With Battlefront 2, DICE has done everything to please Star Wars fans short of bending space and time so they can experience the original film's 1977 release as excitable ten-year-olds. There are problems, but the biggest are the fault of EA; a publisher publicly, frantically figuring out how to run a game as a live service, and which crossed a line now well-defined by its mistakes.

Wolfenstein 2: The New Colossus's story is a rich tapestry of violence, wild ideas and memorable characters, but when its excellent cutscenes end, its play struggles to reach the same heights. Mowing down Nazis is always a blast, but often those moments are undercut by the encumbrance of a counter-intuitive health system. New Colossus hosts some exceptional storytelling and unforgettable moments, but underneath all that is a shooter that never really excels.

Dontnod's first season of Life is Strange is a wonderful work, and one of the finest episodic adventure games of its kind. That's a lot to live up to, but Deck Nine does a top job recreating what fans love about the series while setting up a new story to be told about a pair of young women bound by new, exciting feelings and a shared distrust of the world around them.

The smaller scale works for such swashbuckling adventures, and its more open-plan design shows how the series should evolve. Early promise falters around the halfway point due to some noticeable shifts in what the player is able to do in any given space, but it quickly ramps up again to a spectacular finale. The game also serves as a reminder of how strong the supporting cast of these games has been. Chloe makes for a fine hero, and Nadine would have been as well. Perhaps they'll get a chance to return one day.

Tokyo 42 has been sold on the strong, vivid visual design of its world, but how player's view it is at the root of the game's biggest faults when it comes to play. The isometric angles and transitions between them often hinder smooth movement and a player's understanding of where they are in the world. When the game comes together as intended, it serves up inventive missions with the thrills to match its obvious influences, but those moments are broken up too frequently by frustrating design choices.

Ultimately Dawn of War 3 feels like a fairly generic, if thoroughly competent real-time strategy game. The genre is going through a period of rapid reiteration, and perhaps the most surprising thing about Dawn of War 3 is how unsurprising it is. Its predecessor was a bold reimagining that took both the series and the genre to unexpected places, but with this, it feels like the franchise is playing defensively, sticking to what it knows. I don't think Dawn of War 3 is the game the franchise deserves. Its flaws are legion, but I can't begrudge the game when it's so much fun to play. The single player is shallow nonsense, but the game pulls it back in multiplayer, and Warhammer fans will struggle not to smile when everything whirrs into explosive motion.

Guardians of the Galaxy: The Telltale Series gets off to a good start with a story that intrigues about a set of characters all too familiar. How closely the game looks to the recent movie and upcoming sequel for its tone, characters and design is to some degree understandable, but also seems like a missed opportunity – at least this early on. As ever with a Telltale series there's potential going forward, but if the Guardians are to strike out on their own in video games, they need to play something new. At the moment, they're a bit like a covers band.

Snake Pass is designed for 20 to 30 minute bursts, getting a little frustrated during that time but revelling in the satisfaction of completing a climb and finding a new trinket for the pile. It has issues with its structure and pacing, but not at all with the artistry of its mechanics or audio-visual design. Given life by David Wise's laid back, fun and thoroughly-hummable score, Noodle's world is rich, vibrant and a joy to slither around.

The writing itself is often uncomfortable. Every line feels like an attempted one-liner vying for your attention, the result being conversations and interactions that often sounds unnatural. Both the larger story and these rough exchanges turn what should be a very interesting and nuanced premise into a great lolloping narrative that leaps from one thing to the next.

Ghost Recon Wildlands delivers on the promise of a special operations sandbox, but its version of Bolivia is toothless, with its vivid colours and bright ideas coming together to create just a bland grey. The stealth gameplay is satisfying, and co-op gives the game more tactical depth than might first seem apparent, but technical issues and mediocre AI teammates and enemies lead to a performance that's more "meh" than "yeah!", and it's unlikely you'll hear anyone talking about Wildlands a month from now.

As suspected, 1-2 Switch would have been much better served packed in with every Nintendo Switch (and it may yet become that). As a demonstration of the Joy Cons' abilities it's fantastic, as a multiplayer party game it's fun and often hilarious, but it could stand to have just a little more in the way of longevity.

For Honor is bloated in a way it doesn't need to be, but in a way that's completely unsurprising for Ubisoft. A ton of cosmetic upgrades and progression rankings can't save it from being an ultimately narrow experience. It may not wholly satisfy anyone craving an enormous single-player campaign or competitive multiplayer, but if you want a surprisingly competent fighting game that's capable of offering some great, tense and skill-based encounters, For Honor has enough to offer. Ubisoft may have marketed the game as a big, broad battler, but in truth it's just about you and your opponent and that's where it is at its best.

Halo Wars 2 isn't a bad game, but compared to the wealth of excellent strategy games we've been spoilt by over the last few years, it feels positively ordinary. Exceptionally well-handled Halo fan service obfuscates a mediocre game that doesn't really have any new ideas. Fans of the franchise will appreciate what is here, but RTS buffs will be better served elsewhere.

