A game that marries the best bits of the franchise’s long history with the best bits of the rest of the gaming world, and produces something even greater than the sum of its parts.

There can be no doubt that this is a landmark game. It is a new high water-mark for lifelike video game worlds, certainly, but that world is also home to a narrative portrait of the wild west that is unexpectedly sombre and not afraid to take its time.

New sidekick Cappy could have been just another annoying sidekick, but its inclusion only adds to the playfulness of Nintendo Switch’s first Mario adventure.

It’s been a long time coming, but Grand Theft Auto V’s PC debut is a triumph...The Rockstar Editor is endlessly entertaining. The online heists are, with friends, some of the most fun you can have in a multiplayer game. The single-player story is an exhilarating series of increasingly absurd missions. And it all takes place in one of the richest, densest, most atmospheric game worlds ever built.

Baldur’s Gate 3, like its titular city, is a towering landmark of an RPG. Bustling with life, brimming with scope, and bursting with imagination.

An unrivalled feat of design and inventiveness.

Skyrim is one of the most gargantuan undertakings gamers will experience all year. The sheer size of the adventure, both in terms of its environment and in the amount of activities available to the player, is mind-blowing.

I feel as if I will never finish this game. Every time I think I’ve got a handle on it, it reveals a new expanse. I haven’t even mentioned the depths, the particularly dangerous pitch-black underground world that exists below Hyrule. (Man, I do not like it down there.) I am walking around looking at all the clutter in my house and imagining ways that I could fuse it together. I invite my kids on to the sofa with me to watch Link’s adventures, and we all scream as I’m pursued by a terrifyingly fast gloop-monster made of grasping hands. In an airport recently, surrounded by bored people staring at their phones, I was so absorbed in a labyrinth I’d found at the edge of the map that I nearly missed my boarding call.

The Last of Us is visually arresting, mechanically solid, maturely written and by turns heart-rending, tense, unnerving and brutal. Check your ammo. Grab your shiv. Just try your best to stay alive.

Valve has created a masterpiece in Portal 2. The depth of content, the mind-bending mechanics and fantastic experience are almost certain to satisfy ardent fans of the first game; and to all newcomers to the series, it's as simple as this: prepare to have your mind blown. Over and over again.

Metal Gear Solid V is a game-changing triumph. It is comfortably the best stealth game yet made. But that accolade sells the game short. This is the final evolution of a video game director’s singular vision, one first painted in the crude pixels of the 1980s and now fully realised, fully resplendent.

Astro Bot is still the wonderful tribute to PlayStation history and hardware design that Astro’s Playroom was, but it has been given room to grow beyond a characterful tech demo and into the best platform game I have played in many years. Actually, it’s one of the best platformers I’ve ever played, – and, as a child of the 90s, I truly have played a tonne of them. PlayStation has been lacking a great homegrown family-friendly game since LittleBigPlanet, and Astro Bot is a worthy inheritor of that series’ playfully humorous legacy.

It is rare to play a game so accomplished in everything it sets out to do. God of War is a standard-setter both technologically and narratively. It is a game that, until recently, would have been impossible.

One of the joys of Hades II is getting caught up in the internecine discord among the dysfunctional extended family. But it’s ultimately about resolving conflict. Sure, not everyone has read the memo: Scylla, front woman of a pop-punk trio of Sirens, cheerfully sings about clawing out your eyes and drowning you in the dank depths of Oceanus. But even the likes of power-suited Chaos and grumpy Nemesis (so affronted by you effectively doing her job that she’ll sporadically show up to challenge you to a contest, before barricading a potential exit) can be won over with a gift of nectar – or ambrosia. The game’s ending, too, makes it abundantly clear that any fight against forces of oppression requires us all to play a part, no matter how small; that whether you go low or high, resistance requires strength that can only come from solidarity.

Stands head and shoulders over its previous efforts. Despite facing stiffer competition than its predecessor, Batman: Arkham City is easily the best Batman video game of all time.

I wonder how anything will ever better Ocarina of Time in its small but vital corner of this bloated industry.

