This curious strategy series popped out of the head of legendary games-maker Shigeru "Mario, Donkey Kong" Miyamoto when he started gardening. But beneath the verdant landscapes and gigantic primary-coloured fruits there is a darker, richer soil.
Just go and buy it and download it right now, OK? Gunpoint is fantastic for so many reasons. But primarily it's fantastic because it plays fantastically. It's easy to lose sight of that fact when you learn the back story behind the game, when it's put in context. But let's not lose sight of this – Gunpoint is great fun to play.
Among gamers, suggesting that Nintendo is not a publisher of brilliant games is tantamount to heresy. Yet here it is: Mario & Luigi: Dream Team Bros. would, if it were not published by Nintendo, receive a far worse critical reaction than it's likely to get.
At first glance, Rogue Legacy looks like a straight retro platformer in the vein of Castlevania or The Lost Vikings. You must negotiate a castle and other environs made up of floating platforms, floor spikes and fireball-spewing traps while collecting loot hidden in chests or inside the smashable furniture while being harried by varied enemies who mostly follow set paths.
Fusing the intensity of first-person shooters like the Call of Duty series with top-down strategy games doesn't immediately seem a good fit. First-person shooters work because you respond viscerally to bullets flying past your face and the fear of the battlefield as you sprint through mayhem, dodging and weaving. Strategy games, even the realtime modern videogame versions, rely on a cerebral strategising – often sacrificing men as pawns in a broader scheme. Yet fusing these two ideas is exactly what Company of Heroes 2 tries to do and mostly succeeds at.
Act I of Kentucky Route Zero set out a stall of intriguing characters, noirishly low-res visuals and an atmosphere that slid imperceptibly between "eerie" and "magical". Arranged around the core gameplay of a classic point 'n' click adventure (think Monkey Island or Broken Sword) was something that was barely a game at all but rather a sort of magical realist road movie in gaming drag.
Gaming's equivalent of Cormac McCarthy's The Road – here we see a post-apocalyptic zombie invasion not as an excuse for all-out gory action, but downbeat introspection, gentle character interaction and moral tests in the face of true, human horror.
The Last Of Us is an absolute must-play game, that doesn't entirely hit every note, but at least aims far higher than most videogames not just in terms of narrative ambition and grown-up storytelling, but also visual and action realism.
Memory is fertile ground for dystopian science fiction. After all, if you can't remember the past properly, if your memories are fake, implanted, then you can't trust your own beliefs or the history that you are being told informs the current political discourse.
Man is, of course, the worst monster of all in this bleak, post-apocalyptic first-person shooter based on the best-selling "Metro" novels of Russian author Dmitry Glukhovsky. In Metro: Last Light, the last few of mankind are bunkered down in the old Moscow Metro stations, while the surface is only briefly navigable with a gasmask, and populated mostly by irradiated mutant creatures.
Controversy is a fickle mistress. When Carmageddon first appeared on PC in 1997, publishers Interplay were forced to cut its copious gore and replace dismembered pedestrians with nice, family-friendly zombies after a publicity-courting submission to the British Board of Film Classification went a bit wrong.