Call of Duty: Black Ops 6 is a genuine epic-action single-player experience with a campaign that’s not only the longest in the series’ history at 10 hours, but also full of Constant surprises. In addition to its thrilling action, the strong acting and the sometimes truly congenial mission designs are also impressive. Ultimately, Black Ops 6 delivers what we’ve been missing in recent years, complete with intelligent, emotional, and smart storytelling, well-written characters, and truly epic action that could well be a Game of the Year candidate.

Senua’s Saga: Hellblade II is an atmospheric, intimate saga wrapped in a stunning setting, all at the expense of free and varied gameplay. If you don’t mind that playability takes a backseat, Hellblade II is a must-play for its exciting story and beautiful environments.

Like a Dragon: Infinite Wealth builds on what made its predecessor so good — which is a long and exciting story, accompanied by hysterical side quests. The latter stands out even more this time, with deep side adventures inspired by Pokémon and Animal Crossing, among others. Don’t be put off by the fact that Infinite Wealth is the eighth instalment in the series; this is a must-have for all fans of story-driven action games.

With Tekken 8, Bandai Namco takes everything that was good about its predecessor and ups the ante on most things. While it’s not a revolutionary sequel, all the improvements make Tekken 8 a must-have for fighting fans – whether you play to be the best or just for fun.

With better track design, more balanced difficulty, and a couple of new game mechanics, this follow-up does enough to make the first feel limited. There’s certainly no shortage of good arcade racing games, but Hot Wheels Unleashed 2 stands out amongst the crowded field.

Narrative is the most sophisticated video game of recent years, blurring the genres of horror, psychological thriller and art house in an artistic way and never playing it safe, but always taking full creative risks. A masterpiece.

Phantom Liberty is CD Projekt RED’s masterpiece. Not only is Cyberpunk 2077 Phantom Liberty graphically easily three generations ahead of the entire industry and redefines how we experience video games with pathtracing, it’s also written even more thrillingly and staged even more explosively. Anyone who doesn’t enjoy this several times in different play styles has never loved video games. A clear must-play.

Bethesda has finally landed another hit. Starfield is the space RPG epic we’ve been wanting for so long. It has the incredible expansiveness and variance in design of No Man’s Sky mixed with the dialogue depth and creative quests of Fallout or even Mass Effect. The only thing that might bother some people is the heavy reliance on fast travel and that many planets only make sense when you build bases and production facilities there...Bethesda took its time, and rightly so: Starfield is currently the hottest Game of the Year candidate in 2023.

Half-Life: Alyx isn't quite as revolutionary as you might hope, particularly if you're already well-versed in virtual reality, but it's undoubtedly one of the best games on the platform and hopefully the start of a resurgence for both the series and the hardware.

Doom Eternal kicks ass. It's smarter than it looks, faster than it looks, and somehow even more fun than it looks. A triumph—except for the platforming.

Ori and the Will of the Wisps is more than the sum of its parts. Is it just another Metroid homage, one among many? Absolutely. I think it’s one of the best-playing, sure, but it’s still well-trod territory of late. I found myself gripped by it though. As I said earlier, I wish it was longer. That’s usually the sign (or at least one sign) of a good game, in my experience.

Murder by Numbers isn’t perfect, but I thoroughly enjoyed my time with it and hope there’s a sequel. Honor, Scout, Detective Cross, and the gang deserve a second outing, ideally with more of a focus on the detective work—and perhaps a few headache-inducing 25x25 Picross puzzles as well.

A magical adventure almost a decade in the making, Kentucky Route Zero is every bit as good as you've heard—and maybe more.

Jedi: Fallen Order borrows liberally from other games, but a strong supporting cast, clever level design, and a cute little droid companion make Respawn's Star Wars story more than the sum of its parts.

For all its problems—and there are many—Planet Zoo is one of the most satisfying builders I’ve ever played. Maybe not on the management side, which is still a thin and easily manipulated veneer. Guest opinions are weirdly arbitrary, as is cash flow. If you’re looking for a “difficult” builder, Planet Zoo ain’t it. I’m here to build my dream zoo though, and for that there’s no better option. After 30 hours I’ve yet to acquire some of the rarer animals—lions, orangutans, gorillas, rhinos. I’m also far from exhausting the themes, having barely touched the “New World” and “Indian” sets. There’s a lot here.

