992? That's totally nuts!

Something they deliver in ridiculous abundance, however, is nostalgia; gallons of the stuff. Every level is ripped straight from a past Sonic title and positively packed with accurate details, whether it’s a familiar floating platform from the reimagined Chemical Plant or Seaside Hill’s faithful go-kart section. Anyone who’s played a Sonic game or two will get something out of it, but for those select fans who can pick out samples of Sega Saturn commercials mixed into a Sonic R remix, a true delight is in store.

Although the music can’t always rise to that level of jaw-dropping wonder, Sonic Generations’ rhapsodic smorgasbord of pumped up remixes is akin to stuffing your ears with gummi bears. These songs accompany stages brought to life with a delightful vibrancy that can differ radically from zone to zone. The sense of speed is genuinely thrilling, and grabbing a screenshot of the action would reveal textures of unexpected detail. It’s almost painful to admit that the beautiful environments and great animations are marred with a so-so frame rate that can dip into nearly unplayable slideshows during the more hardware-intensive moments. For a game focused so specifically on speed, this is 100% uncool.

And a remake of City Escape, complete with a new rendition of its jaunty theme song? That's entirely bonkers!

But for better or worse, there’s more to do in Sonic Generations than run fast. A hodgepodge of bite-sized challenges (often used to shoehorn in the non-playable extended cast) helps out with variety, but there are plenty of misses among the hits. Battles against Dr. Eggman and Sonic’s past rivals are similarly iffy, concluding with an abysmal final boss. Although a stupidly easy stage ranking system and a shop that sells passable special abilities also fall short of their potential, collectathon enthusiasts (you know who you are) will have a field day finding hidden red rings and unlocking oodles of prizes, including a fully functional Genesis that plays the original Sonic the Hedgehog.

Sonic Generations is a truly great game weighed down with sloppy troubles. Racing against the excellent system of leaderboards shows just how well put together the core gameplay is, and if not for the low frame rate and overall splapdash production, it wouldn’t have much holding it back. In short, imagine a shiny car of the coolest variety. Now imagine bashing it with a crowbar three or four times. Do you still like the car? Of course; it’s of the coolest variety! But seeing what it could have been makes the dents even more cringe-worthy. Sonic Generations is a gleeful tribute to the best of Sonic, but like our unfortunate hotrod, it takes a beating along the way.

• Format: Wii (version reviewed), PS3, 360
• Unleashed: Out Now
• Publisher: Ubisoft
• Developer: Ubisoft Montpellier
• Players: 1-4 (offline only)
• Site: http://raymanorigins.uk.ubi.com/#

If you owned a SNES and/or Mega Drive (AKA Genesis) way back when, your gaming life would have been spent riding a surfboard of pleasure over a stormy sea of side-scrolling platformers. Many were terrible. Many were not; many were carefully crafted adventures that considered fun and wonder rights rather than privileges where gamers are concerned. Do you remember these games? Rayman Origins certainly does.

The first thing to hit you about this game, long before you even get to take control, is the amount of time and love that has clearly been poured into the graphics. Hand-drawn, sumptuously animated and relentlessly detailed, it looks like no other commercial release of the last ten years or more. Though the shamelessly bright colours and bloodless violence invite comparisons to a cartoon, in truth it looks more like what it truly is; an inventive, aggressively non-aggressive videogame.

The sound too stands out for all the right reasons, with the nonsense language (including split-second snatches of real words) refusing to ever make you cringe, with the moments of unintelligible sing-song delightful rather than twee. The music too is wonderful. Rather than a looping soundtrack that could be slapped onto the end of any cutesy-looking game, this is a title that has been scored. Two orchestras, a wealth of instruments, and a range of styles ensure that you’re presented with a perfectly happy audio-visual marriage.

Despite running at a lower resolution than this, the Wii version still looks wonderful.

Children of the eighties will remember the best of the 16-bit platformers, and to say that Rayman Origins plays like one of these goes a long way to making any review redundant. For the benefit of the uninitiated, the basic premise runs thus: each level starts at the left of the screen, and the exit is somewhere (very) far to the right. A combination of enemies and tricky jumps – often resulting in instant death – stand between you and success. To get through you’ll be jumping on heads (and here, punching faces) and using a range of abilities, most of which are unlocked as you progress through the game. Many moments require very precise manoeuvres and lightning reflexes. You will die often, and be thankful for checkpoints. Above all, you will have an enormous amount of fun during the ride.