That's what makes Mass Effect 2 great. Not the outstanding action, the compelling story, the huge depth of interaction, or any of the other ways in which the game demonstrates its outrageous surfeit of quality. It's because this is a game so coherent, you start to believe that you could actually live in it.

BioShock Infinite is a hell of a lot of fun to play. That really should be the only quality it needs to exhibit. The fact that it holds much more feels like an advancement of an art form. Just remember that nothing in BioShock Infinite is an attempt to be cute. Just let it tell you its story.

There haven’t been many interpretations of ancient mythology as gripping, detailed and imaginative as this, in video games or any other medium. It brings the stories and characters of an ancient era to life in a way that only modern technology could realise.

This is an unlikely comparison, but now that I’ve had some time to absorb The Last of Us Part II, it reminds me thematically of Shadow of the Colossus, another game about how consuming grief and anger can be. I was similarly poleaxed by that game’s clever manipulation of the player’s power, the way it also used the language of video games to make you think twice about your actions. The Last of Us Part II is another story that could only work as a game, the kind of challenging, groundbreaking work that comes along two or three times a decade.

You could summarise Dwarf Fortress as a game about the meticulous cultivation of downfall. There’s no victory condition beyond the satisfaction of bolting together another grand chronicle of inevitable disaster. It’s this joyful fatalism as much as the simulation’s richness that makes it timeless.

The results of this suffusion are nothing short of spectacular, delivering an expertly crafted Half-Life tale inside a knockout VR experience.

To some, Super Mario may appear tired: a mascot whom Nintendo trots out every few years to sell another console with repackaged but fundamentally stale ideas. Super Mario 3D World is a fierce rebuttal to the accusation. Mario and his makers once again assert their dominance of spatial navigation games, displaying a rude abundance of ideas to delight, surprise and celebrate innocence and playfulness.

At its core this is a spectacular work of contemporary young adult fiction, one with a strong moral core, angled yet never didactic, expansive yet always focused.

More than ever, the Mass effect universe pulls off the masterful trick of feeling huge and yet believable – the game's production values are through the roof, and its third-person shooter controls incredibly precise, responsive and accurate given Mass Effect's immense scope. It really does feel like a TV sci-fi series in which you play the central character.

Whether or not it's the best ever Zelda game is open to debate, but it's certainly up there. However, nobody could argue that it's anything less than a masterclass in the art of crafting video games.

This is the kind of video game fighting that puts your heart in your mouth, an exhilarating whirl of slashes and strikes and dodges. Each jewel in Zagreus’ armoury – brass-knuckles, greatshield and sword, railgun, spear – has its own rhythm: some favour quick flurries at close range, others charge up to unleash hell on rooms full of gorgons and cursed chariots. Conquered chambers sometimes bring a new blessing from one of Zagreus’ relatives up on Mount Olympus, boons that add a watery damage-dealing flourish to your dash or imbue your weapon with lightning, calls that summon gods to unleash magical arrows or make you invincible.

With our video game reviews we reserve a five-star rating for games that we think everyone should experience, that are so interesting or impressive in certain areas that they transcend any flaws, limitations or genre concerns. Uncharted 4 is certainly in that category. [Official Verdict - 5stars]

It’s an absolute joy to play and to experience, stuffed full of content, and – woeful online notwithstanding – comes highly recommended.

Inside is constantly surprising, introducing new elements without ever overwhelming, maintaining an excellent pace over the course of about four hours.

Boasting a unique world, challenging combat and great writing, this RPG has a lot going for it, if only it didn’t revel in its own mysteriousness so much.

This game is a beautiful experience. As driving games go, it’s the best I’ve ever played, not only because of its irresistible scenery, exhilarating driving and perfectly-recreated cars, but because spending time with it puts me in a lasting good mood. It is uncomplicated and thrilling escapism in a shared driving paradise.

Uncharted 3, perhaps for the first time, represents what we all hoped games would eventually evolve into. Its production values are sky-high, and it puts you at the centre of a gloriously rich and irresistible world, controlling a character who is heroic, but also convincingly human. It's also mildly didactic, and feels less dumbed-down than any mainstream movie we've come across in years.