Call of Duty: Modern Warfare tries to be a serious commentary on present-day conflicts, but is mostly just another Call of Duty game by nature of the series's longstanding blind spots.

While it bears surface-level similarities to Fallout: New Vegas, Obsidian's created a deeper and more meaningful role-playing experience in The Outer Worlds, though it can still be frustratingly old-fashioned in regards to combat and exploration.

Power through, and John Wick Hex can be incredibly satisfying though. That’s the flip side of the perennial difficulty argument. I’ve rarely felt more relieved than completing a segment of John Wick Hex on my last bullet and Wick’s last legs.

Control is the culmination of Remedy's entire oeuvre to-date, pairing a top-tier action game with a dizzyingly dense and layered story about the Federal Bureau of Control, and the everyday horrors within. It's so good, you might even stop asking for Alan Wake 2.

Ancestors: The Humankind Odyssey is an impossibly ambitious game, attempting to summarize the whole of human evolution into the span of a few hours—and succeeding to a surprising degree.

Age of Wonders: Planetfall has its issues. I confess I haven’t cared very much though. The jank is usually a result of over-ambition, of Planetfall trying to let the player do too damn much where another game would’ve gone for a simpler (or “more elegant”) solution. I can’t fault Triumph for that, even if the holes are obvious when listed out.

Tetris Effect is more than a Tetris game. It's a work of art that you just happen to interact with by stacking blocks and clearing rows.

Full of emotion and high adventure, Final Fantasy XIV's Shadowbringers expansion brings MMORPG storytelling out of the shadows. Two great new combat classes, two cool new races, and a nifty system for running dungeons solo round out the experience of FFXIV's best expansion to date.

Elsweyr is full of all kinds of wonderful things from the Elder Scrolls series—ranging from dragons and necromancers to Khajiit and assassins—but the main story doesn't pack as much of a punch as what we saw in ESO's previous two expansions. Fortunately, there's still plenty to love about the memorable side quests and the fantastic new Necromancer class.

The jump scares are a bit overdone, same as the original Layers of Fear, and there’s an abysmal chase sequence in the second act that could’ve been cut completely. Still, Bloober Team’s rapidly proved itself as a master of psychological horror, using symbolism in ways most games don’t even attempt, let alone achieve. So what if it’s not very scary? There’s more important work to be done. Great work.

Observation is grander than Stories Untold, more ambitious by half, but equally fascinating and inventive. It’s a pastiche of science fiction new and old but knows when to lean into expectations and when to subvert them, and its approach to mechanical realism is so uncompromising it becomes an artistic statement instead of mere mimicry. I’m already curious what’s next.

A Plague Tale: Innocence would benefit from less busywork, but the grisly scenery and the sibling relationship at its core help make up for any shortcomings.

Forager simply does away with any pretense. It’s incredibly successful at what it does, and by that judgment I’d recommend it. That said, I was relieved when I finally hit max level and the bonds broke. I Alt-F4ed and uninstalled it.

It’s a smooth, modern-feeling experience—more even than 0 and Kiwami, which already felt eminently playable, especially given the latter was a remake of a decade-old game.

Heaven's Vault is rough around the edges, but its sense of discovery and self-fulfillment are unparalleled thanks to its commitment to player agency and its unique language-translation mechanic.

Metro Exodus abandons the cramped corridors of the Moscow subway for wide-open expanses of Russian countryside, but Artyom's journey is still as bleak as ever—and as janky, though that should come as no surprise.

Resident Evil 2 isn’t terrifying per se, but it oozes atmosphere and there’s a thrill to slowly discovering its setting even 20 years later. Ironic, that a very old game might breathe new life into a series, but it’s made a fan out of me at least.

Globesweeper is a great package. Sure, a modernized take on Minesweeper isn’t going to change the games industry, nor is it likely to show up on our end-of-year accolades. But I can’t stop playing it, and that’s enough to (in my opinion) make it worthy of a write-up. Like Pictopix in 2017, it’s just a well-built take on a tried-and-true puzzle game, and sometimes that’s all you need.

