So before my mind spins out of control, let me make sure everyone is on the same page.

As previously rumored, there will be an “Assassin’s Creed IV”. It is officially called “Assassin’s Creed IV: Black Flag,” and it sees you taking control of renowned pirate Captain Edward Kenway, who will be your assassin this evening.

In it, you’ll wield up to four guns, captain your own ship (complete with upgrades), spend almost half of the game at sea, lead daring attacks on enemy ships, survive storms, engage in multiplayer, meet historical pirate figures, somehow “play as yourself” in the new modern day segments, harpoon whales (which PETA is already having issues with), and fulfill your land lover duties in cities ranging from pirate havens to Havana, Cuba and 50 overall various locations.

One would assume you’ll also assassinate a templar or two, unless this series has decided that it’s now yo ho ho, a bottle of rum, and the pirates life for it.

Now how is all of this, and more, known in roughly just 24 hours’ time? Because Ubisoft told us of course. They released the details, concept art, and even a trailer, which, in typical “Assassin’s Creed” fashion, is jaw dropping.

Oh, and there is one other thing. It’s coming out this year. As in the 2013 calendar year.

Ubisoft is insisting though that this is not a quick cash in attempt, and instead a true continuation of the series. You may have gathered this by that spiffy IV in the title, which sources tell me usually numerically follows the III seen in the previous “Assasin’s Creed” game, thus confirming Ubi’s claims,but the real evidence comes from the fact that Ubisoft has reported this game has been in development since 2011.

Let’s go back to those numbers for a second shall we? “Assassin’s Creed III” came out in 2012, and “Assassin’s Creed IV” has been in development since 2011, also known as the same year  “Assassin’s Creed: Revelations” came out.

That’s three “Assassin’s Creed” games in 3 years, not counting mobile ports, two of which are claiming to be full fledged sequels, all of which were logically at some point in the works at the same time, which even if they were being handled by different staff and teams, is a hell of a lot of different manpower spread thin over a short period of time on one franchise.

Something smells rotten here, and it’s not a case of scurvy.

I wouldn’t normally be upset at this much “Assassin’s Creed” but, “Assassin’s Creed III” is only a handful of months old, and the promotional blitzkrieg of advertisements that preceded it, as well as the amazing sales figures that it resulted in is still very fresh. I also remember buying into the hype, and buying the game as well.

What I especially can’t forget though is the distinct impression that I was playing half of a game. “Assassin’s Creed III” was filled with incomplete ideas and half assed execution to spare, chocking the life out of the things that made it genuinely impressive and creatively exciting. I remember the distinct feeling that I was playing a game that peaked early in the concept stages, and slacked off for the rest of its development time. For the life of me though, I couldn’t understand how it happened.

It’s all a little clearer now though, and a hell of a lot more disturbing. “Assassin’s Creed III” didn’t feel like the game it should have been, and now we’re already gearing up for “Assassin’s Creed IV.” So what was “Assassin’s Creed III” then?

Was it a preview of what was to come as the surprisingly expansive naval aspects suggested?

Was it an enhanced spin off masquerading as a full-fledged sequel for higher sales figures?

And what does that make “Assassin’s Creed IV”? Is it an apology? The true sequel all along? Or was it in fact originally the spinoff now taking the mantle as a sequel because it got the true development attention during all this time?

I hate to have to ask these questions, but when you’re dealing with such questionable practices what else could there be?

I’m left with nothing but questions as to why Ubisoft is releasing “Assassin’s Creed” installments like they are Madden titles. How can they release a clearly half finished “Assassin’s Creed III” and then expect everyone to keep a straight face while having to swallow a game that is at best an apology or the “real sequel”, and at worst a cash in attempt to milk both the massive user bases of the current gen consoles as well as attack the eager wallets of the soon to be early adopters of the next generation as well when this game hits PS4?

Like I said, none of this would matter had “Assassin’s Creed III” felt like everything it could be, and a game that got the full attention it deserved. It didn’t in either case.

