Many of the players may have started with this in 2004 but it didn’t come out here until February and I didn’t get it until October, so it definitely qualifies for my 2005 list.

Anyway, my experience with MMORPGs and online RPGs in general was limited before this year, with only a fair amount of Phantasy Star Online and a dabble in the betas of City of Heroes and Guild Wars under my belt, but when I got this for my birthday it really showed me how great this genre is. Trust Blizzard to do it so right first time.

As I type this I’ve suspended my account so that I can enjoy my 360, but after two months I’m pushing 100 hours of play, a number that only a small handful of games come close to with me, and once I jump back in it will show no signs of abating as I get more drawn into the more interesting quests and plethora of group activities (I’ve barely dabbled in instances with groups of other players), money making schemes, and general community aspects that the higher levels bring. It really says something about the immensity of this game that despite all the time that I’ve poured into it, I’ve only really played one race out of six (all with different paths and quests) and have set foot in maybe ten of the game’s fifty-odd zones as quests and the urge to explore begin to expand my horizons.

On paper this, like most MMOs, looks fairly monotonous, but somehow the great community and personality that Blizzard have imbued their world with (it might look like generic fantasy in screenshots but believe me, it’s not) combine to make a game that’s maddeningly addictive but never less than a wonderful place to be. I dread to think what the expansion will do for me but in the meantime this is my game of the year. Easily.

Speaking of sequels that don’t play it safe, here’s another one, although the Resident Evil name on the box obviously helps one to achieve financial success. Even so, the risk with making such big changes to such an established formula can’t be overestimated.

As revolutionary as Resident Evil was, the gameplay has dated fast in this world where action shooters and 3D environments rule. Some fundamental changes later – the new perspective, the death (again) of the trademark zombies, a whole new threat that isn’t Umbrella – and they have this, the latest RE game that makes a huge deviation from the established formula whilst still leaving some of the hallmarks that make this unmistakably Resident Evil and the best GameCube game in a long time.

The precision gunplay, creepy atmosphere (helped by some of the most impressive visuals of this generation), and excellent pacing make this an all-time classic and a clear choice for one of the best of the year. It was tough to relegate to second, believe me.

In an industry built on sequels that play it safe it’s unusual to see a high profile game that is not only a sequel (sort of), but also an original idea of the type that hasn’t been attempted before. It takes one of the seamless worlds which are all the rage at the moment but sets it in a strange and isolated land, all based around the unique idea of taking the enemies, puzzles, and levels and making them one.

The colossi are the biggest (no pun intended) achievement that push the PS2 to its absolute limits, and beyond at certain points as any framerate whore will tell you. Despite technical problems they look stunning, often not actually bothered by your prescence until you start trying to murder them on your selfish quest to bring back your lost love. It really is hard to classify whether they’re simply enemies, puzzles, or whole levels – you have to kill them while they usually try to do the same to you, they’re you’re only real measure of how far through the game you are, and actually getting on top of them and doing the dirty work is rarely straightforward, requiring a cunning mind and a fair amount of platforming acumen.

Not only is Colossus a beautiful game graphically, it’s also absolutely enthralling, with the solitary atmosphere, soundtrack that ranges from haunting to rousing, and the process of figuring out how to bring down each monster combining to create something really great. It’s not very long, but it’s still an experience that shouldn’t be missed.

I own the Japanese version of Lumines (pictured) which came out in 2004, but since it came out everywhere else and I bought it in 2005 it gets in, and deservedly so. It’s one of the few challengers to the Tetris throne that even comes close, and it’s still the best game on the PSP by some way.

Lumines is essentially your common or garden falling block puzzle in which coloured blocks fall from the top of the screen, and by matching up four or more of a single colour they’ll be removed by a bar that sweeps horizontally across the screen at varying speeds. It’s as simple as all the best puzzle games and is maddeningly addictive (even when matching your high score can take a couple of hours of solid play), which is really all you need to make a good puzzle game for a handheld.

That’s not all you get, though. Like Mizuguchi’s last game, Rez, music plays a central role in the game, and every few levels you’ll come to a new “skin”, changing the backgrounds, block colours, speeds, and the music. It’s the same sort of music that you’ve seen in Rez (good thing) and makes headphones a necessity to fully enjoy the hypnotic beauty of the game. Even if saying that that this is the best game on the PSP isn’t really high praise at the moment, saying that this is one of my favourite puzzle games ever made certainly should be.

Metal Gear Solid may have popularised the stealth action genre but I’ve always thought that the Splinter Cell series did it better, with all the post-modernism thrown out and a fully 3D camera, which I find essential to any game requiring the awareness of your surroundings that a stealth game does. The camera was the main reason I gave up on MGS3, as without the radar but with the anachronistic camera I found it frustrating beyond belief to have to keep switching to first person to see beyond the top of the screen.

Pandora Tomorrow expanded on the first game and added that fantastic multiplayer mode, but suffered from annoying difficulty spikes that detracted from things. By handing development back to the original team for Chaos Theory, we got significant improvements to the gameplay as well as some of the best graphics of that generation. The campaign was long and had variety (the Seoul level is a particular standout moment, and its setting in an urban war with you as a neutral shows similarities to MGS4), and the way that you were ranked on your ability to go undetected and avoid killing anyone encouraged perfectionism that’s unusual for me, actually getting me to go back and replay the game when I’d finished it.

When you factor in an improved version of the multiplayer and an entire co-op campaign with online play, this is one of my favourite action games ever made. Splinter Cell Double Agent is going to have a lot to live up to now and I really hope it can manage it.