Like Asura’s Wrath, like Revengeance, Devil May Cry 5 is a game that delights in setting the bar high up front and then continually one-upping itself until, 10 hours later, you can finally catch your breath.

A unique art style and a fantastic puzzle hook make Return of the Obra Dinn a detective story worth experiencing, especially if you can do it all in one go.

Battle for Azeroth follows many of the same patterns we saw in Legion, but in some respects it feels like a minor reboot. It reminds us that Azeroth alone is a powerful reason to visit, much as it was in earlier years, when WoW wasn’t quite as focused on a major endgame baddy. The complications with the Azerite gear and the occasional tedious dungeons prove it’s not perfect, but there’s such a wealth of things to do here that the rough spots never detract from the whole.

The Elder Scrolls Online will never feel like a proper Elder Scrolls game for many people who flock to it, but while we wait for whatever comes after Skyrim, it’s a damn fine way of passing the time.

It’s very good. Addictive, too.

Where the Water Tastes Like Wine's slow pace may grate on some, but those who can acclimatize are in for a fascinating deconstruction of America, as seen through the myths, folklore, and scraps of history we tell each other.

But Age of Empires II HD is still probably the game I’ll go back to most. It’s more interesting, more expansive, better balanced—all the things you’d want from a sequel, basically. And that wouldn’t normally be an issue, except for the fact that Age of Empires: Definitive Edition arrived after its sequel this time around.

Celeste’s optimism is refreshing, especially since it comes from within. It’s a call-and-response, a game that says Keep going! and waits for your next button press as confirmation, I will! You’re learning! and with every death, every obstacle stumbled against and overcome, you say I am! It’s a marriage of theme and mechanics so pure, so confident. And one hell of a platformer, too.

Rusty Lake is as bizarre as it is brilliant, and while Paradise is probably my least favorite of the three paid entries, it’s still unique enough to earn a wholehearted recommendation from me.

Life is Strange: Before the Storm isn’t as groundbreaking as its predecessor, but it is a refinement of those ideas. Chloe and Rachel’s relationship is heartwarming, and a solid core for the rest to wrap itself around. Excellent character writing makes up for the moments when the overarching story drags, or when it gets too hamfisted. That’s really the lesson, here: Write good characters, and the stakes can be as small as you’d like. Before the Storm maybe doesn’t take this to heart enough, with its more melodramatic plot beats actually detracting from the parts I enjoyed—and yet I’m inclined to forgive those sins, because the moments where it does stumble on some seemingly universal truth? They shine bright.

It’s not perfect. As I mentioned earlier, Blazkowicz could really use a bit more indication he’s being shot. Sometimes you’re dead before you even realize you’re in danger. And hey, Machine Games is great at disguising corridors, but that’s all there is here—endless corridors full of Nazis. I don’t want an open world game, but a bit more room to breathe would go a long way. But Wolfenstein II belies its dumb corridor shooter roots.The New Order was a silly game that occasionally got serious. The New Colossus is a serious game that sometimes cracks a smile. You’ll come off a heartfelt speech about the hidden dangers of America’s militarism, then seconds later you’re riding an enormous robot-dog through the streets of New Orleans lighting Nazis on fire, and you laugh because it’s all so gloriously stupid again. No other game could pull this off. No other game has.

Endless Space 2 is the rare 4X game where the writing is better than the strategy—though the strategy is still pretty decent.

Sure, it doesn’t add much to the ol’ audiolog/email/locked room paradigm pioneered by its predecessors, nor does it reinvent the space station, but Prey and Talos I are so well-constructed I honestly don’t care. You’re given systems, you’re given spaces, you’re given a goal, and how you exploit the former to accomplish the latter is a source of so many surprises in Prey it makes up for the overfamiliar setting and story.

Everything is not for everyone. It’s one part art-house film, one part nature documentary, one part guided meditation. While easily approached and casually consumed, it’s a game that nevertheless wants more from you, a game that asks you to quietly reflect on yourself and your place in the Cosmos. Engage and you may discover one of your favorite games of 2017. If not? Well, it’s at least unique, and uniquely ambitious.

With its unique 1940's monster movie aesthetic and excellent voice casting, Wilson's Heart feels like the first "can't-miss" VR game. Too bad it's a Rift exclusive.