To an extent, difficulty is dictated by how much content you want to experience in your first run through the game. Like any platformer worth its proverbial salt, there are collectibles; ‘Lums’, vaguely fairy-like creatures which hang in mid-air (sometime stationery, sometimes not). Grab a king Lum and, for a brief period, all other Lums turn red – doubling their value. Do you go for the highest Lum total you can manage in the level – usually meaning close encounters with invincible enemies and bottomless pits – or just grab what you can while making your way safely to the exit as soon as possible?

Lums, in turn, unlock Electoons (think Super Mario’s stars/shines). There are 246 of these in total, though only a relatively small number are required to unlock each world; and collecting a total of 200 will allow access to an extra eleven levels. Almost all levels have three Lum target numbers to achieve; the first two will give you one Electoon each, while the third will award you with a medal to look at. Each level is ended by freeing an Electoon from its cage, and there are hidden areas sprinkled throughout the game hiding extra Lums or cages; and once completed, each level has one last Electoon to surrender as a reward for a speedrun.

Ah, underwater sections. You were never allowed to make a platformer without them.

Though it works superbly as a singleplayer game, up to four of you can run, jump, glide, wallrun, and walljump your way through simultaneously; and, of course, stop to slap each other about should you feel the need. Extra players can certainly help during the side-scrolling shooter sections (which, incidentally, somehow fit in perfectly). There are extra characters to unlock but, as many are too similar and there is no coherent story within the game at all, it doesn’t act as much of an incentive.

You won’t much care who you’re playing as. Partly because you’ll be having too much fun and/or concentrating too hard on a particularly tricky section, but also because you’ll want to see how many industry references you can spot. There are subtle, never-intrusive nods in the level designs to Mario, Sonic, Angry Birds, Snake, Super Meat Boy, and doubtless many more we’ve missed. These tasteful homages go hand-in-hand with the intricacy of the graphical detail and the power of the soundtrack to create levels that look, sound, and feel alive. It’s so much more than idiot smiles and squeaky voices. Every single level is bursting with character, energy, and an utterly unique sense of self.

It is, sadly, not an endless parade of positives. Though it took us a respectable ten hours or so to run through the story, collecting roughly 60% of the Electoons along the way, it was mostly fairly easy to get through. That’s not necessarily a problem; the fact that the game occasionally leans too heavily on trial and error – particularly for the bosses and the final leg of the story – is. There’s nothing wrong with the time-honoured balancing act of quick reflexes and unexpected circumstances, but the ball is now and again dropped here.

Replay value is a thorny issue. Many (though not all) will happily work for and play the ten exhilarating, peril-laden chase levels that must be completed for the final hidden area; but only the most hardcore platformer freaks (or trophy/achievement addicts) will go through the same levels again and again until they have every last Electoon, medal and speed trophy.

Considering the tidal wave of price cuts due to lack of sales, this last is perhaps not an issue. If you loved the platformers of the nineties you’ll love this; and if you weren’t there for that era, perhaps Rayman Origins will make you regret the fact that you missed out.

This image has threatened traditional gaming since around November 2006.

It’s been a year of worry for the traditional gamer. Whilst gaming might seem to be an ever growing past-time, some of the traditional elements which make up the industry have seemed fragile. Publishers have been busy shutting down traditional developers, especially those famed for 3D racers, but beyond too.

We have seen shops such as Gamestop starting to seriously invest in alternative delivery platforms such as their own tablet and streaming services, fearing a fast-arriving dead end to their current business model. Indeed in the UK, where GAME have been less aggressive in moving into new areas of the business, we are witnessing the start of what will be a contraction of its street presence over the next five years. HMV, too, are struggling and are being quite open about the idea that they might not be around in the next 2-5 years in any shape or form.

