
Rayman Origins PS Vita Review: A Cartoon Cut to the Size of Your Hands
Michel Ancel’s hand-drawn platformer in a near-flawless handheld conversion: the paintings perfected by the OLED they play on.
From the Vault columnist. Grew up feeding quarters to the Ms. Pac-Man machine at his uncle's pizza place; still owns his childhood SNES and every Nintendo Power he ever begged his mother for. Writes the retrospectives and the hidden-gem hunts.

Michel Ancel’s hand-drawn platformer in a near-flawless handheld conversion: the paintings perfected by the OLED they play on.

Drinkbox’s late-era masterpiece: first-person touchscreen combat in a world of grief and colour, native to the Vita like nothing else.

The birth of anti-gravity racing and a studio’s farewell: the Vita’s definitive racer, with the series’ best campaign structure.

Q Entertainment’s launch puzzler carries the series’ greatest soundtrack — a playable album that still justifies its cartridge slot.

Vanillaware’s painted brawler-RPG judged as a Vita version: touchscreen rune-casting, a hundred-hour loot loop and art that divides rooms.

Vanillaware’s definitive edition: new translation, sharpened art and the Genroku Legends DLC, on the screen that flatters it most.

Fifteen students, one bear, six trials of pure argument: the visual novel that proved the genre in the West, in radioactive pink on OLED.

Shift’s prison-city hunting game: giant Abductors, a grappling Thorn and the finest satirical premise on the Vita.

The definitive edition of Inafune’s grim hunting fable: a third faction, new Archfiends and the moral mechanic no rival has matched.

Guerrilla Cambridge’s mercenary campaign is the best first-person shooter on any dedicated handheld — and the Vita’s proof of concept.