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.

The Texas Chain Saw Massacre is a killer game for fans of the asymmetrical horror genre, thanks to its beautiful maps, varied gameplay, and unique 4v3 balance. Faithful to the 1974 movie, this one is a pleasure for horror fans, but whether it can stand the test of time like the film itself remains to be seen.

Opting for pulp fantasy over Spielbergian reverence for the era, Vanguard reinvigorates the World War II setting and charts a new path forward.

What’s struck me most about my time with Vampyr is that it manages to turn you into a predator through its mechanics as much as it does with its storytelling. It does collapse under its own weight by the end, but the fact that it so effectively seduces you, almost trance-like, into roleplaying a villain makes it worth biting into.

A series of playsets to Forza Horizon's big open toybox. A fun and flashy arcade racer that's easy to pick up and play, but much, much harder to put down again.

Richly realised systems and empowering abilities create a tremendously fun sandbox to dig into, but another toothless story ensures these flashes of brilliance never cohere, leaving Legion feeling less than the sum of its parts.

F1 24's new additions and changes, including its barebones Career Mode and overly forgiving Dynamic Handling system, often do more harm than good, making this a solid but skippable entry for anyone other than the most diehard fans.

An unholy union of anime, Dark Souls, and My Chemical Romance, Code Vein is as much about style as substance. If that sounds good to you, then you're in for a treat, even if it lacks some of the polish of the genre's best.

With its weapon-building systems and deliberate, targeted combat, Blades of Fire has a lot of fresh-feeling ideas. Its control scheme is strange and will force you to press each button with care. Its granular forging system makes you consider every weapon in your arsenal. But however differently it approaches them, the game only offers the same thrills as other action games of its ilk. Blades of Fire feels unique, but just can’t get weird enough.

Grim-faced dedication to history has produced a rules-heavy RTS that’s rarely fun or strategically rewarding – a highly accurate depiction of the First World War, in other words, and a success in that respect at least.

I think criticising it for being ugly and short is to miss the point. This is a no holds barred novelty amusement. It is stupid and dumb and very, very fun.

At its best, with its dystopian future and haphazard revolution, Bionic Dues feels like a Games Workshop game that never was. At its worst it’s like being submerged in a swimming pool of dice and calculator printouts.

The problems inherent to stealth games hold back Commandos Origins, but it's still a high-stakes, high-intensity RTS where even the smallest action can feel meaningful. Meticulous, difficult, and demanding, it will test your patience as much as your tactical insight, but when you finally get it right, Commandos Origins is rewarding.

The Elder Scrolls Online is frustrating. It has moments of sheer class, but they’re consistently tainted by bugs. I love the PvP, but it’s pointless playing when the rewards are so slim. I like the questing, but huge numbers of quests are simply broken. I love the world, and the lore, and some of the systems they have produced. But my enjoyment of them was undermined by poor design.

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.

A fun management game about running a space program and shooting for the stars that sacrifices some of the visual wonder of space travel in order to remain accessible.

For an original take on battle royale and a truly special martial arts combat system, Naraka is worth checking out. But between stability issues, off-putting monetisation practices, and an unpalatable learning curve, there's plenty that gets in the way of the fun.

Atlas Fallen’s superb combat, intruiging world, and fluid traversal make up for a play-by-numbers narrative. Thankfully, simple things like surfing the sands of a ginormous desert wasteland and taking on behemoth beasts mean I can enjoy the game for what it is instead of what it could have been.

Ark’s ambition pulls it in the right direction with more force than its clunkiness tugs it the other way. It’s always more enjoyable to spend time with a game that tries something new and exciting, stumbling along the way, than a game that tries to tick focus group-inspired boxes. If that game also happens to simulate an entire prehistoric ecosystem, and produces bewildering emergent scenarios like clockwork, all the better.

The Onimusha 2 remaster does exactly what it says on the tin. Sharp visuals breathe new life and color into a cult classic that merits a life beyond the PS2. However, Capcom’s dedication to the original experience means that decades-old problems remain unaddressed, and its capitulation to analog movement undercuts the authenticity it sets out to achieve.

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.

I enjoyed almost every minute I spent with Tokyo 42. Few games feel so immediately and consistently inviting - there are no penalties for pissing about in this urban utopia. You don’t even have to feel bad about killing civilians, as they’ll simply flicker back to life once you’ve ended your shooting spree. It’s a remarkable shooter, a solid stealth-‘em-up, and a terrible racing game.

Flintlock: The Siege of Dawn is a sublime semi-open world that champions quality over quantity, but unrefined combat puts a damper on A44's original gunpowder fantasy.

A stripped down Diablo that oozes charm and loot variety but is probably better suited to a younger audience.

It’s almost absurdly simple. The thing I’ve always liked about twin-stick shooters is a sense of escalating chaos - the idea that you’re only just keeping a lid on waves of baddies. Spartan Assault never manages this: there just aren’t ever enough enemies on screen, nor do they ever feel particularly dangerous.

A hefty expansion that offers up to 20 more hours of what Valhalla does so brilliantly, slightly marred by some half-baked side quests.

A bombastic but simplified RTS with great set-pieces and interesting new ideas in Blitz mode, but a lack of depth that'll shorten its longevity with PC players.

In fact, of all the games I’ve been in, this one is definitely the worst.