This year, video games finally figured out the majesty of Dog. You don't need a degree in marketing to notice that including a dog in your game <(a href="http://www.gamesradar.com/final-fantasy-15-teaser-features-dog-internet-goes-nuts/" target="blank">or even just in a trailer) leads to instant player love, especially when the dog's . Man's best friend has been a part of games for years, their innate wonderfulness is finally being fully realized.

Of course, things could have easily gone differently. Gaming is almost inexorably linked to the internet, and what does the internet love? . It makes you wonder how gaming would be if all its best dogs were envisioned as feisty felines, with all the appropriate changes in personality. The end result is hilarious for us, but maybe not so great for their servants--I mean protagonists.

As a dog: Growing from an adorable puppy into a still-adorable killing machine, D.D. helps you track enemy combatants, sniffs out supplies and weapons, and will absolutely knife someone on command if you arm him properly.

As a cat: Diamond Cat may like the thrill of the hunt, but focuses almost entirely on small desert creatures to the detriment of the team (and refuses to share his spoils). He also has a habit of sleeping during the day, only to sprint frantically through a enemy base and alert all guards during night missions. He will, however, still definitely knife someone, but it'll probably be you. Why just puke in your shoes when he can murder you instead?

As a dog: After losing a fight against Max (and knowing what's good for it), The Dog quickly makes itself useful as a mine-sniffer, helping Max dismantle landmines hidden in the wasteland's most attractive scrap heaps.

As a cat: Dinki-Di finds a nice warm spot in Chumbucket's buggy and sunbathes through every wasteland excursion Max takes him on. He can sniff out the landmines just fine, but keeps that information to himself, and is nonplussed when his nap is disturbed by explosions and flying meat.

As a dog: A K-9 with the Ghost squadron, Riley is as much a trained soldier as anyone else on his team. Decked out with a bulletproof vest, he is often sent in ahead of his human teammates to attack unreachable enemies, do reconnaissance, and find secret paths his allies can take during stealth missions.

As a cat: Riley is an expert at infiltrating enemy camps and barricading himself in a bathroom by closing the door and pulling opening an adjacent drawer. He then uses his ultimate distraction tactic - clawing at the enemies' hands as they try to get the door open with a coat hanger - allowing American soldiers take the camp unnoticed. He doesn't do it on purpose of course. It just kind of works out that way.

As a dog: A bit of a lone wanderer himself, Dogmeat joins the Lone Wanderer when they cross paths in the depressing and barren wasteland. He helps guard the Lone Wanderer from enemies, but is even more effective as a tracker, disappearing for days on end to uncover items at his master's request.

As a cat: Catmeat refuses to retrieve anything on command, but he does leave the corpses of mangled birds, lizards, and other small creatures in the Lone Wanderer's backpack. That isn't so bad when you're wandering the desert without food, but it'd be nice if he'd make sure they're fully dead first.

As a dog: Angelo serves as Rinoa's loyal companion and primary weapon. All of her special limit break attacks incorporate the canine in some way, and Angelo can serve as everything from an emergency medic to an oversized projectile.

As a cat: Angelo refuses to respond to any commands, being a cat. But he still acts as an effective weapon when Rinoa uses her ultimate limit break and drops him on her opponent's head. Which he falls onto right-side up, naturally.

As a dog: Originally trained to be an attack dog, Chop is left in Franklin's care by impulsive gangbanger Lamar, and turns out to be the world's biggest sweety. He regularly goes with Franklin on car rides, and can help defend Franklin in times of need.

As a cat: Chop is perfectly happy to hop in the car (preferably by dropping through the sunroof) but immediately goes into panic mode once the vehicle is mobile. Driving down the highway with Chop in tow unlocks a new minigame where Franklin struggles to keeps the feline from crawling under the brake pedals.

As a dog: The most quadrupedal member of the Persona team, Koromaru is a loyal and highly intelligent animal that loves movies and hanging out in the team dorm. He's also fearsome in battle, and has taken down Shadows without an evoker, using only his intellect fancy knife skills.

As a cat: Koromaru is able to hold his own against Shadows with the rest of the team and kill as necessary, using his ultimate attack: exposing his belly and hypnotizing enemies into petting it, like a furry bear trap.

As a dog: Fiona's canine escort, Hewie acts as her primary means of defense. But more than just commanding him to attack an assailant or fetch items for her, Fiona can train Hewie into an obedient, loyal, and courageous guard dog intent on keeping her safe.

As a cat: While Fiona screams for help and flees from her attackers, Hewie is too busy with a fascinating dustball he found in the corner of the hallway to notice, and will be preoccupied for the next several hours. Fiona can take care of herself, and when's she going to get around to feeding him, anyway? Food, human. that is what you are good for.

As a dog: This cute fellah is already pretty cat-like, since you only see him for a second or two before he darts away into the forest, only to be seen when he's good and ready. But his dogly nature comes out after Leon saves him from a bear trap and, out of gratitude, the dog helps Leon fight El Gigante.

As a cat: He does just as much disappearing as you'd expect, but he's not nearly as grateful or willing to help Leon in battle. He mostly just eats all your green herbs and throws them up on the carpet before disappearing into the night.

As a dog: Easily one of the most despised characters in gaming history, Duck Hunt Dog has no qualms about rubbing your nose in even the slightest failure. He's all cheer and happy faces when you shoot down his dinner, but let a single fowl get away and expect to get a good, long look at his overly-amused mug.

As a cat: He doesn't even bother to mock you. He just stares at you with eyes full of derision, pressing the weight of your failures down upon your fragile human soul.

If you want to explore the classic Final Fantasy games, but aren't sure where to begin, we can hardly blame you. In the almost three decades since its initial release, the original Final Fantasy alone has accumulated 17 ports, remakes, and rereleases. And many have certain advantages (or disadvantages) over the others, which makes finding the "best" a challenge. Thankfully, we've done the homework for you, and selected the best possible way to experience Final Fantasy's 8- and 16-bit eras.

If you're new to this legendary JRPG series and what to know the best place to start you won't find the answer on this list. Instead, the best entry point into Final Fantasy is definitely . If you want to see the origins of Final Fantasy - or are simply pining for some classic, JRPG goodness - then you've come to the right place. This list focuses mainly on the FF remakes (rather than the various ports and rereleases) to see which one offers the best experience in both performance and added content. Of course, new versions of these games are being released all the time, so be sure to leave your thoughts and feedback in the comments below.

The definitive version: Final Fantasy Origins (PSX) It's the perfect blend of classic difficulty and modern presentation. Unlike other remakes, Origins remains faithful to its namesake by retaining FF's unique spell system and difficulty curve. Should you find the game too tough, there's also the option for easy mode (which is made mandatory in later remakes). Origins also has redrawn sprites, a remixed soundtrack, a revised script, and some bug fixes that together make it a clear upgrade to the NES classic. And, because Origins was released on PSN in 2011, the game is very easy to find.

What about the rest? Final Fantasy I II: Dawn of Souls (GBA) and Final Fantasy (PSP) are both solid remakes with all the updates found in the PSX version plus some new dungeons and other extras. But they also replace FF's spell system with an MP-based magic system, and reduce the difficulty across the board. Considering the original FF is already light on plot and characterization, challenging combat should be the game's main attraction. Plus, neither of these remakes have been released on other platforms, making them difficult to enjoy on modern hardware.

The definitive version: Final Fantasy 2 Anniversary Edition (PSP) As Final Fantasy 2 is widely considered the worst in the series (or ), I have selected the version furthest from its source material. This remake takes the best from the previous two remakes - improved visuals and remixed soundtrack from Origins; bonus quests and dungeons from Dawn of Souls - and combines them with even more new content. And while Anniversary Edition is a bit easier than its originator, here it works in the game's favor as FF2's battle system is notoriously tedious and frustrating.

What about the rest? Final Fantasy I II: Dawn of Souls (GBA) and Final Fantasy Origins (PSX) are both perfectly acceptable remakes as well. As I mentioned before, the GBA remake doesn't have all the bells and whistles of the PSP version, but it still has more content and is slightly easier than Origins which closely resembles the original game.

The definitive version: Final Fantasy 3 (DS) As this is the only official English version of the game available in the West, it's the winner by default. Thankfully, it's also an excellent remake. The original game has been completely rebuilt using vibrant, 3D graphics along with a freshly remixed soundtrack. The basics remain intact - plot, dungeons, bone-crushing difficulty - along with some minor tweaks that help smooth out some of the original's rough edges: such as making more character classes viable during the end game. This remake is also available on PSN, Steam, and more, making it widely accessible.

What about the rest? Well, the only other version of Final Fantasy 3 is the original, released on the Famicom in 1990 and available exclusively in Japan. And I have no idea how you might acquire a copy, so I won't even speculate. But if you did, you would find FF3 holds up surprisingly well. Sure the characters have zero personality and the plot is kinda all over the place, but it is fun learning (and exploiting) the quirks of this game, such as which jobs are horribly overpowered, and which are completely useless.

The definitive version: Final Fantasy IV: The Complete Collection (PSP) FF4 has a TON of different versions, and no two are exactly alike. The Complete Collection wins out by combining a fabulous remake of the original FF4, the lengthy post-game epilogue The After Years, and Interlude: an all-new tale that ties the previous two together. The game itself features updated visuals reminiscent of the original art style and an updated score. It also addresses the myriad of issues plaguing FF4's original Western release, including missing spells, abilities, and censorship of certain images.

What about the rest? Like FF3, this game also received a complete overhaul on DS simply called Final Fantasy 4. Cutesy 3D visuals, voice acting, and the divisive Augments mechanic give this remake a very different feel from the original game. Also worth mentioning are Final Fantasy IV Advance (GBA) and Final Fantasy Chronicles (PSX). Advance brings new content, updated visuals, and allows for party compositions that weren't previously available towards the end of the game; however, the North American release has bugs that were later fixed in the European version. Finally, Chronicles is a straight upgrade to the SNES release of FF4, with a fixed translation and restored difficulty (the SNES version was easier than its Japanese counterpart).

The definitive version: Final Fantasy V Advance (GBA) This is where the well of remakes and rereleases dries up. You only get two options when it comes to FF5, and the choice is obvious. Advance stays true to the style and spirit of the original, while sporting a revised script and new content. But most important are the four new Job classes - Gladiator, Cannoneer, Oracle, and Necromancer - which further enhance the game's already stellar class-switching mechanic. This version includes everything that was great about the original, plus a little extra.

What about the rest? The other version of FF5 available in the West is Final Fantasy Anthology on PSX, where it is bundled with Final Fantasy 6. Unfortunately, minor-but-annoying load times and awkward translation make this version inferior in almost every regard save music, which sounds richer on PlayStation hardware. Also worth mentioning is the mobile release of FF5, which has a redrawn (and bizarrely out-of-place) art style that would later pollute FF6. Otherwise, the mobile version plays just like the GBA version and is available on Steam.

The definitive version: Final Fantasy 3 (SNES) If you've never played FF6 (which was released as FF3 on the SNES), start with the original. There's some '90s-era censorship goofiness in the game's translation and sprites - such as 'Holy' becoming 'Pearl' - but it's ultimately the most enjoyable version overall. As the SNES is pretty rare (and expensive), a better alternative might be the Wii Virtual Console. As for FF6's three remakes, each introduces some sort of problem not found in this version that spoil the game in their own unique ways.

What about the rest? Despite being the , Final Fantasy 6 has yet to receive the definitive remake it deserves. Final Fantasy VI Advance is the best attempt so far, with an updated translation as well as new dungeons and summons. However, a reduced screen resolution and poor audio compression hurt its overall presentation. By all means, stay away from the Final Fantasy Anthology (PSX) and any mobile versions of the game. Anthology introduces load times and slowdown during battles - which is inexcusable given this is a SNES game. Not to be outdone, the mobile remake is a Frankenstein's monster of artistic styles.

When I first met Mario in the arcade version of Donkey Kong, he was but a simple carpenter, wearing red overalls, a matching red hat, a blue shirt, and work boots. He may have been fighting a giant monkey, but Mario still felt too common to have a dense collection of costumes, let alone become a cosplayer. What a difference three decades makes.

This November sees add a cat outfit to Mario’s already huge collection of special power-enhancing clothes. A new addition to the dozens of costumes Mario makes this fitting time for GamesRadar to recount the dozens of different super-powered clothes Mario has worn over the years. Believe it or not, even I had forgotten a couple of these, though it’s hard to forget...

First seen: Super Mario Bros.

For many players in the west, Fire Mario was their introduction to the plumber, as the hero is wearing the outfit on the Super Mario Bros. box art. The fire-hurling combo of red and white have appeared in the majority of core Mario games, though the colors flipped post-Super Mario Bros. Super Mario Bros. 3 was one of the few times the red and white design was replaced, though remakes of SMB3 exchanged the all-orange attire with the standard look.

First seen: Super Mario Bros. 3

The second Super Mario Bros.--both US and Japanese versions--didn’t add any new costumes, so Super Mario Bros. 3 chose to bring them back with a vengeance. Chief among them was the cover-featured Raccoon Mario. Like a sexy Halloween costume, Mario simply adds ears and a tail to normal clothes, but with the added benefit of flight. The raccoon outfit lay dormant for years until it returned in New Super Mario Bros. 2. The reappearance was likely hastened by the popular return of...

First seen: Super Mario Bros. 3

Tanooki Mario doesn’t believe in half measures. If you’re going to dress as a magical raccoon, it’s best to go all the way with the furry getup. Based on Japanese myth, Tanooki Mario can not only fly, but also transform into a statue, and both those skills were recreated in Super Mario 3D Land. While the Tanooki Suit was pretty rare in Super Mario Bros. 3, the useful transformation was everywhere in 3D land, and it returns in Super Mario 3D World.

First seen: Super Mario Bros. 3

This green ensemble was fun, but it was also hard to handle. Frog Mario moved pretty well underwater, but his stuttering half-steps weren’t all that useful on land. About as rare as the Tanooki Suit, Frog Mario has yet to make a return outside of an allusion in Paper Mario: Sticker Star. If it ever does, we hope Nintendo can find a better approach to the controls.

First seen: Super Mario Bros. 3

This costume gave Mario a more sinister edge, with him stealing the powers of one of his most annoying enemies to use against them. Also hard to find, Hammer Mario could fling his unlimited supply of hammers as well as his enemies, plus it gave him a handy shell to hide in. Later games had spiritual successors to this costume, but the Hammer Bros. Suit has yet to truly return.

First seen: Super Mario World

Nintendo pushed all of Mario’s animal wardrobe to the back of the closet for Super Mario World. Almost all the old power-ups took a break to make room for Yoshi, and Mario’s flying ability was now tied to a simple yellow cape. The look certainly made Mario look more “Super,” but it was a little too simple for the then-new 16-bit console. Outside of Mario’s reflect move in Smash Bros., the cape has made few recent appearance, which is odd given how many retro powers appeared in recent Mario titles.

First seen: Super Mario Land 2

Super Mario Land was one of the few traditional Mario games headed by someone other than Shigeru Miyamoto, and that situation lead to some odd, one off outfits. The most prominently featured was Rabbit Mario. The bunny ears affixed to his head slowed descent on jumps just like the raccoon tail, but without the added benefit of flight. Because, as we all know, rabbits can’t fly, unlike raccoons.

First seen: Super Mario Land 2

Super Mario Galaxy seems to suggest that Mario can easily breathe in space, but Super Mario Land 2 makes that look like a recent development. In SML2’s few outer space stages, Mario dons a traditional space suit that would likely meet NASA regulations. Perhaps back then Mario could breathe in space, he was just being overly cautious.

First seen: Super Mario Land 2

Fire power-ups in Super Mario Land 2 gave the developers a real challenge. Without any colors beyond spinach green available for the Game Boy, how could the game tell players about the fire ability without red and white coloring? That’s where Mario gaudy feather comes in. It works great as a visual indicator of the power-up, but once Game Boy’s color pallette died out, so did this outfit.

First seen: Super Mario 64

Super Mario 64 brought Mario (and the platforming genre) into three dimensions, but in the switch over he lost much of his flare for fashion. The full bodied outfits and matching power-ups were replaced by timed abilities like the understated wing cap. Even if the flight was incredibly freeing, later entries ditched the cap when Mario took to the air.

First seen: Super Mario 64.

CGI graphics were still pretty novel in 1996, so Mario’s new invincibility power-up bit the style of Terminator 2’s T-1000, making his body a metallic, reflective surface. It made Mario temporarily safe from harm, but it also slowed him down considerably. Though Mario has dropped that power-up, Metal Mario has been spun off into his own character, one that frequently appears in Smash Bros. and sports games.

First seen: Super Mario Sunshine

Look, let's not insult the guy, but Mario just looks weird in short sleeves. He may be on vacation, but it feels odd to see that much bare skin on the guy, particularly when a talking water tank is on his back. Despite Mario’s attempts to accessorize with F.L.U.D.D., the item has only made a return appearances as a special attack in recent Smash Bros. games.

First seen: Super Mario Galaxy

After more than a decade of subtler transformations, Super Mario Galaxy was a welcome return to Super Mario Bros. 3’s tradition of introducing a ton of new power-ups. First up is Mario’s fuzzy new bee outfit, which gives him limited flight and the ability to stick to walls, though it isn’t very useful outside the honeycomb. And then there’s the unfortunate side effect of the costume vanishing when it touches water.

First seen: Super Mario Galaxy

The first Galaxy showed players that Mario looks great as a ghost, and we were able to see it happen without Mario dying. This recent addition changed Mario into his classic ghostly enemy, giving Boo Mario the power to turn invisible and float through walls. And it’s such a convincing outfit that it even scares Luigi (though he’s pretty high strung to begin with).

First seen: Super Mario Galaxy

This Mario transformation reminds me of the pretty, but functionally useless outfits that define artsy, high fashion. Mario looks avant garde wrapped in metal, but he can’t really get around all that well. That’s likely a reason that Spring Mario only appears in a handful of stages.

First seen: Super Mario Galaxy

How did it take until 2007 to have an Ice Mario? Despite it being the logical response to Fire Mario, the Ice Power didn’t appear until Super Mario Galaxy. Not only could Mario freeze enemies with balls of ice, he also became a skilled ice skater. When this power appeared in New Super Mario Bros. Wii, the icy skin was replaced with a more traditional red and blue pattern.

First seen: Super Mario Galaxy

Galaxy granted Mario the limited ability to fly whenever he shot out a star portal, but his black and red ensemble greatly expanded that power. It functioned pretty much like 64’s Wing Cap, but appeared even less. And unlike the other Galaxy powers, this form did not return in the sequel.

First seen: New Super Mario Bros. Wii

New Super Mario Bros. Wii marked the first original 2D Mario game on a console since World, and it made up for lost time by adding a couple new abilities to Mario’s wardrobe. First up was the propeller power-up. It dressed Mario in jumpsuit akin to a skydivers and added a large helmet with a propeller on top. Not only could the power send Mario into the clouds, but other characters could grab onto his feet to ride along with him.

First seen: New Super Mario Bros. Wii

Ice Mario is all well and good, but wouldn't you like to throw ice balls and slide on your tummy at intense speeds? That’s what the adorable Penguin Suit offered Mario and friends. It’s also pretty tough, as it can smash through blocks without scratching a flipper.

First seen: Super Mario Galaxy 2

Galaxy 2 brought back virtually every ability from the first game, plus it added Yoshi to the sub-series, and yet it still found room for a couple more new outfits. First up the rough and ready Rock Mario. The change of clothes wasn’t too useful when walking around, but if you give Rock Mario enough space, he can transform into a huge boulder, propelling himself forward at high speeds.

First seen: Super Mario Galaxy 2.

On the other end of Galaxy 2’s weight spectrum is Cloud Mario. The fluffy, cottony garb made Mario light enough to walk on clouds with little effort, and with a little shake of the Wii Remote, he could create happy little clouds of his own. The power-up hasn’t appeared since, save for an unlockable Mii costume in Mario Power Tennis.

First seen: Super Mario 3D Land

3D Land was primarily a celebration of the long-awaited return of Tanooki Mario, but the devs found time to create another transformation, one that’s been long overdue. Boomerang Bros. have been attacking Mario since the third game, and Boomerang Mario gave players a chance to finally return the favor. Let’s hope this one makes more returns than Hammer Mario.

First seen: New Super Mario Bros. 2

The Wu Tang Clan once rapped ”Cash rules everything around me,” and that’s very true for New Super Mario Bros. 2. The games hook was challenging players to collect as many coins as possible, which the Gold Mario transformation really helps with. It grant Mario with the Midas touch, changing every block his fireballs touch into coins. And in a strange insult to Luigi, this power-up turns the green one silver, further illustrating his second place status to Mario.

First seen: New Super Mario Bros. U

You’d think Mario wouldn’t need anymore flying rodents after raccoons and tanookis, but Wii U launch game New Super Mario Bros. U added squirrels to the menagerie. To be honest, the gliding powers of Flying Squirrel Mario might be the most logical flight ability he’s ever had. Even more logical is the power-up’s ability to hold onto walls, something its has in common with...

First seen: Super Mario 3D World

Mario’s cat transformation reaches new heights of cuteness, and it even changes Mario’s behavior. He starts meowing, running on all four, and climbing walls with his new claws. Cat Mario is also great at destroying things, though he mainly uses it on Goombas, unlike real cats, who choose to focus on ruining your most prized possessions.

First seen: Super Mario 3D World

The only thing better than one Mario is two Marios, right? Or three, or four - depending on how many Double Cherry power-ups you can snag without losing any of your doppelgangers, you can amass the beginnings of a small clone army. It's also handy to know that any fatal touch won't bring you to a halt as long as you've got a backup Mario waiting in the wings, and making it to the end of a level with all your copies still intact feels amazing. Go team!

Super Mario Bros., both the original game and the many it spawned, has an almost intoxicating level of detail hidden inside its weird fiefdoms full of mushrooms, dinosaurs, turtles, and monarchs. Thirty years ago, that first game on the NES (or Famicom if you prefer) seemed mind-boggling in its intricacy. Hidden coin boxes! Warp pipes! Even the clouds in the sky were grinning at the player.

To toast gaming's most famous mustachioed icon as he enters his fourth decade, we've compiled a look at our very favorite small things from the series, those little details that have always been its signature.