Longtime fans will hungrily slurp up every morsel of sugary fan service here, savouring every extra moment spent with this hugely beloved cast. For Avalanche-loving diehards, this is a miracle of nostalgia-stirring dream fulfilment. Newcomers hoping to experience one of the medium’s most beloved stories in its new, modern form, however, should be prepared for some yawn-inducing lows alongside many Buster-sword swinging highs.

There’s no story to discover, no complex rules to learn; just instant, appealing fun. It’s fun you’ll have already experienced if you’re a Mario fan, but with enough novelty and unexpected twists to prevent it from feeling over-familiar. And for those new to Mario – kids just ageing into video games, friends or family members tempted into a multiplayer session – this is a wonderful introduction to the fizzy creativity and attention to detail that has made Mario a family staple for nearly 30 years.

Its elegance, precision, humour, and challenge make Bloodborne irresistible. Ultimately, the horror is secondary; wonder is the true transfusion on offer here.

You could spend months in Forza Horizon 5 on a coast-to-coast trip, or dip in for a few days to see the sights and admire the sunsets. The vast array of fun on offer means that whatever you do, wherever you end up, you’ll have a very good time.

It takes a lot to reinvent a 30-plus-year-old franchise while keeping step with tradition, and Capcom has succeeded admirably. Hopefully the still-to-come monetisation schemes are reasonable (details hadn’t been fully announced at the time of writing) and the netcode remains smooth, because the king of fighting games, Street Fighter II Turbo, is on notice: here comes a new challenger.

And then there’s the fact that Blue Prince has the best titular homophone in video games (sorry Fortnite). It’s a game about the blueprints of the Mount Holly Estate, and naturally a magical mansion like this has a story; it’s this, the family behind it, and the fantastical wider world in which they live, that will draw you to the 46th room and far, far beyond.

The way in which the developers manage to wrangle the various, divergent threads of your unique journey, with all of its composite choices and outcomes, while entirely concealing the seams is masterly.

Journey's visual and sound design sets new standards for interactive entertainment. This alone makes it an extraordinary work, but it's the way that these aesthetic elements come together with beautifully subtle direction and storytelling to create a lasting emotional effect that elevates this to one of the very best games of our time.

While some players will spend hours perfecting time trials and improving their standing online, that’s not really what these games are for. Mario Kart is a vehicle for fun with all your friends and family, no matter their individual skill, and Mario Kart 8 Deluxe is the best, most versatile version of that yet.

It's a rare game that can make you love the thing you're supposed to be killing, but then there really isn't anything else like Ico and Colossus.

It's a game that's been meticulously crafted to keep you moving. Every jump leads precisely onto the next water-drenched slope which slides down to zip-line before the checkpoint. At times it moves with the agility of a slickly produced Sunday morning cartoon, when in actuality it's a video game. A video game that leaves others looking like dead sharks.

For Yu and Perry, it’s been a preposterously ambitious undertaking, multiplying the challenges and timings involved in crafting a single video game by a factor of 50. For us, the result is a gift of wild generosity, a demonstration of how much untapped creative terrain remains in even the crudest-looking video games.

Dark Souls II is an extraordinary game. If it stops short of fulfilling something precious within the soul, it certainly has the heart, mind and fingers covered.

Most disappointingly, for all the worlds he visits or challenges he overcomes, Sackboy never really develops past his minimal original powers, meaning LBP2 retains its two-button gameplay from start to finish.

Wherever you go, this game captures the wonder of flight, and the spiritual and emotional rush of seeing the world in a different way.

Blizzard’s take on the team-based shooter is as polished as you’d expect, marrying tactical breadth with an emphasis on variety and inclusivity.

The sheer polish applied to every part of Bayonetta 2 is something every major studio should aspire to: the exceptional and wide-ranging soundtrack, the huge number of unlocks, the Nintendo easter eggs, the “making of” materials, and the unlockable characters that bring their own style. Not a single thing has been held back. In this second adventure, Bayonetta over-delivers in every regard, and it will be a long time before another fighting game threatens her crown.

