There's a lot to like in House of Ashes. It can look great (but also a bit ropey at points), the acting is largely excellent, and your actions (or lack of) can really impact the story. Yet, the game element is lacking, which in turn makes the gameplay sequences where you're in proper control end up lacking in scares. This is a fun time, especially if played in a group or online with a friend, but I was more afraid of button prompts than the monsters.

Ultimately, the Assassin’s Creed Valhalla Siege of Paris DLC is a worthy add-on with a good story and great emphasis on more interactive gameplay. While its narrative stakes feel relatively low, Eivor has real impetus in how everything unfolds throughout the well-paced plot.

Evil Dead: The Game is a good time, albeit demanding (it appears single-player missions have everyone struggling), but it truly lets itself down by not having basic accessibility settings available to players. The game itself is certainly impressive in terms of its fresh gameplay and remarkable graphics, and there’s good fun to be had for fans of Evil Dead and Sam Raimi. However, horror fans without an affinity towards the series will likely find more fun in alternative multiplayer horror games, and they’ll probably find more accessibility-friendly games, too.

Zombie Army 4 is the reanimated corpse of gaming’s past, stitched together from the best bits of Sniper Elite. It’s a B-movie pastiche stuffed with classic movie references and thousands of heads (and bollocks) to pop. But most importantly, it’s a new game. A new, fairly-enjoyable video game in 2020 – what a concept.

It’s closer to puddle deep when it could be a lake or ocean given its cool premise. Or, to put it in a more Atomfall way, it’s a pasty that doesn’t quite deliver a filling that matches how tasty the pastry looks.

An extraordinarily competent racer, which makes sense.

For the first time in years, Need For Speed has remembered why people used to play it so religiously, and recognised the more recent elements that put them off. I’ll take a missed checkpoint or a dodgy police bust now and again in exchange for a return to Underground’s unlock structure and tuner fetishism; for Hot Pursuit’s high stakes chases; for an EA release in 2019 without an RNG element designed to slow progress.

When Nintendo gets these sort of lifestyle ‘event’ games right, they’re always a slam dunk. Sometimes, the accuracy of MotionPlus is missed. One can see how Nintendo could've done more new, and included more all-new stuff. And yet... Nintendo Switch Sports is pretty much exactly what I wanted. I can see how it'd be one of my absolute favourite games of the year. That's Nintendo's magic power.

Like it or not, Avatar: Frontiers of Pandora feels like the perfect companion piece to James Cameron’s movies: it’s big but often intimate. Savage but calm. Familiar but charming. Even without playing a single minute of it, you should know whether it’s something you want to play. If you decide to make the jump, I suggest letting go of cheap analogies and using Na’vi instincts first and gamer brain second.

Stranger of Paradise: Final Fantasy Origin is a B-movie game. It’s loud, dumb, and full of fun. You have to ignore a lot – a lot – of issues if you want to extract the joy from its chaotic heart, but once you commit, toy around with the weapons, penetrate its poorly-explained mechanics and forgive Jack for his one-dimensional personality, you’re left with a game that’s part Devil May Cry, part Nioh, and part Face/Off. And let’s be honest, who doesn’t want to play that?

Overall, it’s the touches of mischief which make Romeo is a Dead Man stand out in a ‘good enough’ landscape dominated by Live Service and competitive games. Stuffed with one-off moments and boisterous action honed over nearly 20 years of carnage, it’s a game that never sits still, never settles for boring but functional and dies with a live hand grenade slipping from its fingertips.

I enjoyed playing Hot Wheels Unleashed a lot. The racing is straight up fun thanks to a top notch handling model that really makes the most of some impressive powersliding mechanics. But I can't help but wonder what could have been had we not got a game brimming with DLC and tied, to its detriment, to uninspired track environments.

All in all, I came away pleasantly surprised by The Knight Witch. At a time where so many games are vying for your time and attention, a neatly packed present of an indie, clearly made by a team that knows what it's doing and a quirk not found elsewhere makes for a great refresher. While I don’t believe it quite makes the cut as a classic, nor will it make many game of the year lists, it is still well worth your time. Personally, I think Super Mega Team is a studio I'll be keeping track of from here one out.

Judged on its own terms, Call of Duty: Vanguard offers a solid, albeit predictable campaign, an engaging multiplayer with deep progression systems and satisfying gunplay, and a Zombies mode that will only serve as a minor distraction in its current state.

Like real world F1 at the moment, F1 24’s a bit of a mixed bag, but it feels like, if it can be built on going forwards, it could be the starting point for something you won’t feel quite as much like you can skip out on and not miss much.

It feels like Capcom couldn’t quite decide what it wanted Dead Rising 4 to be. Should it be a return to roots and the style of the first game, as the use of Frank and Wilamette suggests? Should it be a Saint’s Row style casual sandbox fun, gleefully nuts without much restraint, as the design and combat is? Should it be something new, a new vision for the series? Dead Rising 4 tries to be all three, and while it’s by no means a bad game little about it stands out as a result.