By far the best game about omniscient trenchcoat-clad male cheerleaders that I’ve ever played. If that doesn’t convince you that this is one of the best games of the year I’ll try to do it now through some more traditional evangelisation.

I first heard of Ouendan from the Edge review a few months back and bought it after seeing a friend play it in Japan, and for a very simple rhythm-action game they do a great job of imbuing it with some quirky humour and a huge amount of personality. Musical games are made on the music they feature, and it’s here that Ouendan also shines by including some absolutely brilliant J-rock from a selection of real Japanese bands. If Nintendo decided to release the soundtrack album I’m sure it would be a big seller based solely on the cult following that this game has amassed online.

The gameplay is fairly basic rhythm-action with the touch screen put to good use to give it a pleasingly tactile interface, but the real stars are the catchy music and hilarious design which never fail to bring a smile to my face and keep me playing a music game over three months since I bought it. Even my perennial favourite, Samba De Amigo, didn’t manage that.

I don’t think I’d be alone in saying that Mario Kart DS is my favourite game in the entire series, and when a series carries a name as big as Mario Kart that’s no small praise. Whereas Mario Kart 64 evolved Super Mario Kart, I felt that Mario Kart Super Circuit was a step backwards and Mario Kart Double Dash felt gimmicky, this one felt like a true step forward.

The focus was brought back to the tight and responsive handling and the weapons which have been tweaked and balanced well over the series, the graphics sit somewhere between Mario Kart 64 and Double Dash, and the power of the DS has been used to add much more interactivity than the last great one, Mario Kart 64. On top of that they were clever enough to throw in a nice selection of classic retro tracks (although some of the choices of “classics” could be debated), fully-featured multiplayer with one copy of the game, and the game’s huge new addition – online play.

Nintendo were slow to adopt online play but they certainly made a good choice of a first game to do it with, and despite teething problems on their first attempt (the overly safety-conscious friends system, the lack of punishment for quitting when losing to protect your record, etc) they did a great job. Not only does this make it one of the best games of the year, it’s also proof positive that the DS is a serious system that isn’t only about touch-screen minigames and half-arsed console ports.

When the 2D Castlevanias achieve near unanimous rave reviews it’s a wonder that they keep pursuing that losing battle of trying to make a decent 3D iteration of the series, and this keeps up the trend by being probably the best new entry to the series since Symphony of the Night on the PS1.

Konami deserve credit for just picking up from their good work on the excellent GBA Castlevanias (they even carry on with the new protagonist, Soma Cruz, introduced in Aria of Sorrow) and, on the whole, resisting the urge to shoehorn in functionality based on the unique functionality of the DS. There are some touch screen functions that work like the breakable blocks and some that don’t like the annoying seal-drawing to deliver the final blow to bosses, but most of the additions use the extra power to make some cool cosmetic touches and, naturally, some bigger and more impressive enemies.

Castlevania games are reliable for being lengthy and addictive action adventures, and this is one of the best in a long time. It therefore happily sits in my best of the year.

Despite what I said about WW2 FPS, when they’re done right they can be very, very good, and Call of Duty 2 is certainly done right. The marketing for the original told us that no man won the war alone, and this follows the same credo but with the added horsepower of more modern PCs and the Xbox 360 to enhance the atmosphere. In a game that was all about chaos going on around you that made all the difference, and I think that overall this is the better game because of that.

What I thought were the biggest flaws of the first game – namely that the British campaign was quite poor and that you had to get through the rest of the game to get to the best part, the Russian campaign – have been solved. The Russian campaign now comes first and the other two have been improved, giving them much the same gameplay but with enough changes to atmosphere and setting to make them distinctly enjoyable. The same mix of objectives that range from demolitions to sniping are here, but the aforementioned added power means that you’re now demolishing massive buildings and making your last stand against whole platoons. Only the end, which goes out with a splutter instead of a bang, let the action down for me.

Even in the series’ first wholesale conversion to consoles (previously consoles have received their own, markedly inferior, games) nothing was lost besides the cut-down multiplayer. The graphics run smoother than all but the most monstrous of PCs with their equally monstrous price tags, and even the controller wasn’t a hindrance. That made it my favourite game on the Xbox 360 so far, and my ninth favourite of the year.

Admittedly I have no basis for comparison, but I’d imagine that no game makes you feel like a soldier the way that Battlefield 2 does. For all it’s flaws, of which many are fixable and should have been fixed by now (this is a Battlefield game so I don’t know what I expected), few games have ever immersed me as much as this. Team-based multiplayer FPS always do well with me, but this one just took the idea and ran with it, and thankfully didn’t make it yet another WW2 FPS.

The basic game mechanics are essentially the same as in BF1942 and Vietnam in a modern setting, but thanks to vastly improved infantry combat, an overall balance to the weapons, and a focus on urban warfare I loved this game and really wish for the next one they’d actually finish it before release. The lack of patch support for the bugs is the main reason why this didn’t place higher.

Most games make the single player the focus of their gameplay and generally that’s the best idea, but with BF2 I can think of few gaming experiences more satisfying than joining up to a 32-man army and moving, street by street, into an enemy city, with teamwork and the use of all your combined talents and different weapons as the best way to success. A heavy weapons guy keeps the enemy armour occupied while the machine gunners pin down the infantry so that your own infantry can outflank them and capture their base: there are so many possibilities to how each game plays out. and it makes the list in spite of the problems simply because the core gameplay is so well done.