• Final Fantasy V Advance (GBA) – The first of two Final Fantasies, and one from back in the glory years which FFIV began a year earlier (yes, they used to make one a year). RPGs and portables often aren’t the best of bedfellows, but couple this with a Game Boy Micro and you have a top combination. A machine small enough for you to forget that you have it and a deep game that actually lets you make decent progress on the commute go together nicely, and it helps that this is one of the stronger instalments in the series. Bring on FFVI Advance in February!

• Final Fantasy XII (PS2) – FFXI aside, this is probably the biggest breaks from the formula for a major series that I’ve ever seen. At first I wasn’t completely convinced by the MMORPG influence (MMO combat is completely inane, and the only reason to do it is because it’s with real people – why would I play it with AI characters?), but a few hours in, once you have a party and the Gambit system in place, it just clicks. Had I played it earlier this could probably have made the top five.

• Viva Piñata (360) – If I was doing special awards this would have been a shoo-in for both surprise of the year and best game nobody played. I certainly expected it to be rubbish, but quite the contrary. Playing like a cross between The Sims and Animal Crossing (neither of which I’m a massive fan of, oddly), it’s surprisingly addictive and paced well enough that you never go long without unlocking a new Pi?ata or other item, ensuring that you have an incentive to keep playing. Best of all, it’s an Animal Crossing-style game that doesn’t use a real-time clock, so you sidestep the issue of having to go back to a weed-filled garden after a few days of downtime.

All of those are worth a look. And I’m so glad that bloody feature is out of the way for another year.

There was some question over whether or not this would even make the list this year, but once I got it the result was never going to be in doubt. I’ve said it before and I’m sure I’ll say it again: there’s nothing like a new Zelda.

Admittedly Twilight Princess doesn’t really do anything new to those who’ve played one of the three previous 3D Zeldas, but why mess with a winning formula? It’s ultimately the same classic game with nicer graphics (considering the hardware, at least), a good story, and a nice long quest to work through. If they can deliver a new Zelda every few years with only those tweaks, I’ll be very happy.

But what this game did for me more than anything is that it validated the Wii controller as being usable for more than minigames. This couldn’t be further away from a minigame and yet I find it hard to imagine playing the GameCube version of this game. Some things, I thought, don’t work as well as others (the fishing, for example), while some such as drawing a sword and aiming work seamlessly and intuitively, which is what Nintendo seem to be aiming for with the Wii as a whole.

So, out of the many games to come out in 2006, Zelda gets the nod from me. When the only area that I can really think of any room for improvement is in the graphics, it’s clear that they’ve made something great.

Happy new year, everyone!

I suppose that epic adventures featuring wolves with annoying cohorts must be du jour this year. Expect a flood of them in 2007, presumably with cover and blind fire mechanics.

Despite underwhelming sales (I blame the other wolf game) and the culling of the development team, Okami deserves all of the credit it gets. Zelda’s is a formula that remains infrequently copied and more infrequently equalled, but on their first attempt Clover made a game that could easily stand alongside any of Link’s adventures. Not only did it have an extremely lengthy quest to complete, but also took the audacious decision to almost completely break from the ostensible storyline barely 15 hours in. Zelda comparisons may be obvious, but when this is such a good imitation – with, it must be said, some wonderful flourishes of its own – they’re hard to resist.

And those graphics! I can’t extol the game without mentioning those. While Gears of War was comfortably the most technically impressive-looking game of 2006, Okami is almost certainly the best from an artistic perspective. The whole game looks like an animated watercolour painting, even down to the texture of heavy paper that lies underneath everything at all times. It’s stunning, and I just wish I could have seen it in 720p.

For those of you in the UK without the means to play the import, show Capcom the error of its ways by marking 9th February 2007 on your calendar. It demands to be played.

Of all the games on here, this is the one that, almost above all, had to be good. Despite positive previews it was really an unknown quantity until launch, and without Halo 3 until next year it was the 360′s big gun for its first Christmas with direct competition. And while it wasn’t perfect, Epic did a fabulous job and laid the foundation for Microsoft’s latest big franchise.

Just to get it out of the way, Gears looks amazing. It’s certainly the technically most impressive console game I’ve ever seen, and until Crysis it’s debateable that even the PC has anything to match it. Look at the caverns in Act 3, and I defy you to tell me that it doesn’t look stunning.

While the campaign isn’t the longest in the world, while it doesn’t act on the potential of its story, and while the macho stereotypes are tired (though slightly tongue-in-cheek, which helps), what it does have is a refreshing take on the usual run and gun shooters and some of the most visceral and satisfying combat in any game, that is even better when played online with a friend. The chainsaw bayonet is an obvious and ludicrous example, but it works in this context where even the destroyed opulence around you is larger than life.

I doubt that Gears will have the legs that the Halo games have had, but nonetheless this is a lesson in how to do a next generation game. After this and Rainbow Six Vegas, expect every shooter in the next three years to have some kind of cover mechanic. If you didn’t like it in this game, you’re screwed.

I love my immersive, coherent worlds, me. Make a good one of those and you’re halfway onto my top ten of the year list. One of the best ones won last year, in fact. This is also one of the best.

The scale of Oblivion is the amazing thing. As I type this I’m playing Final Fantasy V Advance, originally released in 1992, and it strikes me that what was a large game then can now be done in full 3D, fully voiced with proper actors, and just looking absolutely phenomenal. It had technical issues that were maybe symptomatic of overreaching on current hardware – or possibly unfamiliarity with it – but the magnitude of Bethesda’s vision was just phenomenal.