Apparently the sting of the Super Mario Bros movie has finally worn off, because Nintendo is for the first time in a long while. There haven't been any specifics and Nintendo doesn't have anything in the works, but the mere suggestion of a new all-Nintendo movie (and not just a wince-inducing cameo in an Adam Sandler film), has thrown open the theater doors to fans' enthusiastic desires.

Everyone has an idea of what Nintendo property could make the best movie - Zelda! Metroid! Chibi-Robo! - and we at GamesRadar+ are no exception. But, rather than argue back and forth amongst ourselves (and express our disagreement by flinging any Nintendo figurines within arm's reach), we thought it more constructive to jot down our arguments for each and present them for the world to weigh and consider. These are the Nintendo movies we dearly want to see, and you know we'll pay extra for the 3D glasses.

The Lord of the Rings trilogy made fantasy cool again, and then Game of Thrones exchanged all the fey interludes with elves and tree folk for traumatizing turns of treachery. But there's still plenty of room for something in the middle: a fantasy world filled with good friends, grand adventures, and intricate politics alike. And that's Fire Emblem: The Motion Picture.

As much about relationships as it is about saving the world, Fire Emblem is perfect cinematic fodder for action fiends and drama lovers alike. With a little bit of narrative surgery to bring characters from across the extended (and somewhat unclear) Fire Emblem timeline together, we could watch their triumphs and tragedies play out across generations. After all, Fire Emblem was setting up weddings and perma-death funerals before George R.R. Martin even started on A Song of Ice and Fire.

In an age when Goonies continues to find new treasure-finding fans through Netflix and Nintendo’s back catalog of B-list games looks sweeter and sweeter, a StarTropics movie just feels right.

It’s got everything! Adventure, a personal submarine, gender-swapping castle invasions, tropical beauty, and eyeball-vomiting alien overlords. The NES action RPG about a young man using a yo-yo to save his uncle from island deities/space monsters is full of enough weird characters and hijinks to fill myriad cultishly adored summer flicks.

Pikmin may seem too gameplay-focused to shine on the silver screen, since you spend most of its run directing a naïvely helpful sprite army and swallowing back a lump of guilt when you accidentally drown half of them. But a Pikmin movie could still be appealing (and all kinds of adorable) if it shifted focus from strategy and instead fixated on the game's colorful world and its always inquisitive flower-headed leads.

The best part is that we already know Pikmin can work in a strictly cinematic format: Miyamoto's show that a little change in perspective from tactics to antics can turn Pik-adventures into good viewing. Admittedly these shorts lend themselves more to a TV series than a feature-length film, but with such a blank story-canvas, there's a world of Pik-possibilities here.

I can see it in my mind's eye: Earthbound, with all its dry wit and nostalgic undertones, realized as a Wes Anderson-style comedy-cum-drama in the vein of . We open on Ness, our young hero, who leaps from his bed at the sound of a meteor crash. He runs to the door clutching a baseball bat, stopping to tell his mother - played by Tilda Swinton - that he is "going on an adventure." The camera swings around to the mother, looking unimpressed, who states "Okay, but first change out of those pajamas." Cue upbeat music.

We'd see new age retro hippies chase our heroes through the streets with rulers. The villainous Happy Happy cult would try and cover them in blue paint because, frankly, "Blue is the happiest color." Jeff would shoot bottle rockets at an angry tree. These gags would be punctuated by a coming of age story about four friends who leave everything familiar behind and learn to rely on themselves - - in the adult world.

If Nintendo wants to make a Zelda movie, there's one big problem: You know it's going to feel weird when the characters from the Zelda universe start speaking out loud on the silver screen. The Zelda series has always kept its characters from speaking in game, so it would feel out of place to hear the characters string more than a few words together. The last time said anything more than a grunt or a yell we got . If we end up getting a Legend of Zelda movie, Nintendo will need to find a way to zip Link's lips.

The story should be everything you'd expect: A young boy goes off on an adventure to discover magical artifacts and rescue a kingdom in peril. But how do you keep him quiet? Maybe make him travel alone. When you're alone in the wilderness, there's no need for words. Or, just make it a silent film. That way it will keep with the characters being unable to vocalize their thoughts, and everything they say will be shown in a text box. Now that would be staying true to the games.

I know what you're thinking, but hear me out: A StarFox film could be more than Star Wars But With Furries. An animated film (yes, animated - you don't want another Teenage Mutant Ninja Turtles 2014 incident do you?) would be a perfect way to explore the roots of the team and show Fox's ascension from rookie to pro.

See, Fox and crew have always existed as perfect archetypes: Fox the infallible hero, Falco the sassy sidekick, Peppy the wise mentor, and Slippy the bumbling rookie. It would be a fun twist to see these characters as something more complicated than a series of tropes and cliches, and a movie is the perfect opportunity to do just that. A film adaptation would also let us learn more about the galaxy that the StarFox team is fighting to protect. This way, those who want to just hop in an Arwing and go blasting can do that, while those interested in the lore can pop in the movie.

It doesn’t get much more ready-for-the-silver-screen than the tale of Samus Aran, space pirates, and Mother Brain. An intergalactic bounty hunter who comes packed with all sorts of weapons and gadgets is tailor-made for some cinematic adventures, and it would be easy enough to throw some new alien enemies into the mix to keep things lively. The action sequences practically write themselves, and could either adopt a grim and gritty aesthetic or keep a more family-friendly aspect - the Metroid franchise is very flexible that way.

The Metroid games were never overly bogged down by story, which leaves plenty of room for storytelling (though we’ll just skip Other M entirely, ok? Cool.) while staying true to what makes Metroid great. The second sequel could even fall back on that most Metroidy of story elements - stripping Samus of all her gear and forcing her to find it all again. I’m thinking we cast Emily Blunt as our leading lady - she more than proved she’s got the action heroine chops in Edge of Tomorrow. Why has no-one done this yet? This movie would be fantastic.

Super Mario Bros. seems like a no-brainer for the film treatment, right? Well, it would be, had we not gotten the back in the early 90's. But put that celluloid travesty out of mind, because a Super Mario Bros. film could be truly fantastic if they do one important thing: make it an animated film.

The bizarre world of the Mushroom Kingdom, with its Goombas and Koopa Troopas and Fire Flowers, doesn't really translate all that well to the real world - so don't even bother. Imagine a Super Mario flick handled by Pixar or Dreamworks, with lush, beautifully animated CGI breathing life into the series' vibrant environments. Super Mario 3D World already looked like a moving picture, so just do that, but in movie form. And don't over-think the script; just let Mario and friends go on adventures and do battle against Bowser and his cronies. Simple.

Every gamer that ever played knows the unique agony that accompanies falling at the final hurdle. Whether that means popping your clogs within sight of a checkpoint or being brutalised by a near-dead boss monster - gamers know that no defeat hurts worse than that which was so very nearly a victory. At times, managing your hype for an upcoming game can feel little 'game-like' in and of itself. And just like a game, the prospective title that tests our patience, only to disappear mere weeks from release always stings that much more.

Today's big list of stuff looks at ten games that made it all the way to within spitting distance of release, only for outside factors to quash their drop. Some are sure to inspire a profound sense of longing, while others remain fairly unknown - some deservedly, others less so. These then, are ten titles we oh-so nearly came to play. Enjoy.

What? - A massively multiplayer RTS title set within the Dune universe. Players would have chosen between three dynastic groups - the soldiers, traders or mercenaries - and proceeded to carve out their own small empire on Arrakis. Interestingly, the game wasn't to be helmed by Westwood Studios (they of Dune 2 fame), but rather by their predecessors at Cryo Interactive, i.e. the same team that produced the Dune adventure game.

When? - Work on the project was shut down during the title's alpha testing phase, in which a functioning build of the game is put through its paces. Hardly the finished product, but with the vast majority of its workload now behind it

Why? - Developer Cryo Interactive entered bankruptcy in July of 2002. The studio had previously bet big on the success of its other Dune-related property - a third-person action title named Frank Herbert's Dune. Sadly, the game flopped, ultimately costing the studio the opportunity to complete its more ambitious MMO cousin.

What? - A third-person action-RPG similar in many respects to the Mass Effect franchise. In addition, the game was also said to feature a heavy emphasis on base building, forcing players to scout out an infested structure in order to toughen up their stronghold. Think of it as a quasi-survival sim, akin to the central predicament of the second Alien film. Oh, and just to add insult to injury, the game was also being developed by genre stalwarts Obsidian, creators of Fallout: New Vegas, Pillars of Eternity and South Park: The Stick of Truth. Yeah, it was probably going to be good…

When? - Obsidian's Feargus Urquhart has stated that Crucible was in such an advanced state that it almost appeared ready to release. His colleague Chris Avellone took a slightly less advanced view of the project, arguing that the title only appeared so close to completion because of special efforts made to debut a demo. In either case, Crucible was undoubtedly well into development by the time Sega pulled the plug.

Why? - Sega decided to de-clutter its portfolio -meaning either that the game was costing too much to maintain value, or that the publisher was worried about overexposure. Whatever the reason, Crucible ended up canned. A shoddy stroke of luck for any developer, but one made infinitely more aggravating by the titles Sega chose to press ahead with. 2010's AVP proved to be a thoroughly average adventure, whilst the less said about Aliens: Colonial Marines, the better. Bad call Sega.

What? - An enormous team-based multiplayer title set within the Star Wars universe. Unannounced and unreleased, details on the game remain sketchy, however a small number of interesting titbits have emerged. With Pandemic Studios choosing to move on, development duties passed to Free Radical Design - home to the outrageously entertaining TimeSplitters series. Leaked pre-alpha footage indicates that the studio was working on a fully-fledged storyline, disparate elements of which may have been repackaged into the PSP exclusive Elite Squadron.

When? - According to Free Radical founder Steve Ellis, Battlefront 3 was 99% complete when LucasArts jettisoned the project. An anonymous source would later claim that the figure actually stood at around 75%, prompting Ellis to publically deny the allegation.

Why? - Prior to its acquisition and subsequent shutdown by Disney, LucasArts had commenced upon a widespread company shakeup. As Ellis and co-founder David Doak tell it, Free Radical went from being told to 'think bigger', to cutting back every conceivable cost. Doak would even go so far as to name the project's second set of executives as "psychopaths", intent on the franchise's failure. According to Ellis, the official reason given for the game's cancellation was a lack of necessary marketing funds. The anonymous source meanwhile claimed that the studio had repeatedly missed deadlines and was even redistributing assets onto its other projects.

What? - An ambitious MMORPG project announced back in 2002. Developed by Level-5 (of Dark Cloud and Ni No Kuni fame) True Fantasy Live Online was designed to take advantage of a then-fledgling Xbox Live. Servers would have held around 3000 players apiece, with fully-integrated voice chat between parties.

When? - Level-5 President Akihiro Hino stated that "the world of TFLO was already complete" at the time of the game's shock cancellation. The title was scheduled to enter Beta testing soon thereafter, with a speculative Japanese release date of autumn, 2004.

Why? - Despite its advanced state of completion, TFLO failed to live up to Microsoft's standards. Several overly ambitious features, including widespread voice chat proved tricky to accomplish, fraying relations between the developer and its publisher. Given that the game had already received plenty of positive buzz, TFLO might well have transformed the fortunes of the Xbox brand in Japan. As it is, the game would wind up as a painful reminder of MS's failure to crack that market.

What? - A controversial 4-player beat-em-up title. Thrill Kill combined Mortal Kombat with Manhunt, boasting blood and guts gameplay alongside fetishistic visuals.

When? - Thrill Kill was completed and ready to ship.

Why? Having acquired the property as part of its takeover of the Virgin US label, EA opted to cancel Thrill Kill's release. It was felt that the game's deliberately controversial nature jarred with that of the EA brand. In addition, the company also forbid the title to be sold on to any other publisher, effectively killing off the game. Fortunately for fans, the finished title was soon leaked online, making it one of the more readily available games of that sort. Activision would later utilise the Thrill Kill's engine to create Wu-Tang: Shaolin Style, X-Men: Mutant Academy and its sequel Mutant Academy 2.

What? - Remember the Gizmondo - Tiger Telematics' failed attempt to crack the handheld market? Colors was to be that machine's first 'killer app' - a gang-based third-person shooter with GPS player location. Strangely, the game also allowed players to indulge in seedy prison sex (participants would receive early release)… I just can't imagine why it didn't succeed.

When? - Leaked copies of the game suggest that Colors was all-but complete at the time of its cancellation.

Why? - The Gizmondo became the worst-selling handheld of all time, bankrupting Tiger Telematics and putting and immediate stop to all games then in development.

What? - A tactical action game boasting numerous RPG elements. Black9 took its inspiration from the Deus Ex series, positing a cyberpunk world divided between warring cartels. Former Taldren Inc. developer Erin Hoffman argued that the game was so very "special", that it may even have changed the lives of a small portion of its players. High praise indeed then.

When? - Hoffman stated that the game was around 85% complete at the time of its cancellation.

Why? - According to several parties involved in the Black9 project, publisher Majesco proved to be an overly demanding and highly unprofessional partner. Having already released two commercial flops - including the critically acclaimed Pyschonauts and the supposed franchise starter Advent Rising - Majesco was beginning to feel the pinch. They in turn put to squeeze onto Taldren, demanding 'crunch time' level working hours throughout the entire life of the project. Hoffman claims that the studio rallied to hit these targets but was still denied promised funding. Later, - again according to Hoffman - two programmers were surreptitiously 'lent' to the project so as to steal the game's source code. This was allegedly done in order turn the game - a property wholly owned by Taldren Inc. - over to a brand new developer. With the near-complete title in its possession, Majesco would then attempt to lure key personnel away from the studio, at which point the team chose to shut its doors rather than to let Majesco win. Later, many of the Majesco executives involved in the Black9 botch were ousted by the company's shareholders, with Hoffman herself describing the modern publisher as 'a very different company'.

What? - A realistic, tactical FPS based on the Second Battle of Fallujah, aka the bloodiest battle of the Iraq war. Developer Atomic Games intended to create what might best be described as a 'survival-terror' game, in which the player never feels wholly safe from attack. Long stretches of agonising tension would be broken up by moments of breathless, violent confrontation, echoing the real-life experiences of many soldiers involved in the battle.

When? - An 'insider source' speaking to IGN claimed that work on the game was completed sometime in late 2009/ early 2010.

Why? - Given the recent nature of the events depicted, many commentators found the game to be in poor taste. When word of this controversy reached publisher Konami the company responded by dropping the project entirely. Atomic Games was subsequently unable to secure a new publisher and later released a large number of its staff. However, studio president Peter Tamte remains committed to the project, confirming that 6 Days was still in development as recently as 2012. The game's current status is unknown.

What? - After 16 years of annual releases, EA opted to retire its NBA franchise in 2011. However, just two years later the brand was back.

When? - EA's big comeback made it to the figurative post-season before being abruptly cancelled just weeks ahead of its proposed release.

Why? - EA exec Andrew Wilson stated that the game was simply not ready enough to hit its scheduled release date. Instead the company would take another year to develop a truly "great" experience. NBA Live 14 went on to receive some of the worst review scores in series history. Ouch.

What? - A sprawling space-based FPS title. Human Head's vision for the game featured an amnesiac U.S. Marshall named Killian Samuels - abducted from the earth and now plying his trade as a galactic bounty hunter.

When? - Former Human Head developer Jason Blair described the title as a 'full game', denying claims made by publisher Bethesda that Prey 2 was merely "a demo" at the time of its cancellation. Project Director Chris Rhinehart has also stated that the title was close to reaching its alpha stage, with most of the game's major elements already in place.

Why? - How long have you got? The saga of Prey 2 is a sad, strange and complicated one, so let's just stick to Human Head's involvement. Having developed the first game in the series, HH teamed up with Bethesda Softworks to publish its ambitious sequel. However, by 2013 the developer had been completely removed from the project, with Bethesda citing an overall lack of quality for the shuffle. For its part, the scorned studio remained proud of its efforts on the game, with many senior devs pointing to internal politics as reason for the changeover. Prey 2 was officially confirmed cancelled in October, 2014.

I'd say video game movies get a bad rap for being subpar cinema, but the honest truth is that video game movies are pretty goddamn awful most of the time. That reputation makes it hard to greet the .

But, true as that may be, it doesn't do much good to wallow in misery. We can spend our time lamenting the most rotten of the game movie crop, or we can turn away from the worst and focus on game-based films that are worth signing into Netflix over. Yes, I choose to be optimistic and think about the best video game feature films, even the ones that only made it to DVD. They aren't perfect, and they may make proper film buffs scoff, but each has a special something that makes microwaving another bag of popcorn worthwhile.

Comprised of a little-known cast, DOA: Dead or Alive wasn’t exactly set up for success. It was released straight-to-DVD in the United States, though it deserved a full theatrical release over some other video game adaptations (we’re looking at you, Dungeon Siege movie starring Jason Statham). The story's what you'd expect from a fighting game franchise: combatants from around the world are invited to participate in a secret martial arts tournament where things are not what they seem.

It's a weak premise to be sure, but DOA neither needs nor wants to be deep and affecting cinema. It's a pure popcorn flick from start to finish, with cheesy dialogue and exaggerated fight scenes that make for some stellar so-bad-it's-good comedy. Plus, the fact that allies can instantly become enemies if their names are drawn out of a figurative hat of death pumps some juice into an otherwise stale formula, and actually gives an explanation for why everyone in the DOA universe is constantly kicking the crap out of one another.

Max Payne is a movie that dreams of being Sin City when it grows up, from the neo-noir setting to its oppressive, shadowy visuals. You could say that much of that style comes from the Max Payne video games, but Max Payne the movie uses its roots as a segue rather than a foundation, turning it into a straight-up private-eye thriller.

Of course, losing the more game-centric aspects of Payne's vendetta means the film misses out on bullet-time physics and comic-inspired visuals, which is a big part of what made Max's exploits so good in the first place. The film's plot feels almost entirely removed from all by the basic parts of the Payne mythology, so there isn't much for fans here. Still, it latches onto the grittiness of Payne first and foremost, making it perfect if you're looking for a mystery marinating in dark action. But if that's your jam, make sure to grab a copy of the Unrated edition, as things were toned down for theatrical release - the exact opposite of what Max Payne should be.

If you’re dying for a movie that juxtaposes excellent fight choreography and flashy CG with Ben Kingsley sighing internally for 116 minutes, Prince of Persia: The Sands of Time better be in your shopping cart of choice. A loose retelling of the first game, The Sands of Time is filled with great action sequences and expert use of special effects for the sands’ time-warping properties, both of which make up for its so-so storytelling.

The elephant in the room is that none of the actors for the main characters are Persian, and the whitewashed cast is definitely a distraction. Jake Gyllenhaal and Gemma Arterton's performances are decent enough though, with Gyllenhaal in particular channeling the Prince's struggles from Warrior Within and The Two Thrones into a faithful portrayal. Don't go in expecting Shakespeare, but if you're craving impressive fight scenes and sand-related magic, this won't be a waste of time.

The first in a series of films based on Capcom's seminal zombie franchise, Resident Evil is a fun horror flick that knows where to focus its energy. It doesn’t follow the story of the games, which can be impenetrable for non-fans, and would've been diminished if it was simplified for mainstream audiences anyway. Instead, RE follows new protagonist Alice (played by the lovely Milla Jovovich) and a group of Umbrella Corporation soldiers as they work to contain the outbreak of the T-Virus.

Alice’s main opposition isn’t the virus itself, but rather the AI with a doomsday protocol, using its automated systems to exterminate the virus by killing everyone inside. This tech makes for one of the best gore scenes in horror history, as characters are sliced and diced by malevolent machinery in a shower of gore. The plot gets squashed to make room for all that violence and action, and tends to drag when it does get attention, but if gratuitous gore and fantastic gunplay are all you care about, Alice is a worthwhile stand-in for RE's iconic, zombie-slaughtering protagonists.

It's Suicide Squad with an Arkham twist, dressed up like Batman: The Animated Series - and all of those things turn out just as good as they sound. Taking place two years before Arkham Asylum, Assault on Arkham focuses of the dysfunctional adventures of the Rogue Gallery's pinch hitters as they're forced to break into Arkham on the orders of Amanda Walker. Like I said, it's with a few different faces.

Even if you haven't played the games (or scored every Riddler trophy), Assault on Arkham can stand on its own, with the sort of impressive animation and framing that's characterized most of DC's animated features in recent years. That said, it's heavy on fan service and light on explanation, so if you walk into this one with no Batman knowledge you're going to come out very confused. But for a film aimed squarely at building another piece of the Batman mythos into the Arkham series, Assault on Arkham it gets the job done by any means necessary (which includes exploding heads).

Lara Croft: Tomb Raider was right to put Lara's name first, because that's what the movie's really about: the spelunking heroine of video game legend. Angelina Jolie is the perfect actress to fill Lara's combat boots, and her action hero chops have made her virtually inseparable from old-school Lara in the minds of many moviegoers. Tomb Raider is an action-packed popcorn flick through and through, with excellent choreography and magnificently ridiculous fight sequences; Jolie's performance is the hot, buttery magic on top.

That doesn't translate to Tomb Raider being a good movie - the story is bare-bones at best, and when the movie does attempt to foster an emotional core through Lara's feelings about her dead father, it's painful in all the wrong ways. But don't worry about that - Lara just sliced a robot open with its own blade arms and popped her party mix into its disc drive, and you don't want to miss another second.

Before taking the helm on the Resident Evil movies, Paul W.S. Anderson directed Mortal Kombat, one of the first video game movies that managed to appeal to a mainstream audience while faithfully adhering to its source material. The film follows the saga started by the evil Shang Tsung and his plot to destroy Earthrealm (i.e. Earth); the exaggerated fight moves of Johnny Cage, Sonya Blade, and Liu Kang are the only thing that can stop him. It's incredibly cheesy in proper early '90s fashion (with all the bad hair and leather to boot), but commits to the premise so sincerely that it's hard not to love.

The quirky nature of the film fits right in with the characters themselves, who are constantly cracking jokes and switching between increasingly ridiculous outfits. Its fight scenes are genuinely exciting, made even better by regular overacting, and both capture the spirit of Mortal Kombat even without the gut-churning Fatalities. While Hollywood tried to bottle lightning again in Mortal Kombat: Annihilation, it lacked the goofy soul it needed to succeed. In a battle between the two, the original Mortal Kombat scores a flawless victory.

