James Cameron's Avatar

Bigger doesn't mean better. Developer Ubisoft Montreal disregarded this mantra when creating James Cameron's Avatar, delivering a mediocre game loaded with unnecessary padding, rather than a tight and enjoyable package that could have gotten players excited about the upcoming film of the same name. In fact, if you're eagerly anticipating the upcoming Avatar movie, it's probably best that you avoid this bland and overlong third-person shooter altogether, because there's nothing fantastical or compelling about its story or characters. That isn't to say that Avatar is all bad. A branching story featuring two disparate factions makes this a two-games-in-one experience, so if you like wringing the last drop out of your $50, the single-player campaign might keep you busy for 15 hours or so. Unfortunately, while a few of those hours are entertaining, Avatar's action is too bland and tedious to justify the game's length, and a variety of bugs and bizarre design elements put a further damper on the fun.Avatar takes place on the planet Pandora, which the human-controlled Resources Development Administration (RDA) is stripping of its resources--much to the dismay of Pandora's indigenous population, the blue-skinned Na'vi. Meanwhile, the RDA has established a way of transferring a human's consciousness into an artificially created human/Na'vi hybrid called an avatar. You play as Ryder, an RDA operative who soon finds himself (or herself, if you choose a female persona) in over his head as he discovers the consequences of the RDA's destructive presence on Pandora. About an hour into the campaign, you'll be faced with a choice: side with the RDA, or live as an avatar and take your chances with the Na'vi. Yet no matter which path you meander down, you'll meet a series of unmemorable characters, played by unexceptional voice actors who deliver their poorly written lines without a trace of enthusiasm or urgency.

More disappointingly, the game assumes a familiarity with the nature of avatars. Cutscenes are abrupt, and moments that should carry weight, such as the first time you enter the body of your giant blue avatar, are presented without a shred of wonder. Your own character embraces that same matter-of-fact approach, reciting the dialogue in monotone, even as events unfold that would make most folks' jaws drop. With few exceptions, humans come across as resource-hungry simpletons, while the Na'vi are reduced to monosyllabic native stereotypes. And no matter which faction you align with, the flabby ending sequence will make you wonder why you bothered to see the story through. The blend of sci-fi and fantasy seems conceptually solid, but the ideas were given a treatment so cavalier that it's impossible to care about the fate of this world, of its people, and of your own character.

You won't find any more magic in Avatar's world than in its story, because though it too seems conceptually solid, it's similarly diminished by a general lack of energy. Pandora is at first sight a beautiful place, covered in lush foliage and teeming with beasts both savage and submissive. If you follow the RDA route, some of the monstrous plants will even spew poisonous fumes at you or knock you over with a powerful swipe of their leaves (really). The environments are attractive in the way most jungles are, and sights of flying beasts overhead and winsome waterfalls in the distance make Pandora's beauty simultaneously inviting and imposing. Yet over time, the environments lose their allure. Dark greens and darker greens melt into each other, and the visuals start to feel heavy, which will make you long for a change of scenery. A few of the areas you visit provide much-needed variety, but even so, the atmosphere grows wearisome and eventually wears out its welcome.

SHADOWS OF THE DAMNED

His name is Garcia Hotspur, hunter of demons, and his wrath will bring hell to its knees.

From the creative genius of Suda 51 (No More Heroes) and Shinji Mikami (Resident Evil) comes an all-new psychologically twisted vision of hell unlike anything seen before.  Shadows of the Damned combines visceral action with dark, grotesque horror to create a mind-shattering adventure that has to been seen to be believed.

When evil demonic creatures kidnap Garcia’s girlfriend, it’s up to him to travel to the City of the Damned to get her back.  Aided by a former demon with the ability to transform into an array of vicious weapons, Garcia will once again take on the mantel of “demon hunter” and rip apart the horrifying forces of the underworld to protect what he loves most.

Players must harness the power of the light to fight the army of the dark in unique light versus darkness gameplay that will forever change the way gamers perceive puzzles, combat, and terror.

Combining the punk rock style of Suda 51 with the legendary horror design of Shinji Mikami, Shadows of the Damned will take gamers on an in-your-face thrill ride through demon-torn towns, shadow infested forests, grimy sewers and more.  Featuring the most twisted boss battles ever seen, warped visuals and intense visceral combat, Shadows of the Damned will challenge gamers to break through the ultimate head-trip to help Garcia rescue his tortured girlfriend from the clutches of a mysterious enemy.

