After the fifth and sixth games, the Resident Evil series was in dire need of a re-think. That’s exactly what Capcom have done, and they’ve done so in a way that’s braver, bolder, and more assured than I could ever have dreamed. They’ve refreshed the series for modern times, incorporating new techniques to ensure the horror is both sickening and chilling, while re-focusing the core structure around the things that made these games so great to begin with. The result is something that will almost certainly go down as a Resident Evil classic; a title that will be spoken about with reverence in the future, and an excellent turning point for the series as a whole. In those respects, Resident Evil 7 is the new Resident Evil 4.

An endearingly daft sequel that ditches the original's dour action for a brand of subversive play that squeezes the most out of some cracking gadgets and a brilliant map.

Planet Coaster isn’t Rollercoaster Tycoon, nor is it Theme Park. This may put off those looking for a simpler, more nostalgic take on the genre, but it’s nonetheless the most creative, technically intricate theme park sim to date.

Inconsistent performance aside, Dishonored 2 is a marvel. It’s a magnet for positive adjectives, setting a new and extremely lofty bar for future stealth games.

It'll take a few balance patches and expansions before it achieves absolute perfection, but the list of wholesale changes Civ VI brings to the storied formula makes for an instantly sumptuous strategy treat.

An initially intriguing game that quickly reveals itself to be a slight and unimaginative shooter. An opportunity missed, and a let-down on a technical level to boot.

From giving PC players split-screen, to flawless frame-rates on mid-high-end rigs (Radeon R9 390X GPU, i7-4790k CPU, 16GB DDR3 RAM here) and bug-free performance, to a multiplayer mode that doesn't split its community with an insidious season pass, Gears of War 4 4 is progressive not only for its series, but for the entire industry.

Perfectly distilling the Horizon formula, Playground Games have produced a racer that's varied, exciting and gorgeous to look at - and arguably the best of the generation.

Rivals puts a spin on its predecessor’s formula, but doesn’t really improve on it. For the yet to be initiated, the original is simply bolder, represents a more unique take on the 4X genre, and is thus the one to pick up. The ability to choose how to take on the Sorcerer King, directly or indirectly, is still a welcome addition though. Indeed, I wish it could be added to the original game as a mode or optional victory path. With that not happening, the standalone is the only way to get that extra choice and experience the apocalyptic war from a different perspective.

Absolutely bursting with breathtaking vistas, No Man's Sky works best as a stellar walking sim. Sadly the half-baked survival elements only detract from the experience.

A handsome, thoughtful blend of shooting and stealth that delights with its choice-driven play. Though it can feel painfully rushed at times, which is a shame.

Mirror’s Edge Catalyst is an exceptional sandbox. There’s nothing in the entire medium that feels quite as unique as being able to sprint, duck, and dive towards the horizon, making the most of the many varied paths on offer in this superbly sculpted playground. But when the game tries to be more than that, it begins to fall apart. Catalyst is certainly a step forward for Mirror’s Edge, but not the leap that it could be. If this is the return of Faith on a regular basis though, DICE have created the foundations for a very strong sequel indeed.

It was inevitable that The Witcher 3 would close on a high, but few will have expected what they’ll find in Blood & Wine.

Total War games past have expanded, changed and morphed over time and this will doubtless be similar. As it stands, Warhammer is a worthy addition to the series, particularly as a melding of two universes we’ve long wanted to see collide. And before long, as the patches roll in, it could be even more than that.

Calling Stellaris Europa Universalis in space is probably reductive, but it was the first thing I did in this review not because they are almost exactly alike, but because, when I put away my empires and get on with my day, the stories that have played out in these digital worlds embed themselves in my brain, and I so desperately want to tell people about them. Both games tickle the part of my brain that wants every battle to have some greater context, every move I make to be part of a larger narrative. Stellaris manages to do this without history to lean on, though, and does so with aplomb.

The Banner Saga 2 captures much of what made the first game such a compelling fight for survival. It has a tendency to focus on the bigger picture and with the large number of characters that don’t have much to say, some of the emotional engagement from the original is lost, but both the management side of things and the tactical battles have been lavished with improvements. The journey is bleak and savage, but the game is great.

You start off as a weak, undead wanderer and eventually grow into a being that can kill god-like monsters, and it’s not because the game’s narrative needs you to be that powerful, but because you’ve worked so very hard to get to that point. It’s an incredible feeling, and makes Dark Souls III an incredible game.