Alongside this we have seen traditional hardware providers, such as Microsoft and Sony, in effect pour cold water on the idea of an early start to the ‘next generation’ as it is only really now that they are generating real profit dollars from their investment in current hardware and software. Whilst they might feel the urge to produce something new in the face of the soon to be released Wii U, both companies will resist in the knowledge that they have healthy, steadily improving install bases and technology which still won’t look outdated, even compared to the Wii U. I suspect they have noticed that the current generation of hardware is actually perceived to be cutting edge by many consumers today, despite being very behind suped up PCs. Hence there is little demand to bring a new, expensive console solution to the market in these difficult economic times.

Look, look I got some new plastic! But no games or applications to use with it!

Nintendo’s own year has been a difficult one, until the final quarter came around with the upturn witnessed in the holiday season. The launch of the 3DS was undermined by a range of mistakes. A high price, which did not actually put off day one early adoption but which did kill day two, three and further afield purchases. This drop in sales and consumer relevance was then compounded by the device having no actual new software (quality or otherwise) for months after release! It was almost as if Nintendo itself was surprised by the release of the console. One suspects that this observation might be closer to the truth than some might realise. Could it be that Iwata suddenly panicked when he saw the drop off in DS hardware and software sales in late 2010 and early 2011, and thought a hardware launch, which was due for November 2011, should be brought forward? Could it be that he actioned this change of timeline, forgetting that the software development teams couldn’t speed up, pro-rata?

This would explain the lack of software, both in terms of game titles and the also slightly unfinished operating system, which is still having parts of its online functionality added by firmware to this day; but which the software team have admitted were due to be there from day one.

Indeed Nintendo have taken a bashing on behalf of traditional gamers everywhere. Analysts the world over have decided that Nintendo could be the RIM (the makers of Blackberry products) of the games industry. Everyone likes to be the one who can call the end of the world (just ask the Mayans) and analysts are as human as the next guy (really they are) and Nintendo was their punching bag in 2011. The narrative went like this – people are moving from dedicated gaming devices to iPads and smartphones. Why spend £30 on a game, when you can get freeware or £1 software? The logic was sound, but too simple. People will always buy something they want, you just need to give them something they actually want, and come the end of the year Nintendo seemed to be achieving this. The 3DS sales are now running ahead of all predictions and confidence is not only building in the platform, but in the traditional games market in general. What started as a bad story for Nintendo and the industry as a whole has started to evolve into a success story.

Of course the area of growth which has probably received the most headlines, is the continued march of the social and casual gaming market. This encompasses everything from the Just Dance franchise, to the exponential growth of the Farmville type experience. There is no question that the online ‘Sim’ style of gameplay is not only hugely compelling but ideal for multi-platform, cloud play. Users can switch from the PC to their tablets, and in theory continue on the Sony Vita, as many of these games start being released in the platform agnostic HTML5 coding language. Indeed as televisions become ‘smarter’ with their own implementation of Kinect-like experiences, merged with an appstore, we can expect to see continued growth in the use of such genres. For hardcore gamers, this can be seen as a threat, as it potentially pulls funding from the type of projects they would traditionally welcome. Indeed if one looks, as an example, at Disney Interactive, it is moving evermore into this social and casual space and further away from traditional AAA game titles.

Should we as traditional gamers be worried by this? Probably not. Firstly the world is not black and white (even though according to my dad, when he was a boy it used to be – just look at old films back from when he was a youngster he tells me) and hence some of us also play those social games (maybe less so the dance titles). After all they are really very similar to RPGs, but often the character is the ‘farm’ or ‘restaurant’. However it also means that those AAA titles that are released get an increase in funding, and hence we should see an ongoing rise in production values and overall quality. The end of year titles released in 2011 are probably the best evidence for this. The range of software in your local GAME or Gamestop is reducing, but who can dispute the quality of Batman Arkham City, Skyrim, Uncharted 3 and the top shooters, MW3 and BF3?

Let us not forget the great games that have come out on XBLA, PSN, Android/iOS and recently on the 3DS, which is starting to have some quality digital titles. If you are a dedicated gamer, and not just someone who dives in to kill some time, you have never really had it so good.