So while, everything shown so far about “Assassin’s Creed IV” shows a great looking game, and is one that is certainly exciting based on early impressions alone, considering those were my exact feelings about “Assassin’s Creed III” , which only left me feeling half full, should I prepare to drop another $60 on “Assassin’s Creed IV” to chance filling that void?

Nah. At this rate I’ll just wait for “Assassin’s Creed V”, no doubt under way now and scheduled for 2014.

That last one is particularly interesting considering the amount of miles that the publisher got out of the renaissance era Italy setting of “Assassin’s Creed II,” and the big news that was the third taking place in the new (and rarely seen in gaming) era of the American revolution. The question now is, where (or more appropriately, when) will gamers get to free run and eliminate their targets next?

I’ve got a few time periods on my wishlist, but just for fun’s sake, I’m ignoring the progressive chronological order of the series so far, and just picking some of the best time periods available for the franchise

Victorian Era London 1837-1901

Could London be calling for “Assassin’s Creed?”

There could be worse options for sure, as the Victorian Era is both one of the most stylized periods consistently featured in pop culture (and a big inspiration for steampunk worlds), and a genuinely interesting historical time that featured a melding of two different time eras, resulting in unique architecture, technology, and people. Not to mention the series preference to include historical figures could have you interacting with everyone from Charles Dickens to Jack the Ripper.

In many ways this would be a logical, and welcome, next step for the franchise.

Feudal Japan 1185-1603 (Roughly)

It would definitely violate the chronological story progression up until this point, but may be worth it.

The feudal Japan era is one of the most romanticized yet brutal periods in world history, and has the added benefit of not quite being overplayed yet in the world of video games. Featuring two of the most prolific and exciting warrior types of all time (samurais and ninjas), as well as the potential of siding with several warring clans “Yojimbo” style, depending on the exact time period, feudal Japan could feature a nice mix of styles and weaponry as well as provide plenty of opportunities for memorable moments.

American Industrial Revolution 1760-1840

If Ubisoft is looking for a new time period, but not a new setting entirely, this might be the best way to go.

The big draw of the industrial revolution is all of the new technology that could be incorporated into the series, but the time period itself was also noteworthy for the effects it had on society and social mentalities of the people. Ubisoft could  incorporate the prolific plight of the average working man in this new, exciting, yet often challenging time and create a story both unique to gaming, and genuinely noteworthy if they play it right.

Chinese Ming Dynasty 1368-1644

“Assassin’s Creed III” surprised nearly everyone by taking place in the rarely seen American revolution. “Assassin’s Creed IV” could do the same by visiting Ming Dynasty China.

This time period had everything you could want for a dramatic tale. Unique weaponry, feuding clans, government corruption, plight, rebellion, rising industry, incredible works of art and design, empires, and much, much more. There is a lot to explore during this time, much of which hasn’t been thoroughly examined by a video game. For sheer potential, this would be my personal favorite way for the series to go, though a dark horse candidate to be sure.

World War I 1914-1918

The only real question is, how far does the series want to go?

Though part of the games do take place in the future, the majority of “Assassin’s Creed” takes place in the pretty distant past. Without fundamentally changing the gameplay to a serious degree, World War I is about as far as you could go, considering the major influence of technology on just about everything past this point. Since some of the best parts of “Assassin’s Creed III” was your involvement in large scale battles, doing the same during the chaotic, often confused battles of WWI would be incredibly intense and provide some of the most uniquely hectic moments seen yet in gaming, all set on a world stage.

Considering the options it presents, “Assassin’s Creed” needs to reach this era at some point, but it’s a matter of when.

It was far from the greatest year in gaming (very, very far), but even still, when I was compiling this list, I had to make some heartbreaking cuts, and felt I was disrespecting some very good games. For every cheap money snatching blockbuster we got this year, we were also gifted with some genuine surprises and accomplished franchise extensions (many of which make up this list). The end result of one step forward and one step back for an entire 12-month period may not have moved gaming ahead, but the constant motion made choosing the best of the year a dizzying experience.

