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Gris plays to your aural and optical senses by delivering something exquisite in that area, but lacks a compelling story to prop itself up alongside equivalents.

Stay’s compelling lead character and gripping dialogue ensures you’ll want to see Quinn’s journey through to the end. It’s just a shame it spends a bit too much time testing your patience with irksome puzzles and some needless waffling.

Other games punch harder on their meaningful message, or have a certain something that makes them special. In RiME, autopilot kicks in with the majority of puzzles as the solutions don’t vary much across the course of the journey; it’s easy to find yourself coming to the resolution of something before you’ve even properly began. But there’s an overall polish here that’s lacking in other, similar outings. Its movie-level score and elegant artistry relax you into a trance-like state — it’s the quintessential lazy Sunday afternoon game. 

Mirror Of Fate comfortably sits in the first category. Its mixture older-style exploration with LoS' combat results in not only a truly great Castlevania game, but also a great action title and one of the best offerings on Nintendo's console.

Deadlight is clearly inspired by cinema, and it's this affectation which creates both the game's strongest and weakest elements. The visual design is absolutely sublime, but these cinematic influences create a wonky gameplay experience much too afraid to do anything but guide the player through tedious chunks of unwanted script. Deadlight does not create a compelling narration no matter how hard it tries, and it's galling to see Tequila Works choose to sacrifice an entertaining game in the process.

Wanted: Weapons of Fate isn't a terrible game, but it is a disappointing one. With a license that seemed tailor made for the video game treatment and a competent developer (Grin, makers of the PC GRAW titles and the forthcoming Bionic Commando) in charge, there was a chance this would be something really rather good. What we ended up with is a perfectly passable, often enjoyable game, but not something that will be remembered once you've beaten it over the course of a few evenings.

Clive Barker's Jericho is something of an oddity. On one hand it's a near-broken video game, packed full of so many gaming no-nos that it ought never to be spoken about again, but on the other it's original, atmospheric and sickeningly good fun. Many people will understandably lose interest after a few hours, but the game's many problems hide a game that deserves to be played through to completion.