Thanks to a bevy of pre-loaded Setlists and Road Challenges, you now have an attractive and instant alternative to World Tour – which is still there and as rigorous as ever.

That, really, is the fundamental value in Forza Horizon 3. It wants you to have fun. It will challenge you, it will ask you to improve as a driver and it will reward you for doing so. But first and foremost, it wants you to spend time in this ridiculous playground, with some of the best (and strangest) cars in the world, having an absolute blast.

What was – and is – most impactful about Shadow of the Colossus is its sense of scale: the immensity not only of its dramatic ruins and the sad, beautiful colossi, but of the task at hand, and its themes of death, faith, longing and the destructive selfishness of grief.

Halo: Reach, simply, is Bungie's masterwork, and if you own an Xbox 360, you'd be an idiot not to buy a copy – even if you're not a fan of first-person shooters, it will still make you marvel at just how good a game can look and feel.

This is a wonderful game: a beautiful, tense, camp, gory summation of everything that is so good about Resident Evil. Wherever you find yourself, whether rose garden or torture dungeon, it is alive with intimate detail, from the sounds of distant screams and chants to the sight of a grizzly murder scene or a beautiful vase. It is resplendent, delicious and decadent, like an incredibly rich banquet served amid the detritus of some horrible battle. Believe me, you will feast on it.

It comes packed with visceral gun-battles, ear-splitting explosions, bucketloads of blood and you use a good old-fashioned control-pad to play it. Oh, and it's also one of the best games released all year.

For veterans who remember the original (and I reviewed it at the time), it is an unmissable nostalgic treat. For those who don’t know their T-Viruses from their Code Veronicas, the experience is easily vivid and entertaining enough to stand on its own merits. This is horror game design as true craft.

I’m not sure Bananza has the same legs as Mario Odyssey. Where that game blossomed in a rich, post-credit endgame, DK lives more in the moment: moving ever forward, chewing through new ideas and never stopping to pulverise the roses. Come the game’s epic climax, he has smashed through concrete, rubber, watermelon, ostrich eggs, entire Donkey Kong Country homages, glitter balls – even the NPCs he’s trying to protect. If the weight of Switch 2 does lie on his shoulders, that’s just one more tool to bash a hole in the universe. His appetite for destruction is infectious.

Every so often, a game comes along which is so irresistible that it leaves you wondering whether sequelitis might actually be a good thing. Far Cry 3 being a classic example.

At a time when the big video game companies are focused on building video games designed to function like sport, with seasons and passes and never-ending fixtures designed to dominate your leisure time, what a joy to be presented with a game that is so intricate and contained. This is a perfectly made contraption, with a start, a middle and an end, intended to inspire joy and build culture, and not, mercifully, shareholder value.

Animal Crossing is everything I have been craving: it is gentle, soothing, social and creative, and my group chats are already buzzing with hype about beetles and villager fashions. If there was ever a perfect time for a game such as this, that time is now.

Like Angry Birds, there's a big daft sense of humour behind Trials Evolution. Very much like Angry Birds, the game has got that "I'll just have one more go …" quality that can swallow hours whole. And exactly like Angry Birds, it's a simple premise that only takes seconds to pick up.

Absolutely reeks of effort, of care, of love for the sport. Blast EA and its peers for the way they run their businesses if you want to, but recognise this: with friends, with practice, with a will to re-think your approach to defence, Fifa is an absolute joy to play.

It is a genuine pleasure to play something that has been so lovingly envisaged, and which is so true to its source material. It’s a game everyone with a PS5 should experience, augmented by an admirable range of accessibility options to ensure as wide a group of potential players as possible can be Spider-Man. This is what mainstream action adventure video games should be: a big, wholehearted fantasy, invested with rewarding details and loaded with conflict and emotion. In all the ways that count, Marvel’s Spider-Man 2 is the embodiment of that famous Stan Lee motto: Excelsior!

Euphoric is the best word for Tetris Effect. It makes my skin tingle and my mind sink into a state of receptive bliss. It is, somehow, a puzzle game about the extraordinary experience of being alive on this Earth. And if that sounds totally insane: try it. You’ll soon understand.