Perhaps the best thing I can say is that this game feels more like the anime than ever. Part of that is down to the art, which continues to advance closer to the TV show. Part of that is down to the sense of openness, which imparts a real feeling that this is your adventure, and not just a rollercoaster where you experience somebody else’s. On balance, Legends: Areus probably just pips it based on the novelty factor of its entirely different approach, but Scarlet & Violet is a delightful vibe – and that vibe is difficult to diminish. What a year to be a Pokemon fan!

Resurgence is the best Star Trek game since Elite Force. To expand on that, I’d say that Elite Force is the better video game based on Star Trek, because it’s a decent shooter (and there’s a handheld photon launcher, which is basically the most gleefully stupid thing ever conceived). But Resurgence is the best Star Trek Game. As an interactive adaptation of the popular television franchise, it succeeds. And though there are areas where it could do with more polish, where better decisions could have been made, and where I wish there was extra money to spend, all of that melts away when I consider that as someone who grew up watching The Next Generation, playing this game felt like returning home.

All that matters at the time of writing is the launch experience, though. Minecraft Legends is gorgeous-looking, and is thrilling in how it presents the Minecraft world from another angle. It also has a solid backbone for a captivating RTS. It just doesn’t go far enough, however - and the final result is a game that struggled to hold my attention the deeper in I got. It’ll be decent Game Pass fodder - but I can’t help but feel like this should’ve been so much more. It certainly won’t be for everyone, though I expect Minecraft-obsessed kids to have a blast regardless.

In truth, I’m not the biggest thinker when it comes to media. I watch a film, read a book, play a game, and take what’s happened at face value. If meaning is hidden behind a 10k-post Reddit thread, then, well, maybe it wasn’t conveyed well enough. Somerville doesn’t have this problem. It’s affecting in all the right ways, and a game I really can’t recommend strongly enough.

Perhaps the best thing I can say is that this game feels more like the anime than ever. Part of that is down to the art, which continues to advance closer to the TV show. Part of that is down to the sense of openness, which imparts a real feeling that this is your adventure, and not just a rollercoaster where you experience somebody else’s. On balance, Legends: Areus probably just pips it based on the novelty factor of its entirely different approach, but Scarlet & Violet is a delightful vibe – and that vibe is difficult to diminish. What a year to be a Pokemon fan!

Over 22 central story quests, and a clutch of side objectives, New Dawn is surprisingly good at throwing up varied tasks.

The lack of seamless transitions between gameplay and cutscenes means you’re often staring at a black screen as the game interrupts you, the story is predictable, your activities are repetitive, and the technical issues – frame rate drops, freezes, and myriad bugs – are a constant annoyance. While it’s still slightly better than most recent Xbox One exclusives, Days Gone just isn’t anywhere near the quality of the majority of PS4 first-party releases.

To a certain type of player, Legend of Mana is likely to be considered the perfect remaster. It touches up the visuals, but not too much. It makes quality-of-life changes, but preserves the original design and difficulty – warts and all. Some may find that preservation detrimental, with this twenty year-old game showing its age – but it does also make this the new definitive way to experience a classic.

Ultimately, the game's story is a fun one that does touch on some heavier themes, too. But it's the collective action at Spino that helps it feel special. Sand Land feels like a game that you can't believe wasn't originally released on the PS2. It's the fact that you can so strongly feel Toriyama within the game that that results in it feeling like a wonderful, imperfect send-off for one of the most influential artists ever. It won't knock your socks off, and I doubt it will be part of the game of the year conversations further down the road. But I don't care. I'm just happy to step into an old, but new, Toriyama world once last time.

If you’re after action and full-on horror, The Medium will likely leave you wanting, and considerably so. This is more of a slow burn, the twisted plot unravelling over six to eight hours. I found the pacing to be ideal, with the game throwing just enough moments of high intensity into the mix to keep things interesting. There is a big bad of sorts, but don’t expect traditional boss fights, with encounters being designed to be intimidating and scary rather than difficult. Bloober clearly wanted everyone to be able to see this story through to its conclusion.

There's a melancholia to Sable, wrapped up in the ruined cities and gigantic skeletons dotting its landscapes, but this is balanced with an infectious core of positivity running through the game. What it lacks in drama, it more than makes up for with sheer creativity and grandeur, leaving you with a sense of serenity much-needed and appreciated in these bizarre times. However, it all circles back to the joy of discovery: you might not know exactly what you’ll find as you peel back the layers of Midden, but it’s bound to be interesting.

Labo VR isn’t likely to set the world of VR on fire, but as a cheap VR option that’s a family friendly way to explore this growing area of gaming this new Toy-Con kit feels like a clever, worthwhile addition to the Switch’s weird and wonderful cardboard world. It may also very well be the first time Labo has truly made sense to me. It’s classic Nintendo ingenuity, with classic Nintendo results: just pure fun.