But give an ambitious and talented team the time and budget (and possibly the Lord of the Rings licence), and this shows what you can get. The moment when you first walk out of the sewers and up the hill – possibly getting held up or attacked by an ogre on the way – to look back at the city you’ve just come from is burnt indelibly into the memories of everyone who saw it, whatever they thought of the game.

Memorable towns and innumerable settlements and landmarks that can be endlessly explored make a great game, marred only by some technical quibbles. It’s unmissable.

In case I haven’t made this clear, I hated Snake Eater. But what a difference a little camera control can make.

After Sons of Liberty the MGS series lost a lot of goodwill, and so tried something new with MGS3. Now you play only as Snake (not Solid), and you’re not in the near future of infinite battery lives and soliton radar, but in a Soviet jungle at the height of the Cold War. You’re really on your own, with even the need to sustain yourself completely in your hands. It was just too bad that a bit too much digging in menus and a truly terrible camera let it down.

Luckily someone at Konami had played Splinter Cell. That second stick was put to good use and let you move the camera in full 3D (in a 3D game? Whatever next!?), and in doing so completely transformed it. What was game-ruining flaw suddenly become totally transparent to use and allowed the parts that the game does so well to shine through.

What it does well, it does very well. A slick and exciting stealth adventure with a wry sense of humour carries a superb story – all told through cinematics that can stand up with the best blockbusters – right through to an epic and emotional ending (around twenty minutes long) that gives the perfect finale to what had been a top class game. Bring on MGS4.

The next one may be coming to the DS, but Dragon Quest VIII certainly managed to do the PS2 proud. 2006 has been a good sendoff for Sony’s retiree with some of the most impressive games in the console’s history, and this is certainly up there.

Rather than reinventing the wheel as the Final Fantasy series is wont to do, DQVIII takes quite the opposite path. This is about as traditionalist as can be. The admittedly stunning graphics are essentially a flashy wrapper for gameplay that has been all but unchanged since the beginning. No ATB, minimal battle animations, random battles coming out of its arse, and a blank expression when quizzed about anything as elaborate as a job system.

The basics are as solid as can be after so much refinement, but it’s the setting and visuals that provide the biggest step forward. Let nobody tell you that cel-shading is dead, because this game is one of the best showpieces yet. The game takes place in a beautiful fantasy world painted mainly in primary colours, as far from the dystopian future/steampunk settings of many contemporaries as can be. It’s one of those games that can visually transcend the HD barrier that newer consoles are hastily building over the past.

Too bad that such a top game couldn’t forge a market outside Japan like the Final Fantasy series could. Maybe that’s what they’re hoping for with IX.

Perhaps one of my more controversial choices, this was the first Hitman game that I ever played at any length and turned into a surprising favourite. In fact, I think it’s the only game this year that I’ve been moved to play through more than once.

It’s not spectacular looking or anything like that (‘clean’ is really the only superlative that applies to the 360 version, impressive Mardi Gras level aside); it just ticks the boxes that made me enjoy the Splinter Cell games so much. As you’re funnelled along through the story, it gives just enough room for improvisation to make multiple playthroughs feel different. I’m replaying the second level in my head now, and I can think of at least three different ways to approach the first target alone, and the elusive Silent Assassin ranking provides an effective carrot to the same perfectionist in me that Sam Fisher kept tempting.

I’ve heard from fans of the series that Blood Money is one of the best, so I hope that Eidos and IO can give 47 a proper next-gen runout. I’d love to see what they can do with these inventive scenarios when they properly tap into that extra power.

(Merry Christmas)

The almighty Ouendan’s sequel/remake/bastardisation (take your pick) may not manage those heady heights, but it certainly deserves a place on here. What could easily have been a cynical rehash of a cult classic kept what made the original great and managed to forge a personality of its own.

I don’t like it as much as I did Ouendan, possibly because that game came out of nowhere without any expectations whatsoever, and to be fair I was probably predisposed to not liking this as much. Inis did a great job of keeping it faithful to the style of Ouendan but just having English text and Madonna and Avril Lavigne over impenetrable Japanese and bands you’ve never heard of takes something away from it. I maintain that all an English version needed was a menu translation, but that’s probably why they don’t let me make games for Nintendo.

Despite the shortcomings, EBA makes the list because it builds on an extremely solid base and still does a good job at something that – let’s be honest – was never going to please all of the fans who imported Ouendan. It’s still a hell of a lot of fun and well worth picking up, especially if the original was a bit too “out there” for you.

Ah, the token Tom Clancy appearance. You just can’t stop the guy.

Deserving credit both for turning me onto the Ghost Recon series (or sub-series?) and helping to end the terminal drought of software for the 360 earlier this year, it still stands out as one of the games that looks and plays like something really next-gen. Don’t agree? Just look at how dreadful the Xbox and PS2 versions turned out.

As well as looking stunning and delivering a believable near-future setting, GRAW also brought with it one of the better multiplayer suites of the year. As well as the basic deathmatches, this included the immensely satisfying co-op mode with support for up to 16 players: the mode singularly responsible for the odd number that is my gamerscore. Annoying, but still top fun.

Like Rainbow Six Vegas, GRAW did a superb job of making what had previously been somewhat esoteric games and making them accessible to us normal people. And once the campaign was out of the way it became one of the few games that could tempt us away from COD2 multiplayer. That takes some doing.