Batman has two rules. Don't kill, and add the word ‘bat’ to everything he owns. However, Arkham Knight seems to push the first rule to its breaking point... and then runs it over with the Batmobile. Literally and repeatedly. You keep telling yourself you’re only incapacitating them, Bruce. Whatever helps you sleep whenever you find time to sleep.

Alarmed at the way Batman whacks, cracks and splats his way through the villainous hordes that populate Gotham, I found myself increasingly questioning how many could plausibly actually make it out alive. But it wasn’t a rhetorical question, I got hold of an IRL Doctor - Dr M Hussain, SHO - to deduce just how non-lethal Batman actually is. The results will shock you as heavily as the Batmobile’s weaponised dynamo. So click on in horror, as I explain what's really going on here, with the help of Real Medical Expertise and a collection of screens I grabbed from some video I took.

There’s a sense early on in Arkham Knight that this is a Batman carrying additional emotional baggage. Considering the titanic amount he was carrying to begin with - dead parents, double life, Alfred’s unfortunate insistence on keeping up with Downton Abbey - that’s enough to make anyone a bit tetchy. So when Bats grabs a soldier in a cell and introduces the chap to the metal bars by yanking him into them, it’s certain that the old ‘No Killing’ rule is getting tested before the night is through.

Fortunately for Bruce, this type of provocation isn’t going to turn him into a murderer just yet. Dr. Hussain says that “[It] depends on how strong the force is. Most people can survive this type of blow - but the resulting complications can be dangerous; the victim can be left with brain injury.” Well, I guess it’s a good job Batman doesn’t have a rule about ensuring the criminals he’s fighting have to think or talk again.

A classic staple of the Arkham series, as Bats lurks in the rafters waiting to swoop up some inattentive guards, whisper a few sweet nothings, and then leave them hanging like a naughty piñata. If they’re lucky, they’ll be cut down. Eventually. But could this showy display of strength actually end up with a body on Batman’s conscience?

“From a medical perspective, it is not necessarily how far someone falls but how they fall, which determines their survival.” Dr. Hussain explains. “When someone lands on their back, rather than their side, the main artery which carries blood (the aorta) is ruptured. A fall of 3m can be dangerous; a fall of more than 10m can cause significant organ damage - enough to cause death.” Let’s give Bat’s the benefit of the doubt. Maybe it’ll be better if they’re left to dangle until the Gotham Health and Safety Department devise a responsible way for hanging thugs to be freed? Dr. Hussain points out “When someone is upside down for long periods of time the blood rushes to the head and lungs and causes pooling of blood where it shouldn’t be. This can cause something known as pulmonary oedema, which in turn can cause raised blood pressure and stroke.” Oh. Maybe not then.

Nothing else captures the essence of Batman quite like the FreeFlow combat. The stalking, detecting, and gargoyle straddling might be close, but it’s the ballet of concussions that wins out. Arkham Knight ensures that Batman is as mercilessly economical with his fighting as ever, dishing out black eyes and broken bones like a sociopathic santa. At some point a line marked ‘Living/Stop, stop, he’s already dead’ will be crossed.

So while Batman’s pulverising his foe’s chest while they’re stunned, Dr. Hussain warns he’s doing some pretty grim things when it comes to their life expectancy. “This can cause internal bleeding secondary to organ damage and can comprise the lungs’ and heart’s functionality. Both are essential to survive.” So when Batman leaves the poor sods with organ soup where their lungs should be, it’s safe to say a few lives have been sacrificed at the altar of a solid combo.

It’s not the just the fists, boots and head of Batman that the nefarious wrong ‘uns of Gotham have to sweat about. He’s brought along the Bat brood to square some odds. And they bring all the stylish aggression you’d want from superior martial artists teaming up to craft a few fluid beatdowns. The type of smackdowns that Dr. Hussain warns could cause “damage to the spine and ribs.” The video I sent her had Nightwing lifting up a do-badder for Batman to glide into with his heel. Looks incredible, but does the sort of damage that leaves an NHS accountant in an existential crisis. “The amount of force required to kick someone across the room would be very high and can cause damage to organs.” Essentially, if Batman and Nightwing are using someone for human keepie-ups, that person’s funeral is on Thursday and the Bat Family are not invited.

It’s not just his massive Bat-fists and Bat-gadgets The Dark Knight will end a life with. He’ll gladly steal your weapon too, if you’re dim enough to swing it at him. If you’re unlucky enough, or just catch him on a particularly gruelling Monday, he’ll reacquaint you with the blunt end of it as well.

