When set against the non-VR first-person shooters, a genre in which only those games that have benefitted persistent, focused iteration and a king’s ransom of investment can now compete, Farpoint seems embryonic and amateurish. Its thrills are short-lived, but the lessons that can be drawn from its struggles in trying to transpose the genre into VR will surely echo for a long time to come.

I’m glad this game exists, but I wish there were more to it. There wasn’t enough variety in the virtual landscapes or in the characters’ conversations to make the long night drives or train journeys appealing beyond the second or third go-around. It is a game that wants us to think about the contradictions and complexities of being alive on this Earth, but also, it doesn’t seem to come from a place of great life experience. I would be fascinated to see what these developers would make in another 20 (or 50) years.

Right now, those prepared to embrace Driveclub for what it is will find a very accessible, carefully crafted, refreshing speed-over-sim driving experience that often provides fabulous fun.

The Medium is hugely ambitious and could have been a site for incredible, innovative storytelling. Instead, it fumbles sensitive topics, plot points evaporate into thin air, and characters who are studied closely are left behind and never mentioned again. Even while taking notes, the story became difficult to follow. It took me 12 hours over three nights to play, and towards the finale I was astounded by how a game so short could feel so long. This certainly is a game of two worlds: one very beautiful and one very empty, unfortunately leaving us with a game that is all skin and no spirit.

The scale of Mass Effect: Andromeda means there’s a lot of stuff, and thus a lot of bad or mediocre stuff.

A new story in the world that they love, but one in which they’re participating, not just watching – which isn’t afraid to raise some sensitive issues around topics such as friendship. Roll on episode two.

But for gamers wanting a nicely sedate, yet increasingly fiddly and demanding challenge, Pilotwings Resort delivers in the same way as that introverted bass player – with modest, affable confidence.

Despite the rudimentary presentation and simplistic goal, this satirical game quickly draws you into its web of intrigue as you see how these seemingly unrelated events connect to reveal – if you’re a willing believer – a tangled plot to defraud democracy. Conspiracy! shows, with keen effectiveness, how the natural human urge to spot patterns and turn events into coherent stories fuels internet sleuths, and how a well-intentioned search for truth can topple a person into a pit of destructive paranoia.

Hello Games has created a gorgeously realised, constantly regenerating universe for players to get lost in, where the incredible journey trumps the destination.

The frustrating moments in Ridge Racer Unbounded are far outweighed by the deeply satisfying ones. It's anarchic, well designed, thrilling to behold and will put a massive grin on any true petrol-head's face.

When a Sega marketing executive came up with the nonsense phrase “blast processing” to “explain” the technical capabilities of the Mega Drive, it’s now clear they experienced some sort of messianic premonition. Sonic Frontiers is blast processing in video game form: anarchic, careless, silly, exciting, meaningless, wonderful. What a daft and incredible ride.

It is imperfect but affecting, and hopefully after a few patches and updates, players will be able to enjoy it with fewer caveats. It’s peaceful under the waves. I can see why Stan, desperate to escape a measureless grief, would be drawn to it. But in the end, this turns out to be a game about what it takes to avoid being dragged under.

In its juxtaposition of abstract puzzles with domestic-scale storytelling, Maquette is more familiar, following the tradition of indie games that link high-concept puzzle-solving with romantic introspection. Like the relationship it maps, the game is at its most elegant and pleasing in the early stages, when its challenges are clearly stated and simply solved. Even so, the creative possibilities of this Russian doll world seem to extend beyond this brief, delightful exploration.

It’s a jokey concept, but this dating game/dungeon crawler deals with everything from stalking to polyamory with admirable frankness.

The single player campaign remains immensely enjoyable but it’s a shame it can’t sustain early success. Refined controls and a focus on more crafted stealth missions, rather than turning everything up to 11, would have meant fewer rage-quits and a higher score.

Freemium quibbles aside, as a game Angry Birds Transformers does a great job of appealing to Transformers fans old and new, while also providing yet more proof that Red, Chuck and crew are characters flexible enough to fit neatly into new stories and game genres.

If you know someone whose mantra is: "They don't make games like that anymore," just force them to play it and they'll have been well and truly silenced.