This is a game which looks spectacular, sounds downright amazing, implements engaging systems and ticks all of the What Makes A Good Real-time Strategy Game boxes, however its true beauty comes from the moments I’ve experienced that you never will and vice versa. With more campaign episodes due further down the line, not to mention modding and Steam Workshop support, it seems Ashes of the Singularity can only get better.

The Division’s astonishing complexity makes it appear to be one of Ubisoft’s most ambitious games to date. But that’s actually smoke and mirrors, because the key components are remarkably simple. Underneath it all, this is a classic Ubisoft open-world game, bolstered by fantastic co-op and PvP support, and marred by RPG percentages that are as intrusive as they are ineffective. Approach it with the view to completing the campaign and sightseeing New York with friends and you’ll have a blast. But this isn’t a world you’ll be living in for years to come.

A powerfully distilled story told in a time and place that haunts you with its beauty, its mystery, and restraint. Firewatch takes the time to turn its setting into a character, and it's one of the most three-dimensional videogame characters you'll encounter in 2016.

That this story of desperation and ingenuity should come from Firaxis, who had no cause to be ingenious, who weren't desperate but instead buoyed by the hard-won success of Enemy Unknown, is all the more remarkable. The studio is known for handing new iterations of Civ off to younger, less-proven designers, but this is braver still. XCOM 2 is no iteration at all, but an inspired rework. A new underdog story that requires new, underhand tactics.

Regardless of if you’ve played the first game or not, Rise of the Tomb Raider is a journey you should embark on. Few games offer thrills in such a well-crafted, honed package. There’s simply not a single moment when the game doesn’t feel like it’s not giving its all. Rise of the Tomb Raider truly makes you feel like Lara Croft: a bow-wielding, mountain scaling, bear-slaughtering, cave diving mad lady with more curiosity than can be healthy. And that feeling is just wonderful.

I’m not going to beat around the bush here: Homeworld: Deserts of Kharak is the greatest RTS I have played since I first started flirting with StarCraft II. It’s blessed with the detail of Wargame, the interesting terrain of Company of Heroes and the iconic style of its space-based predecessors. Diverse, distinct units; a genuinely compelling sci-fi story of mythic proportions; and absolutely the best sound design in the genre work toward making it a stand out RTS.

It’s impossible to deny that there are a number of things that Just Cause 3 doesn’t do very well, and a lot of the things it does brilliantly are very similar to its predecessor. But all of this is easy to forgive when your adventure in Medici plasters a grin across your face for the duration.

The lower-than-anticipated graphical quality and sometimes iffy performance is a bit of a blemish on the experience, but Fallout 3 suffered similarly and still achieved greatness... Its combat is the best Bethesda have ever produced: involving, kinetic, and exciting. The collection of weapons at your disposal are destructive and inventive, and strapping on power armour makes you feel like an absolute killing machine.

Hearthstone is good. I adore it. But think very carefully how if you want to get in here.

For the most part the execution is too simplistic, and the frustrations are too frequent.

It's an improvement on the scrappier feeling original, introducing that one tiny combo-blending manual trick that transforms the game into a profoundly new-feeling and lovely thing.

None of the separate parts – the platforming, the construction, the light strategy – stand out as particularly refined or able to stand toe to toe with games that just focus on one of those things, but Q-Games has put them all together in a package that is much more than the sum of its parts, hiding its flaws under the satisfying pace and multitude of unlockable rewards and newly discovered recipes.

For the moments where the procedural stuff just works perfectly, creating a bastard-hard but ultimately memorable level, and for the world itself, which is lovely, The Swindle is worth dedicating a couple evenings to. It won’t steal your heart though.

Considering you’ve likely played the previous three games and have now spent around eight hours keeping homicidal animatronics at bay, there’s nothing about this fourth game that begs for you to return. Instead spend the cash on a bag of snacks and some drinks, and watch someone else shriek loudly into a microphone for you.

It’s missing that spark of personality and something that ties all the scenarios together. And it’s in desperate need of a great deal of polish.

Ultimately, there just isn’t anything that Interstellaria does remotely well, beyond the cracking soundtrack.

Putting aside the superb plot, Square have made it easier than ever to catch up: main scenario quests have had their experience rewards doubled, and also provide high level equipment. You’ll also be put in priority queues for dungeons and story instances to get you through them hassle free.

A tightly-conceived, devilish little game, keen to show dungeon crawling conventions the trapdoor. It takes what it needs from the best in CCGs and tactics and folds them into a structure that’s clever and consciously underivative. It’s a deck I intend to keep playing with.

