"Just one more thing…" What is it about great detective fiction in film and books that defies replication in videogames? You'd think that videogames would be ideal for whodunits. But the best mysteries in games (see Grim Fandango) roam far from simple murder. And the games that most closely ape the policier – like L.A. Noire – tend to take an unhappy tumble into the "uncanny valley".

Should games be challenging? One of the perennial design challenges of videogames. Make a game too tough and you'll put people off; make it too easy and you'll offer no interest. And then there's the tricky issue of individuals having vastly different play styles and abilities.

The old house seems empty at first. But in the darkness, a flickering match your only light source, it quickly becomes apparent that something terrible is here…

White Night is a classic haunted house tale and a classic adventure game wrapped up in a beautiful, stylised visual feast. Like the Sin City comics and films, this uses stark black and white with just the occasional flicker of colour, mostly the guttering yellow of a match.

The Battlefield series is probably the key rival to Call Of Duty for first-person shooters. Whereas the various Call Of Duty strands tend toward epic, over-the-top Hollywood single-player action and frantic multi-player, Battlefield was born of large-scale multi-player arenas, with player-controllable vehicles on ground and in the air, and increasingly, the ability to blow chunks out of buildings and the environment. This latest game features all of the above, but switches out military action for cops 'n' robbers.

If you thought life as a badger was tough, life as a lynx is even harder than you can imagine, which is why Might and Delight have imagined it perfectly for you. With their uniquely pixelated designs they have rendered an open world savannah for your character, a female lynx, to roam freely in her search for prey and shelter. It’s an idyllic set-up; in the gloriously realised landscapes, and to the atmospheric and unassuming music of Retro Family, your big-cat has the whole world to herself.

There are so many worthy, interesting, non-violent games in the world. And then there's this… this steaming hot mess of pulsing electronica, endless ultraviolence and drug-inflected hyper-visuals. This is the videogame the Droogs would have played in A Clockwork Orange. And, rather worryingly, it's absolutely brilliant fun.

Skateboarding, in games and in movies, has always been presented as quite a laidback sport. This couldn't be further from that idea – it's a "twitch" arcade stick-and-button mangler that adeptly balances risk and reward and will wring hardened players for beads of sweat.

A shambling corpse, desperately gouging anything that comes near it for sustenance, a shadow of its former self. I'm not talking of the zombies that infest this game, but the Resident Evil series itself and its iconic Japanese publisher Capcom.

For those not familiar with the Resident Evil series, this wildly successful set of games jump-started the "survival horror" genre in 1996, and has since spawned an army of spin-off game titles and films, while the main series has mutated – from slow-paced adventure to high-speed action.

The gloom of Victorian London might be shared with The Order: 1886, also reviewed this week, but the games couldn't be further apart. In Sunless Sea, you play a nautical captain, navigating the "Unterzee" of the waters surrounding a fallen, underground London. Or rather, you play lots of captains – because if this cruel game is about anything, it's about repeated death.

In terms of atmosphere, The Order: 1886 wins out in spades. It's just everywhere else that it falls down, unfortunately.

Sneaking through the Ripper-stalked streets of an alternative Victorian Whitechapel, you can almost smell the stink of the slums. And certainly this matches the recent Assassin's Creed: Unity for the detailed and fetid depiction of dirty, litter-strewn cobbled streets. It's moments like this that The Order does excellently.