Capturing the scale of Bayonetta's battles is hard to do on film, and Bayonetta: Bloody Fate never really gets there. Even though it's replete with explosive battles and outrageously campy action, the anime interpretation it feels toned down in comparison to the game, with a lot of stylized close-ups and music that has nowhere near the peppiness of . But as different as Bloody Fate might feel from its source material, it's still good enough to stand on its own, and that's not half bad for a video game film.

Through gorgeous animation that uses its bold color scheme as a storytelling tool, Bloody Fate recounts a simplified version of Bayonetta's tale, which is easier to make sense of when it's actually explained. Unlike other game adaptations that demand a thorough understanding of the original game from the start, Bloody Fate is a workable stand-in for the original game. You won't have to know anything about the seductive witch ahead of time to get the jist of what's happening, letting you enjoy the gleeful carnage on its own, beautifully rendered merits. Now if only they'd they'd give Bayonetta 2 the same treatment (no Wii U necessary).

Advent Children is the ultimate in fan service, and it's not sorry. The impatiently awaited sequel to Final Fantasy 7, Advent Children comes bearing a plot that you need , some diagrams, and a ton of red string to properly understand. Yet its stellar cinematography makes much of its narrative incoherence forgivable, and once you actually sort out what's happening, it's the perfect story for those in need of an FF7 fix.

Here are the broad strokes: two years after the end of FF7, three Sephiroth clones show up and start all sorts of trouble, so the gang has to get back together to stop them (and help Cloud get over his re-emerging survivor's guilt over Aerith's death). That's about all the explanation the movie offers up, which leads to a lot of head-scratching moments when the characters' motivations don't stretch farther than the next fight scene. But man are those fight scenes amazing: varied and gorgeous enough to stay interesting despite their frequency, with bits of character development in between that'll leave any FF7's fan's heart a-pattering. Dress it up with full CG that still look fantastic ten years later, and you've got a solid gift for the fans that doesn't need to make sense to be enjoyable.

Striking a balance between loyalty to the source material, mass appeal, and good filmmaking is biggest hurdle for any video game movie, and very few manage to keep one aspect from overwhelming the others. Silent Hill isn't perfect in that regard (it’s no stranger to cheap horror gimmicks and clichés, for instance), but it's gotten closer than any other game movie to date. It takes what made Silent Hill so terrifying in the first place and captures it on film, feeding off that same fear that made the game successful so many years before.

Reimagining the story of Silent Hill with a female lead named Rose, the Silent Hill movie pulls from the game's otherworldly horror for its visuals and iconography, incorporating series touchstones like the cultish Order, psychic child Alyssa Gillespie, and nightmarish monsters at every turn (including Pyramid Head in one of the movie's best scenes). Most importantly, it doesn't shy away from the grotesque imagery that makes Silent Hill so affecting, so you never get the sense that it's been sanitized for Hollywood. It even takes things a bit too far at the end, so get ready to cover your eyes.

What do Hollywood blockbusters have in common with the number 35 bus? Why, that's easy - you wait an absolute age for one, only for two to turn up at once. Take Armageddon for instance - aka the movie in which Steve Buscemi was exposed to the harsh vacuum of space... no wait, I'm now being told that he looked like that already. Sorry Steve… Simply put, Armageddon was all about asteroids crashing into the earth. So, a lot like that other movie from 1998 - Deep Impact. Coincidence? Guess again chums, because these two twins were far from unique. Consider 2014's Hercules vs The Legend of Hercules or Iron Eagle vs Top Gun. How about Olympus Has Fallen vs White House Down? The list goes on.

Indeed, cinematic history is packed tight with examples of oddly analogous movies. But what about gaming? Does the interactive medium boast its fair share of twinned features too? Well let's bloody well hope so - It's going to be an awfully short feature otherwise…

Criteria check - To avoid unnecessary confusion over release dates I'm only going to including US release dates.

Superheroes and sandbox games go together like Gwen Stacy and gravity. When a major player opts to drop one, you'd better believe it's going to be memorable. One part urban strife, six parts spandex - a winning combo by any estimation. Sadly, precious few of these titles actually exist - something to do with the inherent difficulty of coding up 'two' titles at once. A solid superhero game and a sprawling cityscape? One alone should be enough to drive most developers to drink.

Then there's Infamous and Prototype, two games that dared to make good on the promise of that premise. Both titles starred reluctant everymen receiving outrageous new abilities. From there players were encouraged to either go good or be bad - to fight crime or to fuel it. Though broadly similar, both efforts remained different enough to warrant a double dip. That is until they made the mistake of launching some two weeks apart. Perhaps it's only proper that these two superheroes duked it out directly, though it couldn't have done either game's sales a world of good.

I'll wager there were more groans than at a disappointing orgy the day these two titles first caught wind of one another. Just think of it - one second you're riding high, confident of a unique concept, the next you're reading up on some accidental doppelganger. I suppose it's faintly absurd that two titles based around psychic powers couldn't perceive the other one coming. So much for their vaunted foresight...

With scarcely 10 weeks between releases, Psi-Ops and Second Sight effectively trod on one another's toes. Both had attempted to inject some much-needed variety into the veritable scrum of 3rd person shooters. Sadly, their too-close proximity would quickly put paid to that - making both efforts seem now newly unoriginal.

Attempting to differentiate your game is a tough old ask even at the best of times. Fans and critics alike essentially crave a good frame of reference, be it a basic genre tag or a more specific comparison. "It's a bit like this", or "a whole lot of that" can express in mere seconds what might otherwise take aeons to describe. Now imagine that you're marketing a driving title. Real cars on realistic tracks, all bombing it around at ridiculous speeds. Fun yes, though not exactly varied.

Wisely, both Blur and Split/Second attempted to surmount these issues through the use of nifty gimmicks. The former went all RL Mario Kart - boasting 'car-based combat for grownups', while the latter prized raceway destruction on an enormous scale. Good start. Now if only they hadn't released one week apart and stolen each other's thunder. Every last forking bit of it.

Talk about a pair of heavy hitters. In the red corner, one hotly anticipated sequel to the biggest MMO going. And in the blue, all the might of the Warcraft franchise brought to bear on a burgeoning genre. If ever there was a time to stop WoW from achieving its world domination, then this surely was it. Killed in its infancy, like some sort of mad sci-fi plot to assassinate the Baby Hitler.

The biggest name in MMOs vs the genre's heir apparent. Going toe to toe, with barely two weeks between them. You might say that the stakes were even higher than a spectator at a Columbian forest fire, and you’d be right. Both games were good - damn good in fact, each one deserving its fair share of the MMO userbase. The fact that Warcraft was able to not only best its rival in 'single combat', but also claim the vast share of subscribers only adds to considerable legend.

Mooching off the movies is a well-established pattern amongst video game developers. Just look at the likes of Contra, a game that disguised its obvious nods/ bloody-minded plagiarism about as well as a knock-off Chinese Disneyland. Oftentimes, tracing the root of these trends is easy enough. After all, Contra appeared just 8 months later than Jim Cameron's Aliens. Coincidence? I think not.

Then there are games like Arabian Magic and Arabian Fight, a pair of solid arcade brawlers bearing eerily similar settings. So, where on earth did their developers get the idea to look to the Middle East - a largely untapped creative avenue, outside of the modern military shooter? Why, that's simple, you say - Disney's Aladdin appeared in the very same year! Except of course that Aladdin hit cinemas after both titles had already debuted. So, either someone smelled money in those early trailers, or three independent studios (including Disney) all decided 1992 was to be the year of Turkish trousers.

Not a release date this time, but a shared announcement phase. Both Elite: Dangerous and Star Citizen opted to take their projects public within just seven weeks of one another. So far, so standard - or so you may think - but what exactly do these intrepid explorers have in common? Well for starters, both games have taken a long dormant genre, i.e. the spaceflight sim and recreated it in MMO form. On top of that, both titles were successfully kickstarted into being, all whilst handily exceeding their original funding targets.

Then there are the creative minds involved. Star Citizen's Chris Roberts created the much-loved Wing Commander series, while Elite's David Braben is practically responsible for the entire genre. So, to recap - that's two giants of the genre, two big-time comebacks and two parallel crowd funding campaigns all unveiled within two months of one another. Too sweet.

Much like the aforementioned Blur and Split/Second, both of these titles bet big on a flashy new gimmick. Call it 'car driving for the social networking age'. Sadly, neither title could quite outdistance the other, running so close together as to create a veritable car crash of confused gamers. In addition, both titles suffered from various network-related glitches, issues that would eventually contribute to a lukewarm critical appraisal.

Despite all this, both games would go on to sell some 2 million copies apiece, not bad at all, especially when you consider that Drive Club only appeared on the PlayStation 4 format.

Two major players both launching within a month of each other? Sounds like franchise suicide. After all, somebody's got to lose. "I know - you'll be Betamax and I'll be VHS. No no no, you be HD DVD and I'll be Blu Ray". At least, that's how you might expect events to unravel. In the case of Unreal Tournament vs. Quake III Arena, neither party saw fit to suffer such a mortal injury. Instead, both games would go on to receive a slew of successful sequels.

It's a bit like that one movie Twins, except in this instance both men grew up to be the Arnold Schwarzanegger variety. So, it's actually a lot like The 6th Day, in which Arnie grows himself a clone. No wait, it's might be more like Junior, wherein the Austrian Oak births himself an Arnie baby. Wait… what was I talking about? Oh right, madcap multiplayer shooters. I suppose it's rather ironic that of all the entries on this list, the genre with the most gun happy patrons should agree to live and let live. I guess this town really is big enough for the both of us.

Now, here's an entry you couldn’t have seen coming… I'll bet it really snuck up on you… You might even say that it quietly approached in the dead of night before violently opening your throat. No, wait - that last one doesn't work. But enough hilarity for one moment, let's get back to business. What is it exactly that makes these two titles - set some 500-odd years apart - so similar as to be counted as 'twin releases'?

Well, if we're talking broad strokes here, then plenty. Both Tenchu and Metal Gear Solid marked a brave new foray into the world of 3D stealth-em-ups. Sure, the latter title may have had a solid 2D pedigree behind it, but the genre itself had never really gained any mainstream attention. These are the games that helped change that, debuting within a mere two months of one another. Moreover, the equally important Thief series also launched at around this time, solidifying a whole new genre in the space of around 12 weeks. Not bad.

It's not every day that an uber violent homage to the 1980s appears. Well, unless that day just so happened to occur within the month of October, 2012. Released within two weeks of one another, Retro City Rampage and Hotline Miami might well have contended for the crown of most 'pixellated blood bath'. Instead Hotline met with enthusiastic reviews, whilst Rampage could only muster up a string of middling appraisals.

A more fitting scrap might've seen the two titles donning animal masks, nabbing a pair of DeLoreans and jousting it out on the sunset strip. A man can dream, cant he? *sigh*

Just when you thought 2015 had run its course in terms of rereleases, August rolls around with a bevy of worthwhile remasters. Chief among them are technically comes out in September, so... yeah. It's got next month's awards pretty much locked up.

At the end of each month, we look back at the standout games that demand your attention above the rest of the year's releases thus far. That way, you know what to prioritize before you're caught up by all the other amazing . So, without further ado, here's what you should be playing right now to tide you over until next month.

Locksley's a futuristic thief following in the fabled footsteps of Robin Hood, taking from the rich and giving to the poor. But he has something that old archer never did: a bitchin', high-tech facemask made of luminescent polygons. , from the studio that brought you Thomas Was Alone, is a neon-drenched take on the stealth action of Metal Gear Solid's VR missions, where you carefully sneak past the watchful eyes of guards, cameras, and turrets from a top-down perspective.

Combat's not really an option for Locksley, so you'll have to carefully plot out your path to avoid detection while snagging the valuable gems scattered around each stage. Across the 100 levels included in the campaign (plus the infinite possibilities of user-made challenges), you'll master the art of tiptoeing around danger, avoiding patrols, and blending in with the environment, all taught with just the right pacing. If you're partial to slipping past vision cones or just sticking it to the man, Volume is sure to provide hours of stealthy satisfaction.

There's a lot to see in . You'll even behold things you wouldn't see under normal circumstances, like people who are long gone from this world recreated with swirls of light and retreading memories of times long past. But more importantly, you'll see things in the empty town of Yaughton that you see in so few video games: a real appreciation for life, even in its final moments.

Rapture snags August's Game of the Month award (or rather, calmly drifts over and gently spirits it away) because of its emotional punch, showing not only a way of life coming to an end, but each individual in their own way. Backed up by an eerily serene world and a hauntingly gorgeous soundtrack, Rapture turns the death of virtual strangers into a heartbreaking affair, as you watch them go (gently or not) into that good night. Try to keep a stiff upper lip through this one, but don't expect to maintain it for long.

An entire realm being reborn is a tough act to follow, but aces the trial that is an MMO's first expansion. By expanding on just about every aspect you can think of - most notably, some gigantic zones and three intriguing Jobs - it feels as substantial and vibrant as the revamped version of the base game. Oh, and you can soar through the sky atop a flying mount, including a tubby Chocobo with tiny, adorable wings which you motivate with a slice of cake on a stick. For some, that fact alone will justify a renewed subscription.

Heavensward sweetens the deal with a wealth of engaging, plot-thickening quests (provided you've reached the end of A Realm Reborn's storyline), and the fresh abilities for each class make the journey to the new level cap a joy. For all you living room adventurers, FF14 continues to be the best console MMO on the market - but whether you're playing on a PC, PS4, or PS3, chit-chatting with Moogles, felling colossal Primals, and dancing some merry jigs in celebration is simply delightful.

is what happens when ‘the beautiful game’ is usurped by clusters of rocket-powered battle cars. It’s not quite as intricate or as Messi as football, but Rocket League is sincere in its sports presentation, right down to the chanting arena crowds and cheesy pop music in the menus. It also doesn’t feel derivative, coming to its own cartoonish crescendo when those somersaulting sports cars butt bumpers over an oversized, blinking ball. It takes a long time to master the bumps, the bounces, the jumps and the jukes, but Rocket League is brilliant right off the bat.

Even while you’re learning the right timing for a forward-flip, or when it’s ok to drive on the stadium ceiling (right now, actually), you’ll pull off some amazing stuff. It’ll be the perfect metallic maneuver: clipping the ball with your front left tire in a graceful somersault, sending it straight into the points pen where it explodes with a satisfying KABLOOSH. Wow. Just… wow. And nobody has to know you did that completely by accident. We’ll just keep that between us.

is an absolute marvel of storytelling, making ingenious use of out-of-order video clips to spin out its mystery. Despite the fact that the game’s unique structure means your path to the end won’t match anyone else’s, Her Story is complete and coherent, though its solution is open to interpretation. It’s a detective game that relies on your natural instinct to push its narrative forward, never nudging you in one direction or the other, letting you explore avenues of investigation as they come to you.

Watching FMV clips on a reproduction of a computer from the '90s certainly doesn’t sound terribly exciting, but you’ll be thinking about Her Story for days after you’ve tracked down that last video. You’ll find yourself rolling little details around in your head, mulling over their implications, deciding that you finally know the “truth,” only to realize that another detail makes your assumptions invalid. But then again, does it? One final bit of advice: go in knowing as little as possible, and don’t try to game the system. Be a true detective.

is another biff-pow display of Rocksteady’s exceptional craftsmanship in bringing a classic comic icon to life. Though combat and stealth are again refined and expanded within Batman’s beautifully rain-slick city, the game’s elegant design is reflected not in its individual components, but in how well they connect with one another, like nodes in a web.

Though the Batmobile’s roaring arrogance has made it a controversial addition to the Arkham series, there’s no question about how integral it is to Batman’s latest patrol. Conceptually, it’s meant to be a way to move quickly in a much wider slice of dour ol’ Gotham, and its visual appearance is, of course, inspired by Batman’s history of driving - as The Riddler calls them - rocket-powered hearses. But Rocksteady dives in fully and makes sure the vehicle connects to combat, stealth and every part of Batman. The overall game’s polish and continuity can be seen in one motion, with the Batmobile hurtling down an alley and launching Batman into full flight, right through a window and into a savage display of ne’er-do-well punishment. It’s one move, one world and one of the coolest moments of 2015. It’ll get you pumped to track down every last super criminal, including whoever masterminded the dreadful PC port.

In a sea of multiplayer shooters obsessed with grit, gore, or teabagging, stands out like a brightly colored squid catapulting through the air - which is actually a thing that happens regularly in this game. Nintendo's take on team deathmatch puts the focus on marking your squad's territory with a rainbow of ink rather than racking up kills, but it still delivers the thrilling blend of twitch shooting and coordinated tactics that define the genre.

Even if those human-squid hybrid Inklings are dripping with kid-friendly personality, this is the kind of joyous multiplayer experience that anyone of any age can enjoy. There's still weapon progression like you'd expect from Call of Duty or Battlefield, but with ink-filled Super Soaker facsimiles and colossal paint rollers. You won't hear anyone raging on voice-chat (because there isn't any), but the GamePad provides clear cues for what to do next. And while the selection of maps currently feels a bit sparse, the moment-to-moment gameplay is fresh, exciting, and - most importantly - good fun.

As open-world experiences go, takes high fantasy to new heights with its staggeringly massive world and rich, engaging storytelling. The grizzled Geralt of Rivia finds himself in landscapes that are as picturesque as they are treacherous, where otherworldly beasts and crazed cultists lurk in the wilderness. There are unforgettable side-quests and delightful supporting characters to distract you at every turn, but you best remember Geralt's primary goal: finding his adopted daughter (and witcher-in-training) Ciri before some supremely evil people get to her first.

That's not to say that you need to rush through the main story, because taking the time to stop and smell the eviscerated corpses is well worth it. The sword-and-spell-casting combat looks stunning on new-gen, and the deep upgrade system gives you plenty of options to slay your way. There are a few hitches - notably some framerate issues that can hopefully be patched out - but the sheer depth of the overall experience makes The Witcher 3 a triumph among action RPGs. Now, if you'll excuse us, we've got to return to a rousing round of the in-game card battler Gwent.

It takes a lot to make a fighting game appeal to the masses. You need slick graphics, excellent presentation, and the kind of depth that'll ensnare those highly skilled players who people want to watch. has got all that, and more. While the Fatality finishers still pack in more gore than you can shake a disembodied limb at, MKX brings a lot of new, refreshing ideas to the table that really make this fighter stand out.

For starters, there's the variations mechanic: every combatant has three unique movesets to choose from before each fight, letting character loyalists mix things up and giving the roster a wildly diverse variety of playstyles. You'll also have a blast playing through the elaborate story mode, which introduces a swath of likeable newcomers while imbuing familiar faces with . The online play still has a few kinks that could be worked out, but fans of the Mortal Kombat series - or fighting games in general - will have one hell of a time with MKX.

Of all the re-releases that have come out this year, .

Xenoblade Chronicles 3D is massive, sporting one of the most interesting locales ever designed. Its sprawling swamps and rolling hills - all set on the backs of two titan-sized dead gods and filled with beasts both great and small - are practically begging to be conquered. While its lush, verdant landscapes lose a little luster and detail on the smaller screen, what you trade in graphical quality you gain back in portability. Being able to take an adventure of this magnificent scope with you wherever you go is a technical marvel. Don't miss it.

somehow manages to be diamond tough and lovingly tender at the same time, balancing out its demanding difficulty with a story that'll practically yank your heartstrings right out of your chest. Playing this open-world platformer puts you in a wondrous state of conflict: the tight controls inspire you to run free throughout the lush world, but the sheer depth of the beyond-gorgeous backdrop art makes you want to stand still and gaze at the environment for hours.

The protagonist Ori is such a cute li'l critter that it's hard to watch the fuzzball die again and again while you struggle to overcome the many deathtraps and spike pits in this treacherous forest. But you'll get over any bruises to your ego, so long as you remember that you're the one responsible for plunking down checkpoints before delving into the trickier bits. The degree of challenge here may rattle anyone without an affinity for hardcore 2D platformers, but Ori's dazzling presentation has a universal, heartfelt appeal.

You’ve probably heard that is really hard. You might've heard it’s really easy. The reality lies somewhere in between. Yes, it sends an army of writhing, fanged, flayed, terrible, tormented beasts your way, beasts only someone bragging about their perceived gamer cred would ever deem a pushover. But it teaches you how to deal with them expertly, their unique attacks and defenses and behaviors, building you up until you look and feel like a great gothic badass. And when you do, you'll have earned it.

In streamlining some of Dark Souls’ complexities (the weight system, magic attacks, a few character skills here and there), Bloodborne gains a rawer sense of immediacy, with vital combat that require relentless attacking sans the comfort blanket of a shield, and unpredictable bosses that force you to develop reflexes alongside your already honed skills of pattern memorization. Oh, and the world. That mystifying, atmospheric, intricately hewn world. Developed for PS4 from the ground-up, the enigmatic Yarnham looks like a beautiful waking nightmare.

If you've yet to succumb to monster hunting fever, you might wonder what all the fuss is about. Plenty of games let you battle vicious beasties and craft fancy gear - but few can develop the kind of player investment and cooperative dedication typical of Monster Hunter. For the uninitiated, is a great way to educate yourself on its gloriously addictive ways. Not just because it's the most beginner-friendly entry in Capcom's hit series - it's also the best Monster Hunter game yet.

Gathering materials and killing harmless herbivores is really just a build-up to something greater: downing fearsome creatures after incredibly demanding battles that require true mastery of your chosen weapon. Series vets are already familiar with MH's captivating gameplay loop of fighting and looting, but the new Charge Blade and Insect Glaive playstyles offer entirely unique ways to test your prowess. If you're looking to start or join a dedicated hunting party - preferably with an expert as your guide - Monster Hunter 4 Ultimate offers the kind of adventure that can hook you for hundreds of hours.

Majora's Mask is... well, it's a bit weird. Instead of following the familiar formula that Zelda games have stuck to for years, Majora's Mask asks that you play the same three days over and over again, trying to make the world a little bit brighter each time. It's certainly strange, and more than a little stressful - but taking the time to learn its rhythm opens up one of the most intriguing and creative Legend of Zelda games ever made. Perhaps that's why, 15 years and a 3DS port later, it feels even better than ever.

Much of that feeling is thanks to the improvements found in this portable version of the N64 classic. The updated Bomber's Notebook makes tracking numerous sidequests a painless process, boss design has been retooled to make things teresting, and additional save points help make portable adventuring much more palatable. Plus, New 3DS owners even have some improved camera control with the C-Stick. Whether this is your first time playing through those ominous 72 hours or your hundredth, is a master quest that stands the test of time.