It’s fast, explosive and completely ridiculous, and it’s horribly frustrating when whole days go by without it working.

When you first boot it up it feels surprisingly robust, and there’s never a sense that it was created on the cheap to cash in. The matchmaking can certainly make or break the experience from match to match, but when the going’s good Block N Load is a smile-generating shooter.

Her Story is a captivating experiment in stripped down storytelling and the best use of FMV that I’ve ever had the good fortune to encounter.

Star Hammer’s combat systems are truly exceptional, but they’re trapped in a bland, forgettable campaign.

At the moment it’s functional, sometimes fun, but only something that should really be considered if you’ve got three chums who are guaranteed to play with you. Even then, you might be better off with the original Magicka and its slew of DLC or Wizard Wars, which is free-to-play.

Perhaps The Witcher 3 could have done with another month or so of extra development to work out the kinks, but even without the extra time it’s an enormously impressive game that proves, in case there was any doubt, that gargantuan games don’t need to be stuffed with forgettable filler guff.

To enjoy that game, you have to forgive incomplete or poorly implemented features, and make your peace with the evil AI. They’re small problems, in the scheme of things, and they don’t spoil a great drive. But they’re just enough to deny Project CARS what could have been a clean pole position.

To review it is to appraise the enormity of the human spirit of exploration, to rate the drive that spurred us to flop up out of the ocean and then up a tree and then back down again and then over some mountains and through some deserts and then off up into the heavens...I love space and Kerbal Space Program.

I’m hooked in the same way I was with the last game, and not because it’s stayed the same, but because it’s managed to strike that balance between the comfortingly familiar and the refreshingly new.

It’s been a shame to watch all of Perils of Man’s promise go to waste. It got its hooks in me, made me eager to jump down the rabbit hole, but it just led to disappointment.

It is, perhaps, not a very good adventure game, but – and this is despite the first act – it’s a compelling bit of interactive fiction.

For those coming fresh to the experience, you’re about to play one of the best games ever made. It’s still very much the Grand Theft Auto you’ve known and loved since the series transitioned to 3D open worlds in GTA3, but it has been enhanced and improved to dizzying heights.

StarDrive 2 would be an impressive 4X game. But its annoying tone, eccentric AI and the shallowness of the empire management casts a shadow over it. If we weren’t in the middle of an unexpected flood of 4X games, then its take on space conflict alone would make it worth playing, but at the moment there are just too many alternatives.

Personally, I found it a chore, becoming so caught up in my frustration that it became difficult to enjoy the detailed pixel artwork, take in the soundtrack, or even find satisfaction in finally killing a boss. However, I think there are players who will love this game.

But Vietnam ‘65 is really closer to great board game design than traditional PC wargame design. It’s a single scenario that operates according to very special rules. But it holds up under repeated play.

Obsidian had a daunting task before them: to make a spiritual successor to a series of games that are inextricably tangled up in nostalgia, over a decade after the height of those games’ popularity. This is not the Baldur’s Gate of 2015, it’s Baldur’s Gate, Planescape: Torment, Icewind Dale, the best parts of the lot of them wrapped up in something new and brilliant.

Visceral have created a perfectly good functioning Battlefield game in Hardline. It shoots as good as the best of them, the car-chases are fun, and the small tweaks made to the core formula are very welcome. But a little refinement does not mask that this is a very similar game to what we bought in 2013; despite the strong efforts to make a variety of new game modes, you can’t shake the feeling of playing classic Battlefield.

If you normally struggle with the multiple complexities of a 4x strategy game, Starships is a great introduction to the genre.

Cities: Skylines is absolutely the best city-builder I’ve played since SimCity 4. From macro to micro, from the sprawling transport networks and city-wide policies to the fine-tuned districts and street-level detail, it impresses.

It’s just not as enjoyable. The first game felt like a focused blast of adrenaline. Hotline Miami 2’s always stopping and starting, its new characters feel rough and buggy, and the new reliance on guns restricts how you can approach combat.

It is, across the board, an improvement on Rome II, despite some issues that have been carried over.

While its stark simplicity might feel cold or even cruel at first, Mode 7 have in fact boiled the Synapse formula down to something perhaps more beautiful, burning away its impurities to leave hard diamond.

There’s not a huge amount of content in Evolve compared to many unlock-led games, but by keeping things tight the game always stays focused on what’s important: the thrill of the hunt. The almost absence of variety in the map design may well hack down Evolve’s lasting appeal, but what’s here in the main game is perfect for many great hours.