Somehow, though, I was finally able to narrow it down to 10 games that I feel comfortable saying are the best of 2012.

10. Kingdoms of Amalur: Reckoning

On the surface, it looks like all there is to “Kingdoms of Amalur” is a standard RPG coat of paint and a souvenir of the high profile closure of “38 Studios.” It’s not the type of game that makes its first impression with its looks, but rather its personality. The game’s speedy free flowing combat system never ceases to be entertaining throughout the very long adventure “Amalur” provides.

An all-star team of developers and outside talent (fantasy great RA Salvatore penned the story) may have been behind “Amalur,” but nothing feels old hat about the game, and it instead comes across as something closer to a fresh faced group of young talent, with heads full of new ideas creating something against the grain. It’s one of the more surprising, and certainly among the most pure fun, releases this year.

9. Xenoblade: Chronicles

If “Amalur” looks standard and done before on the surface, then “Xenoblade” is practically a fossil upon first viewing. It’s a member of the dying JRPG genre, and was featured on the outdated Nintendo Wii, which would normally spell either doom or obscurity at best. Yet after a wave of hype from the Japanese market, and several thousand petition signatures later, audiences everywhere were greeted by something that felt like meeting an old friend, and finding out that you have just as much fun with each other as you used to.

“Xenoblade” pays tribute to all of the great JRPG conventions that shaped it, but it just as carefully takes note of all the things that made those game’s grow stale as well, and manages to mold new forms for them so you are left with a game that somehow makes you nostalgic for things you never knew before. Your party becomes your family thanks to a great relationship system, and the character building and combat mechanics keep things fresh as you explore one of the more unique worlds available for the genre all in pursuit of finishing an equally gripping story. The era of JRPGs may be over, but “Xenoblade” reminds us why it had a dynasty in the first place.

8. Sound Shapes

I love new, bold ideas in gaming, and “Sound Shapes” may have been among the newest and boldest this year. It has nothing to do with its basic gameplay either, as “Shapes” traditional 2D side scrolling system is fairly ho-hum. Much like a new “Mario” release though, the real draw doesn’t lie in the mechanics, but rather the design. “Sound Shapes” employs a minimalist graphic style that is charming, but only serves to give substance to the soundtrack that defines the experience. Several different musical artists contributed to the music (and the design) of the levels, and as a result we are provided one of the first games since the brilliant “Rez” that feels like an organic and physical product of the soundtrack. It’s more of an interactive soundtrack than a fully loaded video game, but it’s artistic value is unquestionable, and I wouldn’t want to know the person who couldn’t have fun with it.

7. Far Cry 3

I almost had this list finished before “Far Cry 3” as I thought the year was done. Yet count me among the many who are now discovering that as 2012 winds down, Ubisoft saved their best for last not in the form of the new “Assassin’s Creed,” but rather the third in the “Far Cry” franchise.

“Far Cry 3” almost aggressively refuses to reinvent the wheel, and instead decides to look back into what makes FPS’s so much fun in the first place. Not since “Halo:CE” have I played a shooter that so successfully made combat feel like a constantly on your toes and the edge of your seat type affair. The further you think outside of the box in combat in “Far Cry 3,” the more you find the developers have crafted a box so encompassing that they’ve anticipated and incorporated every move you could want to make, and have thrown A.I. against you that can do the same.

Many games have only made the claim of possessing the qualities that “Far Cry 3” pulls off so effortlessly. Throw in a series of moments that rival the “Uncharted” series, and there’s no way this list would be complete without “Far Cry 3.”

6. Max Payne 3

It was Max Payne himself who quipped that “life knows two miseries; getting what you don’t want, and not getting what you want.” Thankfully for millions of patient fans, the long awaited “Max Payne 3” was exactly what we wanted.