Grim Fandango is, without a doubt, one of the most unique video games ever made. The quest of an undead travel agent as he attempts to atone for his sins is a love letter to film noir greats like Casablanca and The Maltese Falcon, but it also transcends its influences to be something truly original. And with , you'll finally get to play this lost classic on your PlayStation 4, complete with (some) updated graphics and a fantastic re-recording of the original score.

Grim Fandango is also one of the most uniquely frustrating games ever made, and the Remastered edition only serves to highlight its many game-ruining bugs. Whether it's glitching out a puzzle, clipping you through a wall, or just flat out crashing, Grim Fandango Remastered actually seems buggier now than it did 17 years ago. Make no mistake: Manny's journey is still definitely one worth revisiting - just remember to save your game. Often.

sounds kinda ridiculous at first - it's literally a remastered HD version of a rebuilt SD version of the original Resident Evil. Turns out the joke's on us, though, because that's all we really needed to enjoy the survival horror staple all over again: the HD Remake gives all the main characters and the Spencer Mansion an enticing facelift but keeps the little quirks that make Resident Evil awesome/a total headache/undeniably unique.

You'll still need to manage eight (at most) inventory slots, and you'll still need to keep your distance from downed zombies - or preferably burn them on the spot. The most major change is the new default control scheme, which makes it handle more like a modern fixed-camera game, but you're free to select the old 'tank' controls if you want. With modern conveniences where it needs them and good old weirdness where it doesn't, Resident Evil HD Remake is a near masterpiece… of unlocking.

Here's a video game scenario you've definitely seen before: a malevolent power is about to end the world as you know it, but no rush, because . It comes down to design philosophy: they want you to keep playing as long and as often as possible, so missions can't be too restrictive in how they let you use your time. The sense of urgency that's meant to push you to the end becomes little more than a carefully curated illusion that's easily broken if you decide to make a sandwich and don't hit pause.

Sometimes, anyway. Other times, you come back from your meal prep and all the hostages are dead, or the world has ended, or the love of your virtual life has turned into a horrific monster because you took too long, and the game wants you to feel it. It's a delicate balance to strike, making you feel the weight of a time crunch without pushing you so far that you quit. But games that do it well show that players don't need the virtual world to wait on our every move. Sometimes lighting a fire under your ass is the best thing a game can do.

Easily the most famous game that uses time against you, The Legend of Zelda: Majora's Mask is also one of the most forgiving. Though you only have three in-game days (with a timer ticking away) before the moon faceplants directly into the planet, you can reverse to the first day as many times as you like. But make no mistake, it's harder than it sounds - failing to finish your current quest means you'll have to start that undertaking over during the next three-day period. Or worse, if you let the moon crash into the planet, expect to lose everything you gained during that cycle.

Kudos to Nintendo, because this is probably the best way to balance a foreboding sense of urgency with dozens of intricate sidequests. Putting a hard deadline on the game as a whole would push you to skip side material, while allowing ample time to complete everything would turn the moon's descent into an empty threat. Meanwhile, the reverse-and-start-over option makes virtually every dungeon-romp nerve-wracking, as you only have one shot to successfully finish if you don't want to start over from the beginning. At the same time, you feel comfortable enough with your schedule that you can set aside time to fight an army of ghosts in return for a bottle of milk. You know, the important things.

As it turns out, Revolution came very close to promoting paradoxical procrastination with its first mission. Specifically, you're told that you only have so long to save a group of hostages before things get ugly, but in the game's original version you could take as long as you wanted and they would never come to harm. Figuring that out immediately deflates any sense of importance the mission had (no need to worry, they're all gonna be fine without you) but also makes it hard to trust the game when it promises dire situations in the future. Chances are those will be falsified too, so why bother?

Thankfully, set a time limit on the hostages' survival, so if you don't get there fast enough, too bad for them. That one choice made Human Revolution significantly more effective at creating suspense and a sense of gravitas, because anyone who tried to call that Mission One bluff learned that this game was not messing around.

At face value, Prince of Persia isn't all that different from the standard hero-saves-princess plot: the Vizier of Persia captures the princess, saying he'll kill her if she refuses to marry him, and you have to rescue her. However, while the likes of Mario and Link have ample time to train before they face off against their nemeses, the Vizier gives the princess an hour to decide, and he isn't kidding around - you get one real-world hour to finish the game before you fail and the princess is left to her horrible fate.

Honestly, this is a far more realistic depiction of how a princess' abduction would go, and gives it the weight and urgency it deserves. Where other games assure you that the princess will be just fine with waiting until you show up to get her, Prince of Persia promises the exact opposite, making you feel your pixelated protagonists' desperation as you struggle to navigate a tricky maze of traps. With no on-screen timer to guide you, it feels like failure is always lurking a step behind, and nothing about the experience would've been nearly as effective if you didn't have the dwindling sands of an hourglass lighting a proverbial a fire under your feet.

Snake Eater might seem like a strange addition here, since the only place where time matters is a single boss fight, and even then it feels like you have to wait for-e-ver for the ravages of time to have any kind of effect. Yet, that use of time has a powerful effect, proving that while Big Boss may be the protagonist, he's not the center of the universe.

Here's the mission (in) brief: you face off against The End, a master sniper who's getting too old for this, and is only hanging on so he can hunt down his 'final prey', aka you. You can fight him in a properly grueling battle, or you can simply save in the middle of the fight and wait a week to play again, by which point The End will have died of old age. While it's easy to assume this feature was included in the name of shock value and some laughs you feel guilty about later, it also puts forward the idea that the world and everything in it isn't waiting on Snake's input - the world moves at its own pace, regardless of what he chooses to do. That doesn't necessarily hold true in other parts of the game (none of Snake Eater's other bosses will get bored and leave if you wait too long to fight them), but that one moment is enough to at least make you think.

Pandora's Tower may not feature of the world's greatest romance - while central to the story, it never gets far past "insert gifts, receive affection" territory - it does remind you that your love Elena has a life of her own outside your adventures and won't just twiddle her thumbs until you get back. Mostly because she's mutating into a horrific demon and needs to eat the flesh of the demons you're slaying in a timely manner if she's going to stay human. And I do mean timely: every mission is on a timer, and if you wait too long before getting back to her with more flesh, she (and your relationship) will start to rapidly deteriorate until her transformation is complete and she destroys the world.

That may seem brutal and at least a little annoying, as you constantly have to return to her room instead of pressing forward, but the timer does serve as a constant reminder of why you're going on this adventure at all. While the game could just teleport you back to her place for a cutscene or two and then let you go about your business, it'd be easy to look right through those interactions without noticing them. Because you have to constantly think about maintaining her health, Elena is at the forefront of your mind, and the game serves the story rather than wearing it like a thin and ineffective overcoat.

Often enough, completing all of the sidequests in a game is just a question of your interest and willingness, because the objectives themselves typically don't require much skill or effort. But Dead Rising - a game where you and a handful of survivors are trapped in a zombie-infested shopping mall that's also housing a few "psychopaths" from the local prison - doesn't want to go that easy on you. Side objectives involve rescuing as many other survivors as you can, but you only have a limited amount of days before the rescue team shows up to collect them. Even trickier, each survivor is only alive and mobile for a short period of time. Miss that window, and they're gone for good.

That sidequest setup is immensely punishing, and you can expect to see plenty of announcements that survivors are dying on your watch as you level up. But it immediately drives home how dangerous your situation is, and proves that this zombie infestation isn't just a good excuse to beat a few shambling bodies down with a weed whacker or a six string. Getting everyone out alive is possible, but incredibly difficult, and you're basically going to have to be superhuman to pull it off.

Lightning's world is going to end in thirteen days. And unlike most games, there's no chance you'll be able to save the world in that time; all you can hope to do is send the souls of the living to their rest before the apocalypse arrive. There is a bright side, because if you can rescue enough souls before the clock strikes midnight on the final day, everyone will be reincarnated in a new world. But that's only if you rescue enough, and you're on a deadline: there's a timer at the top of the screen constantly reminding you how close you are to imminent doom.

That sense of looming destruction is what keeps you on the move over the course of Lightning Returns, forcing you to constantly think about how much time you're taking and how you'll fail if you don't recover enough souls. But what really sets it apart from any other timed game is that sidequests don't detract from your time - they add to it. You're actually only given six days to work with when the game begins, and have to earn seven more by finishing various quests scattered throughout the world. It's a brilliant way to solve the 'speed versus completion' problem, making them inseparable without losing out on the tension that's meant to keep you on the move.

Pikmin may look like an adorable game about flower creatures helping a spaceman rebuild his rocket, but pull back that veneer and it's a cold, calculating resource management game. Each task takes a certain amount of time to complete, whether it's getting the tokens to grow new Pikmin, gathering materials, or taking down enemies. You could Pik the surrounding environment clean if you had the time, but you don't, because you only have 30 in-game days to repair the ship.

Pikmin's all about making the best choices about how to manage your time. Sending your Pikmin to harvest parts from a giant monster nets you a lot of materials at once, but you'll lose most of your workforce and halve your productivity in the process. Going after smaller prizes isn't as dangerous, but it also isn't as rewarding, and you simply don't have time to gather everything you need piecemeal. That 30-day timer keeps the pressure on, forcing you to think fast and change your strategy in an instant when the situation calls for it. Yet that demanding nature is what makes the Pikmin series worth playing: these games may be cute, but satisfying victory can only be earned through careful planning and preparation.

Thank heavens for the humble spin-off title, granting devs the opportunity to expand a franchise without risking the reputation of its more 'legitimate' cousins. Mainline entries can carry with them a major degree of prestige, meaning a risky dip into unknown waters is best left to a parallel, somewhat less 'official' additions to the series. Call it a test run, if you like - one that maintains a healthy distance between 'promising' ideas and the brand's more sacred cash cows. If nothing else, it makes for sound business sense...

Then there are the companies that throw caution to the wind, uprooting an entire franchise before plonking it back down in a strange new environment. The backdrop may stay the same, but the action most certainly doesn't. The following 12 titles all took a chance on change, refusing to iterate on an existing formula, switching instead to an entirely new genre. How did they do it, was it a success, and should the resulting games even be considered sequels? Click that there arrow icon and let's find out.

Criteria Check - Plenty of franchises transferred from 2D to 3D perspectives back in the 1990s. However, most of those games didn't attempt a simultaneous switch in genres. As such, more mechanical translations - i.e. 2D side-scroller to 3D action-adventure - have been nixed. And obvious spin-offs are out, obviously Enjoy!

From this - A 2D action side-scroller, Metroid remains amongst the most influential games of its era. So much so in fact that the term 'MetroidVania' (i.e. Metroid + CastleVania) was specifically coined to denote titles of a similar style. Not many games that boast that, now can they?

To this - A fully-3D FPS title, Metroid Prime released to near-universal acclaim (the pirates of Phazon IV were a little less than complementary). Interestingly, Nintendo opts to refer to the Prime franchise as a series of 'first-person adventure' games, though it's a little less Myst and a shade more Halo.

A fitting sequel? - Those anticipating a 3rd person action-adventure were likely left stunned by the news that Metroid would adopt a new first-person perspective. It turns out that that decision was made by none other than Shigeru Miyamoto, who expressed deep misgivings over the quality of other 3rd person actioners. Thus, instead of taking the more obvious 2D to 3D route, Ninty handed the brand over to the folks at Retro Studios, plonking Samus and friends into an already existing project, that had itself once been played in the 3rd person. Fresh perspectives aside, Prime maintained many of the series' most critical hallmarks, serving not only as an excellent sequel but also as a brilliant adventure in its own right.

From this - A critically acclaimed, commercially successful series of RTS adventures, WarCrafts 1 through 3 remain as some of the most well-loved and highly regarded games from the 'golden age' of real-time strategy.

To this - World of Warcraft is more than just another MMO, it's the MMO - a game so stupendously successful, (not to mention ludicrously long-lived) that it's become something of a cultural touchstone. It's not for nothing that a small army of lesser games have all tried to pattern themselves as potential 'WoW killers'. World of Warcraft is the undisputed god-emperor of the genre, and it isn’t going anywhere.

A fitting sequel? - While World… may technically constitute an official spin-off (a big no-no here), the studio's blanket shift to the online format - as opposed to churning out both WoW and Warcraft games - should buy the title some additional 'sequel credit'. In truth, Blizzard's Heroes of the Storm does come closer to matching Warcraft's original gameplay (that's only to be expected when going up against an MMO). However, the game still manages to succeed as a sequel in almost every other respect, upping the scale, deepening the lore and offering whole new ways to play.

From this - Police Quests 1-5 are classic 2D adventure games. Entries 1-3 were masterminded by former police officer Jim Walls and starred the character of Sonny Bonds. Entries 4-6, meanwhile bore the name of former police chief Daryl Gates and featured a new lead named John Carrey. Gate's stewardship began a much grittier vision for the series, transplanting the action from the fictional setting of Lytton to the mean streets of L.A.

To this - Police Quest: SWAT (entry no. 5) played out as a barely-interactive FMV title, similar to the likes of Night Trap and Sewer Shark. These sequences required so much memory that SWAT appeared on four full discs.

To this - Police Quest: SWAT 2 is a real-time strategy game played from an isometric perspective. Players must select and coordinate a team of highly trained personnel in order to resolve a number of tricky hostage situations.

To this - Dropping the Police Quest moniker, SWAT 3 4 transformed into tactical FPS titles. Gates returned for entry number 3 as a consultant only, while characters Marie and Sonny Bonds received cameo roles in parts 3 and 4, respectively. Attempts by Jim Walls to relaunch the franchise via Kickstarter have thus far been unsuccessful.

From this - A 2D action platformer released for the original NES. Kid Icarus met with a lukewarm critical reception, however the character of Pit soon proved popular enough to earn himself cameos in other Nintendo-made games.

To this - Kid Icarus: Uprising transformed the franchise into a on-rails 3rd-person shooter, utilising the 3DS' stylus input and a bundled stand peripheral for play. These major changes proved to be a success, as the game accrued far better reviews than its middling 2D predecessor.

A fitting sequel? - Uprising achieved far more than just strong critical reviews. It also worked to flesh out the game's undernourished narrative, granting Pit a proper personality and an actual reason to exist outside of all those cameos. Uprising had gamers enthusing about the franchise for the first time in a very long time, achieving perhaps the most singularly important element of any sequel - actually being better than it's ancestor.

From this - A 2D stealth shooter originally released for the Apple II computer. Castle Wolfenstein was the very first title to take advantage of the World War Two setting. Fun fact - we're now nearly further away from the release of the original title than the folks making the game were from the war itself. *Head explodes* (36 years vs. 34).

To this - Wolfenstein 3D represented a major milestone for the FPS genre. Indeed, the title is often credited with being the very first game of its kind. It’s success also helped to bring about the development of Doom, a more polished, ambitious and ultimately successful effort that spawned a whole host of imitators and ultimately, the modern FPS genre.

A fitting sequel? - As a sequel, Wolfenstein 3D bears few similarities to its stealth-based predecessor. Having closed down in 1987, original developer Muse Software had zero to do with the game's creation. While the Second World War setting was retained, almost everything else - from the game's genre to the use of supernatural elements - differed greatly from the original. Odd sequel, awesome shooter.

From this - A light-hearted collect-a-thon intercut with occasional vehicle rounds. The Precursor Legacy built upon the success of Naughty Dog's Crash Bandicoot titles, utilising the power of the PS2 to craft larger, teractive environments. A fun and accomplished platformer, with oodles of charm but little in the way of a compelling plotline.

To this - An angsty, dystopian sandbox title with the narrative to match. Jak II retained the run and jump elements of its predecessor, but added so much more to the mix as to become almost unrecognisable. Small, colourful locales gave way to bustling metallic cityscapes, with the only effective means of locomotion becoming one of the city's various hover-vehicles. Part skating game, part platformer, part run-and-gun shooter, Jak II effectively ditched the whimsy for a whole new toolkit.

A fitting sequel? - Fans of the platforming genre remain divided over the direction of the Jak Daxter franchise. As a sequel, the game ticks all of the right boxes. It's bigger, more refined and certainly different enough to warrant its existence. However, the move into science fiction does come at the cost of The Precursor Legacy's unique 'feel' - an almost tranquil experience recalling the likes of Spyro the Dragon and Mario 64. As genre swaps go, platformer to platforming sandbox may not be the biggest of leaps, but it remains one step too far for some fans.

From this - An on-rails flight combat title. Star Fox successfully reinterpreted the 16-bit vertical screen shoot em up, bringing a brand new dimension into play. In addition, the original game's graphics were considered to be truly groundbreaking for their time, utilising an in-cartridge chip to boost the SNES's performance.

To this - A third-person action-adventure title. Star Fox Adventures exchanged Arwings for raving reptiles, grounding McCloud and forcing him to duke it out on foot. Originally conceived as an entirely separate title, Nintendo's Shigeru Miyamoto asked that the properties be merged after spotting the resemblance between Fox and the new game's hero.

A fitting sequel? - Roaming around a dinosaur planet doesn't exactly bear strong relation to a space-based dogfighting title. However, great efforts were made to integrate the new game into existing StarFox lore, rewriting much of Rare's game's narrative to account for Fox's presence. Fortunately, franchise canon already made mention of a dinosaur world, meaning the merger wasn't quite as crazy as it might well have seemed. On-foot missions would only go on to appear in one more sequel, before Nintendo wisely opted to chop that aspect entirely.

From this - An all-time classic arcade title in which the titular Pac-Man attempts to munch as many pellets as possible without being tagged by one of four roaming ghosts. Simply put, it's a 2D action-puzzler set entirely within a maze. Oh and one of the most instantly recognisable games in the history of the medium. That too.

To this - Part 2D side-scroller, part point-and-click adventure game, Pac-Man 2 ditched the familiar neon maze of its predecessor to strike out into the world of Pac-Land. Players are now unable to control Pac-Man directly, though they can interact with the world around him, managing his moods so as to accomplish specific goals.

A fitting sequel? - As a spin-off title Pac-Man 2 might've made sense, but as a direct sequel? Not so much. Perhaps the problem lay with the fact that the original game invited way too many imitators, iterating on a formula to such an extent that all the good ideas had been utilised by the time Namco attempted a sequel. All told, Pac-Man 2 remains amongst the strangest of follow ups in video gaming history. Remove the iconic hero and you'd likely never know this was a Pac-Man game at all.

From this - A 3D fighting game that makes heavy use of weapons. Part Soul Calibur, part Bushido Blade, Dynasty Warriors tasks fans with parrying attacks in order to disorientate and counterattack foes.

To this - A series of tactical action games, Dynasty Warriors 2- through-one-thousand shifted focus away from single combat and onto gigantic foe-filled battlefields. Think of them as sandbox hack and slashers, with enough cheesy dialogue and outlandish armour thrown in to satisfy even the most ardent of Kingdom Under Fire fans. The series most recent release - Hyrule Warriors transplanted the game's winning formula over to the fantastical world of Hyrule - home to the ongoing Legend of Zelda franchise.

A fitting sequel? - Dynasty Warriors 2 retained both the characters and settings of its predecessor, but little else besides. Given the success of the franchise, not to mention the glut of competing fight games appearing in the era, it would seem that Omega Force's decision to switch gears was a wise one. An odd sequel, to be sure, but one that allowed the franchise to grow far longer than it might otherwise have done.

From this - A classic 2D adventure title boasting the odd bit of strategy. Players assume the role of Paul Atreides, overseeing planet Dune's military and economic development, all whilst schmoozing, smooth talking and occasionally intimidating its wide variety of inhabitants.

To this - A full-blown real-time stragegy title, and one of the first such games to be released. Dune 2 effectively codified the genre, introducing mechanics and an overall framework that are still in use today.

A fitting sequel? - Despite the fact that both games were published under the Virgin Interactive banner, Dune 2 is often described as being a 'rival' interpretation of the franchise. It also proved much more successful than its predecessor, going on to influence everything from Age of Empires to Command Conquer. As a sequel, the game does maintain the original's tactical slant, broadening the military lore of the license, if not the socio-political elements touched upon in the first installment. A half-sequel then, but one that utterly eclipsed its forebear.

From this - A real-time tactical action title (say that six times when you're drunk), Syndicate appeared on a whole host of platforms back in the early '90s. Gameplay involves guiding four cybernetic agents around an isometric battlefield, attempting to infiltrate, assassinate, and/or detonate a series of increasing important targets. The player must also execute a wider stratagem, making certain that the team continues to receive necessary funds and upgrades. A bit like XCOM then, except that no one's waiting around for their turn.

To this - A solid first-person shooter title that was at turns both massively generic and occasionally inventive. Creative elements include an enemy-hacking mechanic, while the game's 'bullet sponge' bosses fared less well with critics.

A fitting sequel? - Given that the Syndicate universe isn't exactly the most unique of cyberpunk settings, EA probably felt comfortable utilising the license on this largely unrelated game. Sure, they may share a few common strands, but nothing that fans of the original games would miss in opting to skip it. Fortunately, the team behind the original titles are now hard at work on a new unofficial follow up named Satellite Rain, having earned well over £450,000 via a 2013 Kickstarter campaign.

From this - A classic 2D fighter, Guilty Gear combined gorgeous graphics, killer characters, lightning fast gameplay and an inventive setting to become an enduring cult hit. The title spawned four direct sequels, the third of which marked a major departure from franchise norms.

To this - A 3D hack n' slash title, with assorted RTS mechanics thrown in. Think Dynasty Warriors, but with uber-stylish cyborg men. Overture scored poorly among critics, which may have led the team at Arc System Works to return the series' to its 2D fighting roots. Follow up Guilty Gear Xrd secured much more favourable reviews.

A fitting sequel? - The Guilty Gear franchise is no stranger to spin-offs, but crucially Overture is not among them. It's a bona fide mainline sequel, one that may well have signalled a fresh direction for the franchise had it been a success. Think of it as the Anti-Dynasty Warriors, attempting to follow along the same path, before mucking things up and crawling right back. Some familiar combat flourishes aside, Overture remains an unusually 'separate' entry in an otherwise consistent series.

It was a well-known console franchise - Super Monkey Ball - that first showcased the iPhone's gaming capabilities, back in 2007. But the iPhone certainly didn't become the home of console conversions. After several early attempts tried (and mostly failed) to emulate the console experience on mobile, the two platforms went their separate ways.

