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Even without turning to those updates and additions, there's enough to celebrate. You could put any car on any track and lose yourself in the simulation for hours, squinting through sun caught in the smeared perspex windscreen of a Z4 GT as it sets over Spa and you pick out entry, apex and exit points, or pawing an Elise this way and that through the swerves of Magione. Assetto Corsa's laser focus on the driving experience works wonders - and when it comes to replicating that simple, brilliant pleasure, there's no other game right now that does it better.
The Talos Principle is a game of challenges and conundrums and philosophical wonderings, filled with logic puzzles and cerebral mysteries. Its chunky mechanical processes are underpinned by a compelling breadcrumb-trail narrative that tackles the intangible notion of humanity and consciousness. Consequently, despite playing a robot that interacts with computer terminals and takes instruction from a disembodied voice in the sky, it exudes personality and charm; its mechanical precision complementing its aesthetic qualities. For an experience bereft of human contact it boasts a very big heart indeed.
As soon as I finished The Vanishing of Ethan Carter, I started it again and was greeted by that same warning. "This game is a narrative experience that does not hold your hand." Originally I thought it was telling me that I was going to be challenged by what followed and that I shouldn't expect any help in figuring it out. And I still think that. But I also suspect The Vanishing of Ethan Carter, which rarely uses a word more than it has to, is making a broader point when it says it doesn't intend to hold your hand.
Always Sometimes Monsters isn't the first game to get clever with morality. It's not the first game that's had a few grey areas. It also isn't about either of those. It's about perspective. It's about empathy. It's about who we are and why we do what we do. That narrative is one of contradiction and hypocrisy, because that's what real people are about.
Perhaps I don't need to tell you that this game made me laugh - not gently or under duress of slow realisation, but in staccato outbursts which alarmed and unsettled passers-by.
Whatever else might be in included in the Master Chief Collection, that feeling is at the heart of the game: it is a remembrance of things past, and those things are not as they were. The Collection is an instantaneous embrace of past and present that combines gaming's powerful sense of nostalgia with its perpetual arms race of processing and graphical power. It is part of a growing appreciation of the past in a medium which until recently was resolutely forward-looking. Proust would bloody love it.
It remains a shame that Clementine never quite became the truly different kind of lead that the first episode promised, but in the final analysis, what The Walking Dead offers still more than makes up for its occasional stumbles. It's definitely a road trip worth taking - as long as you don't mind its highs being its most devastating lows, its good endings being little but the trap where optimism goes to die.
Luftrausers is a breathless arcade delight - video game dogfighting has rarely been better.
Besides, there are worse things in life than being encouraged to get your money's worth from Nidhogg; to put the TV somewhere everyone can see it, to get some pads linked up and throw a local multiplayer party. Rounds of Starwhal: Just the Tip and Samurai Gunn, leading up to a Nidhogg tournament? That evening would be priceless.
Hectic local multiplayer madness ensues in this punkish flurry of colour and violence.
This first bundle of DLC does a fantastic job of leaning on Nintendo's past, so it's just a slight shame that it hasn't learnt from one of Mario Kart 8's only failings and taken the opportunity to overhaul the somewhat limp Battle mode - which, in this instance, hasn't been touched at all. It's a small shame, too, that now Nintendo's folded all of its franchises together, the odds of a standalone F-Zero seem slimmer than ever. Still, it's hard to complain when the future of Mario Kart has been expanded so graciously, and now that one of 2014's best games has just been made that little bit better.
Enemy Within is an improvement on an already excellent game. For every decision that must be made there are several factors to consider, rarely enough money to pay for everything, and uncomfortable consequences to be faced for failure. All of this is exacerbated still further when playing on Classic difficulty or with Ironman mode enabled, where you're constantly worrying about what to do next or second guessing the action that you've just taken. Much like the genetic modifications that it champions, XCOM: Enemy Within is an experience that gets under your skin.
The rhythm of combat remains the same, though it's hard to complain when it's riffing off such a heady beat, where chimed enemy attacks are lithely dodged into slo-mo pugilism, where impossible combos culminate with a 20-foot boot weaved from hair crashing from the heavens and where spinning amidst the avalanche of colour and cartoon violence is Bayonetta herself, stopping only briefly to wink at a player exhausted by the unrelenting joy of it all. Bayonetta 2's biggest disappointment may be that it's an iterative sequel, but it's not such a problem when it's iterating on genius.
The core of Counter-Strike: Global Offensive is a reminder that quality can be permanent rather than fleeting, and the new additions give us new reasons to take interest and - hopefully - another way in for people who are ready for something different.
Compared to the dull, empty-eyed stoicism of so many triple-A games, it's still a welcome blast of idiot humour, too.
It's a colourful, heartfelt and well-judged spin on one of the most reliably engrossing genres knocking around.
he business model of Dota 2 makes it the best MOBA option out there, and there's never been a better time to get involved than right now, with the New Player Experience and influx of fresh blood.
If it played just a little tighter, Apotheon would be brushing up against greatness. As it stands, it's stunning to look at and a pleasure to play, and what flaws it does have can be easily overlooked by anyone looking for something smart and stylish.
Definitely be careful of rose-tinted memories. The puzzles and its relatively early peak can't and shouldn't be ignored. Nor though can everything that it does right, from its sheer heart and creative polish, to the genius of its ideas and characters. Even when it stumbles, it stands as a fine reminder of why LucasArts at its prime was seen as the industry at its best, and few other adventures have deservedly gathered so much affection. It was an instant classic back in 1998. It's still very much a journey worth taking today, albeit ideally with a walkthrough.
They say time heals all wounds, but free DLC can't hurt either. Dead Kings offers much for those still enamoured by the series, and its offering as a freebie is a fine gesture to anyone left aggrieved by last year's failings. Still, time will tell whether it - or what Ubisoft has planned next - can convince those who have been put off by the series' longer sense of stasis.