Playtonic promised a spiritual successor to Banjo-Kazooie, and that’s what we got. It might not suit everyone’s needs, but it suits mine and likely suits the needs of those who’d want a Banjo-Kazooie successor in the first place. That’s an important caveat—but then, that’s why reviews are a subjective process.

Thimbleweed Park is excellent, both as tongue-in-cheek homage and in its own right. It’s a LucasArts adventure game the way you remember them being, with the same witty humor and, yes, the same sometimes-asinine puzzles. The good and the bad.

Rock Band VR’s not exactly a must-have, but it’s up there—at least for people who haven’t burned out on the plastic instrument genre. Me? As long as Harmonix keeps supporting it with DLC I’ll probably keep checking back in, snagging a few songs, and putting on a show.

Night in the Woods may be a pastiche of influences, but as far as video games go, there’s really nothing else like it, and there’s a lot to be learned from spending a dozen days in Mae’s life—about her and her friends, about yourself, about America and towns forgotten by time.

The Warlock of Firetop Mountain is an excellent adaptation. Like Sorcery, it never really transcends the cheesy sword-and-board adventure-fantasy of the original adventure gamebook it sources from, but that’s not really the point is it? Hell, the archetypal characters and straightforward questing are part of the charm. Tin Man’s lovingly reshaped Steve Jackson’s work into a relaxing and lightweight RPG, perfect to run once or twice in a night and hope this time you avoid all Zagor’s traps and make it to the end.

Sniper Elite 4 doesn't wholly shed its grindhouse, B-game origins, but it's definitely an ambitious step forward for a stealth series that used to rely more on gimmickry.

Quern – Undying Thoughts is an excellent first-person puzzle game that’s likely to be doubly special to anyone who spent hours with Riven in years past. Reminiscent of both that style of storytelling and of puzzle design, it’s an excellent homage in an era suddenly packed full of Myst homages...A few subpar puzzles and some ill-paced backtracking sometimes get in the way of Quern’s ambitions, but my standard adventure game advice applies: Just check a walkthrough if you really feel the need to. It’s worth seeing through to the end.

Watch Dogs 2 finally breaks with the "Ubisoft Formula" to create an open-world game that feels somewhat fresh and interesting. What a relief.

Planet Coaster is an excellent theme park builder. Hell, it’s an excellent builder in general—probably the most player-centric one to date. It’s less about the developers giving you a bunch of stuff to build a theme park with, and more about you taking the stuff the developers give you and building a theme park with it.

Rusty Lake: Roots is an excellent follow-up to Rusty Lake Hotel—grander, grimmer, and more gruesome than ever. The Rusty Lake games are quickly carving out a niche as my favorite point-and-click series of the modern era, with a bold confidence underpinning their unconventional and inventive world. I highly recommend picking up the pair for a night or two of surreal horror.

Civilization VI has room to improve (particularly the AI), but this is the most complete a baseline Civ game has felt in ages and a few smart tweaks on the formula distinguish it from its predecessor.

Battlefield 1's solemn campaign and over-the-top multiplayer may feel like polar opposites, but the complete package is all-around excellent.

The Forza Horizon series has long been the best arcade racer of the modern era, and this third iteration keeps that streak alive.

Myst's spiritual successor Obduction drags its heritage into the modern age with aplomb, though the puzzles aren't quite as fiendishly hard as Riven's.

But it’s so much more than just Total War. Even with Attila making good on some of Rome II’s promise, I found myself dreading drawn-out engagements and increasingly bored with the Total War formula. Total Warhammer doesn’t tamper with much, but it injects enough personality to revive a series that’s been steadily collapsing under its own weight.

It may not be as influential or creative as either the original Doom or Doom 3—which, although it hasn’t aged well, ushered in a dozen monster-closet copycats. Still, Doom in 2016 is successful because it knows it’s dumb and leans into the fact. There are no pretensions towards artistry here, no delusions of grandeur. It’s a popcorn flick where the main character can only speak in gunshots.

Stellaris is great. Maybe not Crusader Kings II great yet—give it a few expansions to fill out—but it’s a compelling bit of player-directed science fiction. Freed from the chains of history Paradox has created something creative and bold and inspiring, something that illuminates just how vast and unknowable space is and how tiny our place in it...Still there’s something reassuring, watching the decades and centuries tick by and the tendrils of civilization creep across the galaxy, thinking “That could be us someday.” Maybe.