Its concept may seem silly at first, but the latest title from prodigious indie developer Stephen Lavelle is one of the most difficult puzzle games ever made.

Peppered with devious puzzles, Ori and the Will of the Wisp is an irresistible challenge. There is extraordinary attention to detail – the entire world feels alive with excitement and danger. I struggled to put down the controller as I progressed deeper into the game, unable and unwilling to let anything stand in the way of Ori realising his true destiny. A bold and ambitious sequel.

This new visual novel from the creator of One Night Stand is an engrossing, emotional study of digital relationships that will hit a raw nerve with gamers.

Visual and haptical enhancements along with bonus content including new modes, cut stages and audio commentary from designers make this a required experience.

This is demanding work, but the game’s distinct but complementary loops of playful labour are highly compelling. The satisfaction of completing a challenging dive without needing to be rescued, then watching the rave reviews on “Cooksta” pour in, is profound. Stylish, witty and exquisitely designed, Dave the Diver uses several hooks to achieve its goal, while establishing the relationship between the food we eat and the world from which its harvested with useful urgency.

A hugely accomplished reinvention of a franchise that was showing signs of dotage.

The meticulous craft that has gone into its ingenious design is enough to warrant admiration from even those players who have no time for the portly plumber. As for the rest of you – and we're assuming you're Mario fans – you're in for a real treat.

For those players who can exercise a little patience and restraint, it's quite simply one of the best games you'll play all year.

Like your knowledge of the game’s beautiful and rich ecosystem, this knowledge accumulates naturally over time, and a game that seems intimidating at first quickly becomes one of the more rewarding gaming experiences of recent years. There is no feeling quite like taking down a dragon with nothing but a sword, your wits and sheer nerve.

In tuning the defensive systems and the attacking AI, the development team has unlocked the potential that Fifa 12 only hinted at, creating a game that, at last, seems to invite improvisational play, a game in which your own skill as a player comes to the fore.

Perhaps the biggest surprise, at least for anyone who played its brilliant but cruel predecessor FTL: Faster Than Light, is how overwhelmingly fair Into the Breach is. There are no random events that unexpectedly handicap you. Instead, every situation is winnable from the outset (though poor first-turn decisions will change that), and you are shown the consequences of any action before you commit to it.

If you’re at a point in life where you have frequent long evenings or empty weekends to throw at its mountainous challenges, you will find here an exquisite game whose subtle themes, gradually unfurling mysteries and beautiful samurai-period sights reward the determined and skilled player. Otherwise, Sekiro is a stubbornly locked treasure chest. It’s as if the Lord of the Rings had only been published in Tolkein’s own Elvish, unreadable without long hours of gruelling study.

Shogun 2 is a magnificent looking game with huge play and replay value. In terms of ambition and progression for the series, it arguably takes half a step back, but the huge leap forward in graphics and gameplay more than makes up for it.

Pandora feels more like an actual place than a virtual battleground, thanks to Gearbox's attention to detail in this game...I mean, when was the last time you cared about the name of any gun manufacturer in any shooter you played recently? Listen, I've played the heck out of the COD: MW titles, and I've used a TAR-21 more times than I care to mention, but I couldn't tell you who manufactured it... The gun-makers in Borderlands 2 don't even exist, for goodness sake, and I'm already brand-loyal to one of them.

DMC5 is a lot like Dante himself: older, grizzled, more experienced, yet still unapologetically juvenile in the best possible way. It’s bloody, spectacular and irresistible, all cheesy one-liners, guns, swords and explosions while guitars scream in the background, and it plays like a dream. Director Hideaki Itsuno and his team have delivered: Devil May Cry is back.

Neon White’s chaotic presentation and somewhat puerile script conceals a game of taut design and striking imagination – a delicious test of skills that generously rewards commitment with exhilaration.

Dead Cells is a deliriously good time whatever console you play it on, but the instant-on, play-anywhere nature of Nintendo Switch is a particularly comfortable fit for a game played in short, frenzied, fatal bursts.

This is fascinating, formally daring stuff that, in its two-hour playtime, asks more questions about the nature of memory, simulation and identity than a dozen 100-hour epics.

