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.

Habitat destruction is something we’re surely all aware of – we’ve all seen the heartbreaking footage of animals left stranded in tiny patches of forest, surrounded by roads and industry. Beyond the Trees reinforces its ecological message through its visuals and through play, and though this might not be many players’ introduction to this pressing real-world issue, it is a new way to look at it, and a new way to engender sympathy. Developer Broken Rules has done its research here, both on the creatures themselves and the places they call home. No matter how many people feel moved to donate to conservation charities after playing, this game will have made a difference through its advocacy.

Despite its repetition and frustrations, I warmed to this grainy, gore-soaked journey after the tedious early hours. Thanks to a smattering of player choices, the game offers just enough of a hint at player agency to make you feel involved in the narrative, too, giving Trek to Yomi’s surrealist slaughter a sense of purpose. There’s a strong argument that a Japanese-made attempt at this genre would come closer to doing the samurai fantasy justice, but as with the many Japanese takes on virtual America, there’s a schlocky charm to Yomi’s tropey inauthenticity nonetheless.

By presenting unsolvable yet feasible questions in rapid succession, under a time limit, it reveals the flaws and inconsistencies in every person’s moral scaffolding. Unless you cleave to an inflexible rule to, say, never intervene in a way that will threaten life, or to always minimise fatalities, you are likely to find yourself assuming contradictory positions. In this way, Trolley Problem, Inc succeeds in being both absurd and provocative.

It helps, too, that the music is superb, vaguely reminiscent of Blade Runner’s Vangelis soundtrack at times, and it changes subtly with the decisions that you make. It’s just a shame that Citizen Sleeper fizzles out at the point where it’s set to explode. There are far more stories to tell in this fascinating universe, and this is some of the finest video-game sci-fi writing out there.

None of these sports would be enough to sustain a game alone, but together, and paired with Nintendo’s charming and slick aesthetic and brain-infesting music, they are the makings of a good time.

If you’re looking for a sliver of joy in bleak times, Nintendo always delivers.

There is hope and reconciliation here, but A Memoir Blue is primarily a tragic depiction of a person who has convinced themselves – or who has been convinced – that attainment is necessary for love. The story is fragile and a little simple but, like publisher Annapurna Interactive’s 2018 game Florence, it succeeds in creating a mood of compelling melancholy, heightened by Joel Corelitz’s exquisite soundtrack. And while A Memoir Blue feels deeply personal, it achieves that miraculous narrative trick of making the specific universally approachable.

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.

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.

It’s a landscape worth visiting, nonetheless. Okomotive’s games are the antithesis of open world blockbusters – see that mountain? You can’t go there – and their geography is all the more sublime for being non-traversable. Rather than routine video game empowerment, Changing Tides offers mindful deprivation in a ravaged world where even the concept of a haven must move with the flow.

Gearbox knows by now how to keep the narrative work light, and leave room for you and your friends to create the fun. The game has a real knack for making you feel like the quarterback of the fight – even if that means a team of four quarterbacks in one coop game, each firing off abilities and spells with wanton abandon. It’ll be hard to go back to the rather more straight-faced Borderlands universe after this jamboree of unicorn queens, goblin miner revolts and lute solos.

It’ll be tempting to reach for your phone and start looking for a solution when you get stuck in Tunic, but resist the impulse if you can. Just … be stuck for a while. The resultant wandering and thinking will lead you somewhere unexpected, and before you know it you’ll have found the way forward by yourself. It feels like a luxury to play a game that isn’t constantly prodding you towards the next objective, and that instead allows you the space to daydream.

It’s reassuring that despite ever-greater technical refinement, Gran Turismo’s unique, eccentric character remains intact. It’s present in the grab-bag mission mode, which handily demonstrates that a race between 17 brake horsepower Fiat 500s can be just as gripping as one between cars with 50 times that. It manifests most obviously in the utterly bemusing music rally mode, which has you hitting checkpoints to the strains of 80s pop relic Hooked on Classics. Keeping this distinctive spirit alive in the era of 4K and 60 frames a second, Gran Turismo 7 feels both fresh and comfortingly familiar.

