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.