What will 2012 bring to the story? For sure, we will see the ongoing decline of brick and mortar shops. Boxed product will still exist, and we will probably continue to see the ongoing investment into ‘limited edition’ versions which will help to prolong the life of this boxed product. However for many they will only order via online, postal only services. Shops will simply start to close or become trading and part exchange locations.

Game of the Year 2012?

The year ahead, when it comes to software, is going to be a very exciting year. Max Payne 3, Grand Theft Auto 5, MW3 map packs and BioShock Infinite (have Take 2 already sewn up 2012?) are already in our consciousness. The 3DS has some superb first and third party exclusives arriving in early 2012 too, and the industry will have the US and European launch of the Vita to look forward to.

The Wii U will release. Nintendo will see this as a slow burner, as the Wii at its new price is still selling strongly. However for those wanting to upgrade it could spoil the party for the current levels of PS3 growth and Xbox steady sale projections. Why? Because for those who already have a Wii (and only a Wii) and are considering what to step up to then if the Wii U ticks a number of boxes, it’ll be the natural platform to choose. What are those boxes?

• If the Wii U has the same range of ‘adult’ software as the 360 and PS3 in addition to being 100% backwards compatible with all their Wii content.
• If it allows them to play all the new Mario titles, along with new Nintendo only IP. Expect Nintendo to make a push to position the Wii U as the first console to take MMOs seriously with a controller designed for them.

The ultimate home based tablet and server solution?

If the above happens, then who would not buy the Wii U over one of its HD counterparts? Those of us already with a Wii and 360, or PS3 will probably fail to become early adopters. That’ll be fine by Nintendo though, as once the new inevitable Mario games and Pikmin are released, and once the hardware does eventually drop in price, they know we will still invest.

What Nintendo decides to do with its online provision for the Wii U though is very exciting. Nothing is really known, but all the rumours suggest a very open online service, perhaps with multiple portals such as EA’s Origin and Steam. However, if they could be linked with a single Wii U identity (not a friend code!) it suggests a range of delivery services, offers and perhaps even streaming services being offered through the platform, alongside its own propriety content.

2012 could be Take 2's year, at least when it comes to Metacritic scores. Sales will surely follow.

As the economy continues to stumble, the games industry will clearly find that growth and expansion is stunted by the social and economic factors around them. Yet if any leisure industry will succeed in these tough times, it’ll be ours; and 2012 will be another step forward.

It’s nearly Christmas. Again. The bad news is that this means you’re even poorer than usual by now, and you’ll soon have to pretend to be much more interested in what distant relatives have to say than you actually are. The good news, however, is that it’s once again time to find out what Critical Gamer’s favourite games of the year are! Also: presents.

It’s been another great year for games, though this time around almost all of the best ones have been sequels; something reflected by our choices (whether we like it or not). It was extremely close when it came to deciding which game we thought trumped all the others. Eventually however, we decided to declare that Critical Gamer’s Game of the Year 2011 (despite the notorious bugs) is:

Skyrim

Stephen K says: I knew Bethesda would have something incredible in store with Skyrim, but I was unprepared for its tidal wave of sheer excitement that swept across communities the world over. It captured the imagination of nearly everyone who glanced its way, and I could go on and on about Skyrim’s visuals, scope, and expansive wealth of content. But what really amazes me is how Bethesda finally made the promise of the Elder Scrolls series a reality. When I was back in Morrowind’s icy island of Solstheim, staring into that foggy draw distance, my imagination took over. Sparse evergreens appeared as towering forests, glitchy swipes of my sword became dramatic strokes of battle, mindless NPCs were rugged inhabitants with lives to live. And in Skyrim, all of that was true. It was adventure that welcomes everyone, retaining depth and subtlety while fixing the broken parts. Experienced travellers could rediscover Tamriel’s vast beauty once again, and newcomers had the chance to experience for themselves what it is we’ve been pretending to see all this time.

There were so many top quality games released this year however, that we’d feel ever so guilty if we didn’t talk about some more of them. Therefore we now present to you, in no particular order, nine ‘honourable mentions’ plucked from the 2011 release schedule; some personal favourites of the cheeky chappies at CG, each of which we award with a virtual medal thus:

Uncharted 3

Matt says: Uncharted 3 is another compelling entry in a series that remains the best reason to own a PlayStation 3. The outstanding competitive multiplayer returns with an array of customisable options and bonuses, and there is also a standalone co-op campaign for those who yearn for narrative drive in their multiplayer.