It won’t come as a great surprise to you that Dr. Hussain confirms that being hit in the head with a baseball bat isn’t ideal. “A blow to the head can cause blood vessels to burst and pool in areas of the brain - causing a subdural haematoma. This can increase the pressure in the brain and lead to death.” Batman’s probably cracked enough skulls in his time to get his non-fatal baseball swing just right, but how does he know the guy he’s left unconscious on the floor isn’t suffering from a haematoma? Oh right, Detective Mode. Never mind, carry on.

There’s the right way of getting information from a dodgy source, and then there’s the quick way. Batman’s methods fall very much into the latter camp. By the time your friendly neighbourhood interrogator has drafted up paperwork and busted out the polygraph, Batman’s got answers and left a few cracked windpipes in his wake. The second part of that equation isn’t good news for anyone.

So what’s happening medically after Batman has crashed his arm onto the throat of his victim? Nothing great if you’re receiving the throat blow. “The windpipe is essential to supply oxygen to the lungs and in turn to the rest of the body. If this is compromised then death could occur.” Is a NPC’s life worth the few Riddler trophy locations you’ll get? Obviously the answer is yes, but Batman’s a killer now, so nobody wins.

Quick, The Riddler has planted bombs inside some of the slower elements of Gotham’s thugs and they need to be saved from having to experience watching their brains being forcibly ejected from their crania! They need to be saved, Batman, how are you going to go about it? Chuck an electrified batarang at them to short circuit the bomb? Steady on Batman, that might do more harm than good.

The good news - as good as news can be for a person with a bomb snuggling up in their innards - is that a shock isn’t necessarily fatal. “Anything between 6-30 milliamps causes a phenomenon called ‘freezing’ where the muscles contract (less of a threshold in women compared to men) but can survive,” Dr. Hussain says. But Batman isn’t off the hook yet as “50 to 100 milliamps causes respiratory arrest and death is likely.” Considering Batman plays it fast and loose with charging up the Batarang, I think a few thugs are going to get a nasty (sunglasses on) shock.

When designing an armoured, all-purpose thug deterrent disguised as a car, it’s going to be almost impossible to avoid tripping over the lethality line. After all, the Batmobile is a very heavy piece of metal travelling at ludicrously high speeds. It’s able to break concrete as if it was Batman’s back (a little something for the Bane fans out there) and in Arkham Knight, Batman can spend most of his time in it hurtling towards people driving in beaten-up taxis. Feels a bit silly asking it, but will this end well?

“As with any vehicle collisions, crush injuries to the victim can occur. This is when the body is caught between two objects being pushed together by a high pressure. These type of injuries are responsible for broken bones, severe bruising, bleeding and compartment syndrome,” Dr. Hussain points out. So should the Batmobile collide into another moving vehicle that hasn’t been designed by a billionaire’s RD department - which it does, a hefty amount - Master Wayne isn’t driving away guilt free.

At some point, Bruce Wayne and Lucius Fox decided to make the Batmobile electric. Not in the “petrol is very expensive and we’ve only got one world” way - it’s 2015 Batman, maybe you should save some ice caps - but in the “if anyone gets hit by my car, I’ll make sure they know just how badly they goofed by running a few volts through their body” type of way. Which just feels sort of unnecessary, if you ask me.

Dr. Hussian informs that “both the electric shock and the force of impact can cause serious bodily damage and, in turn, death.” Having the BatHummer plow into people like lava through snow is really enough to finish a life already. By the time they’re getting a jolt through their body, it’s technically considered desecrating a corpse.

One of the Batmobile’s jazzier features is the immobiliser, a rocket that explodes on impact but not enough to kill whoever is driving it’s intended target. Or at least that’s what Batman should keep telling himself. Dr. Hussain says “[They’re] unlikely to survive this trauma. The impact of the rocket will cause damage, but more than this the resulting explosion would cause extensive burn injuries.”

In what is becoming a depressing trend for serial killer Batman, whack him behind the wheel of the Batmobile and all consideration for the lives of Gotham’s ne’er-do-wells is gone. So while the immobiliser rocket does help slow down the vehicle he’s chasing, that’s because the people inside are too busy trying to avoid an early cremation. If they haven’t exploded in a mushroom cloud of giblets already.