The skilful combination of game conventions and fresh ideas is the real marriage at the heart of this unusual adventure.

For now, it's the single player campaign – filled with stunning cut-scenes, music and voice acting – that prove the most compelling reasons to play this excellent sequel.

This extraordinary game tests you to the limit – even as it insists that it absolutely does not exist.

While its contemporaries focus on new ways with which to shock and excite on screen, Respawn makes the simple act of playing feel superlative. Its multiplayer is bigger and better, with the necessary depth and momentum to take it beyond these first few months after release, while its short but exciting single-player mode has the craft of some of the best campaigns of the last decade.

In truth, Dark Souls is un-replicable precisely because of its individuality. Yes, many of its best moments have been felt in other games through the years: the joyful surprise of opening an unlikely shortcut, the rush of dopamine at defeating a long-standing boss, the thrill of upgrading a character and evening the odds, the sense of aesthetic wonder at a piece of grand architecture. But no game has combined them in such an alluring and memorable way, or with such adherence to cohesive vision.

3D World is one of the brightest and cutest Mario games, a real riot of fun and colour to brighten up a particularly depressing February. Bowser’s Fury, meanwhile, is itself a super little Mario experiment, a novel adventure that might have felt thin as an individual release but which works perfectly as a side dish. It’s impossible not to recommend.

Fancy yourself as a hairy-chested gamer, hardest of the hardcore, with extensive knowledge of the arcane conventions of RPGs? If not, look away now, as trying to play Dark Souls may well turn out to be the most frustrating experience of your life.

Pokopia turns out to be huge, and unexpectedly complex. As new zones opened up beyond that first wasteland, I realised that this game was probably going to occupy me for as long as I wanted. (With 300 Pokémon to catalogue, the conclusion of the story need not be the conclusion of the game.) This is not a child-friendly Poké-painted simplification of the life-simulation genre, but instead an accomplished celebration of it, borrowing the best of all its many influences.

In the future, when the subject of the funniest comedy games of all time crops up, the usual names will be there – Monkey Island, The Stanley Parable, Death Stranding (I’m kidding) – but now surely a new one will join them. Coal Supper has produced perhaps the first great abstract Yorkshire-based cartoon puzzler of the 21st century. Thank goodness.

As someone who has played Tekken since 1995, who once smashed a PlayStation controller to pieces trying to beat Kazuya Mishima in Tekken 2 and who, as a young games journalist, often found himself in the Official PlayStation Magazine games room taking countless screenshots of Yoshimitsu’s Helicopter Stomp, Tekken 8 is an orgiastic pleasure. It is both familiar and new, eccentric and intuitive, and it does what all great fighting games do: it makes you feel incredible when you pull off an elusive series of moves to almost balletic effect. Tekken used to be dismissed as a showy poser by Street Fighter and Virtua Fighter veterans, its combos seen as over-automated and inexpressive. But later Tekken titles have added subtle layers of complexity, and now Tekken 8 wants everyone to see how that works...The King of Iron Fist tournament is calling. It is time, once again, to answer

Here is a keen reminder of gaming's ability to provide we who live in a world charted by satellites and Google Maps with new frontiers, with the unfettered joy of discovery, with the sense of our own psychical and mental horizons being expanded.

Where modern blockbusters are often weighed down by bloated worlds or predatory business models, Dead Space cuts right to the quick.

Sure, The Séance of Blake Manor is an autumnal treat filled with spooky scenes but it is also that most joyous of discoveries: a game that challenges, delights, thrills and educates in equal measure.

It all adds up to a new lease of life for one of Nintendo’s younger series, bolstered by revised combat and a gorgeous new look that endows these 3D characters with the grace and style of older games’ portrait art. By turns grandiose and silly, but always engrossing, this bubbling school soap opera is a game to spend a summer with.

Ever since it first worked out how to assemble pixels so that they resembled something more recognisable than aliens, the games industry has dreamed of creating one thing above all else – a game that is indistinguishable from a film, except that you can control the lead character. With LA Noire, it just might, finally, have found the embodiment of that particular holy grail.