It’s plausibly a commentary on the nature of an ecosystem, but the emotional reward doesn’t compensate a player for the amount of busywork.

So for £25 you get a well-crafted, enjoyable game, a strange curio, and a flawed but fascinating piece of gaming history. Not quite as valuable as a Ming vase, but good value, and a lot more fun.

What Lego Jurassic doesn’t do is innovate on the previous Lego games a great deal – nor does it really need to. This is aimed squarely at children – or more specifically at parents who want to share some nostalgia with their kids while making use of the perfect drop-in/drop-out co-operative option.

The idea of a literal battle of the bands is a good one, and I was always keen to see what the next encounter would look like. But the lack of substance to the actual fights was invariably disappointing. Despite some impressive sights and sounds, in the end No Straight Roads has too many potholes to make its musical journey worth recommending.

Unfortunately the game has a few logic issues of its own. A handful of bugs, including one that breaks the game and forces you to retreat to earlier saves, threatens the delicate relationship of trust that exists between player and designer, as each time you get stuck, you question whether the fault lies with your reasoning or simply a glitch. Patches will, no doubt, quickly fix the issues, at which point Beyond a Steel Sky will join its stablemates as a modern classic.

Reigns Beyond works as a madcap space caper that you can dip into for 10 minutes at a time, and the wit and pace of the dialogue are impressive. But I did wonder why I was part of a band. Sometimes when you land on a planet you’ll play a gig, but these musical interludes are repetitive, unchallenging and inconsequential. It’s funny and surprisingly wide-ranging as a space-team comedy, but as a band buddy comedy it’s comparatively shallow. I also wonder whether the name isn’t holding it back at this point: Reigns made sense when it was a game about being a variably competent monarch, but it doesn’t scream comedy sci-fi, and I think it will end up passing a lot of people by as a result – a minor tragedy, as you won’t find anything else like these few hours of spacefaring silliness for under a fiver.

It’s not just the sense that everything is aeons old, it’s that aeons seem to pass before your eyes, chapter to chapter. Brief combat encounters are tense but sparse, and neither a highlight nor detriment, although creature design is enjoyably gruesome. Not an acquired taste, then, but an unequivocally bitter one, engineered with such bold artistry you’ll wince as you go back in for seconds.

This feels 80% of the way to a great game, but that missing 20% soon comes to dominate the rest. With a little more fine-tuning who knows how The Swindle may have turned out but, as things stand, it feels a little like being short-changed.

The innovation of players running around after their shots is fun but you may find yourself longing for a leisurely stroll over the course.

After the touching emotional drama of Dontnod’s previous game – the coming-of-age adventure Life Is Strange – Vampyr’s ambitious but awkward chin-stroking is disappointingly inert, while its failure to reconcile its ethical hand-wringing with its gratuitous combat leaves it as conflicted as its undead protagonist.

Despite being written by John Milius, the characters lack any hint of personality, though, and ultimately the single-player campaign is short and disappointing.

Traditional it may be but Divinity 2 Dragon Knight Saga is an excellent RPG that is up there with the very best on the Xbox 360.

I wanted more: more depth, more interaction, more complexity; a hero's journey with more at stake than flowers.

Sadly, the game has one glaring flaw: the camera has an annoying tendency to zoom in too close, particularly when you're fighting.

Let's hope the 30th Anniversary package is a bit more ambitious.

Final Fantasy Explorers most certainly isn’t the game that will turn those who have always wondered what Final Fantasy is all about onto the franchise. It does at least provide something new to play on the legions of 3DSes out there, at a time when owners have been particularly ill-served. For confirmed fans it offers a nice, gentle, if non-archetypal, means of re-entering the Final Fantasy universe, whetting their appetites for Final Fantasy XV and VII.

Youngblood is adolescent in all the right ways, anarchic and ferocious on the surface with thoughtful design running underneath. Characters Jess and Soph are loud, goofy and annoying, but that’s exactly as they should be. Some of the writing is a little iffy, and you won’t find much in the way of nuanced storytelling, but to be honest it isn’t required. This a game about two young women blasting racists into goo – for me, that equals a bloody good time.