As you work your way through Arkham Knight, you’ll notice that everyone repeatedly calls out Batman’s refusal to use live rounds when firing at enemies. That’s one enormous blind eye they’re turning. When he’s not running over half of Gotham, he’s finishing the other half by firing rockets at their incapacitated bodies. Yep, knock somebody out and you’re able to fire all those explosives Batman keeps tucked in his Bat-tank o’ death.

Dr. Hussain underplays it a tad by saying “The force and resulting explosion will cause burn injuries.” But let’s be clear, Batman fires a rocket at an unconscious body. He has firmly lost his grip on morality and sees the thugs of Gotham as his playthings, tiny insects to inhumanly torture and squash under his BatBoot. Basically, I’m saying Arkham Knight earns it 18 rating.

The undeniable excesses of the electrified tank feel like Batman beginning to accepting that, in truth, he really is just down to murder. I mean come on, Brucey. But when he flexes the ability to steamroll crims into the pavement, well… yeah. No way back. No, the game doesn’t explicitly show you the broken bodies the Batmobile crushes underneath its blood-soaked wheels, but that doesn’t excuse Bruce being able to repeatedly drive over the men he’s incapacitated. I bet he’s thinking of dodgy one-liners like “This is a new way to squash crime” as he does, the merciless Bat-stard.

If you have any queries about a human’s ability to survive having the Batmobile rolled over them again and again and again, let Dr. Hussain put your mind at rest. “If they do happen to survive the first impact, repeatedly running over someone will crush any remaining bones and organs.” From maybe being a tiny bit too punchy, to painting the road several shades of sinew, Batman’s gone from religiously Not Killing, to showering in the gizzards of his enemies. Vigilanteism. It’s a slippery slope, kids. Do not be the Batman.

Platform games are one of gaming's most enduring staples, and you can't really mention them without talking about Mario. Except I am. Put simply, there's no point in me trying to list the best platform games of all time because, like it or not, Mario titles would take up at least 50% of the entries. The best platform game ever made is probably Super Mario Galaxy 2 (so says our list). But let's not argue about that. Let's look at the challengers.

There's more to the competition than just Sonic the Hedgehog. In fact, you're about to read about 25 amazing platform games that don't have Mario in them. And they're in order too, so let's start with 25 and work our way up to the top. Let's-a go! *Gunshot*.

Ah, a familiar face. Crash is surely one of PSone's most enduring icons and his first adventure is arguably his best. The tight, corridor-like nature of the levels mean Naughty Dog (yes, of Uncharted fame) was able to cram loads of polygonal detail into every frame, making this still look surprisingly lush, especially on a PSP or Vita's screen.

The gameplay is much harder than most people remember, and finding all of the wumpa fruit (there's a blast from the past) requires some pretty serious skills and searching on later levels. It's true that non-homing jumping in 3D space doesn't work very well a lot of the time, but Crash's shadow at least allows you to see where you're landing. It's still fun, charming and easy to get hold of via PSN.

It's rare for a platform game to out-concept the infamous Glover in the 'most ridiculous premise for a platform game' contest. But Vince is the third-best voodoo doll belonging to the owner of a magic shop in New Orleans, who comes to life when zombie dust is spilled during a robbery/kidnapping.

Vince himself is a wisecracking platform hero (no, wait - come back!) who can defeat his enemies by inflicting pain on himself. Chuck yourself in a fire if it helps (and it probably will). From the world design to the N'orleans Jazz-influenced soundtrack, Voodoo Vince has a ton of personality to go alongside the tight 3D platforming design. Still surprisingly good-looking, too. That original Xbox has still got some clout, I'm tellin' ya...

Shantae is one of those games that hardly anyone talks about, but deserves much more acclaim. Shantae herself is a Middle-Eastern belly dancer and in this, her third game, she must team up with her former enemy, Risky Boots (great name – love it) and save her town from a typically pantomime-evil threat.

What follows is classic platform action, where new abilities unlock secrets in previously-visited areas. It's very similar to an old (unrelated) game called Monster World IV – in fact, it could feasibly pass as a sequel to that game. But this is better. Some might be put off by the ridiculous moments of cartoon fan-service (those costume changes are gratuitous to say the least), but it's all tame and feels good-natured. Look out for the new-gen sequel currently in development.

It's remarkable how well the oldest game on this list has stood the test of time. While you could boil this first Dizzy sequel down to an overly-punishing 'fetch and carry' quest, you'd be doing it a massive disservice. The design of this static-screened world is still a treat for the imagination. A desert island with pirate gold lying beneath the surface of the water, complete with a treehouse village, a sub-aquatic world (with a shipwreck) and cursed treasure to boot.