The touch-screen controls, lack of a universal (and cheap) controller and totally different attitude towards purchases have proven... 'problematic'. But even so, I sincerely believe the following console games would nonetheless be even better on iPhone. Yes, I do feel OK, thank you - why do you ask?

It's almost as though Animal Crossing was designed for a mobile phone. The hardware has a consistent clock for real-world calendar functionality. It's always connected so friends can visit easily. It is intended to be played every day when you have a few minutes, and opens and closes easily.

The game's cute, colourful graphics would perfectly suit iPhone. The multi-touch interface would be even better than 3DS' stylus control for inventory management, minigames and rearranging furniture. DLC could be provided automatically, there could be cross-save functionality with an iPad edition (which would also be fantastic)… basically this is an iPhone game ON THE WRONG PLATFORM.

Back in the halcyon days of 1997, I tried playing Wipeout 2097 with my Sega Saturn's Arcade Racer steering wheel. The wheel has no pedals, and no rumble, let alone Force Feedback. But you know what? It felt amazing with Wipeout. That sensation of not being in contact with anything that made Sega Rally Championship feel so detached was instantly a bonus. It felt like I was piloting an anti-gravity machine.

So the floaty, gyroscopic control of an iPhone would surely feel amazing with Wipeout. You could dive or pull the nose up through subtle tilting, and this ease of motion would leave your thumbs free for braking and firing your weapons. AG Drive has proven that iPhone can handle beautiful anti-gravity race tracks, but Wipeout is a volved and driveable experience. iPhone would feel better than analogue sticks in this instance, I'm sure of it.

Flying games don't always feel as good as perhaps they should on the iPhone, but Pilotwings' more nuanced, deliberate controls would suits gentle titling far better than coaxing your glider through the skies using a thumbstick or circle pad.

The beauty of the environments would benefit massively from the retina display, too, and the pick-up-and-play nature of its short challenges would also be perfect for those 'I've got six more minutes until the past's cooked' moments.

This may sound like an odd choice, but it's actually very similar to several iOS concepts that worked well. Prope Discoverer and Epic Citadel that focused on creating a beautiful, explorable environment that pushed the platform's graphical capabilities while providing a slow-paced, interaction-light experience. Even so, they were fascinating.

Those concepts share many features with Everybody's Gone to the Rapture. Recreating The Cinese Room's beautiful and startlingly naturalistic visuals on mobile would be a tricky task, but iPhone 6 is certainly capable of giving it a good go. And the slow-paced, observation-heavy gameplay is perfect for the touch screen's interface. A gyroscopic 'look' function would also add to the experience.

OK, so this isn't even out yet, but the premise arguably suits a multitouch display better than Wii U's single-touch input. Sure, the iPhone's screen is small, but imagine using the pinch to zoom in and out of your created level, then drag blocks and enemies onto the scene. It would work so smoothly.

And if you're concerned about the controls of actually playing the game being imprecise, don't forget there are game pads available for iPhones. You could enjoy the pixel-perfect 2D platforming experience anywhere, make levels anywhere and upload them for your friends to enjoy – you guessed it – anywhere.

OK, this isn't even a thing on consoles any more, let alone iPhone. But imagine the terror if using an iPhone's gyroscoping motion sensing control to look around the hallway and bathroom in real-time. You literally wouldn't want to turn around for fear of Lisa waiting to scream at you.

Imagine doing that in the dark, with headphones on. Seeing as the game was always free anyway, acting as a teaser for the now-never-to-be-release Silent Hills, that would have been the cheapest laxative available. Such a pity it'll never happen.

Sometimes it's the simple things in life that make the greatest difference. Consider the minigame: a bite-sized experience nestled within a larger video game. We all know some terrible examples - ones that force you to complete arbitrary nonsense so mind-bogglingly boring, you'd rather watch your theoretical future son be left at the theoretical future altar by his theoretical future spouse then finish one more hacking puzzle.

But every now and again, a minigame comes along that cuts through this bleak miasma of mediocrity with the shining rays of clever game design. Like a fine wine or exquisite, European cheese, this minigame is the perfect blend of complexity and accessibility. It's ingenious systems keep you coming back time and again, sometimes siphoning hours from the main storyline; or in extreme cases, eclipsing it completely. What follows are the creme de la creme; peerless minigames that will deliver your son from his theoretical, future heartache.

Video games have a rich history of card game sidequests (some of which are included later in this list). The Witcher 3's Gwent is certainly among the best, even without the . It's a trading card game built around speed and efficiency. You can tailor your deck to fit a certain playstyle. You can fake out your opponent with different tricks and strategies during a match. But the most refreshing thing about Gwent is that it will end - no matter what - in three rounds or less.

The limited play time adds gravitas to each card placed on the table. Strategies must be decided upon quickly, and their results are felt almost instantly. A bad call in the first round could easily lead to an early defeat in the second. Unless that first round was a feint; a ploy to lure your opponent into wasting their best cards. Gwent, like all great TCGs, is a game of calculated risks. What's nice is that it doesn't take another 45 minutes to see if your bet paid off.

This unassuming casino game hides an interesting mix of Minesweeper and Sudoku. Just like in Minesweeper, you want to reveal all the panels on the grid that do not contain mines (or, in this case, Voltorbs). Revealing one of those is an instant Game Over. Avoiding the Voltorbs is where the Sudoku aspect comes into play. With a bit of mathematical reasoning - and luck - you can deduce which tiles are most likely to contain Voltorbs based on the clues provided and which tiles you've already flipped over.

For example, look at the screenshot above. You see the red box in the bottom left-hand corner? The '02' means the numbers in the column add up to two, while the '3' next to angry-face Voltorb means three of the tiles are Voltorbs. Each row and column is labeled like this, and by comparing them all against each other, you can puzzle out where the Voltorbs are hiding. It's basically one big logic puzzle, and clearing a really challenging board feels like you've achieved Holmesian-levels of deductive reasoning.

Image

Winning at Command Board feels just like winning at Monopoly. While you're swimming in an ocean of cash, your opponents are stuck paddling around the board bleeding money at every turn. It's a . But the Monopoly comparisons don't stop there. You earn your fortunes by buying up colored spaces on the board and - stop me if you've heard this before - improving those spaces so that their rent increases. And you better believe that owning all the spaces of an identical color nets you a hefty rent multiplier. The only thing missing is a diminutive old chap with a cane and tophat.

A well-executed game of Command Board is really a thing of beauty. When you exploit the board to its fullest, snag the high-traffic sections you want, and exploit those territories for all they're worth, it makes victory taste that much sweeter. To help speed the game along, each player can also spend cards for special abilities - such as rolling three dice instead of one - to tilt the odds in their favor. The only real drawback is the braindead AI, which can only stumble blindly into victory when the stars align and Lady Luck has completely abandoned you.

used to invoke images of Fallout 3's word search or BioShock's rip-off of Pipe Dreams. But Deus Ex: Human Revolution puts them all to shame. Its hacking challenges require you to think fast, act faster, and juggle about a half-dozen tasks all at once. Your objective is clear: bypass a series a nodes until you reach the one controlling whatever it is you're hacking. Along the way, there are various bonus nodes you can hack for extra credits or items, but doing so will almost always trigger the security AI. And once that's done, your hack becomes a mad dash for the virtual finish line.

The security AI is basically doing the opposite of what you're doing, only with the efficiency of a machine. It wants to reach you, you want to reach the final node. You can slow down the AI by reinforcing nodes you've already captured, or by using special programs you've collected to disable it temporarily. This is where the juggling act starts, as you jump between reinforcing some nodes, capturing others, using programs to maintain control, and more. It's a fun minigame that throws just enough techno-jargon at you to make you feel like a hacker.

thanks to its wonderfully challenging platforming, quirky personality, and a little soccer distraction called Kung Foot.

At first, you won't even notice this totally optional minigame because it's unassumingly tucked away in the main menu. But once you hop into it for the first time with a friend or two in tow, it's nigh impossible to escape its addictive grasp. It's so simple: You just run around trying to kick a soccer ball into the opponent's goal by using the platforming and physics established by Legends' campaign. Hours turn into days, days into months, and before you know it you'll have missed the birth of your child - a heinous crime that has only one remedy: more Kung Foot (and maybe a nice bottle of Gulden Draak).

You're familiar with Rapunzel, right? That gleefully light-hearted story about the little girl who's kidnapped and confined against her will in a tall tower in the middle of a wooded glen, whose captor climbs her hair like a rope because ladders make way too much sense? In , you can enjoy that delightful children's tale as a puzzle minigame found in Vincent's favorite watering hole, the Stray Sheep bar.

The gameplay here mimics the block-based puzzle stages of Catherine's (somehow more bizarre) main story. As the fabled prince smitten by Rapunzel's beautiful voice and physical appearance, you have a limited number of moves to manipulate a series of blocks and scale them to your objective. Every few stages, a new bit of the minigame's narrative is unveiled via a series of rhymes <(a href="http://catherinethegame.wikia.com/wiki/Rapunzel_Story_Transcript" target="new">full transcript here), eventually uncovering a tale that's almost as tragic as Vincent's own life.

When it comes to Final Fantasy minigames, two of the most loved are both grid-based trading card games: Final Fantasy VIII's Triple Triad, and FFIX's Tetra Master. In both games, the goal is to control as many of the cards on the playing field as possible (think Tic-Tac-Toe, but far more complex) by the time its grid has been filled out. Here's the kicker: you can gain control of the opponent's cards. In Triple Triad, this was super basic: If the card you played had a higher value assigned to it than the opponent's adjacent card, you'd win.

But in Tetra Master, each card had its own HP, damage, and defensive stats, and could potentially attack any adjacent cards or diagonal ones. This added a shiz-ton more strategy to the game, even allowing for combo attacks that could sweep the entire board at once (thus explaining those seemingly random situations in which an your opponent would suddenly flip every card you had and win the game). Compared to Triple Triad, Tetra Master offered a far deeper layer of strategy, even though its systems were woefully ill-explained.

In hindsight, it's pretty wild to think that one of the Xbox 360's first successful downloadables started life as a minigame in Project Gotham Racing 2. Geometry Wars, a twin-stick arcade shooter, can be found within the in-game garage between races. What began as a neat side attraction eventually became the primary reason for booting the game back up long after we'd scratched our racing itch.

Its ruleset is brilliantly simple: controlling a claw-shaped ship, you have to blow up as many enemies as you can before getting destroyed yourself. It wasn't long before bragging about record PGR lap times gave way to bragging about high scores in Geometry Wars. And because of its popularity, it eventually led to the creation of Geometry Wars: Retro Evolved 2--one of the .

The World Ends With You is one of the most memorable JRPGs in the Nintendo DS catalog thanks to its story, neat battle system, carpal tunnel-inducing control scheme, and, of course, Tin Pin Slammer. The goal of this minigame? To slide your pins around the board in an attempt to knock your opponent's pins out of bounds. Basically, it's 1971's Milton Bradley board game , except the DS stylus replaces the plastic guns and little metal pellets. Crossfiiiiiuuur!

Trying to outmaneuver your opponent made the game addictive enough on its own, but the addition of "whammies," or special moves, made things a bit teresting. You could, for instance, summon a giant mallet from out of nowhere, which would spin in a circle and send every pin it made contact with flying. You'll get caught up in the Crossfiiiiiuuur! Of course, that's not to mention the stage variations, which add handicaps to change the rules on-the-fly, or the fact that you can collect hundreds of pins, each with unique stats and properties. And when you finally overcome a particularly grueling match-up, victory will have never tasted so sweet. Crossfiiiiiuuur!

In the world of Might and Magic VII: For Blood and Honor, peasants and adventurers alike gambled in taverns by way of Arcomage - a tabletop game not unlike Magic: The Gathering (freakin' nerds). Each player has a deck of cards, a tower (which acts as an HP counter), and a defensive wall (think MTG's creatures) that protect said tower. Each turn, you generate resources that can be spent to play cards that either fortify your wall, replenish your tower's hit points, or attack your opponent's tower, creating a delicate balancing act of knowing when to strike and when to play it safe.

In its earliest forms, Arcomage was a mere minigame in a single-player RPG, meaning you'd only ever get to play against AI opponents. It became popular enough, though, that The 3DO Company eventually released a standalone version that could be played with others via LAN or an Internet connection. These days, enhanced variations of it, such as the Android game , are readily available and surprisingly popular.

Few things in life are as exciting as recounting tales of the good ol' days, back when Windows ME was the hot new OS (that everyone quickly grew to hate) and people had to sit through this before they could connect to the World Wide Web. It was during this now-ancient time period that we lost many a night to Mephisto farms, Diablo grinds, and, eventually, Taco Baal Runs in Blizzard's beloved hack-and-slash RPG, Diablo II. But there's another aspect to the game that dungeon crawler veterans will recall with ease: playing .

Now, it may not have been immediately apparent at the time, but everyone soon picked up on the joke: trying to rearrange your inventory just so you could pick up that rare hunting knife meant moving items around just so, dropping them on the ground to swap others in, then out, then back again. And just when you started to think that the Horadric Cube was a space-saving godsend, you discovered that it only complicated the sadistic game of inventory Tetris by increasing the number of windows you had to manage in order to maximize your rearrangement efficiency. Ah yes, the good ol' days, indeed.

An action RPG is perhaps one of the last places you'd expect to find a highly customizable rail shooter, but Kingdom Hearts II's Gummi shooting segments were surprisingly enjoyable. On the surface, Gummi ships were just a neat way to open up the next world for Sora and his crew to explore. But if you were willing to spend a bit of time poking through everything Gummis had to offer, it was easy to get hooked.

We've spent hours unlocking new Gummi pieces just so we could build new ship designs from scratch. The sheer variety of vessels you could create was downright impressive, ranging from basic starships to freakishly inventive designs . Best of all, the on-rails shooting was enjoyable all its own, complete with operators Chip Dale, who sounded an awful lot like Slippy from Star Fox 64.

In the mid- to late-'90s, digital pets were all the rage. Anyone who was anyone had a Tamagotchi or a Nano Baby; ownership of one of these was mandatory to get any kind of street cred on the middle school playground. But this craze also made its way into a staggering number of console games, including 1998's Sonic Adventure, in which you could hatch and raise living, breathing plant-people called Chao.

Though you couldn't really do much with the Chao in the first Sonic Adventure, its sequel allowed you to affect the baby Chao's alignment to good or evil. If you were playing as, say, Sonic, cooing to the baby and patting its delicate head would make it a good Chao. The process for making an evil Chao? Step one: Bash a Chao egg into into sharp rocks over and over, forcing it to hatch prematurely. Step 2: Kick / slap the baby Chao until it cries out in utter, heartbreaking despair. Step 3: Respond to those cries with complete indifference.

Christ.

Seeing Blitzball appear in a list of awesome minigames will cause you to react in one of two ways: either you'll agree, or you'll tell the writer of this very article to please go cartwheel into highway traffic. Still, many came to fall in love with Blitzball. It's basically underwater rugby, where two opposing teams - such as Tidus and Wakka's own Besaid Aurochs and the damnable Al Bhed Psyches - try to drop kick a medicine ball through the other's goal.

Matches are frustrating early on, seeing as the RPG stats of your player roster matters just as much as (if not more than) your skill. But once you scout out some free agents, level up your team, and win a few games, it's easy to to play for hours on en - just kidding, we all know Blitzball is fu***** terrible.

I don't know about you, but I used to think anything that went up on the internet would stay there for eternity. Sadly, that's not the case. Servers get switched off, domain names expire, companies go under… even technology becomes obsolete. But sometimes, old official websites for video games slip through the cracks and remain live for years after their useful life.

The beauties you see now are like fossils, lurking below the bedrock of cat pictures and fertilising surface mulch of Oculus Rift Photoshops. And they aren't just cached or retrieved from WayBackMachine. These old video game websites are still live, right now (at the time of writing, at least), offering a perfect time capsule of what the net used to be like. So let's do this. Let's time travel!

The Gamecube's Animal Crossing website was designed to look like a newspaper - and feels exactly like reading an old paper, too. Excited prose explains how features like multiplayer work. You have to insert your friend's memory card into slot B, then you can visit their town. WHAT? You can trade items with friends, but Tom Nook has to give you a special code that you type into your game to redeem. DOUBLEWHAT? I'm suddenly incredibly grateful the last 10 years happened.

It's also amazing how much Animal Crossing itself has changed. I mean, considering it , just look at the malformed monstrosities that passed for cute animal residents back then. If anything makes me glad that New Leaf exists, it's this website. Still, nicely done, even if it does seem to be the first version of the site that was surely supposed to be updated. Why haven't the 'coming soon' boxes been filled up? Most odd.

Visit the site .

Sonic Adventure was THE most exciting video game in 1998. No, I'm serious. It was the first AAA quality title of the 128-bit generation. Look, OK, that might just have been me. But it has a website. It still has a website. In it, you'll find some still-great screenshots, lyrics for the cheese-tastic theme music and even the 2.6MB video that brought my college's net connection to a standstill in when it took an entire lunchtime to download.

Unfortunately for most people reading this, everything is in Japanese, with the occasional English word in CAPS for emphasis. But at least if you click through the links, it's pretty obvious what you're looking at. There are even some pre-release screens that show things that didn't make it into the final game. And look at the production values. They spent millions on the game, but about 100 Yen on the website, it would seem…

Visit the site .

This website won Macromedia Site of the Week AND Site of the Day on March 29, 2003, according to the banner proudly displayed on the landing page. This is gonna be good. And you know what? It really is! There's a first-person, pseudo-3D flash game to play, where you explore Tallon IV, uncovering suit and weapon upgrades, which play little video clips from the game itself, showing the features in action.

The video clips may be small, but they're of surprisingly decent quality considering the age of this site. And the fact that the game element still works (albeit with a slow-loading server at the other end) makes this worthy of a visit, if only to remember when Metroid Prime was the coolest thing in the world.

Visit the site .

Yes, it's Ridge Racer. I know. But we have to stop saying it one of these days. Besides, there's something more important to say here: Please be warned that while the site still works just fine (and that even includes the Shockwave-powered animations), minutes after I'd visited this page, Windows stopped working on my PC. Twice. Coincidence? Windows doesn't normally crash on me. So maybe it's best if you take my word for it that this one still works, rather than check it out.

But it really does still work. Look at those little tiles of joy. There's even a short loop of music from the game, which keeps playing forever. This site must have looked sensational back in 1998. Just like Ridge 4 itself did. Aww, man - I love that game. I'm gonna totally add this site to my web ring.

Visit the site .

Clearly nobody was expected to have any screen resolutions larger than a postage stamp in 2001, because this is tiny. But what a treasure trove. For starters, it's brilliant fun reading promotional words trying to explain a game you now know everything about. "Ico is a very different game. It's an adventure game but it has a look and feel that's worlds away from many other adventure titles." No kidding.

But this website actually has a Flash game built into it. It's a bit like Chu Chu Rocket in that you have to guide an automatically-running character by changing the environment – in this case moving blocks. As you do so, Yorda's cage gets closer to being within reach. That game doesn't work in every modern browser, but Chrome seems to run it just fine. Is it anything like Ico's gameplay? Hell no. But still, it's a curio and it's amazing it still works.

Visit the site .

Well that's one way of handling screen resolution. This is actually a remarkably slick website, allowing you to choose your favourite character pairing from four options at the start, which customises the colour scheme of the site accordingly. So Web 2.0, it hurts.

Sadly, the music loops waaaay too quickly. You can turn it off, but wait! There's also the option to change it, shifting between 50cc music, 100cc music and 150cc music. All dire, but also better than music. Yes, you're welcome. But even more sadly, there used to be some kind of Flash game called 'Racing Challenge'... but I can't get it to load. Probably no great loss.

Visit the site .

This early PS2 title may just be a brawler starring a guy who but it deserves better than to be lost to the mists of time. Square-Enix must think so too, because its original website is still live. It's actually not half bad. But it is 'half a screen' these days.

It's actually a multimedia fest with a Flash animation, complete with raucous music… and even a Flash game. That part doesn't work on my machine… apparently you'll need Shockwave ver 7.0.2 to make it work. I don't think anybody's had that since colonial times. Similarly, there are videos (using what must have been massive file sizes at the time), but they use Quicktime 4. And an ancient version of RealVideo. I feel so old.

Visit the site .

I was a little disappointed that I couldn't find a website for the original Ape Escape, but the totally-forgotten PS2 sequel is still cocooned in the world wide web, unable to break from its sticky prison, preserved exactly as it was in 2003.

The site appears to be rather basic at first, but it has its moments. The spinning monkey head that transitions between sections of the site is the dictionary definition of 'zany', there's a secret section of artwork if you get a password from doing well in the game itself (clever) and even two 'delectable' recipes for banana-based smoothies. Show me a modern site that does THAT. In fact, I'm off to make one. I'll probably post a pic of it on LiveJournal.

Visit the site .

Thousands upon thousands of video game characters have been invented, so it's inevitable that some of them will look similar. But this lot... well, let's just say it would have been quicker but just as effective to hit Ctrl+C then Ctrl+V and have done with it.

The saddest thing is, while the older examples have rather innocent explanations, the newer examples are almost certainly indicative of a more sinister trend in the industry. They're faces that the target demographic will relate to, or aspire to be. Makes me sick. So let's have a look at the offending couples and hope they never meet each other. The space/time continuum may just implode if they do.

This is pretty funny, really, but understandable considering they were designed by the same person, namely Square-Enix and Final Fantasy legend Tetsuya Nomura. Sora from may as well be a younger version of Sion from The Bouncer. Same penchant for dangly chains and zippers everywhere, same hair, similar clothes... if you'd never played The Bouncer before, you could be forgiven for wondering why everyone's calling Sora 'Sion'.

Sora's wardrobe design was apparently intended to echo Mickey Mouse's, as a tribute to the Disney legend in this incredible Square/Disney collaboration. White gloves, red shorts and big, yellow shoes (oh yes, NOW his feet make sense)... I can see that. But still, you could also see Sora as Sion in unconvincing Mickey Mouse cosplay. Awkward.

The new on the side. Seriously, these are the exact same guy. Look at them! Same age bracket, same colour hair, same hairline, same scar above the right eyebrow, same facial hair...

(house style dictates I have to put a paragraph break here but I'm still going) ...same shape of flattish nose, same thin lips and mouth length, same piercing eyes - although he's clearly wearing blue contact lenses on the left - same angle of brow... the only difference is that 'Rico' Max has bent his eyebrows somewhere, presumably where they got melted in an explosion or something.

