Telltale Games has pioneered the 'box set' model of gaming with their hit episodic adventures based in the Walking Dead universe as well as The Wolf Among Us, set in the modern fairytale world of the Fables comics. Telltale's long-awaited Game of Thrones licence has now launched on multiple platforms. Does their signature blend of multiple choices and moral dilemmas lend itself to George RR Martin's brutal fantasy world?

When I found out Jack King-Spooner was making another game, I didn’t know whether to be happy, or to be sick in my mouth a bit. His previous nuggets like Will You Ever Return and Sluggish Morss, have taught me to handle his small, subversive, artistically experimental and intimate ‘hand-made’ games with extreme care. You never quite know what JKS is going to show you (or rather force you to look at) and some things you just can’t un-see.

Simple to play, fiendish to beat and with a huge depth of theme and beauty, The Talos Principle is a massively welcome end of year surprise. Like Portal and the recent The Swapper (whose writer also is involved here) this deftly blends a series of (120+) puzzles of growing complexity and ingenuity, that arise out of a very simple and brief set of mechanics, into a rich and deep philosophical theme.

The Last Door is a game out of time. Its point 'n' click adventuring has a retro feel matched by deceptively simple, pseudo-8-bit graphics and an almost total lack of handholding. You are instantly dropped into the game's prologue with no tutorial and no indication as to what you need to do. It's just your blocky avatar in a room with some objects. What now?

Before Minecraft there was LittleBigPlanet. This series lets you jump around cute homespun platform levels, then go in and edit them and create your own. The latest adds all sorts of new editing tools, but still fails to communicate simply enough with its audience.

By far the majority of interactive art, entertainment and fiction – videogames for want of a better rubric – could be described as science fiction or fantasy. Very little of what you do when you pick up a gamepad has to do with real life. Even contemporary crime thrillers such as Grand Theft Auto or combat games like Call of Duty: Modern Warfare take only a highly-stylised glance at reality. But most games allow you to be and do things that far outstrip any notion of reality.

When is more too much? Far Cry 4 continues to expand the freedom enshrined in the freeroaming, first-person shooter series, but this time takes things perhaps too far, diluting the games' core appeal.

What a setting! The history-hopping stealth action series drops into Revolutionary Paris in Unity. Arguably the first game of the "next generation" uses more processing power to render a gigantic, living city teeming with revolting peasants, towered over by Gothic cathedrals and stuffed full of passageways and distractions. Assassin's Creed: Unity looks so real you can almost smell Robespierre's breath. Such a shame, then, that the game fails to engage meaningfully with setting or period.

It's Call of Duty, in the future, with Kevin Spacey. For many, the biggest and most important game of the year is here. But for the most part, Advanced Warfare is as conservative and reactionary in terms of innovation as it is in terms of the pro-military, ends-justifies-the-means politics it peddles.

Since Rovio hit the jackpot with Angry Birds the Finnish developer has not been shy about pumping the franchise for all it is worth. There are licensed sequels incorporating Star Wars and Transformers characters, spin-off games like Angry Birds Epic and Angry Birds Go, board games, stuffed toys and even a movie in development. While those furious fowl dominate Rovio's output, they haven't given up on indie gaming entirely.