The one-hit-and-you-have-to-restart 'feature' is cruel, but it actually gives the game an immense feeling of peril. Every jump near a hazard – be it a jellyfish or burning torch – must be judged perfectly, or you have to start again. And each moment of discovery when you work out where an item goes is a moment of air-punching glee. Even though the whole game fits into 48k of RAM, it's still brilliant.

Channeling the likes of Rocket Knight Adventures, Giana Sisters is a fast-paced, flowing and beautiful platformer. It's dripping with classic platform iconography, too. Coloured jewels floating the air, begging to be collected. Lush forest backgrounds… glistening water… it's exactly like the platformers of the 1990s, only rendered in spectacular modern detail.

It is, however, extremely difficult. It is certainly possible to master its versatile moveset, but doing so will take a lot of time and patience. Fortunately, it's totally worth the effort, so it won't feel like a chore. And when you're dashing, spinning and leaping around like you own the place, you'll feel amazing.

Disney platformers in the early 1990s were pretty much universally brilliant, whether on 16-bit or 8-bit machines. The Lucky Dime Caper may be an 8-bit title, but it's got everything you could want. Donald himself is beautifully drawn, full of personality and charm. The movement is solid and smooth and the mallet attack feels suitably meaty.

The levels are now the stuff of cliché, what with a water area, a forest, an ice zone and desert, but you can tackle the first three in any order, then the next three in any order, too. The soundtrack is superb and the sense of drama it creates by the time you reach the final level is palpable, followed by some of the most celebratory music ever committed to cartridge. Such a pity the game isn't more readily-available today.

It's very rare to have something from your childhood remade in a way that's sympathetic to what you remember, but Castle of Illusion's HD redux is exactly that. Some moments, like the leaves in the spiders' webs, look and sound exactly how you remember them… although if you go back and play the original now, you'll be amazed at quite how old it feels.

From the over-sized library to the confectionary-filled sweet level, everything is lovingly-rendered and delivered in an organic-looking, non-regimented way. Mickey looks superb in 3D and the scattering of collectible items is challenging enough to be rewarding, but certainly not impossible. Whether you play on PSN or iOS, the experience is the same. This is quality, retro-styled gaming, only modern enough to feel fresh and relevant today. Just a shame the 'bottom bounce' has been replaced with a standard jump attack. Ah well, can't have everything.

Obviously there are many Mega Man games that have a special place in a lot of hearts, but Mega Man 2 is the most iconic. It's also one of the most hardcore platforming experiences around, with ultra-precise and solid controls, fearsome enemy patterns, and carefully rationed upgrades that come to you as you swear your way through screen after screen of chunky scenery.

It also sounds magnificent, with a classic soundtrack made up of bleeps, bloops and fizzes. Forget its actual age, there is a timelessness to Mega Man 2. It's a distillation of the joy of pressing a button to interact with a little sprite on your TV screen. The game design is spectacularly great, with an understanding of timing and challenge far beyond many games, even today.

After Mario and Sonic made platformers THE genre to play, everyone wanted in on the action. By 1993, there was an element of platformer fatigue. But even the biggest critics of the fad would have to concede that Aladdin is a very special video game. With sprites designed by Disney animators themselves, this was as close as you could get to actually playing an animated movie on your home console.

It's the Genesis/Mega Drive version, of course, that we're championing here. The SNES version, while still good, simply doesn't have that authentic feel of the Mega Drive version. With MIDI-fied versions of the feature film's classic songs, technically astonishing collision detection (knives split apples mid-air) and a tonne of gameplay variation, this is how you do a movie tie-in.

A lot of indie platformers play around with various gimmicky mechanics, but rarely make them feel as cohesive as Sound Shapes. At its heart is a simple (but not simplistic) 'stick to grey surfaces and avoid red ones' idea, which gets difficult very quickly. But this is coupled with a superb musical element.

As you play a level, you add notes to the music, building the soundtrack and avoiding various threats that all bounce along with the beat. It's mesmerising and utterly, utterly brilliant. The fact that it works with actual music tracks too – imported via DLC – makes this even more delightful. This is so much more than the sum of its parts. Like music, really.

There is an argument for one of the original SNES versions of Donkey Kong Country, but those games' controls lack the precision of the Returns series, which were given Retro Studios' usual classy treatment. This Wii U game has quality written all over it (erm… in invisible ink). And no, it doesn't count as a Mario game.