“Max Payne 3” may have taken the action icon out of the familiar confines of Noir York, but it would prove to be for the best, as the old dog brought all of the tricks that made him famous, but picked up new ones as well that help to bring him into the new age without missing a beat. “Max Payne 3” feels like one of the more complete games of the year as it accomplishes everything you could have wanted from such a hyped entry into a beloved franchise. For pure, no-nonsense action fans, it is the best you’ll play all year.

5. Halo 4

I was ready to stomp out “Halo 4” like a finished cigarette. Not that I didn’t love the “Halo” series, but between the early footage and the new developer, all signs pointed to a blockbuster letdown that might finally spell the end of Microsoft’s flagship series, and I wanted to throw the first bit of dirt on the grave.

I couldn’t have been more wrong of course, as “Halo 4” is the “Batman Begins” or “Casino Royale” of the video game world, and proves that new blood can in fact be the giver of new life. You can’t overstate the accomplishment that 343 Studios pulled off in making “Halo 4” feel so fresh, and provide perhaps the most hair raising experience that the series has pulled off since the original “Halo.” Even though the excellent multiplayer was almost a foregone conclusion, it’s again a matter of how great it is, as the intensity of the series is alive and well, but again that new game smell is present for the first time in awhile.

“Halo 4” separates itself from the competition by accomplishing the same level of emotional intensity in every aspect of its gameplay and not resting on its considerable laurels. I came into the year to bury “Halo 4,” yet I’m exiting it with nothing but great blushing praise for everything it does so well.

4. Journey

There’s been a considerable crop of quality downloadable titles this year, so much so in fact that many of them outshined the mult-imillion, multi-platform titles that were supposed to rule this year. Yet even in such a quality selection of games, the definitive standout was a game so short, that it’s barely there.

There were hints of the greatness development team thatgamecompany was capable of with “Flow” and “Flower,” but “Journey” kicked the doors down, and now represents the most astonishing accomplishment in the field of video game art. In fact, accomplishment is the word overall, as everything in “Journey” feels like the product of blood, sweat, and tears, yet also plays like the most effortless thing in the world. The incredible visuals combine with one of the best soundtracks of the year to create a piece of interactive art that makes you question so many preconceived notions of the capabilities of the medium that you can only view “Journey” as a true landmark. It’s a monolith of accomplishment in artistic design.

“Jorney” may only last a handful of hours (though the brilliant co-op mode warrants a few playthroughs), but what you get is a true emotional experience that you can feel warming your soul as you play.

3. XCOM: Enemy Unknown

I laughed with the kind of smarky superiority that only too many years of playing video games can provide when I saw the very first news of “XCOM’s” revival. At the time it was a more traditional shooter, and looked deplorable in every aspect. I let the game fly off of my radar for a while until it’s release, but when it came back into view, it was a true UFO of its own, as I could no longer identify the game I once so openly mocked.

Now it had been turned into a grid based squad shooter, with a biting and rare level of challenge. In other words, it became the “XCOM” revival I’d always wanted. The success of “XCOM” comes from its combination of genres that is part action game, part strategy, part RPG, and part horror title. It mixes them all with an off the charts level of intensity where even the most well thought out of moves can lead to the untimely and permanent death of one of your squad. “XCOM” may be 99% strategy and statistics, but it’s that extra 1% blind luck that makes it so memorable.

“XCOM” didn’t set the kind of sales records that “Halo 4” did, and that’s a shame. It offers up one of the deepest and most complete gaming experiences this year with something for everyone, and yet is still so unflinchingly challenging and charmingly retro, it still doesn’t give a damn what you think of it.

2. Dishonored

In many ways, “Dishonored” feels like the greatest hits compilation of the bloated FPS market from the past 10 years. This is due in large part to the development team who by and large worked no many of the best representations of the genre in the last decade. More than just a soulless compilation of previous successes though, “Dishonored” instead yields the quality of a greatest hits album, but maintains the spirit of the individual releases that contribute to it.