The third of the game’s five chapters in particular is truly wonderful, presenting a warren of secret corridors and a series of interconnected puzzles that are particularly satisfying to solve with the help of night vision goggles that can reveal hidden writing. But sadly the game can’t quite keep up this pace to the end, and despite the odd flash of brilliance, the quality of the final puzzles never quite reaches the height of those in the middle of the game. The plot, too, fizzles out unsatisfyingly, with a solution to the house’s mystery that seems obvious and yet doesn’t make much sense when held up to scrutiny. Still, the idea of a house with conundrums built into its very fabric remains tantalising: I couldn’t help but give my own house a sweep after playing, just on the off-chance there might be a previously unnoticed hidden message or two.

With the second part added, Broken Sword 5 could certainly reach beyond three stars – but, until then, it's wise to remain agnostic about Charles Cecil's latest offering.

Much like the physics glitches that will clog up YouTube channels for months to come, such quirks are inevitable hazards of open world gaming. A more pressing concern is whether the lack of human spontaneity can sustain the marathon commitment and repetition needed to complete the game’s herculean campaign. With friends in tow, Wildlands could well prove to be The Wall of its genre; but much like a Roger Waters solo album, it loses some of the sparkle on its own.

When you’re flat-out sprinting, Catalyst feels wonderful. When standing still, in the Grid Nodes, it’s great too. It’s only in that mid-region, either gaining or losing momentum, that you end up clumsy and infuriated.

In spite of a smattering of minor missteps, Evolution is engrossing and clearly created with a deep affection for the source material. Any fan of the films (or the books) who has ever imagined opening a disaster-prone theme park will have a good time with it, despite the repetition.

Impressively executed, infinitely slicker than its predecessors, and reveals the horror interspersed with periods of tedium that characterises modern warfare in a startlingly believable manner. Which will surely earn it cult status in the future.

It is no wonder Sea of Thieves has drawn comparisons with No Man’s Sky – at its best, when it’s firing on all cylinders and you let yourself sink into its peculiar vision, it is majestic. The glint of the sun on the choppy waters, the friend who always gets lost in the caves, saving a hold full of chickens from drowning, standing on an island after a battle and watching your ship sink beneath the foam. These moments are the treasure. But are they enough? The problem is not only that there’s too little to do; it’s that you want so much more.

An abundance of rough edges, and a weak story, mean that it doesn’t quite go the distance. Avalanche has tuned the engine of the open-world driving genre, but this is certainly no revolution.

Shortcomings aside, Ivy the Kiwi is a solid, above-average casual game that's likely to have platformer fans hooked, for a few hours at least.

I Am Alive uses its post-apocalyptic environment far more effectively than many other games that share its nightmare vision of the future. I Am Alive joins games such as Fallout, RAGE and Left 4 Dead in its setting where a some horrendous event put paid to civilisation as we know it, but in truth, it's far closer in its atmosphere and aesthetic values to Cormac MacCarthy's grim post-apocalyptic novel, The Road.

To put it bluntly, Pokémon Go is not good as a game. Until it gets updates which iron out kinks and offer content promised in early trailers, such as trading Pokémon, group battles, or even just more interesting combat, this isn’t likely to change.

It’s all so frustrating. Deliver at All Costs offers up a beautiful destructible playground, then barely utilises it, instead focusing on a bizarre, half-baked story that somehow ends in a courtroom drama. It feels like being invited to a glittering champagne reception, then getting collared by a conspiracy theorist who insists on describing the plot of his hokey sci-fi novel for the next eight hours. What a criminal waste.

The effect is like Stranger Things directed by Kelly Reichardt – a realist fantasy in which silence and ambiguity come to the fore. Lost Records is ultimately a game about love, grief and self-recrimination, and the different intensities of those forces as we age. By the end you miss the optimism and verve of those girls in the woods, as though you were one of them – and quite possibly, in a lot of ways, you were.

There’s plenty of intrigue here, and in better circumstances you’d want to spend more time with the characters in order to understand their perspectives. But by the fifth time you’ve opened a lock that could have so easily have opened automatically, all you really want to do is find the quickest possible route to the exit.

