Take a look at my two-part editorial on Soulcalibur V, which breaks down the character roster and provides a who’s who of everyone involved. I’m definitely looking forward to playing as Viola.

Part One

Part Two

Start saving your money and marking your calendar—in my latest editorial for GameZone, I list the top fifteen most anticipated console games of 2012. The games range from big budget blockbusters to some welcome additions and underdogs, so be sure to take a look.

I’ll be following this up with a list of ten great upcoming handheld games, so check back soon.

But Naughty Dog’s name is attached to the project, and that alone is enough to get me excited. Naughty Dog happens to be my favorite developer; each series they put out ends up as some as my most enjoyed games. Now, with the VGA trailer, gamers have some idea about what to expect.

Still, I feel like Dead Island should stand as a warning. The game’s cinematic trailer built up hype for a game whose mood was dramatically different and whose gameplay suffered from glitches and other issues. The Last of Us might not be about zombies, but it’s close enough. The Last of Us is a game of survival, and so far we know little to nothing of its gameplay. I like the characters (Joel and Ellie) and the narrative tone already, but that doesn’t mean The Last of Us will do right where Dead Island did wrong.

What are your thoughts on The Last of Us? Are you holding out for it despite the similarities to Dead Island?

Want a full briefing on the characters of Batman: Arkham City (now available for PC)? Then head over to GameZone for my two-part rundown, which details the characters’ comic book pasts.

Part One is here, and Part Two is now up.

Stop by GameZone for ten reasons why being an assassin would be a great way to spend your time.

Disclaimer: It might not be so awesome for everyone else.

Portal 2 was my first experience with the series, which turned heads and made everybody and their professors stay home to play it. Maybe it was because puzzles make my brain numb or because GLaDOS’s threat of spending eternity placing cubes on pressure pads made my time with the game actually feel like an eternity, but I wasn’t expecting such a lasting and substantial single-player campaign.

From the first test on, I knew a generous game length wouldn’t be a problem. If I could master each scenario, then that would be an accomplishment to be proud of. And I did … for the most part. Admittedly, I did resort to GameFAQs a few times, and in three-fourths of those instances I regretted the decision immediately. The solution would have come to me on its own, if only I was a little more patient, logical, and observant. No matter how difficult the puzzle, none of them were unfair. I would say that maybe cheap tricks don’t compute with a robot like GLaDOS, but she did waste perfectly good confetti on humiliating me.

After completing so many tests, primarily in the beginning of the game, I did grow tired of GLaDOS’ insults and the constant barrage of portal-based puzzles. To my surprise, though, the game broke up the pace with a more action-focused segment and then continued to introduce new mechanics, gameplay objectives, and plot points so that I was never bored for long. Challenged, maybe, and cranky sometimes, but never bored with the same routine.

More than just orange and blue portals await the player. There are bouncy blue, slippery orange, and white surface-reinventing gels. There are excursion funnels and weighted and discouragement redirection cubes. There are also frankenturrets, which are, by the way, adorable.

All these oodles of gameplay combine with the dozens of ways you learn to achieve momentum and manipulate a testing stage. Add that to the many humorous or dramatic conversations with Wheatley and GLaDOS (the voice-acting is superb), and the wealth of content comes together to deliver an even stream of story and gameplay. Like many gamers of our current generation, I don’t always feel compelled to see a game through to its completion, even if it is, by critics’ standards, “good.” I did feel adequately compelled with Portal 2, and the motivation resulted in my witnessing one of the weirdest and most musical endings in any game. Its inclusion is no longer a mystery to me, considering that Jonathan Coulton’s name appears in the closing credits.

The game’s sound itself is interesting. Whenever you slide on orange gel or rocket off blue, a different theme can be heard in the background. Add that to whatever music might already be playing, and the result is often harmonious. Considering artificial intelligences are constantly making perfectly clear their desire to kill you, a little tranquility is appreciated.

I did get a taste of the multiplayer mode, and it fell very short of the quality presented in the normal campaign. But I guess the option alone counts toward replay value. Having to cooperate with another person to overcome challenges establishes a much different dynamic than the one in the single-player campaign.

Without spoiling the game, I can say the final boss fight resolves with one galactic-sized deus ex machina, but it was such an enjoyable and surreal deus ex machina that I don’t even care to think less of the developers for doing it. Who would have thought anyone would do that in a video game.

The final minutes do suggest another, much different Portal sequel could be on the way, and the suggested context relieves me. I had, throughout my time with Portal 2, dreaded what a possible continuation would consist of because as wonderful and thought-provoking as Portal 2 is, I wouldn’t want to put myself through another 12+ hours of this mental exhaustion. That’s like taking a week to solve a Rubik’s cube and then challenging yourself to another go, without the foggiest idea as to how you solved the damn thing in the first place. Once is enough, unless some big changes are involved. And no, I don’t mean an even bigger Rubik’s cube. Let’s not get carried away.

