I felt like a hero at every moment, whether I was saving the princess or exploring hidden passageways or helping rediscover the lost recipe for that aforementioned cheese. But I felt like a hero not because the game told me I was but because it showed me. It showed me that my wacky ideas for building silly motorcars were clever and fun. It showed me that with a bit of bravery I could beat a swarm of enemies with nothing but sticks and stones. It showed me that I could dive off a flying island into the unknown and find my way.

There is a mission relatively early on in Redfall’s tale that draws you into the mansion of one of the town’s main antagonists. It is a creepy, looming pile creaking with atmosphere and, once inside, plays smartly with Arkane’s knack for twisted level design; shifting time and space and spinning a hair-raising tale through gameplay and artistic direction. It is brilliant and, for a moment, recalls some of Arkane’s best work. But then it’s gone, fading in the wind as you return to wrestle the so-so shooting, lacklustre looting and barrage of bugs...Rather aptly, the mission is called The House of Echoes.

Respawn's Star Wars sequel builds on its promising predecessor, even if it suffers from the same lack of focus.

EA's return to the course is a surprisingly understated and supremely accomplished golf sim.

Nintendo's 20-year-old tactical war simulator is like video-game chess - difficult to learn but satisfying to master.

It's unlikely to make any Game of the Year lists but Dead Island 2 provides plenty of low-brow thrills.

That a Resident Evil 4 remake is expectedly brilliant is a tough stick to beat it with. But while it might not have that extraordinary sense of upgrade that Resident Evil 2 did, it is important to realise what it represents. Resi 4 was the main driver of the third-person action revolution - the moderniser-in-chief. That its influence has come full circle into its own remake should be no surprise. What does shock, perhaps, is that even after all these years and all its myriad versions is that Resident Evil 4 still hasn’t been bettered. A smartly-executed upgrade has only thrown that into sharper focus. And, particularly for those that haven’t played it before, this is as essential as video games get.

While grown-up gaming is dominated by dark and brooding fantasies, Kirby makes the case for sweetness and light among families.

Modern sensibilities may be shocked by the lack of checkpointing, but it is also crucial in creating the sense of tension and danger that ripples throughout Tallon IV...Few games can do that too. Maybe the closest touchstone in that regard --though they are very different games-- is From Software’s oeuvre. The success of which can only be a boon for Prime’s ethereal brilliance and a good sign for the upcoming and long-awaited Metroid Prime 4.

Each new locale is seemingly more rich and detailed than the last, and I regularly felt compelled to stop looking for the next path forward and instead just take in the magical realism of my surroundings.

While Hogwarts Legacy makes what seems a genuine effort of inclusion, much of it is muddled.

This is an accomplished remake of a great game, but it doesn’t necessarily shake the cobwebs off in the same way that Resident Evil 2 did. But perhaps that’s because it didn’t need to; retaining the ghoulish sense of place and suffocation that makes the Ishimura such a horrible place to visit.

As much as it can come off the rails, there is something gruesomely compelling about The Callisto Protocol that drags you through its dark, blood-soaked corridors. Perhaps it is its lavishly constructed world; finding your way out of the prison onto Callisto’s snow-whipped surface has quite the effect. Perhaps, when it works, it is the primal satisfaction of the combat; a perfectly executed dodge and clobber before lobbing another zombie into a woodchipper with your gravity glove is a grisly but undeniable rush. It is unrefined and often testing, but if those raw ingredients appeal, there is some ghoulish action to savour.

Pokémon's first fully open-world title has a lot of ideas but never quite manages to stick the landing with any of them.

Pokémon's first fully open-world title has a lot of ideas but never quite manages to stick the landing with any of them.

Conversely, Modern Warfare II’s multiplayer offering is rock solid, comprising a highly polished suite of modes catering to a wide range of playstyles. Traditional small-sided shoot-outs still dominate, of course, but quirkier maps help keep things fresh. Santa Sena Border Crossing takes place on a stretch of highway filled with empty but highly explosive vehicles, while Crown Raceway inexplicably takes place in the pit lanes of an F1 track.

God of War: Ragnarok manages to wrangle the best of blockbuster gaming under its muscular control. Spectacle. Excitement. Empowerment. And, well, we all know how that feels, don’t we?

Its unruly attitude is its calling card, the manic beating heart that its exquisite combat is built around. And if this sounds like a good time, then Bayonetta 3 could well be the most fun you have with a video game all year.

If the Arkham games are Christopher Nolan levels of invention and genius then Gotham Knights is hanging out down in the DC Extended Universe with Zak Snyder and Aquaman. Set your expectations accordingly and there’s enjoyable entertainment to be had.

There’s not much to like about a business model so brazenly designed to divorce kids from their pocket money – and the big swing in favour of untradeable reward cards this year only increases the likelihood of that outcome. That said… it is remarkably addictive, and the overhaul of the chemistry rules that underpin squad building have at least shaken up the shakedown.

It feels that EA Tiburon have a conundrum here as there is both too much and not enough when it comes to Madden’s modes. Persevering with stuff like The Yard and Face of the Franchise to keep the options broad is all very well, but when no aspect of the game is given full attention, everything feels undercooked.

Immortality certainly gives you that leeway for your own interpretation and enough compelling mystery that its puzzle can get under your skin and spill out of the game itself. There are already some fascinating readings of the game out there and much of the fun will come in discussion and dissection. I still don’t think I have a perfect handle on what it all means, despite reaching the game’s ‘conclusion’, but I have some ideas. What I do know is that this is a brilliantly clever, disturbing and singular piece of work.

And yet that monomaniacal approach is both a blessing and a curse. Devotees will doubtless spend enjoyable hours perfecting their runs but those not so enamoured with Metal: Hellsinger’s central conceit might find the whole thing a little… one note.

The Last of Us is irrefutably one of the best games of the PS3 era but it's beginning to feel of its time – and beneath its gorgeous next-gen glow-up, Part 1 is still, essentially, the same game. Which wouldn't be a problem at all were it not for that troublesome next-gen asking price.

Where it counts, F1 22 is right on track.

But its baggy middle does become more taut in The Quarry’s strong denouement; the threat and deathcount rises, the story threads come together and your decisions show their consequence. The paths you choose make for quite the spiderweb, which Supermassive lets you poke into should you wish, and it is never less than impressive to see all of those different decisions pulling together your own personal story through the game. Even if there can be some odd cuts between scenes, a skipped beat because you managed to get one of the group killed.

Nintendo's boisterous take on our national sport is thrilling and hilarious, but doesn't offer enough options to play with.

Nintendo's manic revival of Wii Sports could use more variety, but its lively appeal is a joy for the whole family.