If you’re looking for a nostalgic J-horror experience, and you’re prepared to put in the effort and work with the control scheme, Mask of the Lunar Eclipse is an enjoyable, highly atmospheric adventure, with many brilliant moments of fear and dread. The spirits are wonderfully designed, and spotting a black-eyed ghost child lurking behind you, or in the corner of a room, never fails to send a shiver down the spine. For those of us who believe the Project Zero series should be as revered as Resident Evil and Silent Hill, it has been a pleasure to step, once again, into its chamber of horrors, with just a camera to protect you and the remnants of an ancient ghost story ready to be exhumed.

And despite these issues, this is still Football Manager, with all of its delicious tactical minutiae to get lost in. Thanks to the modernised tactics and match engine, making the perfect tactical tweaks to kickstart a stoppage time comeback and silence those oh-so-confident home fans has never felt better. Football Manager 26 provides tangible feedback to your split-second decisions and lets you conceive fictional rivalries that can last for seasons. And when you beat Sunderland with three goals in the final five minutes, the thrill remains unsurpassed.

The game struggles a little over the mid-to-long term: the difficulty doesn't fluctuate much and, soon enough, you're merely turning the cogs rather than responding to thrilling challenges, but Zoo Tycoon is pleasant and engaging, even in its absence of spectacle.

Kinect Rush may be short on length, but it's big on playability, imagination and fun.

Brink deserves to be ranked among the finest co-op games available. As a multiplayer experience, it is exquisite. But as mentioned earlier, it falters if played solo. While all the modes can be played in single-player, the bots that act as a stand-ins for other players are a poor replacement.

It is a very clever, very charming thing.

At the moment – three weeks of regular play and barely scratching the surface – I'm erring on the side of caution with this score. Ask me again when I've made it to Hawaii and I suspect it may creep up a little.

It lacks the surreal genius of Gamecube's WarioWare, but it has more than enough charm to divert you from Trivial Pursuit until it's time for Doctor Who.

By the end, there wasn’t a lot that felt new – but I had phantom hand cramps from swinging that electrified baton, and a powerful need to sit down and have a cup of tea. I felt as if I’d survived – which is just what this game is going for.

My hope is that we’ll look back at this launch and laugh, remembering that a great game began on such a shoogly peg. For now, the best fun is found in the sideshows. On the main stage of its chaotic 128-player showdowns, it stumbles.

It's a game in which an early sense of delight and intrigue soon turns to weariness, the standout scenes and ideas failing to compensate for an increasing sense of deja vu with each new wall run and puzzle, wrapped in a tired storyline that does little to propel you forward. In the end, it's the zombies that make you flee to the conclusion, rather than the design that draws you towards it – a subtle distinction perhaps, but a crucial one.

You can throw all the technology you like at a game, but that will never be enough to gloss over fundamental design flaws.

Oninaki’s sin, then, is to be so achingly close to quality and yet so far; to have almost everything needed for a top-tier role-playing game – an interesting premise, hauntingly evocative aesthetics, a deep and complex approach to combat – only to be betrayed by fundamental issues that keep it tied to this earthly realm.

Of course, all of that chaos leaves the game vulnerable to some seismic bugs. It is no shock that the first option on the pause menu is an automatic respawn, because it is quite easy to banjax yourself. (Once, I fell through the bottom of the world and into a strange, psychedelic nether-realm.) Perhaps this is part of the deal, in a game this manic. Goat Simulator 3 has no aspirations beyond what it is: a dishevelled yet appealing bender of self-destructive looniness.

The underlying issue with Dustborn is the balancing act between serious topics and the supernatural, as well as its clear desire to alternate between fun moments, activism and drama – a balance it ultimately can’t hit. For example, a tragedy for an entire community is followed by a birthday party for a raccoon. I had a better time once I stopped taking it seriously, because the standout moments happen when Dustborn leans into the silliness of its supernatural storyline. With Dustborn, you may expect a tense trek across the US, but what you really end up with is the equivalent of an interactive Marvel movie, and that is OK.

Somerville is the only game that has ever had me hiding from aliens in a grimy festival Portaloo. Yet its last-ditch attempt at a galaxy-brain sci-fi ending lands with a disappointing thud. While its head-scratcher finale leaves you wishing its nonverbal narrative was a little more verbal, Somerville remains a masterclass in minimal storytelling; a series of memorable, haunting vignettes.

Sniper V2 Elite is something of an anachronism too, a middle-tier boxed game that lacks the budget or refinement of a blockbuster, but enjoys far more craft and spark than a budget release.