This one is particularly well-documented, not least because the character model for Ellie in was altered prior to release, which some say was to make her look less like Ellen Page, who didn't lend her likeness to the game and got a bit upset at ostensibly being in it. Ironically, I actually think the revised Ellie looks even more like Ellen. Different colour eyes, though. Yep. Those virtual contact lens people must be making a killing.

Of course, Ms Page DID lend her likeness to , which means we have an in-game render of Ellen Page to compare with an in-game render of not-Ellen Page. The result? Ellen Page. If anything, Page is probably happier with Naughty Dog than Quantic Dream right now. At least Naughty Dog didn't include a fully anatomically-correct naked version of their leading lady in the game. One step forward for gaming, two steps back...

Come on, own up. Who stuck a bicycle pump up Kirby's bum? Pokemon's Jigglypuff looks suspiciously like an uncomfortably-inflated Kirby. Ears and wisp of hair (ice cream?) aside, it's all the same. Pink. Spherical. Rounded protrusions instead of limbs. Visible tongues. Same shaped, small, smiling mouth. Large eyes. Dilated pupils. Exaggerated, manga-style reflections in eyes. Rounded feet. Rounded everything. Kirby and Jigglypuff might as well be brother and sister. Or married. But not both, obviously.

It's stock game journo fact #237, but Kirby was created as a placeholder, while the real hero was decided upon. But the endearing nature of the character (and therefore characters) is that both fit the 'infant proportions' archetype. Large, round face, big eyes, small mouth - it's instinct buried within your DNA that says these things are cute. YOUR BRAIN THINKS THEY MIGHT BE YOUR OFFSPRING.

There aren't that many male video game protagonists with a slightly receding hairline who wear glasses. In fact, I can only think of two. And because there's only one other notable character in that bracket who existed before Alex Taylor of , perhaps it would have been wise to make sure Alex didn't look exactly like him.

But no, it's time to get the Picard facepalm pic out. Half-Life's Gordon Freeman appears to have started street racing. This is weird. Especially as this bespectacled scienti...I mean 'racer' talks. And when he talks, he sounds like Troy Baker. I suppose if Half-Life 3 ever gets made and Gordon does work out how his vocal chords work, assuming Nolan North is still busy recording new Destiny lines, you can bet Troy Baker would step up to voice him.

In these pictures - both taken from Knuckles Chaotix on 32X, Mighty the Armadillo arguably looks more like Sonic the Hedgehog than Sonic the Hedgehog does. Indeed, for a while, I was convinced Sonic's sprite was simply altered to take him out of the playable roster (as the would suggest he was intended to be in it), and this 'Mighty' chap was actually Sonic wearing fake ears and armadillo armour. Look at the picture - surely Mighty is Sonic, right?

Wrong. Mighty The Armadillo was in SegaSonic the Hedgehog - the arcade Sonic game that also starred Ray the Flying Squirrel. No, you're right, you haven't heard of him either. Seeing as that game predates Sonic 3, Mighty arguably has more right to be in the game than Knuckles. And therefore, that shell doesn't come off. Not without a lot of screaming.

On the left: 's hero Chris. On the right, Atari classic Adventure's unnamed hero. It's totally a young Chris. Slightly richer colour (newer, see?), but those right-angles are unmistakable. Mind = blown.

And on that bombshell, that's it. Thought of any more gaming lookalikes? Let us know in the comments and I will update this article. Either that, or one that looks just like it. Hahahaha*gunshot*.

July ran the gamut as far as game releases go, but the good far outweighs the bad. You can safely skip stinkers like are all going exceptionally strong. That just leaves our two nominees for this Game of the Month celebration... start writing down those guesses now.

At the end of each month, we look back at the standout games that demand your attention above the rest of the year's releases thus far. That way, you know what to prioritize before you're caught up by all the other amazing . So, without further ado, here's what you should be playing right now to tide you over until next month.

An entire realm being reborn is a tough act to follow, but aces the trial that is an MMO's first expansion. By expanding on just about every aspect you can think of - most notably, some gigantic zones and three intriguing Jobs - it feels as substantial and vibrant as the revamped version of the base game. Oh, and you can soar through the sky atop a flying mount, including a tubby Chocobo with tiny, adorable wings which you motivate with a slice of cake on a stick. For some, that fact alone will justify a renewed subscription.

Heavensward sweetens the deal with a wealth of engaging, plot-thickening quests (provided you've reached the end of A Realm Reborn's storyline), and the fresh abilities for each class make the journey to the new level cap a joy. For all you living room adventurers, FF14 continues to be the best console MMO on the market - but whether you're playing on a PC, PS4, or PS3, chit-chatting with Moogles, felling colossal Primals, and dancing some merry jigs in celebration is simply delightful.

is what happens when ‘the beautiful game’ is usurped by clusters of rocket-powered battle cars. It’s not quite as intricate or as Messi as football, but Rocket League is sincere in its sports presentation, right down to the chanting arena crowds and cheesy pop music in the menus. It also doesn’t feel derivative, coming to its own cartoonish crescendo when those somersaulting sports cars butt bumpers over an oversized, blinking ball. It takes a long time to master the bumps, the bounces, the jumps and the jukes, but Rocket League is brilliant right off the bat.

Even while you’re learning the right timing for a forward-flip, or when it’s ok to drive on the stadium ceiling (right now, actually), you’ll pull off some amazing stuff. It’ll be the perfect metallic maneuver: clipping the ball with your front left tire in a graceful somersault, sending it straight into the points pen where it explodes with a satisfying KABLOOSH. Wow. Just… wow. And nobody has to know you did that completely by accident. We’ll just keep that between us.

is an absolute marvel of storytelling, making ingenious use of out-of-order video clips to spin out its mystery. Despite the fact that the game’s unique structure means your path to the end won’t match anyone else’s, Her Story is complete and coherent, though its solution is open to interpretation. It’s a detective game that relies on your natural instinct to push its narrative forward, never nudging you in one direction or the other, letting you explore avenues of investigation as they come to you.

Watching FMV clips on a reproduction of a computer from the '90s certainly doesn’t sound terribly exciting, but you’ll be thinking about Her Story for days after you’ve tracked down that last video. You’ll find yourself rolling little details around in your head, mulling over their implications, deciding that you finally know the “truth,” only to realize that another detail makes your assumptions invalid. But then again, does it? One final bit of advice: go in knowing as little as possible, and don’t try to game the system. Be a true detective.

is another biff-pow display of Rocksteady’s exceptional craftsmanship in bringing a classic comic icon to life. Though combat and stealth are again refined and expanded within Batman’s beautifully rain-slick city, the game’s elegant design is reflected not in its individual components, but in how well they connect with one another, like nodes in a web.

Though the Batmobile’s roaring arrogance has made it a controversial addition to the Arkham series, there’s no question about how integral it is to Batman’s latest patrol. Conceptually, it’s meant to be a way to move quickly in a much wider slice of dour ol’ Gotham, and its visual appearance is, of course, inspired by Batman’s history of driving - as The Riddler calls them - rocket-powered hearses. But Rocksteady dives in fully and makes sure the vehicle connects to combat, stealth and every part of Batman. The overall game’s polish and continuity can be seen in one motion, with the Batmobile hurtling down an alley and launching Batman into full flight, right through a window and into a savage display of ne’er-do-well punishment. It’s one move, one world and one of the coolest moments of 2015. It’ll get you pumped to track down every last super criminal, including whoever masterminded the dreadful PC port.

In a sea of multiplayer shooters obsessed with grit, gore, or teabagging, stands out like a brightly colored squid catapulting through the air - which is actually a thing that happens regularly in this game. Nintendo's take on team deathmatch puts the focus on marking your squad's territory with a rainbow of ink rather than racking up kills, but it still delivers the thrilling blend of twitch shooting and coordinated tactics that define the genre.

Even if those human-squid hybrid Inklings are dripping with kid-friendly personality, this is the kind of joyous multiplayer experience that anyone of any age can enjoy. There's still weapon progression like you'd expect from Call of Duty or Battlefield, but with ink-filled Super Soaker facsimiles and colossal paint rollers. You won't hear anyone raging on voice-chat (because there isn't any), but the GamePad provides clear cues for what to do next. And while the selection of maps currently feels a bit sparse, the moment-to-moment gameplay is fresh, exciting, and - most importantly - good fun.

As open-world experiences go, takes high fantasy to new heights with its staggeringly massive world and rich, engaging storytelling. The grizzled Geralt of Rivia finds himself in landscapes that are as picturesque as they are treacherous, where otherworldly beasts and crazed cultists lurk in the wilderness. There are unforgettable side-quests and delightful supporting characters to distract you at every turn, but you best remember Geralt's primary goal: finding his adopted daughter (and witcher-in-training) Ciri before some supremely evil people get to her first.

That's not to say that you need to rush through the main story, because taking the time to stop and smell the eviscerated corpses is well worth it. The sword-and-spell-casting combat looks stunning on new-gen, and the deep upgrade system gives you plenty of options to slay your way. There are a few hitches - notably some framerate issues that can hopefully be patched out - but the sheer depth of the overall experience makes The Witcher 3 a triumph among action RPGs. Now, if you'll excuse us, we've got to return to a rousing round of the in-game card battler Gwent.

It takes a lot to make a fighting game appeal to the masses. You need slick graphics, excellent presentation, and the kind of depth that'll ensnare those highly skilled players who people want to watch. has got all that, and more. While the Fatality finishers still pack in more gore than you can shake a disembodied limb at, MKX brings a lot of new, refreshing ideas to the table that really make this fighter stand out.

For starters, there's the variations mechanic: every combatant has three unique movesets to choose from before each fight, letting character loyalists mix things up and giving the roster a wildly diverse variety of playstyles. You'll also have a blast playing through the elaborate story mode, which introduces a swath of likeable newcomers while imbuing familiar faces with . The online play still has a few kinks that could be worked out, but fans of the Mortal Kombat series - or fighting games in general - will have one hell of a time with MKX.

Of all the re-releases that have come out this year, .

Xenoblade Chronicles 3D is massive, sporting one of the most interesting locales ever designed. Its sprawling swamps and rolling hills - all set on the backs of two titan-sized dead gods and filled with beasts both great and small - are practically begging to be conquered. While its lush, verdant landscapes lose a little luster and detail on the smaller screen, what you trade in graphical quality you gain back in portability. Being able to take an adventure of this magnificent scope with you wherever you go is a technical marvel. Don't miss it.

somehow manages to be diamond tough and lovingly tender at the same time, balancing out its demanding difficulty with a story that'll practically yank your heartstrings right out of your chest. Playing this open-world platformer puts you in a wondrous state of conflict: the tight controls inspire you to run free throughout the lush world, but the sheer depth of the beyond-gorgeous backdrop art makes you want to stand still and gaze at the environment for hours.

The protagonist Ori is such a cute li'l critter that it's hard to watch the fuzzball die again and again while you struggle to overcome the many deathtraps and spike pits in this treacherous forest. But you'll get over any bruises to your ego, so long as you remember that you're the one responsible for plunking down checkpoints before delving into the trickier bits. The degree of challenge here may rattle anyone without an affinity for hardcore 2D platformers, but Ori's dazzling presentation has a universal, heartfelt appeal.

You’ve probably heard that is really hard. You might've heard it’s really easy. The reality lies somewhere in between. Yes, it sends an army of writhing, fanged, flayed, terrible, tormented beasts your way, beasts only someone bragging about their perceived gamer cred would ever deem a pushover. But it teaches you how to deal with them expertly, their unique attacks and defenses and behaviors, building you up until you look and feel like a great gothic badass. And when you do, you'll have earned it.

In streamlining some of Dark Souls’ complexities (the weight system, magic attacks, a few character skills here and there), Bloodborne gains a rawer sense of immediacy, with vital combat that require relentless attacking sans the comfort blanket of a shield, and unpredictable bosses that force you to develop reflexes alongside your already honed skills of pattern memorization. Oh, and the world. That mystifying, atmospheric, intricately hewn world. Developed for PS4 from the ground-up, the enigmatic Yarnham looks like a beautiful waking nightmare.

If you've yet to succumb to monster hunting fever, you might wonder what all the fuss is about. Plenty of games let you battle vicious beasties and craft fancy gear - but few can develop the kind of player investment and cooperative dedication typical of Monster Hunter. For the uninitiated, is a great way to educate yourself on its gloriously addictive ways. Not just because it's the most beginner-friendly entry in Capcom's hit series - it's also the best Monster Hunter game yet.

Gathering materials and killing harmless herbivores is really just a build-up to something greater: downing fearsome creatures after incredibly demanding battles that require true mastery of your chosen weapon. Series vets are already familiar with MH's captivating gameplay loop of fighting and looting, but the new Charge Blade and Insect Glaive playstyles offer entirely unique ways to test your prowess. If you're looking to start or join a dedicated hunting party - preferably with an expert as your guide - Monster Hunter 4 Ultimate offers the kind of adventure that can hook you for hundreds of hours.

Majora's Mask is... well, it's a bit weird. Instead of following the familiar formula that Zelda games have stuck to for years, Majora's Mask asks that you play the same three days over and over again, trying to make the world a little bit brighter each time. It's certainly strange, and more than a little stressful - but taking the time to learn its rhythm opens up one of the most intriguing and creative Legend of Zelda games ever made. Perhaps that's why, 15 years and a 3DS port later, it feels even better than ever.

Much of that feeling is thanks to the improvements found in this portable version of the N64 classic. The updated Bomber's Notebook makes tracking numerous sidequests a painless process, boss design has been retooled to make things teresting, and additional save points help make portable adventuring much more palatable. Plus, New 3DS owners even have some improved camera control with the C-Stick. Whether this is your first time playing through those ominous 72 hours or your hundredth, is a master quest that stands the test of time.

Grim Fandango is, without a doubt, one of the most unique video games ever made. The quest of an undead travel agent as he attempts to atone for his sins is a love letter to film noir greats like Casablanca and The Maltese Falcon, but it also transcends its influences to be something truly original. And with , you'll finally get to play this lost classic on your PlayStation 4, complete with (some) updated graphics and a fantastic re-recording of the original score.

Grim Fandango is also one of the most uniquely frustrating games ever made, and the Remastered edition only serves to highlight its many game-ruining bugs. Whether it's glitching out a puzzle, clipping you through a wall, or just flat out crashing, Grim Fandango Remastered actually seems buggier now than it did 17 years ago. Make no mistake: Manny's journey is still definitely one worth revisiting - just remember to save your game. Often.

sounds kinda ridiculous at first - it's literally a remastered HD version of a rebuilt SD version of the original Resident Evil. Turns out the joke's on us, though, because that's all we really needed to enjoy the survival horror staple all over again: the HD Remake gives all the main characters and the Spencer Mansion an enticing facelift but keeps the little quirks that make Resident Evil awesome/a total headache/undeniably unique.

You'll still need to manage eight (at most) inventory slots, and you'll still need to keep your distance from downed zombies - or preferably burn them on the spot. The most major change is the new default control scheme, which makes it handle more like a modern fixed-camera game, but you're free to select the old 'tank' controls if you want. With modern conveniences where it needs them and good old weirdness where it doesn't, Resident Evil HD Remake is a near masterpiece… of unlocking.

Please Internet, not another list of vapid celebrity shills all spouting their undying love for Angry Birds. No more putrid publicity sponges, no more preening plastics. No more 'famous for the sake of it' types all carping on about their 'Call of Destiny' addictions. Tell me this: when did actual talent take a big back seat to owning the best-dressed Chihuahua? *intense, frothy-mouthed rage begins* But I digress… This list isn't about those sorts of celebrities, oh no. GamesRadar+ dosen't play that way, and neither it seems do our 12 famous gamers.

These are the (genuinely) notable names who actually do play games. Busy people with big careers, who still find the time to indulge their virtual vices. Some act, others fight, while a great many attempt to make us laugh. What's more - most of them are actually good at it, having achieved their careers than pissing themselves outside of a nightclub, and/or being papped brawling inside of a Burger King. Begin!

Who? - Picture a heavily anesthetised, flesh-coloured bowling ball. Et Voila: Vin Diesel. Best known for playing Dominic Toretto in the Fast Furious franchise and Riddick in the, er, Riddick series, Big Vin has also lent his considerable talents/bassy whale noises to Guardians of the Galaxy and The Iron Giant.

Gaming street cred - According to the big man himself, Diesel's geekery began with tabletop gaming, an activity into which he admits pouring countless hours. Next came video games, including a small but significant number of his own creations, including the critically acclaimed Xbox shooter Escape From Butcher Bay. Diesel's Tigon Studios has since worked on three more titles, including the underwhelming Wheelman, The Chronicles of Riddick: Assault on Dark Athena (released alongside an updated Butcher Bay) and a Riddick iOS adventure, before shutting down and later recommencing work in September of 2013.

Favourite games? - While Vin's DD obsession is well documented, the man's video gaming habits remain something of a mystery. That being said, we do know that Diesel plays World of Warcraft, having released a video of himself roaming the lands of Azeroth alongside the late Paul Walker.

Who? - An oftentimes zany, if thoroughly endearing comic presence who appeared in dozens of celebrated roles. Williams made his name in stand up, before moving on to television and later film.

Gaming street cred - Of all the famous faces included on this list, Robin Williams was perhaps the biggest and best known gamer of the bunch, taking seemingly every opportunity to discuss his digital pastime. Numerous interviews all attest to the man's deep appreciation for the medium, including, but not limited to, late night play sessions, trash talking contests, and an-up-to date knowledge of the latest gaming trends. Oh, and he also named his daughter after Zelda's titular princess. Credibility level: One-hundred million bajillion.

Favourite games? - The Legend of Zelda, Counter-Strike, Call of Duty, World of Warcraft, Half-Life, Portal, Battlefield

Who? - The dominant power in women's MMA, Rousey remains best known for her unusual fight celebrations, which typically involve pulling someone's arm off and then using it to high five everyone in attendance. She's also appeared in a number of big budget Hollywood action movies, including Furious 7 and The Expendables 3.

Gaming street cred - Rousey has spoken at length regarding her obsessive love of Pokémon games, having owned every iteration of the franchise to date, including titles hailing from the same generation, i.e. both Red and Blue. Speaking of Blue, Rousey's first dip into the Pokémon series currently logs well over 200 hours of gameplay, just for that one title alone. Multiply that by 24 mainline and dozens more spin-off titles and you have one truly hardcore gamer.

Favourite games? - Anything vaguely Pokémon, with the exception of Pokémon Pinball.

Who? - A man so fantastically British he even has the White Cliffs of Dover for a face, sort of. Craggy, weather worn and yet somehow massively enchanting - or so the ladies tell me - Craig portrays the current iteration of James 'the STI conveyor belt' Bond.

Gaming street cred - In between stints of saving Britain, hitting the gym and/or inspiring mass hysteria down at the beach, Craig admits to wiling away the hours within a number of expansive and narrative-heavy video games. Action titles are also fair game, though somewhat quicker to outstay their welcome. "Those ultra-violent ones I can play for half-an-hour and then I feel dirty. ‘Vice City’, for example - I think, ‘Oh yes, all right, I’ve stolen 18 cars. I’ve had enough now". What a guy.

Favourite games? - Halo, Red Dead Redemption, Guitar Hero

Who? - Kal-El, son of Jor-El, hails from the planet Krypton. His hobbies include flying, costume design and violent chiropractic medicine. Sorry, Zod.

Gaming street cred - Cavill's love of gaming is probably best expressed by the following Superman-related anecdote. Having already auditioned for the role, Cavill was nervously awaiting news of his casting when director Zack Snyder called up at an inopportune moment. “I saw it was him [on the line] but the thing is, you can’t save World of Warcraft, you can’t pause it. It’s live". Suffice to say that Cavill opted to carry on playing, only returning the call and accepting the job offer of a lifetime later that day. Hats off to you Henry.

Favourite games? - World or Warcraft, Skyrim

Who? - An advanced human-pooch hybrid, capable of laconic, laid back rap. Snoop currently heads up the Feisman institute for lingual research, where he is presently engaged in the 10-year development of a suitable rhyme for 'orange'.

Gaming street cred - The 'D-O-double-G' has been skirting the player/player divide for a long old time, having even attempted to get his own GTA clone - aka Fear Respect - off the ground back in the mid-2000s. Snoop has also appeared in a range of other games, including True Crime: Streets of New York, Def Jam: Fight for NY and as a special announcer in 2013's Call of Duty: Ghosts. What's more, the iconic Californian-born rapper even started up his own musicians-only games tournament - the Hip-Hop Gaming League - hosting the last such event in 2007.

Favourite games? - Madden, NBA2K, FIFA

Who? - Prolific comedy actor best known for his roles as Gob Bluth in Arrested Development and as the voice of Batman in The Lego Movie. Founding member of the Magician's Alliance.

Gaming street cred - Unlike the vast majority of the preening celebrity pitch men brought in to shill video games, Will Arnett is an actual bona fide gamer. So much so in fact that the man's short-lived XBL comedy series 'Game Chat' was actually dreamed up by Arnett himself. The show's core concept - that of 3 friends hanging out and playing brand new video games (Xbox marketing's contribution) - was partially inspired by the actor's own experiences of playing online. So, just who does a man like Will Arnett choose to party up with - well, just about anyone really, as the comic admits he's never once been outed online. More regular teammates include fellow actors Jason Bateman, Jerry O'Connell, and Justin Theroux.

Favourite games? - Call of Duty, Zoo Tycoon, Forza Motorsport

Who? - An ebullient Irish comic, Ó Briain also hosts the long running TV panel show Mock the Week. A household name in the United Kingdom, Ó Briain once tried to translate the dreary, mathematical, non-exploding bits of high school science into mainstream TV. He failed, or err... succeeded, depending on how you look at it.

Gaming street cred - Ó Briain hosted the British Academy Game Awards for a whopping six years in a row, and has admitted that his familiarity with the medium often surprised organisers more used to dealing with less involved hosts. Not only that, but the celebrated stand up has also incorporated many game-related jokes into his regular comic routines, discussing everything from 'video game logic' to outdated views on the hobby.

Favourite games? - Metal Gear Solid, Mass Effect 2, Skyrim, Portal, FIFA

Who? - Mila Kunis may sound like the name of a bizarre Eastern European delicacy, probably composed of some old spinach, cow's eyes and gruel, but she's actually a female human - who acts! Yes, Mila has appeared in all sorts of fare over the years, from light-hearted comedies, to the occasional sci-fi mega flop. Oh and she's also responsible for voicing Meg Griffin in Family Guy. Lucky girl.

