It’s hard to shake the feeling that Fantasian was a project designed to give several legends of the JRPG genre closure. By revising their great classic and both modernising and paying homage to it in equal measures, they can look back at their careers with the satisfaction of having completed a full journey of their own. For people that clearly love storytelling so much it’s hard to imagine a better way to finish up.

Duet's narrative may also be hinting at something touching or maybe perhaps a profound truth, but I'm afraid I may be missing the point or overlooking into things. But, as often is such the case with art games, maybe that's precisely the point here.

13 Sentinels: Aegis Rim is lengthy and complex, particularly if you really want to understand every little nuance of the story. The story might not feature player agency, as it has no branching choices or bad endings (and I’d argue that this is a strength of the game, that it’s determined to tell one story and tell it well) but even then the narrative alone will take at least fifteen hours to see to the end. Add on a few hours of the strategy RPG and you’ve got a hefty title on your hands. Ultimately though, I stuck through with 13 Sentinels because it’s paced immaculately – the mystery of the narrative gets its hooks into you and rushes you through an intricate web of conspiracy, discovery, and self-reflection. It got me to laugh, to gasp, and to view the world differently. We talk a lot about the potential of interactive storytelling to deliver experiences beyond film or print, and yet not many games do – but here is Vanillaware making it look effortless. Here’s hoping that 13 Sentinels is remembered long afterwards for all it has achieved.

However, the real strength in this one is the way the various fascinating stories of fascinating heroes is retold, and as a result of that Samurai Warriors 4-II is one of the best games in the series for some time.

Nights of Azure is such a progressive, artful and rich experience that, much like other masterpieces such as Nier of Pandora’s Tower, is so incredibly special as much for its flaws and individuality as what it does well.

Slightly more cerebral while also filled with the fast action that the series is known for, Dynasty Warriors 9 Empires sits neatly as a midway point between the action of the "proper" Dynasty Warriors and the strategy of the Romance of the Three Kingdoms series. There probably isn't all that much of an audience for this, but for fans that were disappointed with the open world experiment of Dynasty Warriors 9, Empires here will be redemption, and for those who have never let their enthusiasm for the series be dampened, this is an excellent opportunity to marry Sun Shangxiang and make many beautiful babies... or perhaps to unite China. Whatever your preference is, really.

It’s a beautiful game about human emotions and memories, and while I hope there’s never a sequel, I cannot wait to see what this team comes up with next.

Heavy Rain is very much the kind of game I like to play; it’s smart, interesting, different and highly focused. Cage might be a one-of-a-kind game director and thinker, and I do wish more developers paid attention to how he approaches his storytelling.

Let's take a step back and examine Block'hood from a distance: it's a city-building game with charming retro-styled graphics. With every step closer, with every minute longer played, the end goal becomes increasingly clear: showcasing the pressure our precious planet is currently under due to increasing human demands and decreasing natural resources. In general, I think humans know what's coming. It's the reason those huge blockbusters films about disasters do so well: no matter where we are from, what language we speak, we know that we are pushing the planet too far and possibly past the point of no return. We're scared. So some people fight it (science!) and other prefer to flee (and pretend the threat isn't there), but we're all watching and waiting. Block'hood means I no longer have to wait. I know where the world is going. And I think I'd like to get off the ride now.

The Science Adventure series has always been the “AAA” of visual novels, offering production values and sheer confidence in the experience that is well beyond what almost anyone else can achieve. Anonymous;Code is, apparently, the end of its particular series, and that’s a massive pity, simply because I don’t think I could ever get sick of this kind of creativity. However, as an anthology of stories, the Science Adventure series are a masterwork within video games, and Anonymous;Code is the perfect, thought provoking, intelligent “page turner” to end things on.

There might not be much of Hatsune Miku herself in Connecting Puzzle Tamagotori, but I can't see how a Miku fan would be disappointed by this game. It's warm, creative, bright and charming. It might not be the most challenging puzzle game you've ever played, but I doubt you've played a happier one.

Taken by itself, Xenoblade Chronicles 3 is a spectacular example of an epic JRPG. Yes, the combat system is a little too overcooked for its own good, but the developer holds your hand nicely so that by the 40th hour the explosion of numbers, flashy attacks, and intertwined systems somehow makes sense. Aside from that, though, it’s a game that, for its size, is one of elegance and maturity. And that’s when you take it by itself. Philosophical, humorous, emotional, dramatic and always entertaining, Xenoblade Chronicles 3 is going to be better remembered not for being its own entity, but rather like the third chapter in any great trilogy; as the perfect escalation to an enormously satisfying and appropriately epic conclusion.

It's that sort of depth that makes Fe's story so affecting, even if it seems quite straightforward and even predictable on the surface. I saw every twist from a mile out, and yet I never felt like the story suffered as a result. Rather, Fe is a fairy tale: the sort of story that finds charm in its simplicity and familiarity, but has a lot to say to anyone willing to dig beneath the surface. In that, it's a resounding success.

Scarlet Nexus is one of the most interesting new JRPGs that we’ve seen in a while from a big publisher. Combining a beautifully elegant, but also visceral combat system with rich and evocative theme, and hugely entertaining characters, this game is available on the previous generation, I know, bit in design and execution it’s very much the perfect new-generation experience.

