Sins of a Solar Empire 2's frantic, always real-time pace is both a thrill and a significant hurdle. Its banal space-opera vibes and even worse AI art are a huge detriment. But under the hood, Sins 2 still has generic 4X joys to spare.

As Imperator grows in scale from its Clausewitz cousins, so too it grows in depth and ultimately in unwieldiness. But there's a grand strategy with aeons of play in it for you.

And here’s the rub: every addition, every sub-system, every mechanic is subservient to War. War is what Total War is really about. Everything else not directly related to conflict comes across as ancillary. Rome II is a game for warmongers, on both the campaign map and, obviously, on the battlefield. When peace is happening, nothing is happening. When war is happening, Rome comes alive.

Wonderfully captures the atmosphere and combat of Souls games, but without enough tools to experiment with and an AI that’s easy to abuse, Mortal Shell lacks meat on its bones.

Ubisoft have done a solid job with For Honor, then, forging it from worthy materials and engraving it with a few details that place it above other games from similar scale publishers. There may be the odd occasion when it feels like it’ll buckle, but in the end its blade always seems to strike true. [Tech review: Pass]

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.

The Phantom Thieves arrive on PC in a more streamlined form than the main Persona series, but an equally engaging one that's as stylish as it is action packed.

Superbly written characters, the dark allure of its world, and an engrossing main story make up for Weird West’s wonky action.

Dragon Age: The Veilguard is an exceptional-looking game with initially exciting combat, but it’s let down by uneven storytelling that makes it duller than it should be.

A charming comic book aesthetic and a tight, satisfying gameplay loop make Wild Bastards a worthwhile FPS roguelike, provided you can bear its gratingly chatty cast and often underwhelming upgrades.

While its predecessor's floaty, unsatisfying combat remains, and its enemy variety is lacking, Revenge of the Savage Planet's freedom of movement and exploration make this short-but-sweet, eccentric Metroidvania well worth a go.

Kingdom Come is as stubborn as it is embracing, making for a potentially tumultuous relationship between player and game. But it is a relationship I absolutely feel compelled to nurture.

Days Gone makes you wait a long time for its strongest material, but the spectacular horde battles and charming characters make the journey worthwhile.

Despite a few missteps, Smoke and Mirrors is an excellent follow-up to Faith. It’s a twisted journey through Fabletown’s dirty, neon underbelly exploring the darker side of glamour magic and the exploitation of fables. It ends somewhat abruptly, with a terrible revelation, making the wait for the third episode already agonising.

En Garde is a tantalizing first outing from new studio Fireplace Games, thanks to its slick combat and wonderful sense of humor. It’s in some ways so strong that it leaves you wondering what this team could do with more time and money behind them.

Improves on its predecessor in clever ways and still boasts the most gorgeous dinosaurs ever made in a game. But dealing with disastrous events beyond your control still isn't any fun, even if it's thematic for the Jurassic Park IP.

A story-led shooter that’s heaving with ideas and boasts a distinct sci-fi setting in its doomed USSR. There are cringeworthy moments and occasional design missteps, but the way your abilities and the enemy ecosystem combine is a constant thrill.

Robust tactics and elegant design ensure Artifact’s often sublime strategy isn’t complex. But a lack of long-term goals and a risky monetisation strategy leaves the game’s future feeling uncertain.

The fact that I can’t wait to go back and play through the game again with each of them gives you an indication of just how moreish Thrones of Britannia is.

Red Barrels should be commended for trying a different approach to their sequel, but unfortunately it’s just not the instant horror classic the first game was.

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.

This is a big planet and there are a lot of caves needing clearing, think of raids as housekeeping.

I wish Shadow of War was as confident in itself as I am in it. Had Monolith proudly led with the Nemesis Fortress system and introduced players to it quickly, they would unquestionably be on the shortlist for making the Game of the Year. Thankfully, the system acts as the Mithril-strong foundations for the game, so while the additional elements may be generic and unwelcome, there is very little digging required to find the shining silver. That surface of ash and smoke may have prevented Shadow of War from attaining its rightful score, but it certainly does not prevent it from being one of the most joyous games you can play this year.

Homeworld 3 is a welcome return for one of strategy gaming's most revered series, although the sometimes-clunky interface can make it feel older than it is.

The endgame is all about becoming an Absolver, donning a cloak to signify your status as a person who’s finished the campaign. After you’ve beaten enough players, you can create your own fighting school and recruit newbies, sparring with them and letting them absorb your moves. It’s a clever idea, and it’s thematically consistent because it’s quite the grind to unlock your own school. By the time you do, every parry will be a reflex. You won’t be kicking people off a cliff for some bandages, you’ll be doing it simply because you can.

The Expanse: A Telltale Series brings one of the best storytellers in videogames back to the forefront, producing a prequel that will delight fans as well as open up the universe to newcomers.

At number 5, we’re still seeing iteration rather than revolution. Everything that’s great about Tropico 5 is built on the same foundation that all the previous games have built on. That’s a solid foundation, of course, but it’s become a bit too familiar.

A fumbled finale puts a notable stain on the experience. They say one of the key rules in comedy is to leave the audience wanting more, but as Jazzpunk’s credits rolled I was left feeling a little indifferent. But the game is something to be admired. Few titles dedicate themselves to comedy as wholly as Jazzpunk does.