Gaming street cred - Technically speaking, Kunis may well fall into the 'lapsed gamer' category, though given the dates involved, it's clear that the actress was still playing away up until a relatively short time ago. This was no Candy Crush addiction either, Kunis was a big time World of Warcraft enthusiast, oftentimes engaging in all-day play sessions. Sadly, it seems that over time many of Kunis' friends moved on from the title, eventually gutting the fun factor and forcing Mila to bid her adieus to Azeroth.

Favourite games? - World of Warcraft, Settlers of Catan

Who? - The archetypal slacker made good, Jack Black divides his time between acting, comedy and music making, combining all three in the character of Jables, lead singer for the comic rock band Tenacious D.

Gaming street cred - Jack Black may well be the least surprising entrant on this list, what with his working relationship with Double Fine Studios and general 'gamer guy' vibe. Black asserts that his interest in gaming began with the original Space Invaders and continued on until at least the time of the original Xbox - though given his involvement in the industry these days, it's entirely possible he's playing as hard as ever. He once sent a picture of himself 'flipping the bird' to the good folks at Bizarre Creations while standing next to an expert mode completion screen. His reasoning: "[Project Gotham Racing] was so fucking hard to conquer on expert mode, to get all Platinum medals in all the events. I was so angry at them for making something so hard that when I conquered it I took a picture […] that proved I conquered it.” Now who hasn’t thought about doing that?

Favourite games? - Project Gotham Racing, Scramble, Marble Madness

Who? - An enormously successful stand up comedian and star of the cult hit sketch show that bears his name. Chappelle's 'Tyrone Biggums' remains the Internet's number one choice in famished crackhead meme making.

Gaming street cred - Chappelle has been known to make reference to video games as part of his stand up comedy routine, and has also parodied the medium on Chappelle's Show. Most notable is his on-point pastiche of the ultra-violent world of Grand Theft Auto, complete with erratic animations and everyday car-jacking antics.

Favourite games? - World of Warcraft, Grand Theft Auto

Who? - An evil, leather-clad, play-fighting champion. Rollins refers to himself as 'the future of the WWE' and maintains a strong, if entirely scripted contempt for The Daily Show's Jon Stewart. Styles himself after Pepé Le Pew.

Gaming street cred - Rollins recently appeared on fellow pro-wrestler Xavier Woods' , sitting down to play Turtles in Time while discussing his video gaming habits. The self-proclaimed 'Architect of The Shield' - that's the tag-team, not the cop show, admitted to being something of a rage-filled perfectionist during his youth, routinely smashing TV sets after failing to maintain optimum stats within Madden. One noteworthy incident involved a young Rollins - real name Colby Lopez - violently snapping after a buddy made the mistake of mocking the defeated perfectionist. Aggressive, narcissistic, and with an obvious contempt for his friends, it's easy to see how the slimy Seth Rollins character came about.

Favourite games? - The Madden series, Turtles in Time, Batman: Arkham Knight

In games, nothing can be said to be certain except death and… well, mostly that. Death as a consequence of failure has been a part of games since the days of , and what came after has stayed pretty much the same: a Game Over screen, a Continue? prompt (maybe with an exchange of quarters in there somewhere), and you begin again as if nothing happened. That's been the gaming standard for decades and it's practical enough, but it can make death insignificant.

But not all games play to that standard - some choose not to ignore that you were a corpse just a moment ago, opting instead to weave the reason for your resurrection into the gameplay. Death isn't merely an inconvenience that loudly reminds you you're in a video game!, but a real part of the game with a place in its world. It’s not the right fit for every situation, of course, but a creative workaround for death can genuinely enhance your playing experience.

As seen in: Prince of Persia: Sands of Time, Assassin's Creed, Tales from the Borderlands

We all know how it goes when you tell your friends some incredible personal story: you fudge the details and forget things, so you sometimes have to back up and correct yourself. Most of us stop short of claiming we died during our travels, but video game protagonists have a habit of trading in extremes. When they describe their adventures after the fact, they'll detail their own demise before remembering that they're very much alive, and none of that actually happened.

Being able to explain away death as overenthusiastic storytelling is a happy accident - the frame exists for bigger reasons, to keep you wondering how (rather than if) the hero escapes deadly harm to recount the story later. That makes this non-death a close cousin of the standard revert-to-checkpoint approach, but one thing saves it: its sense of humor. You get to feel like you're in on the joke, and hearing how the protagonist explains away their mistake can be worth the failure. It can even seem logical, if it's .

As seen in: BioShock, Borderlands, Crackdown

In the very near future (sometimes so near that it's actually the past), mankind hammers out all the ethical and biological ramifications of cloning and starts mass production on personal body copies. Now you can get clones like snacks out of a vending machine, which is convenient when your job involves being repeatedly destroyed by enemies who want to nail you into the ground like a tent spike.

This kind of death-dodging works best in games that are meant to be challenging, but also aim to create a certain feeling around each fight. For instance, the most satisfying conclusion to a Big Daddy battle in BioShock is watching a giant monster go down after throwing everything you have at it, which doesn't work as well if you have to completely restart the fight every time it kills you. Fighting your way through Rapture has to feel difficult if the struggle is going to be meaningful, but you don't want to lose out on the rhythm each fight is meant to have. Having another you waiting in the wings, ready to be spawned on a moment's notice, keeps you on beat.

As seen in: Dark Souls, Shadow of Mordor, Bloodborne

If used incorrectly, this can quickly become the narrative equivalent of the creators throwing up their hands and storming out of the room. Given that you do technically come back to life time and time again, immortality is the laziest possible explanation if nothing more is done with it. Thankfully, the games that use this concept best avoid that by making immortality an even bigger part of the game.

The immortality method takes some serious commitment from the game to avoid looking like a cop-out. By planting the concept deep in their world lore (the way, for example, Dark Souls does by making you an Undead out to destroy the source of your reanimation), unending life becomes as much a part of the plot as it is a gameplay device. It never feels like there's an unnatural break when the protagonist dies, because it falls perfectly in line with the storyline.

As seen in: Grand Theft Auto, City of Heroes

There's little way to play this one straight, but that's half the fun. Regardless of what sort of damage your character is subjected to - falling from a ten-story building, getting run over by a Jeep, slamming a jet into a suspension bridge and succumbing to the resulting inferno - nothing actually kills them. Instead, after the loading screen comes and goes, they trot out of the nearest hospital, with nothing to indicate their misadventure except a slightly lighter wallet.

This undeath is sure to get a few laughs on principle, which is part of its appeal: it's the game giving you a wink and a nod over your unfortunate and likely stupid demise while showing it doesn't really care to punish you. In fact, it purposefully moves you from the place where you died so you can start fresh somewhere else and not have to immediately deal with what just killed you. That's why you mostly see this in sandbox games - where it would be incredibly annoying to restart far away from your goal in a linear title, in an open-world it feels like a respite, so you're free to go cause mayhem elsewhere.

As seen in: Destiny, Conker's Bad Fur Day, Too Human

It's good to have friends in high places - or low ones, depending on your perspective. While the hero may not have a supply of body copies on hand, they do have a patron deity who's interested in keeping them alive. That means whenever they bite it, their connection to those divine beings is what raises them from the dead, just in time for to charge back into the fight and send their enemies into cardiac arrest.

This one can both be taken seriously or played for laughs, based on how the game frames the situation. The ethereal Traveler in Destiny is taken very seriously, so it's a matter of grave importance when its power is used to raise a fallen guardian. Same goes for Too Human, where you're resurrected by Valkyries. Meanwhile, in Conker's Bad Fur Day, a drunken squirrel makes a deal with the Grim Reaper to pay for new lives with severed squirrel tails, which everyone involved knows is weird. In either case, it gives the main character an even greater sense of importance: not only are they untouchable, but they have a patron god keeping them that way, because they're just that important to the survival of the world (or whatever's going on in Conker).

As seen in: Psychonauts, The Talos Principle, Ether One

We're getting downright here, when death adversion is based on the idea that you have no physical form to kill. Whether that's because you're a robot, or are projecting into a digital world, the result is the same: you get an infinite amount of 'lives' because dying kills the image of you, not your essence. Deep.

While that seems like a simple way to handwave in-game death, since your synthetic form can be mentioned once and never again, it takes serious legwork to implement it in any game with a hint of story. Portal's co-op mode gets away with it because the robot bodies are just there to facilitate you shooting holes in the wall, but something like The Talos Principle has to explain why you, robot, need so many bodies to accomplish your objective. Robot-projection death only works if it's built into the bedrock of the game, but when it is, your mechanical immortality can itself open up interesting questions. Reaching your goal is the only way for this all to end, but what could be so important that the game keeps endlessly rebuilding you to do it?

As seen in: Super Meat Boy

You're not a creature of this world. For whatever reason the laws of physics and biology don't apply to you, and after being mercilessly splattered against a stray sawblade, you're able to gather up your own remains and reconstitute yourself. There's no pretenses of logic here, no attempt to explain how you flagrantly defy the blueprint of the universe. Just you, reforming yourself at the end of every death, the game daring you to question it.

This approach only really works if a game is willing to commit to the levels of absurdity it demands. But once that's accomplished, this may well be the most indisputable death dodge out there, because it isn't really a dodge at all. You die, and have enough will left to rebuild yourself through a means that only the unforgiving cosmos understands. That, in a weird way, becomes the epitome of persistence. If the protagonist is willing to scrape what remains of their flesh off yet another death contraption and do it all over again, what excuse do you have?

The creative twists on death I've described here range from stiff-lipped serious to unapologetically silly, but all have the same aim: give in-game death as much consideration and coherence as every other part of the story.

When death is tweaked to fit the game, rather than the other way around, that attention to detail makes the world of the game feel so much fuller, and death itself more genuine. Many of these death-aversions are just as strange as time-reserved regeneration, if not more so. Most players will buy the idea of a restart without a second thought, while walking out of a hospital unscathed after falling out of a helicopter might be hard to buy. But it's the effort that makes it believable, to carve death into the proper shape that makes it fit into the overall puzzle. And so you have a better game, even when it involves a helium-inhaling Grim Reaper.

The United States is a vast country, filled with a wide variety of cities and individual pockets of culture, so it makes sense that many American developers often look to their own hometowns for inspiration. But game design is a worldwide industry, with studios found all over the globe, and many of them are just as intrigued by the American way of life as the people who actually live there. But in many ways, the outsider's perspective of the good ol' US of A is far teresting, because these games often provide a different look into how the country presents itself to the rest of the world.

Sure, America eats a lot of cheeseburgers and drinks more coffee than tea, but the American experience is much more than just a few stereotypes. That's what makes these video games so fascinating: they're games about America, made outside America, and they all seem to have their own interpretations of what makes the United States tick. Whether they're focusing on American culture, a specific region in the country, or an aspect of America's own history, these games all focus on something Americans find important, and hope to give a different take from a unique perspective.

Made in: Japan

Technically EarthBound takes place in Eagleland, but it's basically the United States in everything but name, and the cities in the game certainly feel like their US counterparts. You've got the sleepy burg of Onett, the busier suburbs of Twoson, and even the bustling metropolis Fourside. Only things are... off. The skate punks run around wearing onesies and brandish hula hoops. The country's biggest band, The Runaway Five, has six people in it. The town of Threed is overrun by zombies. And you're constantly accosted by Unassuming Local Guys and New Age Retro Hippies.

The best part about EarthBound isn't how it combines so many different American pop culture references and analyzes them from a completely different cultural perspective. No, the best part is that it's so sincere about it, like eating a slice of warm apple pie while watching Leave It to Beaver re-runs. EarthBound clearly comes from a place of love, even when it's portraying an evil blue-loving cult or corrupt politicians. It's a game that lets you bask in the joy of wandering through department stores or without judging you for partaking in empty consumerism. While a game this goofy could easily come off as as mean and sarcastic, Earthbound is anything but.

Made in: UK

If EarthBound is the optimistic, "Gee, isn't this country swell?" vision of America, then Grand Theft Auto is its polar opposite. America is often referred to as 'The Land of Opportunity', but GTA asks a question that nags Americans in the back of their minds when someone refers to the 'American Dream': "Does the 'Dream' really exist, and if it does, is it worth the paying the price to achieve it?" GTA's answer comes with big, sardonic sneer. Many of the businesses and products sport self-aware puns for names, like Ammu-Nation or GoPostal, and many of the ads for these products make snide, pithy comments. The biggest social media platform is called Lifeinvader. And everyone is so self-absorbed it's a wonder society hasn't fallen apart at the seams. GTA's satire is incredibly over-the-top, a caricature of what America is really like, but there is truth there.

While GTA 5's depiction of Los Angeles is perhaps the most authentic, GTA 4 distinctly captures the outsider's view of what America is, as it's about Niko Bellic, a Serbian who arrives in America for the very first time in order to escape his past. To Niko, Liberty City is a massive culture shock from his relatively simple life overseas, and while his cousin Roman has acclimated to his new life of excess well enough, Niko finds the opportunity the city offers to be fleeting and empty. The one thing it does share in common with Niko's home is the one thing Niko is trying to escape: an endless cycle of violence. GTA's vision of the American Dream is distinctly pessimistic, considering the evils one has to go through in these games to attain it.

Made in: Japan

Did you know that there's an airstrip under the White House? Yeah, the whole ground opens up so Air Force One can take off in case Washington, D.C. is overrun by an enemy invasion. Oh, and the President of the United States is also a damn good mecha pilot. Wait, you say you missed all that stuff in history class? That's OK, because Metal Wolf Chaos is here to educate you with a patriotic grand slam of a video game.

Metal Wolf Chaos is essentially Team America: World Police: The Game as made by Japan. It is pure, jingoistic Michael Bay-hem in video game form. Evil Vice President Richard Hawk has stolen the presidency from Michael Wilson, reinstated such American gems like slavery, and is generally responsible for a litany of war crimes. So it's up to Wilson to take the White House back, which of course means travelling across the country in a giant flying mech and unleashing burning American justice on anyone who opposes him. Metal Wolf Chaos is a celebration of patriotic excess, a game that you can't help but laugh at while pumping your fist and shouting "USA!", and it's a crime that this game .

Made in: Finland

Ever since Twin Peaks became a cult TV phenomenon, the wooded, rural areas of the Pacific Northwest have become synonymous with creeping psychological dread. It's not entirely unwarranted: some of the smaller towns you can drive through are disturbingly eerie in that 1950s-America-as-seen-through-the-Twilight-Zone kind of way (especially at night), and the constant fog and rainfall certainly don't help. Alan Wake takes these inspirations and uses them craft a truly unique horror game that feels like an HBO mini-series.

The town of Bright Falls, Washington looks like your average secluded logging town, and it's got the small town charm that goes along with that; the diner that looks like it never made it out of the mid-20th century, the kitschy city-wide festival that everyone takes part in, the dense, sprawling forest parks that are begging to be explored. It's also got a bunch of creepy shadow monsters that come out at night, but I doubt those are on the travel brochure. But it's not just the setting of Alan Wake that evokes strains of America; the game's very narrative structure resembles that of a hit American TV show. Broken up into six distinct episodes, playing Alan Wake is like experiencing an interactive version of Twin Peaks or The Twilight Zone, taking as much inspiration from American television dramas and horror fiction as it does from the rural Pacific Northwest.

Made in: Japan

The Metal Gear series has always had an ample supply of self-aware anime and video game weirdness, but applying that weirdness to something as intimate to Americans as its own history and government only multiplies that feeling exponentially. It's one thing to hear a fictional conversation between world leaders Lyndon B. Johnson and Nikita Khrushchev; it's another entirely to realize one of the world's superpowers is dealing in walking nuclear-armed mechs. But despite its most absurd moments, there's a bizarre truth underlying how Metal Gear envisions the American government.

Take the ending of Metal Gear Solid 2, for instance. At the time, it seemed like total nonsense, as the AI that has been directing your every move exposes its plans for world domination. But the things it talks about - how information never disappears, so anyone can cling to a specific 'truth' they believe in - is particularly prophetic in hindsight, especially in the face of what's going on with the Internet, the 24-hour news cycle, and current events in American government. And Metal Gear Solid 4's exploration of private military corporations may be exaggerated (never mind the presence of numerous bipedal battle tanks), but it's no secret that the US government uses PMCs to sub-contract much of its work. Metal Gear Solid may go way beyond realism in many respects, but many of its core concepts are generally based on fact. In many ways, the series isn't about what 'is' or 'was' in American history, but rather what 'could be' or 'could have been' - if things were a bit more like one of Otacon's Japanese animes, anyway.

Made in: Czech Republic

Like Alan Wake, Mafia 2 makes no effort to hide where its influences come from. Evoking strains of classic gangster movies, Mafia 2 takes bits and pieces from films like The Godfather, Goodfellas, and On the Waterfront, sprinkles in some classic 1950's tunes, and sets it all in a GTA-style open world that uses its city to flesh out its setting and story, rather than fill it with a bunch of random minigames and side missions.

The game opens on protagonist Vito Scaletta as he reminisces on his past while looking through an old photo album. Born and raised in Sicily, Vito immigrated to Empire City along with his family when he was a young boy. Once again, the 'American Dream' turns out to be a sham, as his father can barely afford to make ends meet at his grueling job on the docks, so Vito does what he can to help his family: he turns to a life of crime. The fictional city is an amalgamation of New York City, Chicago, Los Angeles, Boston, and Detroit during the mid-20th century, and while it doesn't feel like any one of them in particular, it certainly evokes nostalgia of America's biggest metropolises post-World War Two. Mafia 2 is essentially a pastiche of gangster movie tropes, but 2K Czech uses those tropes to tell a surprisingly authentic story of the difficulties of rising out of poverty in a large city, the rise of modernity in American society, and the racial tensions of the era.

Made in: Japan

Ahh, consumerism - the hallmark of the American economy. And what better way to celebrate consumerism than to head to your local shopping mall and spend, spend, spend? Well, unless the mall’s overrun with mindless zombies, that is. There's probably a metaphor in here somewhere, but hell if I know what it is. Anyway, the classic tale was initially told by the George Romero flick Dawn of the Dead, but Capcom takes that idea and lets you fend off zombies while shopping until you drop.

The mall itself is enormous, featuring everything you could ever possibly want in a single shopping center. It's your one-stop-shop for televisions, CDs, children's clothing, power drills, books, restaurants, swords (!), and more. It's even got a roller coaster! Virtually everything that isn't nailed down can be turned into a weapon, or worn, or eaten, leading to situations where our hero Frank West is bashing zombie skulls with a sledgehammer while wearing a tutu. It seems a bit ridiculous to run around in a mall this huge, but it's actually loosely based on the in the center. If there's one thing Dead Rising gets right, it's that Americans sure love to shop - but most of America's malls aren't even close to being as big as they are in this game.

Made in: Canada

Many games on this list try to evoke the feeling of being in America, but as much as Liberty City or Empire Bay feel like New York, their cities are facsimiles of the real thing. Ubisoft's futuristic crime thriller Watch Dogs, on the other hand, tries to replicate Chicago with painstaking accuracy. While it takes some liberties with the size of the city and the landmarks inside it, Watch Dogs' version of Chicago is actually stunningly accurate.

Chicago has a vast history, filled with legendary gangsters, dramatic shootouts, and iconic architecture, and Watch Dogs serves as pretty decent virtual tour guide through the city's greatest hits. You can hop in your virtual car and drive to the exact virtual spot where the . The plot itself is rather ridiculous, a high-tech tale of corruption and revenge, but parts of it do have roots in the city's long history with organized crime.

Made in: Japan

Admittedly, No More Heroes is probably the most over-the-top entry here, but at first glance, the city of Santa Destroy looks like any other Californian city. It's got the palm trees, the wide stretches of sandy beaches, and the endless sunshine. But if you look closer, you'll notice that the entire city has an absurdly violent streak, and you'll find that No More Heroes becomes a commentary on America's fetishization of violence as its gameplay revels in gleeful geysers of pixelated blood.

First, there's the name of the city itself: Santa Destroy, a peculiar combination of words that immediately evokes an air of wanton violence. A quick drive around the city on your massive Akira-style motorcycle will reveal a wide variety of shops and locations, each with names that feature a strange fascination with violent activities, with a heavy focus on wrestling. There's Burger Suplex and Destroyer Antiques, and locations like the Atomic Drop Ward and Body Slam Beach fill out the rest of the city. Local ad company K-Entertainment is actually a front for a corrupt organization that assigns contract killings. There's also the Destroy Stadium, home of the Santa Destroy Warriors, who, according to the in-game map, lead the league in "violence towards fans." And the main character, Travis Touchdown, has no problem murdering people with the beam katana he won in an online auction. Despite how obsessed the city is with violence, Santa Destroy is a surprisingly safe place to live - outside of the events put on by the United Assassinations Association, of course.

First person shooters are some of the most engrossing, personal, and powerful entertainment experiences you can get. You aren't just watching some character play a part on the screen, you are that character. You're seeing all of the action from their perspective, aiming down the sights of a gun in your hands, then pulling the trigger. It's the closest you can come to being a soldier, or zombie killer, or space marine. We love playing FPS games, which is why we've put together a list of our all-time favorites.

For this list, the games need to be in the upper echelon of shooters in terms of gunplay mechanics - which is why you won't see any BioShocks and Metroid Primes here (even if they do rank as some of the ). Also, we at GamesRadar+ are all about the console side of gaming, so while plenty of PC shooters are outstanding, you won’t find them well represented here. So, with all that in mind, here are the best FPS games we've ever played.

GoldenEye 007 takes its rightful place as the worst of the best; a shooter that can hang with the best of them, but only by a hair. It was the Smash Bros. Melee or Halo of the late '90s, the four-player, college dorm juggernaut that ate away the afternoon faster than you could chow down on an extra large pizza on Friday night. An entire generation of gamers were introduced to the magic of first-person shooting thanks to GoldenEye (on console at least). And yet, the years have not been kind to this game. The advances made in console FPS'ing thanks to Halo, Call of Duty, and others, have exposed GoldenEye as being - frankly - a bicycle riding on square wheels.

While the actual shooting in GoldenEye may feel horribly, painfully antiquated, the sheer size and scope of this first-person shooter remains its strongest suit. GoldenEye is packed with all sorts of different guns, gadgets, secret codes, an extensive single-player campaign, and several multiplayer modes to keep you busy. Anyone who spent time with this game remembers the cutthroat nature of Man with the Golden Gun, or how friggin' unfair Oddjob was (he's still banned to this day). GoldenEye 007 shone bright in its heyday, and certainly helped paved the way for the rest of the entries on this list.