Not only is the platforming gameplay as enjoyable as ever, it all sounds absolutely phenomenal, thanks to another sensational score by David Wise, who worked on the original Donkey Kong Country. I actually know someone who listens to music from the game on a loop, it's that good. Not me, I hasten to add. But maybe you will.

The 32-bit scene was comparatively light on side-scrolling platformers, most likely because they were seen as a 'last-gen' genre now that 3D worlds had arrived. Klonoa blended the best of both sides, offering precise, smooth, colourful gameplay with 3D visuals.

It's still a 2D platformer, of course. And one that moves absolutely beautifully, despite the now prehistoric tech specs of the humble PSone. Flowing, precise and smooth, Klonoa is sheer class. It's a relatively rare game to get hold of in disc form these days, but you can buy it on the PSN to play on PS3, PSP or Vita. So do that.

There are several entries in the Ratchet Clank series that could easily fit on this list, including the PS2 original (and the new RC remake on PS4 will probably be best of all). But this PS3 game is everything the series stands for, and at its most imaginative, too.

There's the 3D platforming and melee combat we've come to know and love, plus a load of customisable and upgradeable weapons, and some time-warping puzzle-solving to boot. All of this is wrapped up in super-slick production values and topped off with a funny and entertaining script. Can't get much better than that, really. This is exemplary platforming by one of the master development teams of the genre, Insomniac.

Bionic Commando already had a legion of fans hanging onto the glory days of the '80s arcade scene. But this XBLA remake is a revelation for anyone who loved the game the first time around. Everything's better. From the graphics to the controls and the freedom of movement, Bionic Commando: Rearmed is the perfect example of an HD upgrade done right.

The game is mostly the same as it always was, only with a better ending and a few new features thrown in for good measure. And the arm itself makes for a rather unique-feeling platformer, as you swing around, blowing up walls to find secrets and generally feeling like a bionic version of Spider-Man. With a gun. What's not to like?

It's amazing to think that Cave Story is actually already over a decade old. But this 3D remake of the original platformer/shooter hybrid is undoubtedly the best way to play it. This is the definitive version of the game.

But why is it so good? It's the amalgamation of screen after screen full of smoothly-moving (and exploding) sprites, tight controls, a clever upgrade system and good old fun. Yes, it's one of those increasingly rare things – a game that is fun just to control. Add in one of the most subtle, yet brilliant, branching route systems ever seen and you've got a classic on your hands. Well… more like 'in them'.

3D platformers were everywhere in the late-1990s, but even with the mighty Super Mario 64 already owning the platform (sorry, I mentioned Mario), Rare managed to create something truly special on N64 in the shape of Banjo-Kazooie. The two-character set-up works beautifully, with Banjo and Kazooie complementing each others' movesets and playable both as a team and individually.

The textures may look primitive today, but there's still a lot of charm to the game's colourful world, and the Xbox 360 HD re-release is perfectly acceptable, if a little simplistic in terms of geometry. That still can't dull the game's humour, open design and depth of exploration. Oh, and it turns out that Kazooie is a girl. Amazing how few people realise that.

Dave Perry must have learned a lot from developing Cool Spot, because by the time Earthworm Jim came around, everything was working. Jim works as a character because his shape can morph into anything. He can use himself as a skipping rope. Mario can't do that. The 8-direction shooting lends a Gunstar Heroes vibe to proceedings as you monkey-swing and bounce around the levels, giving this entry genre-straddling elements, while remaining most certainly a platform game at heart.

But for all the technical accomplishment and game design (excluding that water level – but even that was fixed in the HD remake, so get that), it's the game's humour that makes it stick in most people's minds. You could call it low-brow, but that just resonated with bogey-hungry '90s kids everywhere. While it does feel very… ''90s' today, it's still brilliantly playable and you should get it.

It was the game to get for Christmas in 1992. Taking the super-smooth movement of the original game and ramping up the level variety, scale, speed and spectacle, Sonic Team created a timeless platform adventure. And, unlike the original game, the second level is just as good as the first. As is the third, for that matter. Emerald Hill, Chemical Plant and Aquatic Ruin form a holy trinity of gaming playgrounds.

While both the drop-in/drop-out co-op and split-screen 2-player mode have clear flaws, that doesn't mean you can't have fun with a friend. Competing for rings in the pseudo-3D special stage is still loads of fun, but it's the game's longevity that's kept it on this list. People still speedrun it. The new iOS conversion is technically more advanced than the original, while remaining outwardly authentic. However you play Sonic 2, on whatever platform you choose, you will have fun. Fact.

