Stalker 2 is a strange, brave and sometimes broken paean to resistance in the face of overwhelming odds. It is utterly uncompromising in its vision, often to a fault, and envelopes you in its dark spell of science, violence and chaos. Certainly, if you loved Dragon’s Dogma 2, which similarly edged towards self-parody with its offbeat systems, eccentric characters and overall jankiness, you will cope fine with this game’s technical and narrative inconsistencies. Indeed, like the stalkers that inhabit its damaged world, you may shrug, improvise, and carry on. If you thought developers weren’t making vast, outlandish, utterly singular open-world games any more, you were wrong: they are. And some of them have been through hell to do it.

With real travel compromised right now, tagging along with Signs of the Sojourner’s caravan is one way to experience the sights and smells of new streets.

A fun and life-absorbing game, yes, but a fickle one. In so many ways, it's like the real thing.

I’ve been playing versions of this game on and off for seven years now, but the fun doesn’t wear off. Splatoon 3 doesn’t offer something different, it offers more: more fashions, more modes, more ways to spend time in its messy, chaotic universe, alone or together. It is delightful to be back.

Above all, what stands out is the developer’s deep knowledge of and love for the period. The dialogue drips with fascinating historical detail, supported by an extensive glossary of terms. That, combined with a focus on the minutiae of everyday people’s lives, results in a game that provides a wonderfully evocative window into the past. The glacial speed of progress and preponderance of text might be a barrier, but Pentiment is a gift to any player who longs for a historical setting that’s more than a surface texture.

Final Fantasy XVI is the series at its most spectacular, for good and bad. However, Square Enix has taken a lot of the criticism aimed at previous games into account, and the battles offer more freedom, the characters are fleshed out, and thanks to detailed world-building, you finally get the sense again that there is a world out there that needs saving.

Two Point Campus isn’t entirely toothless: it pokes gentle fun at university life through a range of lightly cynical announcements about paying tuition fees and assignment extensions. Mainly, though, it is content to focus on the journey of learning and discovery that university is intended to provide, which it achieves in inventive, knockabout style. For all the game’s wry declarations, the one truest to its spirit is also the simplest: “Students are reminded to have the time of their lives.”

Frustratingly, though, you cannot see what feature you are paying for until after you have bought it – meaning that all your hard work will often wind up buying you a rubbish extra music track instead of something rather more exciting, like a new fatality.

In the areas that really matter – on the pitch – this year’s model is by far the best version of PES yet, and easily matches its rival.

It’s a triumphant study in how to explore and exhaust the creative possibilities within a set of tightly defined creative parameters.

It's not their best film-themed moment, but Lego Pirates of the Caribbean is still a hugely enjoyable, family-pleasing diversion.

I played using the touchscreen on my Steam Deck, which I found deeply pleasing and responsive compared to using the buttons, which were a little tricky. Decorating my tiny bookshop was great: discovering I could acquire a shop dog was a real joy. The local characters are quite a serious bunch and hold some old dramas and pathos – there is a sense of a lush, lived-in community unravelling secrets and context as the seasons pass by. It is the first new game I’ve found myself truly relaxing into in quite some time: the gameplay is rhythmic and mellow, and, dare I say it, genuinely cosy. Tiny Bookshop provides players with a job that doesn’t feel like a job but a lovely escape into words and stories.

The Taken King is the first time since launch that it’s been possible to say to new players that now is the time to start playing Destiny. The flaws have been ironed out, and the future’s bright.

I might have been disappointed by Metroid Prime 4 if it had come out in 2010. But now, after such a long break, I’m happy to return to this anachronistic way of playing: slow, laborious, sometimes annoying. It’s a reunion tour rather than a revival for the Metroid Prime series: some of the new material doesn’t hit but the classic stuff is still just as great as ever.

Lego Star Wars: The Skywalker Saga is a well-made and highly entertaining addition to this long, long series. It’s not doing anything radically new with the recipe, but it doesn’t really need to – this is a game about nostalgia, not just for Star Wars but for the Lego games themselves. These games have always sought to conjure our favourite family movie franchises as we choose to remember them, shorn of all the boring, indulgent and problematic bits. My god, even The Phantom Menace is bearable here. For this feat alone, the game deserves the attention of fans and families throughout the galaxy.

The thing with Capcom Arcade Stadium is that this isn’t just a nostalgia exercise – many of these games hold up today. Designers including Tokuro Fujiwara and Akira Nishitani crafted beautiful 2D play spaces filled with energy, challenge and luscious choreography, and these elements are still inspiring today’s shooters, metroidvania adventures and roguelikes. Back in the day, when you put 10p in a Capcom machine, you knew that, even if you only survived for 27 seconds, you would see wonderful places, effects, enemies and surprises. That feeling is captured here once more, for all to experience.

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.

The designer Sid Meier famously said that a game is a series of interesting choices. It's a maxim fully embraced by The Banner Saga, which stitches those choices into its very fabric to form a tapestry that is wholly your own.

This year builds on that quiet evolution but also brings a wealth of new and exciting additions, with its Legends of the Majors mode alone making it a worthwhile purchase.

The finest Sonic game in years, a riot of ideas that at times approaches the quality of Nintendo EAD's work. It may not provide much insight into where games are heading, but as a Sonic-themed celebration of the past few years, it's a surprising delight.

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.

Diablo 3 on console is a joy. What some thought a quintessential PC game feels at home in its new format, particularly where stripped of its forebear's annoyances. It may not push the boundaries, but as an old-school action RPG it is unparalleled.

The real fun of Snipperclips is in those first 45 puzzles, played with a friend over many short sessions or – as we did – in one afternoon. Once you’ve solved them, of course, there’s little reason to go back and play them again, but at £18 on a console with a currently limited catalogue, for anyone who owns a Switch this highly sociable game is a must-buy.

Nintendo has done an unconvincing job of trying to position this remaster as a kind of prototype Breath of the Wild, and it sets newcomers up for disappointment – and undersells Skyward Sword’s unique charms. It’s hard to think of two Zelda games less alike: one a celebration of unbridled freedom and emergent thrills, the other an on-rails rollercoaster built by Nintendo’s brainiest puzzle architects. Somewhere in the middle there is a potent compromise – and the skydiving in the forthcoming sequel to Breath of the Wild suggests it may have been found. But until then, Skyward Sword is doomed to feel less ambitious. After Breath of the Wild, though, what game isn’t? A backward step it may be, but Link still holds that sword arm high.

The Quarry’s charming writing and cinematic presentation make it an engrossing horror caper – even if this is, paradoxically, a game that’s often at its best when you’re not actively playing it.

Capcom's intentions are simple: to move Resi into the mainstream action zone, and give players as much bang as possible for their buck. It is an unsophisticated experience. If you want to be terrified, or use your brain, Resi 6 isn't the game. But if you just want to spray monster brains all over the place, while occasionally cooing at some gorgeous scenery, Resi 6 delivers in several spades.

This game made me feel like a swashbuckling stranger in a foreign land for a couple of evenings, and left me wanting more. What’s there is lean and sometimes exquisite, but there wasn’t time to fully explore the different weapons (or try on all those dapper hats) before Faraday’s adventure came to an end after around six hours. I could have spent twice as long exploring this beautiful and mysterious creation, but I’m grateful nonetheless for the journey I’ve had.

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.