Brace yourself for one hell of a trip to the city of the damned.

Dead Space 2

Engineer Isaac Clarke returns in Dead Space 2 for another blood-curdling adventure in the sequel to the critically acclaimed Dead Space.

After waking from a coma on a massive space city known as "The Sprawl", the lone survivor of a horrific alien infestation finds himself confronting a catastrophic new nightmare. Battling dementia, hunted by the government, and haunted by visions of his dead girlfriend, Isaac will do whatever it takes to save himself and dominate the gruesome onslaught.

With an arsenal of tools to dismember Necromorphs and new determination, an engineer will bring the terror to space.

Xbox Live

God of War III

After slicing a rampaging Minotaur repeatedly with your trusty Blades of Exile, you finally knock the exhausted beast down, leaving it dazed and disoriented from your virtuosic display of hatred-fueled combat. As the Minotaur writhes on the ground, badly wounded but still not ready to succumb to death’s waiting embrace, you sprint over and take hold of its piercing horns. With muscle-tearing effort, you grapple with the monster, twisting its neck as it desperately tries to break free of your hold. A horrific snap echoes across the room: You have won the fight. His limp body falls pitifully to the ground, forgotten as you run off to your next conquest. God of War III relishes death like few other games, glorifying the downfall of mythical beasts, rock-solid Titans, and not-quite-immortal gods in grotesque and satisfying fashion. The visceral combat and overwhelming sense of scale that have become the hallmarks of this brutal franchise have been pushed further than ever before in God of War III, creating an experience so focused and explosively fun that it's hard to put down, and even harder to forget.

Kratos has serious daddy issues. After being momentarily killed by his father, Zeus, at the beginning of God of War II, Kratos has spent every waking hour trying to return the favor. His quest for vengeance is unwavering. The majority of the cutscenes are centered on angry exchanges between Kratos and someone who dares oppose him, and end with an irreversible resolution. The motivation that pushes Kratos forward is easy to understand, but the repetition of his uncanny fury dulls the impact after a while. It's hard to relate to his actions after he gruesomely disposes of yet another mythical opponent with the same wicked scowl plastered on his face. For much of the game, the story hits just this one note. But things open up late in the quest, giving the game the heart it so desperately needs. When Kratos reveals a side beyond violent retribution, it makes his character more empathetic and gives the story much more weight. Freed from its overreliance on cold-blooded vengeance, Kratos' story becomes powerful and moving in unexpected ways, peaking in a thrilling conclusion that successfully touches on many different emotions and provides closure for this epic tale.

God of War III begins immediately after the events that conclude its predecessor. Kratos stands on the shoulder of Gaia, urging her and her fellow Titans to climb Mount Olympus and strike down the gods once and for all. This incredible scene follows the trend set by the previous games in the series, kicking off your journey with a jaw-dropping experience that will immediately suck you into this epic adventure. The defining characteristic of your plight as you climb this sacred mountain is a breathtaking sense of scale. The Titans you are traveling with are gigantic. Kratos is but a mere speck on their colossal bodies, and the camera zooms and pans so you can fully appreciate the size disparity of these reluctant allies. The ground you run across is part of a living creature, flexing and swaying as you dispatch the enemies who dare stand in your way. The game seamlessly shifts from a bird's-eye view of this epic climb to an extreme close-up of Kratos in combat, and it's simply stunning that there are no dropped frames or other graphical oddities to lessen this effect. The feeling that you're riding a towering giant is conveyed brilliantly, and the game only gets better from there.

The culmination of this fantastic sequence is one of the most violent deaths ever seen in the series. Kratos is no stranger to blood, but the stunning visuals in God of War III make his penchant for beheadings and disembowelments so much more gruesome. By initiating a quick-time event on a wounded foe, you can rip out the entrails of a centaur, de-wing a harpy, and tear the eyeball from a Cyclops, complete with optic-nerve snapping. Some of these death animations have been recycled from previous games in the series, but seeing them re-created here in meticulous detail will elicit equal doses of nausea and sadistic joy. The only downside to these horrific death sequences is that there is only one way to mutilate each type of enemy, even though you have four weapons in your arsenal. So while it is amazing to slit a gorgon's neck the first time, it loses its impact after a dozen or so identical viewings. Even with the repetition, the brutality of combat is one of the most satisfying aspects of God of War III.