Rating: 9/10

Pros: Cave Johnson, black humor, cute frankenturret buddies
Cons: Wheatley’s change of heart

If you’re wondering about the North America-bound Ni no Kuni RPG, wonder no more. This editorial should help explain why it’ll be an RPG well worth your time.

I love the Studio Ghibli films. They’re just about the best animated films out there, and yes, I’m a fan of Pixar and Disney and all that. Nearly all of the studio’s productions are moving, humbling, funny, sweet, shocking, beautiful … I was on a quest to see every one until Netflix forced me to decide between their instant streaming service and monthly DVDs after they hiked up their prices. Since I can’t afford both and want more for my money, I chose the former plan.

Ni no Kuni (The Another World) is basically Ghibli’s next movie made video game. If you’ve seen one of their films, then you know how exciting that is. Their worlds are gorgeous, and their characters lend enormous personality and charm to the stories.

Not to mention Level-5 (Professor Layton) is the developer working on the game, and they’ve got some of the most reputable animation output in the business.

According to GhibliWorld.com (which reports quite a bit of detail on the Nintendo DS version, at least), Hayao Miyazaki, animator and director of most of the studio’s most popular works, is not officially involved. But that shouldn’t stop you, considering the DS game (subtitled The Sorcerer of Darkness) is already out and has received high ratings from Japanese magazine Famitsu.

The PS3 game (Queen of the Holy White Ash) is slated for November 17 in Japan, along with a fancy “gold” 160GB console and game bundle (with Move support). So far, there’s been no word on a North American release date for either system, though localization was previously said to be confirmed.

The multiplayer FPS divides players into two opposing groups: vigilantes dressed like Batman and crazed criminals looking head-to-toe like the Joker. The two sides go at it on the open streets of Gotham City.

The game allegedly has “more customization than you can shake a shotgun at,” allowing players to alter hairstyles, guns, and gadgets. Upgrades and unlockables are included as players level up in various ways, including solo outings and several multiplayer modes.

The beta starts in September (next month). Cast your submission and you’ll be thanked with the cute Batman drawing on the left. Adorable.

King Oberon, ruler of Avalon, calls upon your newly awakened hero to save the faery world from vanishing into disbelief. Your main task is to find and recruit a companion, and a quick trip down to the beach will usher in pesky goblins and another faery named Aziel. In exchange for your help exploring a small cave near the shoreline, Aziel will join your quest to heal the portals dividing the faery and human worlds. In the cave, the two adventurers encounter small crabs, more goblins, and a guardian of rare dragon eggs.

Load times in Legends of Avalon are immediately atrocious in between actual gameplay, but the character designs translate crisply and colorfully onto the screen. The opening narrative and some of the in-game dialogue contain a few glaring spelling errors, a considerable blunder for any finished product.

Interacting with other, non-playable characters means choosing from slim pickings of questions and answers in a dialogue wheel. A small percentage are coded in blue or red, indicating that the person you’re holding the conversation with will either react favorably or unfavorably. This stark social perspective leaves little room for moral ambiguity; dialogue straddles the line between dry and interesting, although conversing with Aziel gives the tutorial portion of the demo a much more natural feel.

The controls are fairly easy to learn. Combat is turn-based in nature, relying on action points instead of mana and allowing players to either execute a string of regular attacks or a few stronger moves. Your party will automatically heal after every battle, so for seasoned RPG players expecting an innovative experience, Legends of Avalon might not be the best choice.

One feature Legends of Avalon has incorporated quite nicely is its menu system. The game facilitates menu navigation, prompting players with the option of viewing the appropriate window whenever they open a treasure chest or gain a skill point. The more your character levels up, the more sporting he or she will look. They’ll even start showing a little tattoo ink, each bearing a special ability.

With such convenience and simplicity, one has to wonder whether Legends of Avalon lacks any deeper substance. From the screenshots made available, it looks like the game’s most appealing asset is its gorgeously rendered locations and bizarre, often jumbo-sized monsters. The demo’s boss fight with the Giant Crab verged on falling into a lifeless, back-and-forth routine of attacks and dodges, but the game’s potential emerged with one creative catch. The Giant Crab, standing a poor chance against Aziel’s lightning attacks, fortified itself behind a front line of smaller crabs and goblins.

This game is also available for the Xbox 360 and PC.

Have you tried Faery: Legends of Avalon? Let me know what you think in the comments below.