Day of the Tentacle is a classic, but not in the old musty way where you brush off a copy of some old SNES game and realize it isn’t as good as you remember. This is still one of the finest point-and-clicks ever made, with a witty story and some brain-bending puzzles. Also, a hell of a lot of dumb puns...As with Grim Fandango, the big news is that Day of the Tentacle’s on sale at all. The fact that Double Fine’s put in so much work as caretaker to bring it up to modern—or at least mostly modern—standards? Even better.

Will it please every purist? Of course not. As with any beloved series, passions run high and nostalgia’s a hell of a drug. There are bound to be those who wish Beamdog had stuck to a purely conservationist role. But Siege of Dragonspear won me over, and I’d like to see what the team does next. Go for the eyes, Boo.

Superhot's time-freezing antics are finally a full-length game. No plot. No nothing. Just killing red guys.

The White March's second half salvages the slow pacing of the first and ultimately redeems Pillars of Eternity's expansion.

It took eight years for Jonathan Blow to create his follow-up to Braid. It was worth it. We're obsessed.

Homeworld is just as revolutionary in 2015 as it was in 1999—and now it looks great too.

Cities: Skylines somehow lives up to the unfair expectations heaped upon it, presenting one of the best city builders in years.

Starships condenses Sid Meier's knack for turn-based strategy into a short, two-to-five hour burst of board game-esque tactics that's as satisfying as it is approachable.

Kerbal Space Program isn't just a fantastic space game. It's one of those games that makes you glad you play on PC, because it could only come to exist on PC.

No game has ever captured the feel of trench-based warfare as well as Verdun.

Probably the best open-world RPG ever made, but it still falls prey to some of the genre's worst traps.

If you played 10,000,000 and want more (or even think you might want more), then You Must Build a Boat is the game for you. If you like match-threes, You Must Build a Boat is the game for you. And if you want to forget all your social and professional obligations, stay up way too late for about a week straight, and feel tired all the time? Well, You Must Build a Boat is the game for you.

OlliOlli 2: Welcome to Olliwood is the Tony Hawk's Pro Skater 2 of side-scrolling skateboarding games. And yes, that's a good thing.

Shadowrun: Hong Kong isn't the best RPG Harebrained Schemes has put out, but it's still a great game in its own right.

Dropsy isn't an amazing point-and-click, but it's clever and it's weird and it stands out—both artistically and thematically. I'm impressed with the game and doubly impressed with the amount of weird mysteries hidden below the surface. Expect to spend four or five hours actually playing and then another hour reading weird theories afterward.

SOMA is not the horror game I expected out of Frictional, but I don’t care and it doesn’t matter. This is an excellent work of science fiction, not necessarily unique but uniquely told through its skillful use of video game conceits. It’s System Shock 2 for a modern sensibility, BioShock freed of its AAA chains. It’s damn good and, for my money, the most cohesive and ambitious game Frictional’s made so far.

80 Days is a modern take on the choose-your-own adventure novel, with a branching story that spans the entire globe. It's a game that practically demands you play it more than once.

Prison Architect's genius is in translating a real-world debate into video game terms, forcing players to make tough choices with no good solutions.

Life is Strange is flawed, but this paranormal coming-of-age story is nevertheless refreshing proof that small stakes can still feel important, given strong characters.

Anno 2205 is polished, clever, and Tages-free, but falls prey to the same repetitive, micromanagement-heavy end-game grind that's always plagued the series.

Just Cause 3 is a monument to excess. It’s Hot Shots. It’s Charlie Chaplin in The Dictator, if Charlie Chaplin had rocket-powered C4 in his boots. It’s that scene in Dr. Strangelove where Slim Pickens rides the nuke into Russia, except...well, no, it’s pretty much exactly that scene on repeat for 25-30 hours.

It’s not that anything Siege does is particularly new—tactical play (Counter-Strike, Arma, et cetera) mixed with a bit of destruction physics (Battlefield, Red Faction). But by taking these two aspects and expanding them to a scope supported by current hardware, Ubisoft has created a compelling game that feels unique.