As good as the competitive and co-operative multiplayer is, it’s the singleplayer that steals the show with its stunning visuals, impeccable pacing and memorable set pieces. A tightly scripted adventure that boasts witty dialogue and likeable characters, it is packed full of small, human touches that bring characters and situations to life. Such moments allow Uncharted 3 to be more than just another action game, as it thrives during the quiet moments between huge firefights and narrow escapes from sinking ships. When it comes to standing out from the crowd, it’s all in the details, and developer Naughty Dog have proven once again that they understand this as well as anyone else in the business.

Arkham City

Ian says: Following on from such a huge critical success was always going to be hard going and yet with Batman: Arkham City Rocksteady achieved this. The second outing for the Dark Knight in recent years had the same high level of visual polish and quality voice work its predecessor Arkham Asylum had, but added so much more. It didn’t fall into some of the common sequel trappings and those they did mattered little when compared to the larger explorable world, excellently tweaked gameplay, and engaging plot; which culminated in one of the most memorable endings to a game in recent years.

Portal 2

Anthony says: Following on from Valve’s masterpiece, Portal 2 took the concept demo-like experience of the original and stretched it into a proper length game. It took everything that made the original Portal great, and did it better and bigger. Larger environments, sharp humour, more diverse puzzles and a Bristolian robot; it had everything. The space-hole spewing gameplay remained largely unchanged, but the introduction of environment morphing gels opened up huge possibilities in and out of test chambers. Even the marketing that preceded the game was excellent, with funny Aperture Science investment videos and a scarily complex alternate reality game that sucked us deeper into to the crazy Portal universe. Portal 2 also introduced a brilliant co-op mode featuring two mute robots that still managed to buzz with as much personality as Nathan Drake or Commander Shepard. The chaotic and often hilarious results of four active portals really made the specially designed test chambers a joy to prance around. It’s also incredibly funny to drop your mate through a portal into spiky doom, only for him to reappear and do it to you, with death carrying no consequence other than a minor restart and a round of giggles.

LittleBigPlanet 2

Luke says: Like Portal 2, LittleBigPlanet 2 achieved what had previously seemed impossible; it made the prequel look unambitious. Again, there is a brief story mode which can be enjoyed online or offline by 1-4 players simultaneously, and this time round it’s even easier. The heart of this game is the level creation tool however, which is now more powerful than ever. The LittleBigPlanet community has created and shared platform levels, puzzle games, homages to classic titles, machinima, racing games, and much more… all for free. It’s like an almost limitless number of games in one, making it an essential purchase.

Battlefield 3

Kevin says: Battlefield: Bad Company 2 was our favourite multiplayer shooter from last year, and DICE have followed it up with a tour de force experience in Battlefield 3. With the addition of fighter jets to the vehicle roster, and large open maps that are packed with destructible scenery, they have tweaked the multiplayer to perfection. This is not your usual run and gun shooter, with teamwork rather than killstreaks being crucial to winning games. In fact even modest players can reach the top of the leaderboard, thanks to the balanced points system which rewards players with extra points for capturing flags, repairing vehicles, or even laying down suppressing fire. It’s this fair system of play that encourages players to work as a team, rather than sit in a hole racking up kills. There is a campaign mode that uses the Call of Duty template, and an enjoyable two-player Co-op mode, with six different missions to take on with a friend; but these are more of a snack, and the main meal is in the multiplayer – which is a Christmas dinner that will leave you feeling full long into the new year.

Super Mario 3D Land

Steven G says: This is a masterclass in traditional platform design with graphics as good as Super Mario Galaxy on the Wii, but with the gameplay of a traditional 2D Mario title. The difficulty level is perhaps just a little too low for seasoned gamers, but there is still much to be gained even for hardened players. There is beauty in the way these levels are designed and just playing through them brings a smile to one’s face. The 3D adds to the enjoyment of the game and actually assists you in some puzzles along the way. Despite being a little too easy to finish, collecting all the gold coins and stars will take some time.