SOCOM: Special Forces is, by some distance, the best SOCOM game yet, although it still lacks polish in comparison with the likes of Call of Duty and Crysis 2.

The Almost Gone draws you in with a sinister family mystery, but its aesthetic beauty and strange, succinct puzzles end up carrying it.

There's a lot to like about The Wreckateer; it's a fun, if slightly lightweight offering, and its Kinect controls are well implemented. But as good as it is, The Wreckateer won't win over anyone who isn't already convinced by Kinect. It looks like players may have to wait for the next generation of consoles before that's even possible.

Apartment Story is a film-length mediation on loneliness, repetition and adult life that is unlike anything else I’ve played. With a little more time and scope, a little more access to Arthur’s wider life, this could have been a cult classic rather than a cult curio. Yet when an indie debut manages to so effortlessly capture such a miserable mood – and for less than the price of a London pint – Apartment Story still feels like an easy recommendation.

If you played the first two games, the way Shenmue III uses modern technology to restablish the classic lore and gameplay may just bring tears to your eyes. It will certainly remind you of Suzuki’s genius. Certainly, it contains eccentricities that feel old-fashioned, but it also offers epic, immersive and calming escapism. For gamers of a certain age, it’s the ultimate nostalgia trip.

Thief feels unwieldy at times, although it's not the travesty some reviewers are making it out to be. It's a beautiful stealth game that's fun to play in bursts, but it's hard to recommend it without reservations.

Technical issues – while improved – still hurt the game. Voice communication, for example, is very hit and miss. The interface is fiddly and slow. Changing from quests to, say, inventory on the menu bar takes two or three seconds a time...Despite the issues,there is lot to admire here.

Those tiring of Overwatch 2, Call of Duty or Counter-Strike, who want a fresh take on the format and have a penchant for Ubi franchises, have many happy hours of shooting, hiding and grinding for XP ahead.

I’m a huge fan of the Oddworld-ian creature design and the factory-farming satire of its plot. But Oddworld made that stuff work because it had a big, weird heart. High on Life just has dilated pupils and a shit-eating grin.

I know it's a Sims game, so recycled moves and gobbledygook lyrics are perhaps to be expected, but surely they could have splashed out on better backing tracks?

Tron Identity has merits in its atmosphere and flexible story, but strip away the licence and what remains is a fleeting and unremarkable visual novel that lives in the shadow of better detective games.

Mario & Sonic at the London 2012 Olympic Games may not do either universe justice when it comes to their distinctive gameplay or graphic styles. However, the use of London landmarks and actual event venues makes for a colourful diversion with more than enough variety to keep the kids happy.

The richly detailed, other-worldly environments are interesting, engaging and strange, but lack the deep unheimlich queasiness of the house you inhabit at the beginning.

The very loose framing that allows Lego Worlds and its players to be free from stifling game design conventions has equally made the experience sometimes ungainly and directionless, leaving its protagonists stranded in a world that is as full of confusion as it is ideas and potential.

Just like the numpties on Grand Designs, Happy Home Designer doesn’t really know what it wants, and it suffers for it. It can’t possibly be the newest Animal Crossing – it’s far too small. It’s a pretty good, if simple, home decorating game, but not as a full, standalone release.

The pain and the pleasure of platformers such as this is their precision: the controls must be so tight, the jumping and running so perfectly predictable, that your failures are always your own. In Super Meat Boy Forever, though, enemies can turn up in especially unfair places, and the architecture of the levels sometimes feels thrown together as opposed to carefully placed by human hand. Its difficulty feels vindictive rather than playful, and oddly soulless, like trying to beat a computer at chess. For all its challenges, it felt as if I could feel the creators cheering me through the original Super Meat Boy’s death chambers, willing me onwards. Here, the algorithm is coldly indifferent to your efforts, and, despite the offbeat art and quirky vibe, the game is a punishing gauntlet that’s not worth running.

It successfully pays homage to a fondly remembered old game while adding something meaningful, making you think like a con, plan your crimes and improvise escapes when those plans go awry.

The pity of all this is that there's so much about Nail'd that is innovative and refreshingly bonkers. If only all that potential had been harnessed into a more consistent and rewarding racing experience.