“Dishonored” is a rare beast that feels so much like a blockbuster sequel, you forget it’s an original property. The steampunk world of “Dishonored” provides the perfect setting for a revenge thriller, where you play a super powered assassin that has the ability to approach every obstacle with a variety of options at his disposal. It’s these moments where you stand perched above your next challenge contemplating which of a variety of entertaining solutions you will employ, and a knowing smile unwillingly creeps upon your face that the brilliance of “Dishonored” reveals itself.

If the worst thing I can say against “Dishonored” is that it feels like a mixture of “Half-Life 2,” “BioShock,” “Deus Ex,” and “Far Cry” rather than something of its own, then I think you can understand what type of game we are dealing with. It’s a hair short of the best game I’ve played this year, but it is the one I would recommend without hesitation to everyone.

1. The Walking Dead

I kept trying to tell myself reasons “The Walking Dead” wasn’t the game of the year. After all, the whole thing is only around 10 hours long, gameplay is somewhat limited, and technical flaws are as prominent as the hordes of zombies. “The Walking Dead” is not a perfect game by a long shot.

But in a year where we celebrated the 40th anniversary of “Pong” we were also gifted with a game that gave us something we’ve never seen before from the medium, and that is evolved and mature storytelling. Ever since “Knight of the Old Republic” choices in games have been a buzzword, but it’s not until “The Walking Dead” have we truly been provided the opportunity to see the effect they can have. “The Walking Dead” warns you before each episode that the game is tailored to how you play it, and that isn’t just a buzzword or a tagline. There are no good and evil choices in the game, but every conversation, and every action, involves having to make several decisions that will ultimately severely alter your journey. Speaking with another person about the game can often lead to confusion, as it can be difficult to believe you are playing the same title with the variety of paths set before you.

Yet none of it would work if it wasn’t for the characters. It may take a little while, but you will soon put genuine investment into your group of survivors and you will care what they think of you, and the things you must do to them, and for them. You can never please everyone, and in “The Walking Dead” that is a fact that breaks your heart, as you just want everyone to live and be happy. But no matter what your choices, there are no happy endings to be found, and the best you can hope for is a firm sense of who you are to guide you to the ending you truly crafted with your heartfelt intentions.

Much like the blasphemy of referring to “The Wire” as a cop show, don’t you dare call “The Walking Dead” a zombie game. It can’t be shoehorned into any easy classification and defies and defines genres and concepts as it chugs along. No game released this year provides the same punch to the gut impact, or keeps you engaged in quite the same way. It is a revolution in everything it does well and, in case you can’t tell, is hard to sum up in a reasonable amount of words. I’ll end it simply with this then. It is my uncontested game of the year, and that sells it short.

It’s weird to remember the time when “Assassin’s Creed” wasn’t relevant, but when the first title in the series was released, few found themselves enamored with the  young series. That would change, of course, with “Assassin’s Creed II” which is widely considered to be one of the greatest games of its generation, and would propel the franchise into the stratosphere where it finally settled in the pantheon of true Triple-A caliber videogame series.

It’s a real money in the bank title to be sure, and the upcoming “Assassin’s Creed III” is looking to continue that trend in a big way. As reported by joystiq.com, Assassin’s Creed III is officially the most pre-ordered game in the company’s history.  The exact figure wasn’t made available at this time, but it is more than double the pre-orders of the previous installment in the series, “Assassin’s Creed: Revelations.” Tony Bartel, President of Gamestop, is already touting that Assassin’s Creed III is on track to become the best selling game of this year.

Even with the series more recent expansions (“Brotherhood” and “Revelations“) “Assassin’s Creed” is a series that doesn’t rest on its laurels and is constantly coming up with new ways to reinvent itself, and refresh the experience. With its new gameplay additions (like naval battles), the entirely unique American Revolution setting, a new protagonist, some fantastic ad campaigns, and enough E3 Awards and gushing hands on previews to make lesser games weep, the true next installment in the series looks to continue that tradition of excellence.