Gruff, comically macho Sam Stone is the definition of a one-man army, given the sheer body count of violent creatures he's put down in his time. The Serious Sam games are all about increasingly grandiose rampages, constantly spawning hundreds of enemies right on top of you to achieve maximum amounts of cartoonishly violent chaos. Luckily, you've got the means to take down whatever supernatural horrors that await in ancient Mesoamerica, from the typical firepower (shotguns, miniguns, and rocket launchers) to the exotic (vintage cannons, laserguns, and flamethrowers).

The Second Encounter is the peak of the series' knack for perfectly orchestrated set pieces, no cut-scenes required. Secrets that end in jumpscares, stampedes of the raptor-skeleton-looking Kleers, and parades of the screaming Beheaded Kamikaze soldiers (which make no physical sense, by the way) are just a few of the unforgettable moments that seem to happen back-to-back-to-back as you progress through the wide-open levels. It's a silly thrillride, full of color and comedy, and evokes the classic era of FPS that prioritizes the simple fun of shooting guns at moving targets over all else.

Borderlands 2 is probably the weakest game on this list when it comes to shooting mechanics, with gun damage that relies more on elemental multipliers and player level than shotgun-to-the-face equals dead. But wandering around Pandora, collecting loot, and using the thousands of guns to make bloody fountains out of bandits is an absolute pleasure. Plenty of shooters confine players to narrow corridors, scripted enemy encounters, and squat and pop shootouts. Not so much with Borderlands. The world is massive and open for you to explore.

The game is as much RPG as it is shooter, with multiple player classes that range from dual machine gun wielding Gunzerkers, to psychic-powered Sirens. Then there are upgradable talent trees, elemental weapons, and quest rewards. Take all of that and slap it into a four player co-op shooter experience with an open world filled with weaponized vehicles, hordes of monsters, and gargantuan bosses, and you've got a shooter that's like no other.

Love the large-scale, vehicle-filled firefights of Battlefield, but wish the scope was a little bit bigger? As in, 'over 1,000 players battling across an entire continent' bigger? Sounds like you need to enlist for the ever-raging sci-fi shootouts of at 1,158 concurrent combatants. That makes for a lot of bullets, lasers, and tank shells flying through the air on planet Auraxis at any given time.

The unique balance of the three available factions is reminiscent of StarCraft's asymmetrical, immaculately balanced warfare: the Terran Republic has rapid-fire weaponry and faster vehicles, New Conglomerate forces hit harder at the cost of speed, and the Vanu Sovereignty prefers hovering all-terrain vehicles and copious laser guns made possible by alien technology. Likewise, the six distinct classes ensure that every player has a specialized role to play in this never-ending fight for allied territory. This FPS is the closest you'll get to having your boots on the ground in a planetary war, and it is glorious.

Global Offensive is a paradoxical multiplatform sequel: it was developed to bring console gamers into the fold of this legendary FPS series that flourishes on PC, but ended up making little impact on the Xbox 360 and PS3, while becoming the de facto choice for the most loyal CS fans and legions of mouse-and-keyboard newcomers alike. It doesn't change much, and it doesn't need to - underneath the graphics' grittier realism, this is still pretty much the same team-based, Terrorists versus Counter-Terrorists shooter that values quick thinking and even quicker reflexes.

But CS:GO dared to introduce a few new elements to the tense, one-life-per-round skirmishes of the original. The CZ75-Auto pistol offers a high-risk, high-reward purchase, molotov cocktails can temporarily deny large swaths of the map, and the single-shot, insta-kill Zeus x27 exists solely to be an expensive taunt. In a series that's known for adhering to a proven formula, these additions have gone over well for the second most-played game on Steam. Oh, and those primo weapon skins - a purely aesthetic perk, rest assured - will delight your inner collector, especially if you're lucky enough to score a rare knife.

The sad truth is that PC and console players have very different experiences with Team Fortress 2. While PC players see regular updates, new game modes, and an overflowing cache of items both useful and , the version released for the Xbox 360 only contains the original, vanilla edition of the game. That means no cart-escorting Payload mode, no additional weapons, no hats. But before you demand the poor thing be put out of its misery, know this: that bare-bones version is still amazingly fun.

That's not hugely surprising when you think about it, since everything that made Team Fortress great at the start is there. Maps are colorful and more complex than they look, letting you charge right into a fast-paced slaughter, or sneak into an enemy stronghold and take them all by surprise. Each class is distinct in ways that are outside the norm for shooters (the camouflaged Spy and up-close-and-personal Pyro in particular) and complement each other perfectly, so it never feels like one outclasses the others. Most importantly, it's easy enough for new players to pick up and have a lot of fun, but deep enough for veterans to keep coming back even updates are a far-flung dream. Compared to that, hats really aren't that big of a deal, no matter how beautiful they are.

Unless you’re a hardcore veteran of the great Quake 3 / Unreal Tournament wars of 1999 and utterly set in your ways, there’s something for everyone in Unreal Tournament 3. Epic Games really diversifies the frantic fragfest with all sorts of spins on deathmatch, territorial combat and flag capture. Oh, and it has hover boards.

Unreal Tournament 3 was also one of the first console games to support mods, at least on the PlayStation 3 version. The well-tuned foundation of its first-person combat, bolstered by classic weapons like the Redeemer and the Flak Cannon, meshed perfectly with vibrant sci-fi environments, weird user-created mods and a pulsating soundtrack. The game seemed to expand every time you played, though it never quite took off commercially - in fact, Midway’s marketing is probably what pushed the series into dormancy until 2015.

If it’s possible to be ‘famously’ buried by non-existent marketing, you could say Singularity is chiefly known for how unknown it was upon launch. Developed by the FPS veterans at Raven Software and dumped on an unsuspecting public by Activision, Singularity turned out to be a weird, timey-wimey shooter completely smitten with its own silliness. The game uses a ‘time manipulation’ glove (just go with it) not only as the crux of a weird alternate history plot, but to taunt and torment enemies in bizarre ways. There’s a disturbing thrill in aging an enemy rapidly to the point of no return, or to revert them to a primitive man-beast that can’t tell friend from foe. Even better, a temporary time bubble traps goons and other objects in stasis, letting you suspend precisely aimed bullets mid-air and let them all go at once with a snap. There’s plenty of temporal puzzle solving in Singularity too, but it’s only in combat where the game’s really on the clock.

sounds like it should be a dismal failure, an example of too many strange ingredients combining to make an unpalatable mess. It's equal parts stealth shooter and old-school run-n-gun, moving its fight against WW2-era Nazis into an alternate version of the 1960s where the Third Reich has effectively taken over Europe. Oh, and it also attempts to turn the silent, meat-headed Nazi killer B.J. Blazkowicz into a more human and relatable character. But The New Order doesn't just take all these disparate elements and make them work as a worthy follow-up to a series that spawned a legion of copy-cats - MachineGames has crafted one of the smartest 'mindless' shooters ever made.

Nearly every moment of Wolfenstein: The New Order is malleable, allowing you to tackle its labyrinthine pathways and devilish challenges how you see fit. Levels are open-ended, providing multiple pathways to its objectives, allowing for an equally numerous variety of strategies. Slink through hidden ducts and stealthily shoot enemy soldiers from the shadows with a silenced pistol, then seamlessly go loud with a pair of akimbo AK-47s if you get spotted (or if you just have an itchy trigger finger). Blasting Nazis with an astonishing range of interesting weapons provides its most immediate thrills, but its story is a contemplative investigation of the nature of war and things people are capable of doing to protect the ones they love, and choices you make in the game's opening chapter ripple outward and encourage multiple playthroughs.

First Encounter Assault Recon is an absurd acronym. It sends the wrong message! Even if special forces soldiers with superhuman abilities were actually fighting ghosts, psychics and the walking tanks that protect them, they probably wouldn’t go around calling their business something that implied that they’re constantly terrified. As a name for Monolith Productions’ thriller shooter, though, it’s wonderfully evocative. The studio made a shooter as laudibly simple as it is nervewracking; all you do is blast stuff, but that stuff is going to freak you out good along the way.

F.E.A.R. is clearly a product of its time. The source of all the supernatural phenomena and paramilitary shenanigans you’re fighting against is a little girl with scraggly black hair - a psychic and mad science experiment subject named Alma - straight out of the many Japanese horror movies popular during the early ‘00s. The ability to slow down time for a limited period, the game’s big twist on shooting, was also de rigueur at the time. What elevates F.E.A.R. above its familiar components is an incredible sense of atmosphere and incident. The first level remains one of the all time greats, a perfect roll out of jump scares, weirdness, and big taxing shoot outs that gives you simple weapons and asks you to just use them well. The pace that level sets never lets up the whole time even as F.E.A.R.’s plot gets sillier and sillier.

No game here is better at putting boots to asses than . It's a bull in a china shop; a runaway train that's on fire, strapped with explosives, and barreling through downtown. If you find carnage an art, then Bulletstorm is your Louvre. Creative killing is rewarded in abundance here. Strap a bandit with explosives and kick him into another bandit before detonating them both in a shower of bloody giblets: you get points. Use your beam lasso to toss a guy into an overgrown cactus just for the hell of it: you get points. Steering your sniper bullet around a corner to land the perfect headshot before detonating that bullet to trigger an exploding barrel that obliterates two other enemies: you get so many points.

The best way to approximate Bulletstorm would be to imagine any Mad Max: Fury Road trailer, re-work it into a first-person shooter, and then temper it with a streak of gallows humor that stops it from ever taking itself too seriously. And just like Fury Road, Bulletstorm's action isn't just vapid eye candy, but extremely satisfying gunplay that constantly challenges you to think of new and exciting ways of utilizing the (deadly) toys it gives you. Try it out and see if the heavy KA-THUNK of your quad-barreled shotgun doesn't warm your heart as it melts your opponents into a bloody stew.

Quake 3 is the Olympic gymnast of the FPS genre. Knowing how to aim each beautifully unique weapon is only half the battle, because there's a multitude of mobility options that blast the maps wide open, provided you can master them. Tricky maneuvers like rocket jumping, plasma climbing, and grenade jumping are all stacked atop your basic pace-quickening bunny hop, making it so that a skilled player can fly through any of the artfully laid-out maps at blazing speeds.

Competing in this arena makes absurd demands of your hand-eye coordination; those rail gun headshots aren't going to hit themselves. But at high-level play, it also becomes an intense battle of wits over space control, knowing the precise timing of power-up spawn-ins and deducing where the opponent is based on subtle audio cues. Listening to Shane "rapha" Hendrixson explain all the multilayered thought processes behind his flawless play in this is like going to church for those who can appreciate the finer minutiae of FPS skill.

Most pure shooters rely on a scripted gun-range mentality as a rule. Obedient targets rush into view and everyone merrily mows them down. Far Cry 4, on the other hand, is open world paintball where the focus is on dealing with whatever the hell turns up. Any FPS built on emergent events and improvisation needs a tight gun-handling model and this nails it, letting you pop off crossbow bolts and rockets almost with the power of thought alone, it’s so easy.

You could almost forget it’s not linear, such is the cavalcade of trigger-pumping action as honey badgers burst from bushes or trucks skid off the road spilling guards ready to attack. The behind-the-scenes scripting required to achieve such a smooth flow of action is impressive. However, perhaps its best contribution to the FPS world is that aggressive, rapid-pace stealth: swapping hiding behind corners for sprinting machete runs and stolen gun double take downs.

Battlefield is the king of big scale, multiplayer battles. While COD offers a much personal, more enclosed FPS experience, Battlefield goes big on everything. Maps, vehicles, events, team-play, stats… one of the game’s real strengths is making you feel like you’re a small part of a much larger, ongoing war. And you’re never out-gunned, because there’s always a way to take out a tank, or deal with groups of enemies - you just need to be smart with your squads and their load-outs.

Battlefield 3 specifically hits the sweet spot in terms of shooting mechanics, well-designed maps, and balanced classes/vehicles. It’s no longer the most shiny or comprehensive game, but there’s still a healthy community desperate to shoot you in the face and gather the XP. Sure, Battlefield 4 looks nicer, and has levolution, but it’s not as robust and well-designed as BF3.

You might think, as old as Perfect Dark is, it's long past due to retire from best shooter lists like this one. Released in 2000 when developers were turning out 3D games like proud primary schoolers at their first science fair, the adventures of Joanna Dark have aged in ways that would push other games out of consideration. But by a stroke of good fortune, and thanks to design choices that look smarter with every passing year, much of what made Perfect Dark great back then is still near-perfect now.

There's its eclectic arsenal of weaponry, including everything from a basic pistol, to an x-ray sniper rifle, to a rocket launcher that you can control via first person view, cackling as your friends scatter to avoid the inevitable. Even the sound of the guns and the way they reload is satisfying, alongside the actual shooting, which is smooth enough for dedicated players to master or newcomers to get the hang of quickly. Plus, with the option for four-person multiplayer and dozens of challenges to overcome, there's even more to do after the campaign than during it. This girl is in her golden years, and she's still got it.

Titanfall may not have a single-player campaign, but honestly, it doesn't need it. Not only is this shooter able to provide those big, explosive moments you'd get from a single-player Call of Duty campaign in a multiplayer setting, it's able to provide them by weaving them organically into the core gameplay. Besides, a proper story would just get in the way of its immediate, moment-to-moment action.

Titanfall is a game in constant motion, whether you're boosting up onto a billboard and wall-running into a bombed-out building or you're picking off AI-controlled NPCs to whittle your Titan's respawn timer down a few more seconds. And once that timer hits zero, down comes your giant mech, which you can either pilot yourself or use as your personal robot bodyguard. There are few greater thrills than hopping onto the back of an enemy Titan, shooting it to pieces, launching yourself into the air, landing on another Titan, blowing that one up, then launching onto the roof of a building, all without breaking your stride. Most games wish they could be half this exciting - this kind of stuff happens in Titanfall all the time.

Metro: 2033 felt more like a promise than a fully realized game when it first came out in 2010. Its post-nuclear war world, where humanity survives underground, felt forbidding and harsh, but almost comforting at the same time. Was it violent, poisonous and overrun with killer mutants and sociopathic idealists trying to control the Moscow underground’s precious resources? Sure it was, but it also never felt apocalyptic; life in Metro went on after the bombs fell, people just wore gas masks a lot more often.

As full as its world is, though, the original Metro was miserable to play. Limp gunplay soured vivid ideas like having to manage bullets that are both ammunition and currency as well as the delicious tension of having to constantly search for mask filters on the irradiated surface. , the package that paired 4A Games’ second chapter Last Light with a vastly improved version of 2033, delivers on the original promise in full. Not only does lead character Artyom’s journey finally feel complete with both games under one roof, the action is as fully realized as the world itself.

Few things in life are better than splattering digital zombie brains all over the walls of post-apocalyptic alleyways. And that's why Left 4 Dead 2 is so great. You get to decapitate and explode hostile, risen corpses to your heart's content. And, sure there are plenty of games that let you gun down hordes of undead with everything from a shotgun to a katana sword, but Left 4 Dead 2 is easily one of the best at what it does.

There aren't any complicated stories to keep up with or kill to death ratios to worry about. It's just you and your co-op friends trying not to get eaten alive by player-controlled super zombies and common undead as you move from one safe house to the next. You get the shooting mechanics of Half-Life 2, classic zombie slaying weapons that feel oh so satisfying in your hands, and hundreds of running corpses to shoot. If you somehow get tired of blasting zombies to bits, you can join the other side and hunt the humans as the opposing super zombie team. Left 4 Dead 2 has it all, and absolutely deserves a place as one of the best shooters of all time.

Say no more than ‘Super Shotgun’ to summarize the best of what Doom brought to the demon dissection table. The indispensable weapon lets you barrel through hell with, well, twice as many barrels as you’re used to, amping up Doom’s classic monster-mash to a bloody crescendo.

While its predecessor is the dominant cultural touchstone, Doom 2 shows far more ambition in its level design and its nightmarish menagerie, even drafting old bosses from Doom to fill in as regular enemies. It also abandons the strict episodic structure in its move from Phobos to Earth, letting you keep your arsenal for the duration of the game. And at the end of this hell-jaunt, in a secret room, you’ll find the remains of hell’s true architect: John Romero’s severed head on a stick. It makes the trip worth it, every time.

Chances are, you’re one of the many people who played and enjoyed the original Resistance (because it was a PS3 launch game), got burned badly by Resistance 2 (because it’s ass), and didn’t even bother with Resistance 3. Big mistake. It was one of the best story-driven shooters of the last console generation.

There are definite shades of Half-Life and Metro in Resistance 3, which tells the tragic story of Joseph Capelli’s eerie, cross-American journey, where he attempts to save humanity from the seemingly unstoppable Chimera. There are so many stand out moments in the narrative, and the emotion Capelli goes through - as he turns his back on his family for the sake of humanity - really gets under your skin. Oh, and the weapons (because they’re made by the creative minds at Insomniac) are both unique and utterly brilliant. Come on, Sony. Stop pissing about with Killzone and give us more Resistance.

In terms of pure shooter feel, has few equals. The gunplay in Bungie’s opus is a delightfully refined, deceptively subtle evolution of the action we know and love from the Halo series, buffed with elemental abilities and a dizzying array of weapon/armour perks. It just feels so great to play; to be in that world, hosing enemies. What’s truly commendable too, is that the shooting works perfectly in both PvE and PvP - few games truly achieve excellence at both.

And because the shooting is so smooth, so endlessly entertaining, it’s easier to forgive some of the game’s perceived flaws. Sure, Crucible still isn’t the finished article, and it’s occasionally unbalanced and glitchy, but every match is taught and brutally contested. No, the plot isn’t explained very well, but who cares when the shooting is this good? And the best part is that Destiny improves with every update, so this already-first-class FPS just keeps getting better.

is the game that defined modern FPS games. After Modern Warfare came out, many shooters tried to capture some of its new FPS magic, whether it was adding progression systems to multiplayer, or rollercoaster-ride action sequences to story modes. The game has one of the most memorable and satisfying single player campaigns in any shooter, genre-changing multiplayer, and an innovative co-op mode, each being just about enough content to justify as its own game but packaged together to make a gargantuan shooter that you could conceivably never stop playing.

Even with the yearly sequels, the series has yet to top the disturbing, yet ultimately unforgettable events of Modern Warfare’s story. After all, it's not every game that you get to experience your own death in the wake of a nuclear blast, or camouflage yourself in tall grass as enemy troops walk right over you. The multiplayer is still home to players looking for a pure CoD experience, where killstreaks only come in three varieties and gunplay skill reigns supreme. No Call of Duty game has changed the genre as much since Modern Warfare, and it doesn't look like it will be topped any time soon.

This may seem like a bit of a cheat since is an anthology of previous Halo games, but here are the key reasons why it deserves its own recognition. First, each game has been updated in some noticeable way, whether that's a simple update to the frames per second as is the case with Halo 4, or if it's a complete re-tooling with a new engine, cut-scenes and content as is the case with Halo 2 Anniversary. In other words, despite the word ‘collection’ being right there in the title, this isn't a simple rehash. The Master Chief Collection offers experiences you simply can't get anywhere else. And yes, they are all that good. Whether it's the immediately-comfortable feel of Halo: Combat Evolved, the dual-wielding and bigger-than-life action of Halo 2, the masterful sandbox design of Halo 3 or the storytelling expertise of Halo 4, each individual game in The Master Chief Collection deserves its accolades.

Second, in a move that we hope more developers take note of, 343 Industries combined multiplayer matchmaking across all titles to offer a singular experience. True, The Master Chief Collection suffered at launch (and some time post-launch) with matchmaking bugs galore, but with the technical hurdles now behind us, it's easier to appreciate the wealth of content available to players. Just as importantly, 343 didn't try to force its hand in terms of unifying the online experience. Want to play with original Halo rules? Go for it. Blood Gulch has been re-released about a bajillion times, but you can choose your favorite version. Choice is the defining attribute here, and that's worth some serious kudos.

You’ve probably heard a lot about how Half-Life 2 is the most groundbreaking, most important, most genre-changing FPS ever made. You’ve probably heard endless championing of its prowess in the areas of interactive narrative, precision pacing, awe-inspiring set-pieces, and deliriously inventive interaction. You’re probably sick of hearing it. But there are two important points about the now 11 year-old rhetoric of unreserved Half-Life praise. Firstly, it’s all entirely true and accurate. Secondly, none of it really gets at just how damn fun Half-Life 2 is.

It’s easy to talk about a game like this by listing concrete innovations and bullet-pointed achievements, but the fact is, you won’t be thinking about any of that when you’re whirling between the buildings of one of H-L2’s, small, open settlements, gunning down two Combine troops in a row before spinning around and launching a pinball of plasma springing around the wall to nail an unseen third. Not as you catch the fourth one’s grenade with the Gravity Gun and hurl it back into his face half a second later. Not as you look up, spot a gunship and a Strider coming over the horizon, and immediately pull out your rocket-launcher, deciding which will suffer your laser-guided fury first. Yes, Half-Life 2 is a cerebral genius, but when it comes to fighting, it’s a Swiss Army Knife strapped to a pinwheel.

Wait, what? A semi-obscure, two-generations old cartoon shooter beating out the likes of Half-Life 2 and Halo? Yes. Because while it never quite made the iconic status of its genre's brightest stars, the GoldenEye team's best game is flat-out the most creative, imaginative, lovingly-crafted, and just outright fun FPS ever made. Not only that, but in its format, structure, and content offering, it's a game so far ahead of its time that we're still waiting for someone to catch up.

Its loose, time-travelling plot is the gateway to a pantheon of utterly unique, immaculately conceptualised levels, each with a feel, flow, and design as special as its setting and look. And although consistently hilarious in its film-pastiching conceits, it's a game packed with immense depth and precise intent, an intricate structure of differing approaches, strategies, and immediate, gratifying fun. But then there's the seemingly endless array of blisteringly fast, entertaining, and kinetic multiplayer options. And the similarly vast, ludicrously creative challenge modes, that push the tight but accessible shooting and madly eclectic weapon-set to their limits, and beg for a second, online-enabled life. And good Lord, those unlockable characters. Monkeys vs. Gingerbread Men in a chaingun battle to the death? Hell yes. Hell yes indeed.