State of Decay 2 is brainless, ramshackle fun. Most of its action resembles Benny Hill more closely than The Walking Dead. It doesn’t really deliver what it promises, and in many obvious ways, it’s a mess. Yet lots of messy games are fun, and this is too – especially on those forays when you slaughter zombies by the dozen and rock up home loaded with loot. In scattered moments, there are glimpses of the game State of Decay 2 could have been. Sadly, they are the only times it pulls at your heartstrings.

For a relatively tiny price, you get to pretend that you're a part of the greatest pop group ever, and it's a pretty convincing show.

Moral murkiness helps preserve the tension across Swansong’s duration. There’s always something at stake – your life, the masquerade, your integrity – and that does a lot to infuse some meaning into all the talking and scouring rooms for notes. I doubt that Swansong is set to become a vampire RPG of legend, like 2004’s Bloodlines, but it nonetheless makes vampires scary again.

This comeback is exactly what was needed: pared down, cheap and distilled to its irresistible essence.

It seems Ibrisagic has partly conceived the game as a satire on intergenerational angst and society’s treatment of old people. In that respect, Just Die Already is about as convincing as one of its own physics interactions. However, as a juvenile, tasteless and problematic co-op party game, it’ll provide as much guilty pleasure as Goat Simulator. And it’s going to be all over Twitch for the next few months, you can be sure of that.

Stealth, however, is the biggest disappointment in Gotham Knights. Where Batman infested the city’s crevices, his underlings merely invade them: you can work together to set up terrain traps or create distractions, but it’s a world away from the older series’ puzzlebox intricacy and it’s always more fun to barge in swinging.

Angry Birds 2 looks great, from the level backdrops through to the little touches: pigs quivering as you prepare to launch a new bird, and then zooming out of the screen towards you as nearby objects explode.

While Saints Row is messy, buggy, silly and often derivative, it also recalls a time in the early 2000s when the open world genre was a haphazard, joyful space with none of the codified, dopamine-fracking precision of modern titles. There are, in this frisky reboot, the ghosts of titles such as True Crime: Streets of LA, State of Emergency, The Getaway and Runabout – patchy, imperfect but gripping experiments in player agency that didn’t quite understand the conventions, but had a bash anyway. To me that is a far more interesting set of stablemates than the last couple of Saints Row titles. To me, this is a preposterously fun video game, despite its many faults, or more accurately, because of them.

What this game brings is something that remains startlingly elusive in the modern canon: a co-op experience that genuinely requires you to work together. For a wildly violent first-person shooter, Payday 2 sure does promote a heartwarming spirit of unity.

The gameplay is occasionally wonky, some of the more elaborate storytelling devices don’t land, and Sam is (deliberately) unlikable. However, Twin Mirror has a powerful story and it puts you in direct control of where it leads. If you play your narrative adventures for the narrative, Twin Mirror has the plotline for you.

Whatever you think about the series and its problematic role in how the mainstream games industry works, how it is perceived and the types of communities it engenders, this is slick, thrilling entertainment. Nowhere else will you be blasting a giant robot in a corporate science lab one minute, and then playing a modern take on Atari’s Super Sprint the next. Value matters right now, and in this as in almost everything else, Call of Duty does not hold back. It is a maximalist paean to the ultimate, troubling truth of video game design – shooting stuff on a TV screen is a hell of a lot of fun.

The game is also too faithful to Orwell’s plot, for all the alternative endings. At its best, it encourages you to rethink and even challenge some of the novella’s concepts, including its rather dated classist metaphors. What if the rats were more of an opposition than an infestation? What if the sheep were more than mindless propaganda machines? But these divergences are frustratingly limited by the need to pack in familiar scenes and conversations from the book. In the end, Orwell’s Animal Farm can’t work out whether it’s a retelling or a revolution – but with the nation’s schoolkids in lockdown, it’s nonetheless a valuable adaptation.

Sadly a lack of anything approaching a decent story means the action can feel like a grind, especially when played offline.

It’s a satisfying experience as you glide gracefully over the ocean, but too often the dogfighting and bombing runs play out as erratic scrambles.

As a piece of merchandise, this does the job it needs to. As a video game, it's anything but Brave.