It also may be the only game left in the calendar year that has a shot of dethroning “Dishonored” for unanimous game of the year consideration (although, right now “XCOM“, “Journey“, or “Kingdoms of Amalur” has my personal vote), and I’m glad to hear that I’m not the only one that can’t wait to find out if it will when it is released on October 30^th.

Fun Fact: There are only three months out of the year.

If you’re saying duh right now, then you must be a major video game developer.

This week brings us the highly anticipated releases of both “XCOM: Enemy Unknown” and “Dishonored.” While two Triple-A incredible games in one week is usually a cause for celebration, it does highlight one of the problems the industry has where the majority of the best games come out sometime between October and December. Like clockwork, it seems that every year the 4th quarter takes our last dollar.

In a way it’s kind of fun as every single week seems to bring us one great game after another, until the holidays roll around and you hope to suddenly get caught up with the gaming blitzkrieg. In another way, though, it’s a principle that really works best for either people in the industry or kids who still make Christmas lists. For the rest of us, it kind of forces you to suddenly have a lot of free time, and a lot of money just to keep up.

It also hurts games like “XCOM”. “Dishonored” and “XCOM” are both amazing titles, but there’s little doubt that between the two “Dishonored” is the much more appealing title for the mass gaming public. A game like “XCOM” that’s a resurrection of a semi-obscure PC franchise, and features a fairly strict learning curve and about a third of the advertising budget of “Dishonored,” has a much harder road to sales success than is necessary for such a stellar game. When you factor in the upcoming releases of sequels to established franchises like “Halo IV” and “Assassin’s Creed III,” you’re looking at snowball’s chance in hell type prospects.

Maybe a game like “XCOM” coming out in July doesn’t guarantee its financial future, but it would be nice to not have to have to choose between two incredible full price games in the same week, only to have to keep doing so throughout the rest of the year.

So would you rather see big releases spread evenly during the year, or are you a fan of the holiday rush?

Is another E3 already almost behind us?

Yes, yes it is. With as much that’s changed in the world of video games over the years, its somehow comforting to know that E3 is still around to exhibit the best of the industry in a big atmosphere way. Unfortunatley the age is starting to show on the old gal, and the show hasn’t been as captivating the last couple of years as it probably should have been. While this years was more of the same, there was still enough on exhibit to be worth talking about. It’s not quite done yet, but I’ve seen enough to start naming the best, worst, and most memorable of E3 2012.

Best Presentation – Sony

This is more of a choice made out of necessity than something I absolutely fell in love with. While there was very little mind blowing here, Sony managed to put together a tight presentation that was loaded with games that people actually came to see. While the storybook segment was a complete bomb, in the end Sony managed to show better than any other company that they have plenty of sure fire greatness ready for their fans. If only “The Last Guardian” had made a surprise appearance, this one might have been more memorable.

Worst Presentation – Microsoft

Poor Microsoft. Sure their market share an income is absurdly large, but they cannot seem to put together an E3 presentation that doesn’t make their fans feel awkward. While this years showing wasn’t as bad as last years Kinect centric, child actor filled disaster, it’s scarily close. Bad celebrity appearances, uninspiring game footage, and boring presentations more at home at lame board meetings than the world’s most extravagant trade show for your industry were the unfortunate highlights of this years Xbox showing.

Biggest Surefire Hit – “Assasins Creed 3”

“Assassins Creed” has been a money in the bank franchise since the series second installment. So far it looks like there is absolutely no reason to suspect any less out of the “Assassin’s Creed III”. What I love most about it is that Ubisoft has found a perfect way to make the franchise feel fresh again, by changing the time period and location to the rarely explored American Revolution, they also seem intent on really making everything that was great about the series perform at its absolute best. The jaw dropping E3 footage only confirms that this will most likely be the smoothest and most exciting “Assassin’s Creed” yet. Unlike the British troops in the game, this one isn’t likely to miss.

