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.

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.

This is a perfect weekend game: cheerful, fun, challenging but not too demanding. It successfully recreates the atmosphere and sense of adventure of the 90s 2D action-adventures that inspired it, and occasionally betters them.

Such rough edges, and there are many more, suggest that while CoD: WWII may look the part, this is actually a game rushed to hit release – there are at least two areas in HQ with placeholder vendors saying ‘coming soon’.

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.

Come for the gorgeous bygone ragtime jazz, Porkrind’s shop and an evil carrot; stay for the thrill of defeating a boss you’ve spent hours attempting. It’s painful, but you won’t find many games with such a moreish, satisfying sting.

This is a rare example of racing fun for the masses and the maestros, one that’s expertly engineered and polished to a level that would make a Concours d’Elegance winner envious. It may make some controversial design choices, but in terms of the on-track experience, it’s the FM series’ most engaging drive yet.

There’s no question that EA’s behemoth delivers bang for its megabucks.

Smashing two dimensions together should be the stuff of ambitious prog-rock albums, but Infinite seems determined to steer towards the middle of the road.

Death of the Outsider successfully sees out one of its most intriguing lead characters and one of its most powerful villains in a worthwhile adventure. Across six or so hours, this standalone indulgence doesn’t add much truly new, instead relying on tweaks of its existing formula . But it delivers strong missions and an excuse to continue skulking around this fabulous and hugely atmospheric world.

Everything you hated about the first three years of the game has been refined, removed, or reappraised, and the game that was left was one that makes sense from toe to tip.

Sonic Mania is what Sonic fans, both lapsed and unwavering since the Mega Drive days, have crying out for all these years. It is a celebration of Sonic history. It is the greatest possible gift to the video game ilegend after spending so many years in the abyss; so great, in fact, that it took someone other than Sonic Team to give it to him.

Though The Lost Legacy boasts beautiful new environments to explore and for Chloe to take collectible photos of on her smartphone, the journey through them feels very familiar. The only thing that’s truly fresh about this game is the protagonists, but they’re a promising pair, and those who don’t mind a formulaic sequel should take the chance to get to know them. They’ve certainly proved that we don’t need Drake.

It’s what you’d expect from the people who made Gone Home, but that’s no bad thing.

Splatoon 2 gets so much right that it’s easy to ignore the occasional baffling ways in which Nintendo has failed to score into an open goal.

Like Friday the 13th (and to some extent the similarly asymmetrical Evolve) there is a great concept here, but the balance and finesse are lacking – especially when you’re not playing with friends. Hopefully there will be patches and updates, bringing the console version more in line with its PC originator, which has been improved greatly since launch. Dead by Daylight needs and deserves a more nuanced, crafted and considered structure. It needs to be more Wes Craven and less Rob Zombie.

Played alone or in co-op, played in Arcade mode or one of the more specific mission challenges, Nex Machina is a thrilling masterpiece.

Arms is a good starter fighting game, both for players and for Nintendo. Hopefully future updates will give the inevitable franchise a bit more bounce.

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.

It’s a simple statement that’s both endearing and heartbreaking. It hints at the thousand real-life moments of grief and joy that served as inspiration for this game. That emotional weight shines through, making Rime a thoroughly rewarding experience.

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.

Nearly everything good about Prey is pulled from a game released in the decade before it. Well, four other games to be exact...The new Prey takes the highlights of these games, but merely allows them to coexist in a single habitat, never doing anything new with the foundational building blocks it has borrowed.

Thanks to the Rumble HD in the JoyCon, you get a sense of that physical feedback you would once have got naturally from those mechanical arcade machines; you feel your seed rolling from one side of the screen to the other. And while the tension of TumbleSeed makes it a surprisingly great spectator game, this just feels right in portable mode, with that precarious, procedurally generated mountain in the palms of your hands.

What Remains of Edith Finch is a game that succeeds in recreating the childhood joy of reading a book and being utterly transported into its pages, only to reach the end and realise it’s not real. It will touch the heart of all but the most soulless of gamers.

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.

What the game loses by not having had a Rare/Nintendo-sized QA department to smooth its rough edges it compensates for with a princely pile of ideas, and a lovely control scheme that only improves with elaboration.

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.

Everything takes this strange comfort of the procedurally generated personal to a universal scale, and it is good. It’s really good. Everything is a game that knows what its core strengths are, and it does not shy away from them: everything persists, and everything is connected.