Everyday Today's MENU for EMIYA Family is such a beautiful, wholesome, heart-warming thing. It so effectively celebrates a quality of Japanese culture that goes so much deeper than "raw fish" (you have no idea how many people STILL ask me "what can you even eat over there?!?" when they discover that I have a seafood allergy), and it also highlights just how potent the Fate property has become, that this most tangential of tangent spinoff series could end up with something so perfectly pleasant to play. Also. Rin is just so freaking pretty.

Truly, SEGA’s Ryu Ga Gotoku studio is one of the very few studios that we can rely on to push narrative boundaries and really explore the potential for what video games can offer as a traditional storytelling medium.

If I could give Beyond Eyes more stars, I would. Rarely does a character emotion become so pronounced in my own being. When Rae was delighted, I’d laugh with excitement. When Rae was scared, I cowered alongside her. When Rae was upset I was quite literally found sobbing in the fetal position until the wave of emotion passed.

The long and short of it is that FFVII Remake Intergrade is a truly excellent game, and it plays brilliantly on the Nintendo Switch 2. Having such an excellent port of an excellent game to play on the go more than justifies a second purchase of it.

Put simply, NieR: Automata is the greatest game ever made. It’s not just that it is the deepest and most narratively potent game ever developed - and it is a truly deep narrative experience - but more than that, Yoko Taro has finally found perhaps the developer on the planet capable of doing his visionary work justice. This game is a true, genuine work of art, and anyone who wants to prove that gaming does possess an equivalent to the greatest novels, operas, theatre plays, or paintings, now has that very game to point to. Yoko Taro is gaming’s Shakespeare, Da Vinci, and Welles, all rolled into one.

A game so narrative driven as this would not be effective if the supporting aesthetics aren't up to scratch, and Life Is Strange is nothing short of a gorgeous game.

The whole point of transgression is to shock you out of complacency and that isn't always comfortable. The obvious example there is any transgressive artwork that offends people since that has clearly made them uncomfortable. The Eternal Castle isn't ever offensive, but it will certainly make you uncomfortable. Instead of relying on something as relatively mundane as causing offence, the developers have instead done everything to challenge the senses and everything we understand about video games. Right down to the very idea that a game's value can be found in completing it. I'll never finish The Eternal Castle, and I think that that is simply magic. I truly love that the game is so utterly and completely happy to do that to me.

There is no doubt that The Caligula Effect 2 is a niche within a niche, and the fact that the second game so closely follows the first just confirms that the developers are comfortable with that. While it might not click with everyone, it's worth trying, because if you do like your games a bit thoughtful and arty, then this is going to be one of the highlights of the year.

Fire Emblem Fates still approaches war from a largely idealistic standpoint, but it makes a quantum leap forward by representing a broader range viewpoints along the way. For a series that has changed incrementally over the last 25 years, this latest entry is a refreshing reinvention.

There’s not a moment of Daydreamer that I don’t vividly remember, and in breaking down what makes a game so completely, the developer has created a conversation in how games are constructed, and why they are in the way that they are.

Dead or Alive 6 is amazing. It’s the best looking fighting game out there, bar none, and has a combat system that is both instantly accessible for newcomers, without feeling condescending, and yet also offering plenty of depth and complexity for experienced fans. It’s not perfect; the story mode is enjoyable but slightly undercooked, and one suspects that we’ll have to wait until pretty deep into the DLC strategy for the real over-the-top humour that the series is most famous for to start to really shine through. But then, those criticisms also applied to Dead or Alive 5, and that was a game that I played on an almost weekly basis for six years. I can’t see Dead or Alive 6 being any different.

I don’t think we need the Suikoden series to “continue” any more than we need someone to go out and write a Water Margin 2. I have no idea if Konami is using this release to gauge interest in a proper “reboot” or new sequel, and being honest, I don’t think we need that. Frankly, I’m not even sure we need the rest of the series to be re-released from here (though I also wouldn’t say no to that). We should just appreciate that Suikoden and Suikoden 2 are remarkable achievements, both as literary adaptations and entertaining video games to play, and that quality and worth has not diluted one bit in the years since. Play these, love them, and then do yourself a favour and go and read Water Margin too.

The long and short of it is that Silent Hill f is brilliant. It’s an exceptional story told exceptionally well, with a depth of theme and artistic heritage that makes it worth actual study. That is backed up with an entertaining blend of well-designed combat and intelligent, challenging puzzles. Silent Hill f will – or at least should – make you uncomfortable, and it will haunt your thoughts long after you’ve stopped playing. And that’s the hallmark of a truly special horror game.

To be blunt, I would never call Ultimate Summer Camp a deep or important game, but it is pure, undiluted fun. It's not trying to be deep or smart, but rather a bubbly-light bit of nonsense with a healthy dollop of fan service, and it delivers that with some spot-on delivery. Think of this as a reward for making your way through the 60-odd hours it takes to get through the Danganronpa series and the relatively serious and deep-thinking themes that those three titles explore. After that, you deserve a reward, and as a positive foil to them, this is the perfect delivery mechanism. So don't judge this in isolation. Consider that Danganronpa Decadence contains all those other games as well, and that you really ought to have played through them all before even stepping into the joy of this thing, making the overall collection the best that has been released on the Nintendo Switch to date.