Biggest Surprise – “Watch Dogs”

Ubisoft strikes again. Garnering no real press prior to the event, the demo for Ubisoft’s “Watch Dogs” showcased something truly intriguing. You play as a man who has an incredible array of technological abilities that essentially give him super powers over the modern gadget obsessed world. The idea is cool enough, but the way that it seems to be implemented creates so much potential for amazing moments. The world of the game is also absolutely gorgeous, and begs you to re-watch the demo several times to gather all the little details. There is nothing like a fresh idea from an established developer, and Ubisoft seems to have exactly that.

Biggest MIA Title – “Grand Theft Auto V”

“The Last Guardian” almost made this spot, but since the trail went cold on that one sometime ago, it was the lack of GTA that left the biggest void. It wasn’t that long ago that the games teaser trailer made waves, but I’m still shocked that there wasn’t a scrap of info on the game at the show. No unannounced features, no new trailer, no gameplay, and no release date. GTA is a series that doesn’t need the mass hype that E3 can generate, but it’s presence could have really made the show much more memorable than it was.

Worst Game of Show – “Resident Evil 6”

It was only back in 2005 that “Resident Evil 4” had people editing their greatest games of all time list. Then “Resident Evil 5” came out and failed to make any sort of impact on gamers. “Resident Evil 6” looks to do far worse than that. The trailer showed a reliance on outdated game mechanics (it was essentially all quick time events) and a complete lack of the horror the series once helped define. It’s not enough that the medium has to be loaded with uninspiring zombie titles and dry action games, but “Resident Evil 6” looks content to be the shining example of both. There may have been other games at the show that were just plain bad, but none of them drag a once proud franchise through the mud like this one.

Most Underwhelming Game – “Halo 4”

It was the big announcement of last years Microsoft conference, and headlined this one as well. Yet all we really got out of it was an extended stylish commercial that led to a short exhibition of completely uninspiring gameplay. No one can deny the impact of the Halo series, but it’s becoming increasingly obvious that the series is an old dog struggling for new tricks. Even a decent game would be a blight on the series, and that looks like the highest aspiration of this one.

Best Game No One is Talking About – “Metro: Last Light”

“Last Light’s” predecessor, “Metro 2033”, was basically your average shooter with a fair amount of frights in it. Nothing in the game really stood out in any sort of meaningful way, and no one really expected a sequel to emerge from it. That’s why the effort put into “Last Light” is so shocking. One of the games developers put it best when he said that they wanted to create a feeling in the game that you are just not prepared for what’s around the corner. The games foreboding and desolate world does just that, and makes the game stand out from its predecessor and just about every other FPS out there. The shooter genre made be played out, but a good scary game is hard to come by and that’s why “Last Light” should be on everyone’s radar.

Game of the Show – “The Last of Us”

I almost wanted to give this to “Watch Dogs”, but I’m really impressed with how “The Last of Us” had arrived in a wave of hype and has only earned more with everything that it showcases since. Naughty Dog is looking to really make a significant improvement in the field of video game storytelling, and the dynamic between “The Last of Us’s” two characters looks like it may just do that. Their banter sets the environment, moves along the story, and enhances the situation without ever once coming across as annoying or poorly done. Combine that with the games “Uncharted” like game mechanics, as well as some of the most responsive and intelligent A.I. I’ve ever seen, and you have the most complete looking title at E3 and possibly on the horizon.

Overall Message – We Need the Next Generation

The overall message of the show seemed to be that if gamers are really looking for excitement, they’ll have to wait until next generation. That doesn’t mean that there aren’t exciting or fun looking titles on the way, but the shows dire lack of “Wow!” was really noticeable this year. Sony and Microsoft seem to be,mostly, treading water with their current systems, and it will certainly be nice to see them have to shake things up with entirely new consoles. Nintendo’s Wii U may have been underwhelming, but hearing about it specs, features, and titles at least provided the breath of fresh air the other big two were missing. Let’s hope for more of that next year.