The management aspects are shallow, and made entirely redundant by how easy it is to reach Scrooge McDuck levels of wealth. And there’s a serious dearth of good reasons for veteran Cities players to return. They’ve seen it all before.

It is a game crafted by those with an irrepressible love, and possibly hunger, for words and tales.

Grow Home is utterly lovely. It’s welcoming and sweet, and its simplicity is as elegant as BUD is adorably clumsy. Little experimental treats like this are worth a dozen Far Creeds and Assassin’s Crys.

I can cheerfully recommend it to people who may never have encountered the game before. But if you’re a Heroes of Might and Magic fan, who never needed high-definition anything to enjoy these games, then the chances are that GOG already had you covered, and there’s not much for you here.

Despite taking cues from other open world games, ones nobody could ever accuse of being fresh, Techland has molded these borrowed parts into something that is occasionally formidable. Dying Light never quite shakes off the spectre of these other games, but it doesn’t play it as safe, presenting a world that is infinitely more deadly and fraught with tension.

After quite a bit of meandering, Life is Strange offers revelations, along with dialogue that isn’t trying to ape how a teenager might sound. Or maybe the awkwardness is just drowned out by Chloe and Max’s sincerity. And, in the tradition of all good TV pilots - it owes as much to TV and cinema as it does to other games - there’s a cliffhanger that’s going to force me to come back.

It’s the most purely fun, accessible RTS I’ve played in years.

It’s loaded with some of the best adventure game one liners; a gripping, winding plot that only slips up three quarters of the way through the game, and then improves drastically afterward; and a vibrant, bizarre world that, for all its weirdness, is extremely easy to get attached to. It’s just not a very impressive remaster.

The more focused campaign, and a protagonist that is much more than a cardboard cut out have elevated the sequel considerably.

Elite: Dangerous is a beautiful arcade experience, plugged into an empty galaxy, one so big and bold that it might trick you into thinking there’s more to see and do than there really is. You’ll probably love it anyway.

A bit skinny for a wargame. I can’t deny that I’ve missed getting stressed about logistics or big picture strategy, and it certainly hasn’t set my heart aflutter in the way that I hoped a Warhammer wargame would. But there aren’t very many wargames that are this easy to dip into, either. It’s got a focus and simplicity that’s often lacking elsewhere, and it could be indispensable for anyone looking to dip their toes into the genre.

Lumino City really has only one flaw: its cracking puzzles and amazing architecture aren't matched by a similarly memorable story.

While Portal was just a series of connected puzzle chambers it always felt that a developer was leading you through it. The Talos Principle feels like boxes within boxes, left by the developer for you to play in.

Absent gripping protagonists or a different take on this already well-trodden world, it doesn’t offer very much at all. It’s a basically re-run of HBO’s show, and you can already watch that on the telly.

Telltale’s trip back to its comedy roots is a triumph. Rhys and Fiona are a duo I want to spend more time with. Baker and Bailey do a phenomenal job of bringing them to life, with spot-on comic timing and just enough humanity so they don’t simply feel like vehicles for jokes.

It’s hard to recommend a game that makes you feel disgusted or upset, but I’m doing it anyway. This War of Mine is great, it just asks a lot from its players.

By opening it up and providing countless meaningful choices and random events, Relic has put the war in the players’ hands. It’s not a directed journey through a bunch of scenarios where winning is all that matters; it’s a persistent struggle where failure is always nipping at the Americans’ heels, where an entire company can be lost in battle, making the war seem even more desperate. It’s exhausting, and the best game in the Company of Heroes series.

That’s the thing about Beyond Earth: I feel like for every considered, clever addition to Civ’s formula, there’s always a near miss. War is fun, but the AI is not. Aliens are novel, but humans are dreary. I enjoyed playing it, I’m still playing, but it just hasn’t gripped me like previous games. I want it to be better, more interesting, than it is.

Unlike every other Alien game to date, the alien in Alien: Isolation is an unpredictable enemy. It's off-rails, unscripted and behaves pretty much however it pleases. Like a mad Tamagotchi, the alien is powered by some clever AI routines that allow it to hunt and kill using a bunch of different senses.

There’s endless hours of enjoyment in ArcheAge for just about anyone. If you can stomach a slightly stale questing experience, and get your head around the quite innocent labour system, it’s an MMO with near endless potential for player driven, organic content. And to be quite honest, it’s the closest thing to a true fantasy sandbox experience on the market, and will be for a good time yet.

