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Staff at Kinect Sports developer Rare are under threat of redundancy, Microsoft has confirmed.

A PC Crysis 2 multiplayer demo will be available to download from 1st March, EA has announced.

Update: Hero of the hour, Streetmagix, has now unearthed the Xbox 360 Achievements for this Porsche vs. Lamborghini Need for Speed: Hot Pursuit DLC.

Islands of Wakfu, a two-player action adventure exclusive to Xbox Live Arcade, was finally finished on Friday by French developer Ankama.

Outside of the more tactically minded shooters, "co-op" is fast becoming one of the most abused terms in gaming. Lots of games boast about it but few offer a genuinely co-operative experience. Sticking two players in a gameworld and occasionally asking them to press buttons at the same time to open a door shouldn't really count.

Phil Harrison, the former president of Sony Computer Entertainment Europe and Atari, has put his money behind a Finnish made browser based co-op role-playing game.

What's on the PlayStation Store today?

2/10 first-person shooter Sniper: Ghost Warrior has sold over a million copies around the world, Polish developer City Interactive has announced.

Eskil Steenberg, the Swedish creator of bohemian MMO Love, is not impressed by Kinect. If he had to pick, he'd choose Move.

Sales of Dead Space 2 have been double those of the original, but it won't be until the release of Dead Space 3 that the series will really take off, EA said.

In the days before MineCraft, another Swedish MMO (loosely defined) ruled the roost: Love. Constructed by one man, Love is a watercolour world of base-building, co-operation and conflict, all presided over by an alarmingly sophisticated AI. What takes entire teams of developers days to create can be knocked up by Love maker Eskil Steenberg effortlessly, thanks to an arsenal of powerful, home-grown, time-saving developer tools. As an example of what one man can achieve, Love is awe-inspiring.

Puzzle Bobble Universe for Nintendo 3DS will launch in Europe on 22nd April, Square Enix has announced.

Electronic Arts has admitted it struggled to cope with the transition from GameCube, PlayStation 2 and Xbox to PlayStation 3, Wii Xbox 360, but has insisted it is now right back where it wants to be.

To experience the best of Dead or Alive: Paradise, all you need to do is watch the opening cut-scene. Jiggling boobs! Wiggling bottoms! Hair-flipping! Tree-climbing! Two girls barely old enough to take the Key Stage 3 exam licking an ice cream - at the same time! From the shower scene to the final shot of the lady in the pink canoe, it's a cavalcade of impossibly subtle visual metaphors that serves to remind us just how far women have come in their quest for equality.

One of the pleasures of reviewing downloadable content is that the game itself is a known quantity. With no need to spend time on important, but not particularly interesting, nuts-and-bolts elements such as graphics and control, we're free to consider the game as an experience and as a narrative.

The thought process behind the conception of the Sakura Taisen series is obvious. Combining two Japanese loves (dating sims and big robots), it's little wonder the franchise has spawned multiple spin-offs, a film, a TV show, manga and other merchandise in its homeland. It's equally unsurprising that such a quintessentially Eastern idea has never made it to the west.

Made in less than a year with the same engine as Yakuza 3, you'd be forgiven for thinking Yakuza 4 would be a rehash or a lazy update. The similarities are plain to see; there's not much to differentiate the teeth-smashing, limb-snapping combat or fastidiously detailed setting from its predecessor's, at first glance. The differences, though, particularly the introduction of three new characters with which to roam the neon-lit streets of fictional Tokyo, have a huge impact on a series that's notoriously resistant to change. It's a notable improvement.

Even better than Relentless' idea of what a family game should be is its idea of what a family itself should be. Mum, dad, perhaps a granny or a weird uncle: all gathered in the living room on a Sunday afternoon, wanting nothing more than to play on the PS3 together. They're not intimidated by PSN, they're not fazed by online stores and virtual wallet purchases, and when they reach for the DualShock, ready to pass it back and forth for an hour or so, they're after a game that will give them puzzles, a rambling cast of eccentrics, sprightly cliff-hangers, and a gentle, twisting narrative - all handled with a modest gift for ghoulishness.

There's an apt flourishing of joy at the start of a Settlers 7 map. All the sprawling empty space and untapped resources stretch lazily into the distance, the landscape rendered in gorgeous, cartoony perfection. Virgin territory, pleasant olde worlde music and the simple rules of the game lead you on to dizzy, stupid dreams.

Two Tanks at once! Two of them! I understand that a word like "overkill" could never have a place in a horror game that's always taken pleasure from pitting players against harrowing odds, but still. I'm surprised Valve didn't go the whole hog and layer both Tanks' signature horn music over one another, very slightly out of sync, to create a horrible, unlistenable cacophony.

There's a sensation familiar to anyone who knows adventure gaming well. It's that moment when you've cracked a puzzle, and the game opens up. Suddenly there are two or three new locations to explore, new objects to find, and new puzzles to solve. Those mysterious inventory items make more sense in this new context, and previous unsolved puzzles receive that vital clue.

It is, perhaps, the most expensive videogame ever made. Not in the financial sense: Treasure, Japan's small yet consistently brilliant boutique developer has nothing like the resources of its high-profile Western counterparts, as the often-rudimentary graphical assets in this Space Harrier-style shoot-'em-up testify. But in creative terms Sin and Punishment: Successor of the Skies is a high-speed conveyor belt of valuable, distinct ideas, scenes and flourishes that dizzy the mind with their density and inventiveness.

As you may know, we withdrew our original review of Age of Conan: Rise of the Godslayer shortly after publication last month. In short, we didn't give the original reviewer enough time with the expansion, but this only became apparent to us once the piece was live. We're very sorry about this, and we're happy to present a second look at the game to make up for our mistake.

Tow trucks. Proud whales of the highway. Gruff weightlifters of the road. Tanks in the war that is everyday life.

Shhh! Keep it down, would you? And don't read so loud, it's upsetting. Not to me, no. But to it. That big, angry, metaphorical eye sweeping the galaxy, just waiting for an excuse to get up off its arse and clean the insignificant smudge that is human existence off the windscreen of its war machine.

Street Fighter IV is the Beethoven's Fifth of fighting games. All weighty drama, considered changes and measured movements, it's an experience that heaves and builds to a studied climax. There are fireworks and flames, sure, but they are yoked to tradition, and for all the screen-filling Ultra finishes the game maintains a Ryu-like distinguished grace.

I'm so stupid. With my review account for Bloodline Champions, Funcom included some in-game cash so I could see what spending money in the game was like. With all the restraint of a Casablancan libertine, I wisely invested it in sex-change outfits, a character portrait and some weapons with faces on. Now they've released a frog suit for the Ranid Assassin. It's Kermit with knives and it's 3000 Funcom coins, 30,000 in-game coins, 18 Euros or one kidney to you and me.

If you enjoy Stacking, you probably have amnesia to thank for it. It's a condition games have been exploiting for years, but with Double Fine's latest, the connections are a little more imaginative than usual. In most games, memory loss simply means that your grunty protagonist has woken up in a motel room and forgotten how to double jump. This time, however, the roots lie a lot deeper.

I'm in two minds. Which means I fit in well with the world of Edna & Harvey. An adult woman and the toy rabbit she talks to are trapped in a padded cell, with little idea why they're there. And as the title suggests, it's all about trying to break out.

"This desk lamp knows a whole lot more than he's telling me..."