Considering its development history, it's unsurprising that Final Fantasy 15 lacks crucial focus and depth when it comes to its largely stodgy tale of Oracles and Crystals or its unspectacular combat, with both found particularly at fault during the game's dour concluding chapters. Yet like Prompto's incessant nagging to go ride Chocobos, it's easy to give in to the breezy charm of the game's luscious open-world and the whimsical antics of its Tumblr-baiting bro-tagonists.

In The Last Guardian players form an incredible bond with Trico, tested in an adventure worthy of Fumito Ueda's vision. The challenge of not just the puzzle-platforming obstacles, but of understanding this otherworldly creature, creates a connection more genuine than any players are likely to have experienced in other games. Everything that would make the game a beautiful and unique classic to match or even surpass its predecessors is here, but like its captivating star the game doesn't always perform as you'd hope. We hope the developers are able to remedy the bitterly disappointing frame-rate problems, but until such a time they cannot be ignored.

The best single player campaign Call of Duty has produced in years provides a decent story with some really impactful moments. The set pieces are as good as ever and the cinematics look phenomenal. Zombies in Space is a nice idea and well-implemented, but will be a disappointment to hardcore fans of the mode due to its relative simplicity. Unfortunately the multiplayer is a bit of a let down. Too few changes make this feel like a rehash of Black Ops 3 and the new ideas fail to hit the mark.

The bare-bones PvP arena offers a fleeting blast of adrenaline and the painted world's gorgeous wintry landscapes are enchantingly brutal, yet as a whole, Dark Souls 3's first expansion colours within deeply worn lines and falls short of FromSoftware's illustrious history of unforgettable, industry-leading DLC.

RIGS is suffering from a content deficit and made me feel sick every time I've played it, but as a competitive game it's compelling, albeit frequently frustrating. It's a bold step towards the sort of content VR needs, even if it falters in its execution.

Mafia 3 is a game of real gravitas in terms of its story, which tackles some serious subject matter. However, the efforts and intentions of Hangar 13 here are let down by repetitive gameplay, a lack of side missions, and some embarrassing glitches that sadly leave the whole experience lacking.

PlayStation VR Worlds is a great idea, but essentially it's just a bunch of completely separate tech demos that have been chucked together and branded as a game. There's a lot of promise in the concepts explored, but none of them have really been fleshed out properly. If you were wanting to demo PSVR to an event visitor, it's great, but this is a pricey novelty to play at home.

Arkham VR is a limited game but a robust experience, with only some replay value through collectable Riddler trophies dotted around subsequent playthroughs. Like many other VR games it serves well as a showcase for the possibilities of virtual reality, but doesn't offer players an experience with any real depth.

Stripped down, Headmaster is a simple game, but it's well-made and presents itself in a fun, light-hearted way. As a launch game it fulfils its purpose and then some, providing a sizeable challenge but one requiring a level of fidelity the headset itself isn't quite capable of replicating.

Virtual reality racing has an enormous amount of potential. Racing games are often visual delights however, so what Driveclub VR lacks in this department is notable despite the sense of presence that makes it so fresh.

Paper Mario has historically given Nintendo free reign to bring something new to the table, all while poking fun at the titular character's notable legacy. In this light, Color Splash is a riotously funny, joyfully eccentric, but disappointingly safe reimagining of its premiere mascot. For every instance of dull combat, though, there's a humorous home run that makes Port Prisma a worthy vacation spot.

The Journey is a great showcase for all the new Frostbite engine brings to Fifa, but the move hasn't exactly rocked the boat. Beyond the fancy, and compelling new career mode, Fifa appears to have maintained its form at a time its competitors are running away in terms of quality. What the game lacks in finesse and gameplay, it makes up for with deep game modes and a graphical update to rival competing engines. Fifa 17 is neither a departure, nor a revelation, but a safe entry in a transitional year.

Spirit of Justice is yet another enjoyable entry in a cherished franchise, which doubles-down on the delightfully zany aspects of the series to great effect. The back-and-forth courtroom disputes suffer from a weak presence on the opposing bench and several decade-old mechanical flaws, but none of its sins are egregious enough to quash the divine character work and enchanting anime style. An imperfect, but nonetheless victorious, return for Capcom's distinguished defence attorney.

Like so many indie platformers before it, Hue takes a great core concept and turns it into an admirably inventive game buoyed by some vivid design, a genteel story and a lovely score. That core concept doesn't stretch quite as far as the developers would like to think, but if you like puzzle platforming then Hue is a game that you should certainly pick up.

In spite of its myriad frustrations, I Am Setsuna is far from a characterless husk, but its mechanical regurgitation of shallow tropes and the over-complication of a ready-made battle system manages to cast a dim light on its reserved tone and glacial atmosphere. Designed to be a reverential ode to cherished RPG classics, I Am Setsuna is a functional footnote rather than a sweeping fresh stanza.