A bold and fascinating story. But the story is something that’s revealed, not something that’s lived through. I was a tourist, a witness, a reader, and that left less room for being a player. Yet I expect the game to stay with me for a good long time, and its grisly, gorgeous world alone makes the trek worthwhile.

Endless Legend combines fantastic fiction with compelling strategy. Underpinning it all is a strong design philosophy that connects the tenets of the 4X genre together seamlessly, while providing a plethora of options without being overwhelming. Even during a time when we’re seeing a lot of 4X offerings, it sets itself apart, promising something different from its contemporaries.

Wasteland 2 is huge. It’s not just the massive map, but the number of stories and the myriad ways they can play out. Though some moments left me disappointed, I always left the game eager to return. Inventive solutions to tricky standoffs, my failure to save a life, a silly line of text spotted in the corner of my eye - those are the things that stuck with me every time I pressed “quit”.

There’s a great game in here, somewhere. Rapidly getting into jaw-droppingly huge wars spanning multiple worlds is brilliant - it really is. And there’s no other RTS that gives players so much destructive power. But the lack of tactical depth and focus on constantly rushing makes Planetary Annihilation tiring.

The Sims 4 is good, if a bit plain when compared with the exploding circus of colourful content that festoons previous games in the series, expansion packs littered with dogs and ghosts and hobbies and holidays that are now nowhere to be found...We're back to a clean sheet, and it's arguably the cleanest, most stable and most ready-to-be-built upon sheet Maxis have yet laid down.

At times, it still feels like it’s in Early Access, not because it’s buggy, but because it’s missing that spark and polish that’s kept Worms alive for so long. Yet I do hope this isn’t the last we’ve seen of these escaping sheep. There’s a good foundation, and a need for inventive A to B puzzle games.

I came for the promise of pigeon romance, but I stayed for the surreal world these fowl reside in.

Lichdom: Battlemage’s magic system is second to none, and it carries the game. It does one thing exceptionally well, while the rest of the game languishes a bit.

Chapter Two was worth the two year wait. It’s comfortingly traditional if you pine for the old days, but not laden down with overly elaborate multi-layered puzzles that’ll keep you bashing your head against the wall for hours.

It is with this finale that it’s clear that - despite so many similarities - this has been a very different season from the first. With Lee we had one goal: keep Clem safe. And whatever we did, as Lee, the end was pretty much a forgone conclusion. Not so, here.

All Firefall’s opening does is shove your face right up against grubby textures, shoddy animations, and invisible walls. Your first two hours with it will see you retreading ground completing repetitive fetch quests for characterless NPCs in a world that does nothing to excite the eye...You have to wade through that swill of a beginning to understand Firefall’s potential.

I have no doubt that some folk will dismiss Sacred 3 because it bears no resemblance to the previous core games in the series. But that’s not why it should be avoided by most. It’s simply not fun to play.

Amid the Ruins feels like the peak of the pint-sized survivor’s development. After the brutal trauma of the previous episode, we get to decide, or at least influence, what she will be like in the finale and how she’s been transformed by the events of this second season. Every moment is a struggle between Darwinism and kindness.

The influence of the classics, Ultima VII, Baldur’s Gate II, they’re in there, but Original Sin is very much its own, unique grand adventure.

It’s not just a great, surprisingly insightful game. It’s also true to the literary genre that inspired it and Bill Willingham’s Fables comics.

This is Company of Heroes 2 at its best, a standalone that focuses on the series’ core: man and machine duking it out across Europe. Those seeking a narrative will find plenty of stories in the tense battles amid crumbling towns and dark forests, so the campaign isn’t missed at all

An exceedingly complex, infinitely rewarding space strategy game. It’s made me more excited about the genre than any other game of its kind since Galactic Civilizations II.

Beginning as a universally relatable fantasy about overcoming red tape, The Fall winds up as a game about identity and civil rights without ever talking too much or treading too clumsily.

Updates and new content releases would do wonders for Spintires, as at the moment it's little more than a pleasingly ground-churning tech demo. A muddy, messy and fun tech demo that gingerly touches on a deeply held love of playing in the dirt that you might have forgotten about.

By the end, most of its sights and systems will be all too familiar. But between its uniquely provincial setting and dedication to undergrowth stealth, there’s more than enough novel in Sir that you’ll gladly be the rabbit in its lights at least one time through.