Despite its few knots, South of Midnight hangs tightly together, tying up its threads deftly while spinning an enthralling yarn. Just don’t mention the S-word.

Sorry We’re Closed will find kinship in fans of the Persona series for its flamboyant character storylines. It’s less successful in trying to emulate survival horror stalwarts such as Silent Hill or Resident Evil. But Michelle’s amusing antics in combining these two strands make A La Mode a studio to watch.

Though a little rough and ready round the edges, Atomfall’s nuclear fiction is an interesting fusion of ideas, albeit one that isn’t going to blow you away.

Xenoblade Chronicles X remains stuck in the game design of 10 years ago, padded with hackneyed dialogue, pinballing the player from silly quest to tired kill quotients. Sure, it occasionally surprises you with a stunning panorama or confronts you with a colossal enemy. Even then, though, it’s not long before you’re engaged in a repetitive combat loop where your attacks trigger automatically and your optimum strategy relies on approaching enemies from the rear.

The two leads make for charismatic avatars, differing wildly in their combat styles and thus lessening the possibility the player will tire of the formula that underpins the gameplay for long periods. We have not been short of sumptuous hack’n’slash blockbusters set in Japan’s beautiful countryside – from 2020’s Ghost of Tsushima to last year’s Rise of the Ronin. But Shadows somehow edges them in its synthesis of ancient Japanese culture. For sheer spectacle alone, it rarely flags, treating the player to an endless stream of exquisite tableaux, from majestic castles to bustling towns to imposing mountains and forest.

Expelled! puts an interesting twist on the format of a visual novel with some crackling dialogue and a cast of engaging frenemies. The key is to pinpoint their weakness and manipulate them to your own ends. However, the repetitive nature of the day means that you often feel forced into trial and error to unpick the solution, with logic sometimes taking a back seat and deja-vu discouraging you from saving Verity from herself.

Split Fiction has an infectious, humorous energy that rarely flags. Even if the gameplay ingredients feel like a greatest-hits compendium, the enforced co-operation brews them into a heady cocktail of entertainment.

Wilds is a tasty meal but made with a few insipid ingredients that water down its flavour.

The developers build an evocative monastic backdrop using painterly visuals and a cast of eccentric characters, overlaid with stealth mechanics and puzzle solving. Nonetheless, some glitchy animations and wonky interface design hint at a limited budget for playtesting. The Stone of Madness may not have the panache and depth of say, Shadow Gambit, but it’s an unorthodox prison sentence worth serving.

Sure, Avowed has a sense of the familiar in its squad RPG tropes. It draws on a long lineage that stretches from Skyrim to Mass Effect to, more recently, Dragon Age Veilguard. But it playfully weaves its elements into an enthralling fabric that wraps you up and won’t let you go.

It's not that Resistance is impossible to resist but this war machine has been finely honed over several instalments and offers a thrilling if predictable ride.

By aiming for authenticity and committing to character growth by repetition, Deliverance II walks a dangerous tightrope. Its uncompromising nature won’t be videogamey enough for many players and wilfully renders some components such as combat unappealing.

Eternal Strands offers minimal handholding and opens a vast world to explore, so you’re often left fumbling around in empty spaces to discover the path to your next quest. But even this padding just leaves you yearning for the next exhilarating encounter you know will be around the corner.

Taken in isolation, DKC Returns HD stands as a generously endowed 2D side-scrolling platformer in the grand tradition of the series. Colourful and punchy, it taxes the reflexes and the brain via 80 levels densely packed with hazards, secrets and optional challenges.

Aspyr offers a selection of concept art, lost levels, soundtracks and videos – all of which will be doubtlessly manna to fans of the original. But compared to more rounded remasters from the likes of Digital Eclipse, Legend of Kain might better have been left preserved in aspic than pulled screaming a quarter century into the future.

If Fitness Boxing 3 gets you moving even a little bit more than usual, perhaps that’s job done. But you might just as well look up a few boxercise videos on YouTube and save your money for a new pair of trainers.

A steady drumbeat of patches has eliminated the worst excesses of the underlying code. But it will still take a long uphill march for Asobo to crest the summit of its ambitions. For now, this flight is just struggling to get off the ground.

Even if the revelations are few and far between here, Tetris Forever always has the game to fall back on – you’re never more than a couple of button presses away from losing hours to another pleasurable round of shape-shifting shenanigans.

Think of this as an homage to audacious action cinema – from the likes of Hong Kong director John Woo – but remember you are no passive observer. You will need to practise, practise, practise. Kill or be killed. Repeat to fade. Yet forever irresistible.

Perhaps The Great Circle never again quite hits that fabulous high bar of the Vatican locations but as the enthralling remaining hours roll on, you never regret the time spent in Indy’s company – or, more accurately, being Indy.

It has constructed a fascinatingly hostile and deliberately unstable environment. But the lack of strong characterisation, the clumsy interface and the sheer anarchy of the world are obstacles to truly enjoying being in the zone.

Some players found Baldur’s Gate 3 intimidating in terms of its flexibility and so Veilguard will be more comforting to many in its tendency towards an on-rails experience. The sumptuous art direction and thrilling combat go a long way to hiding the reality in Veilguard that your influence and choices in the world are often quite limited.

There’s a very understandable reason why Black Ops 6 has performed noticeably better at the tills compared to last year’s poorly received Modern Warfare 3 – it’s actually a damn fine game, the best in years.

The detailed art style looks gorgeous in handheld mode but forces the Switch to struggle noticeably on a big screen when it’s pushing more pixels. Shackled by the tedious storytelling and tame dialogue, Mario and Luigi feel like the relatives you should visit more but who are frequently annoying when you meet them.

Crow Country deftly balances a comically grotesque story with some rudimentary combat and brainteasers of variable difficulty. It’s an ironic throwback to the days when games had to dial down the realism because of technological limitations. Your imagination does the rest and you’ll never trust a crow in the real world again.

Aeternum still manages to captivate after many hours of gameplay, nonetheless, and it’s encouraging for the future of the game that Amazon has stayed loyal to the project for so long already.

Nomada keeps its game tightly focused, leading to a running time of about four hours. But the melancholic exploration of the intertwined emotions of parenthood, death and nature will stay with you for a lot longer.

Unlike Resident Evil, Silent Hill 2 is sparing with scenes of pure horror, save for the infrequent encounters with unkillable nemesis Pyramid Head. He comes at you every so often with a giant blade, his metal mask shielding him from your bullets until he decides to go away again for no apparent reason. Less is more – in terms of visual style and tension-building – can be effective but the long periods of nothing dramatic happening in drab locations border on monotony. And that’s the last thing you want in a scare-em-up.