Whilst you can swap levels and powerups with other users locally and online, there is no multiplayer option such as the two player mode in New Super Mario Brothers for the original DS. The game even lacks an online leaderboard for fastest level times and other ‘achievement’ based challenges. Nonetheless, if you have a 3DS this is a superb game you need to get; and if you don’t have a 3DS, you now have a reason to get one.

Bastion

Stephen K says: Bastion is like a beautiful melody or perhaps a really good story, the kind with meaning: you just can’t forget it and you certainly don’t want to. The brusque narrator was a game-changing method for telling stories, the music resounded with an offbeat magic, and its art was a surreal mix of muted tones and whimsical swirls. But in perfect harmony with this poetic vision was a hearty framework of gameplay, just like the old days. Whacking things with weapons and then upgrading said weapons for further whackage was a skill that took cunning to perfect, requiring quick wits and swift thumbs. The plot didn’t hinder the gameplay and vice versa; Bastion was created with both aspects in mind, and the result was something special. It’s flat out impressive to see such a small downloadable title (and an equally small team) stand shoulder-to-shoulder with this year’s colossal competition. Yes, I have a feeling Bastion will be remembered for a very long time.

de blob 2

Luke says: Almost certainly an unexpected entry here, and one that many would disagree with (including some Critical Gamer staff); but I’m the boss round here, so I stick my tongue out in mature defiance and declare de blob 2 to be one of the best games of 2011. Not only does it do something different, it does it very well indeed.

Ostensibly a platformer, this game puts colour and music at the heart of the experience. At the beginning of each level, you’re stuck in a monochrome world with what really is best described as a minimalist glumtrack for music. After filling your blobby avatar with various colours and painting in anything and everything you find however, the environment is transformed into a world of rich and vibrant colours, supported by a truly wonderful soundtrack of funky jazz. Fighting your way past the conformity loving ‘Inkies’ through to the end of the game isn’t too difficult, but finding every last secret presents a challenge you’ll gleefully accept. The wonderfully crafted cutscenes are the icing on the cake and, considering the rock bottom prices this criminally ignored title is now selling for, there’s no excuse not to buy it.

Deus Ex: Human Revolution

Anthony says: We’ve all dreamed of what it would be like to have robot arms and how awesome x-ray vision would be, but Deus Ex: Human Revolution managed to put a bleak spin on the whole thing. After an unfortunate work related incident, Adam Jensen is rebuilt with a variety of cyber bits that augment his body. The result: a multi-purpose man-tool players can mould to fit their desires. Want to play the game like a ninja? Improve your skin so you turn invisible. Want to be a walking death factory? Upgrade your robo-arms so they can throw vending machines and steady your aim.

The RPG-like ability upgrade system means you can go through the game and have a completely different experience each time. Chase down secrets and sub-missions in the open hub areas, and you can easily stretch one playthrough to 25 hours. I was sucked into this game and the dystopian future it was pushing. This could definitely be played as the most entertaining stealth game of the year, whilst at the same time being an action driven cover shooter. The plethora of choices, coupled with serious consequences for your actions, makes this several brilliant games in one.

So, how do you feel about our choices? Happy? Angry, sad, confused? Hungry? Thirsty? Exhausted? Feel free to let us know (not that you’ll ever change our minds about anything). You’re welcome also to congratulate Kevin on doing a wonderful job on this year’s Game of the Year award graphics. Steal them, and he will hunt you down.

Hunt you down we say!

P.S. You’ll soon be able to find a condensed version of our choices at ‘Most Wanted’, the vouchercodes.co.uk blog. In fact, if you head to the main Voucher Codes website, you’ll be able to find offers and discount codes for literally squillions of online retailers, many of which stock some or all of the above games. The codes are all free, and you don’t even need to register with the site! Lovely. 

• Format: 3DS (version reviewed), PS3, Wii, 360
• Unleashed: Out Now
• Publisher: SEGA
• Developer: SEGA
• Players: 1
• Site: http://www.sega.com/captainamerica/us/index.html

Captain America: Super Soldier has spread itself across nearly every platform (and in fact would have been on them all had the PC and PSP versions not been cancelled) and ties into the plot of the recent Captain America: The First Avenger movie, chronicling one of the clashes between the all-American hero and his Invader allies against the Red Skull’s Hydra Army.