An unrivalled feat of design and inventiveness.

The continual design evolution of one project split over three full games and dozens of expansions makes me hesitant to call Warhammer III a landmark strategy game in its own right. But looking back now at that very first trailer, it does feel like a promise kept.

I don’t think I’ve seen half of what Forbidden West has to offer. It bored me sometimes with endless dialogue and exposition, but is equally generous with things to do and places to explore and creatures to unwisely provoke. Unlike many open-world games it is continually offering you something new, and a couple of the tools you acquire later in the game really open the whole place up. It’s got the spirit of a Metroid or Tomb Raider-style puzzle adventure on the scale of an Assassin’s Creed. And once again: by god, it is beautiful. I’ll happily endure ten minutes of being lectured about terraforming, in exchange for marvelling at these sunken caves, forbidding plains and mechanical T-rexes.

While Arceus may be a sight that leads to sore eyes, this ambitious reboot sets Pokémon on an exciting new trajectory, finally recapturing a lost sense of adventure. What made those initial Pokémon games special was the way that they embodied a childlike spirit of discovery. The problem was that its creators struck gold on the first attempt – and spent decades repeating the same trick. Now, 26 years after I caught my very first Pokémon, the franchise is new again, and that gleeful sense of excitement is back.

The Chinese term “kung fu” roughly translates as “a skill acquired through hard work and practice”. Sifu might just be the purest expression of the concept that games have ever seen. The journey is brutal. It is not for the faint of heart, nor the short of patience. But those prepared to rise to the challenge will find that something spectacular comes after the pain. Is it worth the hardship? Ask me when the wounds have healed.

If you’re feeling understandably worn down by the monotony of the daily grind, OlliOlli World is the charming virtual alternative.

As long as you don’t mind a few hours of failure while you learn how to commit yourself to the way of the disc, Windjammers 2 is this winter’s sport of the summer.

If you’ve played a zombie game in the past decade, this mishmash of tattered post-apocalyptic stereotypes will feel all too familiar.

Given that Uncharted 4 is already available on PlayStation 5 as part of a wee free collection of PlayStation classics for all PlayStation Plus subscribers, it’s hard to argue that this is an essential purchase for anyone who’s played these games before. If they passed you by at the time, though, this is the best way to experience two different spins on the same bombastic action game – adventures that remind us why characters such as Nathan Drake (and his spiritual predecessor Lara Croft) suit video games so well.

There are plenty of co-op shooters on the market, and some intriguing titles on the way (Sons of the Forest, Gotham Knights, Redfall), but Extraction has military gadgets, dank horror and heart-stopping stealth, and those are qualities that, although not original, make for a heck of a game.

The museum itself is pretty rudimentary: a dark hall, with signposted identical locks pointing the way towards Nordhagen’s recreations of lock-picking mini-games. It looks and sounds basic, but the amount of effort, knowledge and understanding of the topic (and of game design and history more generally) that has gone into this mini museum is abundantly evident, from both the exhibits and the text that accompanies them. Like listening to someone talk about the PhD research they’re doing on a niche topic, it might sound boring at the outset, but by the end of an hour, you’ll come away with something you definitely didn’t know before.

This endearing adventure feels like a fever-dream Flash game you discovered in the 00s and could never find again.

The soundtrack is one of the best of the year, and it’s incredibly stylish. But the sheer gory, numerical compulsion at its core gets more terrifying the more you consider how much sway this manic impulse toward numb, exploitative accumulation holds in our own world. Dystopias like this used to feel creepily prescient. Now, they just feel terrifyingly honest.

There are none of the dials and tickers that usually clutter the screen in sci-fi games and films: your HUD is empty save for the occasional text prompt to inform you of your distance to the monolith, or the raindrops that smear across the screen. The uninterrupted views and undulating rhythms invite a near meditative state, the thrill of which deepens as your skill at manoeuvring the craft increases. A joyous, otherworldly ride.