The Castlevania template had already been established long before the 32-bit era arrived. And before Konami turned the series into a 3D adventure, there was time to release the pinnacle of the series' 2D evolution. Symphony of the Night combines pixel-perfect 2D platform combat with 3D background elements to incredible effect. The fact that the 3D is now pretty shaky and roughly-textured somehow makes it all the more wonderful. This has become an icon of retro gaming.

It's aged beautifully in terms of gameplay, too, serving up a huge, lavish adventure, rich with stat-boosting items and new weapons to uncover – not to mention one of the best hidden endings ever. After the PlayStation version, the game also appeared on Sega Saturn, offering extra content including a new playable character. But other elements were weaker, so it's a tough call to say which is best. Both, basically.

Sackboy may be available on PS4 (with some amazingly cute friends), but it's his second PS3 adventure that remains the definitive LBP experience. The built-in levels are more imaginative than those of the original, and the joyous presentation – not to mention Stephen Fry's lovable narration – make just moving around this craft-themed world a pleasurable experience.

But it's the creation suite that really makes this indispensible. You can create regular levels, as you could in the first game, sure, but now you can actually make different genres of games. Yes, making games in a game. What a time to be alive.

Some games are built to reward skill. But few have such a sadistic slant, encouraging you to die a hundred times in preparation of nailing a level with a perfect run. In fact, it even celebrates your catalogue of failures, with an incredible, climactic cascade of replay Meat Boys all dying around that one, lone survivor.

All of this would be for nought if the game played badly, but Super Meat Boy's controls offer incredible precision. When you die, it is simply because you didn't perform well enough. Granted, the graphics are basic by today's standards, but that's because there needs to be no margin for error. A platform is a platform, a wall is a wall. This is ultra-purified platforming action – and it's the meat in the sandwich that matters, not how prettily the bread is cut.

Proof (as if proof were needed) that it's the way a game plays and not how it looks that makes it either a great experience or an also-ran. N+ is all about momentum. It takes some getting used to, certainly, but the potential for perfect runs makes this a mouthwatering prospect for anyone with an eye on getting the best score.

It's mega-hardcore, too. A single wrong move and you're dead, forced to watch a chain reaction of explosion around the screens as pieces of debris (and you) fly around, detonating more explosives. It's this knife-edge of tension juxtaposed against the beauty of a clean run that makes N+ such a delight.

Metroid was pushing all the boundaries when it first released on NES back in 1986, but it was rougher than tree bark with a sore throat and a hangover. Yes, that is rough, you're right. But Super Metroid cemented that formulative… er... formula so perfectly a few years later, it spawned two decades of imitators. The level design and control set are perfectly married, ensuring every area has something new to offer every time you learn a new ability.

The 16-bit visuals may look, shall we say, 'functional' by today's standards, but the music remains some of gaming's best – and actual tunes are used brilliantly sparingly. Super Metroid is designed to give you a sense of melancholic isolation and it gets under your skin. The series translated into 3D perfectly with Metroid Prime, but while Prime is the , Super Metroid remains one of the best platformers ever made.

Is PoP a platformer? Yes. Environmental traversal makes up so much of the game, and requires dexterity and quick-thinking to keep your character from a fall, just like Sonic or he-who-must-not-be-named. But if you do fall… well there's PoP's best stuff.

Being able to rewind time is a brilliant concept and even though it was relatively new when Sands of Time came out, it was done in exemplary fashion. Indeed, play the game too much and you start reaching for the undo button in other games. And even real life. Hit by a bus? That's OK, just rewind time and… oh yeah. Damn.

Rayman Legends is simply the best platform game ever made that doesn’t have Mario in its name. With sublime, intuitive controls that see you sprinting, sliding, wall-jumping, swimming and thwacking enemies into next week, this a joy to play – and easy to pick up if you're a newbie. It works best on Wii U, which is no surprise considering it was designed to be exclusive to that console, before going multi-platform late in development. The HD art is beautiful, the minigames an absolute riot (Kung Foot is worth the asking price alone) and the level layouts are a masterclass in game design, with secrets everywhere and constant rewards for skilful play.

As if that wasn't enough, the multiplayer co-op is exceptional, combining the best of helpfulness and bastardry as you race each other to gather lums, cut a rope to send your mate down a hole to their death or, y'know, actually work together to 100% each level. It's massive too, even going so far as to include levels from Rayman Origins. It's impossible to be disappointed with this game. If you have any interest in platformers at all, you need to play this. Just as soon as you've played Super Ma...(snip!).