The basic plot and the events that unfold in this 3DS outing and the bigger brothers on console are very similar. Captain America leads the charge on a Hydra base that was once an ancient castle belonging to Baron Zola, who isn’t too happy about the occupation of his home and actually sides with the allied forces as a result. From disabling AA guns to taking down Hydra officers, anyone who has played a console version of Super Soldier will feel significant deja vu early on.

Across nine levels broken into different areas of the castle you’ll explore, fight, platform and have the opportunity to take part in a number of side quests to unlock concept art, character dossiers and more. These optional distractions include taking out hidden bombs, rescuing prisons of war, finding hidden artefacts belonging to Baron Zola, and also challenges.

For a 3DS game the visuals are fairly good, and the 3D effect is well used in terms of visual appeal without being significant in any way to gameplay; for example watching as Captain America corkscrews through an explosion in slow motion as the camera circles around him. Each area is usually broken into a twenty minute chunk of gameplay (more if you do all optional objectives) with regular checkpoint saves which is handy for those who, like us, tend to suffer headaches rather quickly if exposed to the 3DS’ full effect for too long.

While there are intermittent platforming sections (made all too easy by the captain almost auto-locking from one to the next as long as you see a directional arrow where you want to go) and also a fair chunk of shield deflecting or throwing related puzzles (which never really test the brain too much), like the console versions you will spend most of your time fighting Hydra forces.

As in other versions of the game, this one features a hand-to-hand combat system that can only be described as one which is heavily influenced by that created by Rocksteady for Batman: Arkham Asylum/City. Captain America will glide around the battlefield locking from one soldier to the next, unleashing combos and countering attacks from any direction if a button is pressed when prompted, complete with slow motion finishers on the last enemy to be brought down and using his shield like Batman uses batarangs.

Should SEGA should be applauded for using a free-flowing brawling style of gameplay which is addictive and translates surprisingly well onto a hand-held, or criticised for so shamelessly stealing someone else’s good idea? It’s a contentious issue. In time it may well be that free-flow combat becomes to brawlers what regenerating shields in Halo did to shooters, and that may not be a bad thing.

The game steadily introduces new enemy types beyond the basic Hydra troopers who either engage in fisticuffs or shoot at range, such as officers which encourage peons into doing an unblockable attack, or evasive sword-wielding female Hydra who must be stunned first. Later in the game large brutes are introduced, which take altogether far too long to take down in comparison to what is supposed to be the toughest enemy (a grenade firing large robot type) which only needs one grenade flung back at it to expose a one-hit kill chance.

There is a levelling system in place, but we honestly couldn’t really tell much difference in any of the upgrades we picked other than one which points out the location of collectables. There aren’t any to increase your damage or health for example, just to lock onto more targets when throwing your shield or to add some combat moves.

You will be using your shield a lot to stun or to solve puzzles as previously mentioned, and it gets a little annoying that there is no button to instantly reset the camera behind Cap’s back. This would make things much less frustrating at times. With the way the shoulder buttons are placed on the 3DS it can also be cumbersome to sometimes defend with the right shoulder button and then ready your throw with left shoulder, and then aim using a finger on the touch screen.

Rounding off the experience are a few boss battles. These usually boil down to learning the attack routine, exposing a weakness which leads to a Quick Time Event, then repeating for three times total. That said some of the larger fights and the final boss were actually quite impressive for a handheld. Strangely, though there are quite a few bosses, not one of them is Captain America’s nemesis the Red Skull. Though Red Skull does appear for the final quarter of the game there isn’t much to his presence, and this is especially confusing given that the game box promises that you will ‘Battle the infamous Hydra Army and the evil Red Skull.”

The 3DS outing for Captain America isn’t a bad game, thanks largely to the borrowed fighting style and fair enough graphics and puzzle solving. It just isn’t a huge game or exceptionally memorable, or one with much replay value once finished; but it’s worth a look by new and old fans of the super soldier that haven’t already tried a version available on the consoles.

• Format: PS3 (version reviewed), 360, PC, Wii
• Unleashed: Out Now
• Publisher: Activision
• Developer: Infinity Ward, Sledgehammer Games
• Players: 1-18
• Site: http://www.callofduty.com/mw3

Call of Duty is a peculiar series. Each year it shifts millions of copies and is greeted with near unanimous critical praise, yet it also attracts a special kind of hatred from a vocal segment of the gaming community that consider it a microcosm of everything that is wrong with modern gaming.  If Call of Duty is to be an acquired taste, then with Modern Warfare 3 it’s one that is more refined than ever.

The singleplayer campaign is exactly what we have come to expect from Modern Warfare: a relatively short rollercoaster ride, punctuated by memorable set pieces. The narrative doesn’t quite reach the heights of the original Modern Warfare, but it succeeds in telling an engaging story which revisits familiar characters like Captain Price, Soap and villain extraordinaire Makarov. It’s fun controlling these violent men, but war is never glorified in a dark tale that focuses on a bleak near-future, where life is cheap and atrocities par for the course.

There is a lot of jumping around between various playable characters, especially in the early stages; but the narrative is far more coherent than Modern Warfare 2, though no less outrageous. Characters are better linked and relationships more clearly defined, though those new to the series may struggle to keep abreast of who’s killing who, and why exactly they are at each other’s throats.

The supporting cast is still full of generic characters who spout the kind of hoo-ra gibberish that might have you eyeing the mute button, but the perfectly paced plot and tight combat makes you more forgiving of these caricatures, as does an outstanding final third where every loose end is tied up. Aside from the ludicrous and ill-fitting death quotes that do their best to kill the atmosphere, it is otherwise an immersive experience throughout.

The campaign clocks in at a lean five hours, though it feels about right, as the spectacle would be in danger of losing some of its lustre were it a more prolonged experience. A great deal is packed into those hours, as you find yourself speeding through the streets of Paris in an old fashioned car chase and even storming a skyscraper fortress dressed like Robocop. With moments like these, Infinity Ward have proven yet again that they know exactly how to create the most polished and exciting kind of singleplayer, FPS experience.

Once you have finished with the campaign, MW3 nudges you towards the Special Ops mode; a welcome return from Modern Warfare 2 that significantly extends the game’s shelf life. This collection of 16 short-burst missions may be enjoyed alone or in co-op, and are great to dip in and out of. In answer to Treyarch’s popular Nazi Zombies, a survival mode has been introduced where you must outlast countless waves of enemies spread across surprisingly spacious maps, either on your lonesome or with a friend. Despite offering 100% less rotting fascists, it’s still fairly entertaining, though in comparison to the riches found elsewhere on the disc it will probably be of limited appeal.

Competitive multiplayer is better than ever before, thanks to a number of new editions that tweak the existing formula, as well as the new Elite service. An impressive sixteen levels are on offer, some better than others, from tight corridors to more cavernous settings that play host to the bigger matches on the playlist. All the standard deathmatch and objective based modes are present, alongside the welcome edition of Kill Confirmed – a brilliant team deathmatch variant where you must collect dog tags from your vanquished foes to score, an objective that discourages camping and rewards exciting and risky dashes for precious shinies.

Pointstreaks replace the killstreaks of old and offer a more nuanced set of rewards to support every kind of player. Completing objectives as well as racking up kills will contribute to any one of three streak types. The Assault package is most like the killstreaks of old; the Support set awards bonuses that benefit your team more directly, and your kill count does not reset when you die; and finally the Specialist option is best suited to more advanced players who are able to string together murderous rampages without croaking, offering stackable perks that make you more powerful the longer you survive. This restructuring makes a huge difference and rewards players who don’t only play for kill counts, as well as opening up more impressive perks to players of all abilities.

With the notable exception of a much desired mute-all button, Modern Warfare 3 is arguably the most feature rich and well-rounded FPS multiplayer around. Alongside the excellent campaign and the addition of Special Ops and Survival mode, it is an exhaustive package that will keep the fanbase more than happy and the naysayers spitting venom until next November rolls around. Sounds like business as usual then.