I've mostly outsourced this list to the Official Asymmetrical Information Spouse, who plays more video games than your humble correspondent; the only new game I've bought this year is Civ 5 (reviewed at bottom).
If you ever wanted to ride off into a perfect digital sunset, this is your chance. You don't need to love Westerns to love Rockstar's beautifully rendered, genuinely gripping outlaw epic, which offers one of the most gorgeous and fully realized worlds ever found in a game. The world alone makes the game worth purchase. But if you come for the terrain, you might find yourself staying for the story -- a tale of revenge and, yes, redemption that riffs on classic Western motifs with surprising success.
Fallout 3 gave players a fully explorable (if not always geographically accurate) post-apocalyptic Washington, D.C. New Vegas offers a similarly irradiated twist on New Vegas. Like its predecessor, New Vegas is a game for obsessive collectors and stats-management -- there are tens of thousands of items scattered throughout the game, each of which affects the players capabilities in unique ways. It's not, however, a game for casual players; a single playthrough can easily take 50 hours or more, and truly dedicated players will want to give it a second go in order to play all the missions.
Ever wish the Cold War never ended? Now you can fight it all over again. By hour three of the game you'll have attempted a hit on Castro, infiltrated a Soviety launch site, and taken orders from JFK in a secret Pentagon situation room. There's not much real history here, but the action is intense, and if you get bored, you can always load up zombie mode and kill undead while playing as Richard Nixon.
Bioshock 2 isn't as much of a revelation as its deftly plotted predecessor, but it's still a solidly crafted shooter with clever philosophical undertones. As with the first game, what sets this apart from similar first-person frag fests is its underwater Art Deco world, which this time around has been overrun by socialist religious fanatics.
The first Mass Effect was a weirdly compelling blend of fussy role-playing game and intergalactic soap opera, complete with a big cast of nicely drawn sci-fi archetypes. The giant-sized sequel -- the Xbox version comes on two discs -- is heavier on story and lighter on RPG mechanics, which have been significantly streamlined. So players will spend less time managing menus and more time guiding their characters through hours of complex dialogue trees. The end result is sometimes less a game than a maze-like exercise in narrative cut and paste; it's the video game version of a Choose Your Own Adventure book.
Far more than Mass Effect 2, Heavy Rain is not really a game. Instead, it's a crime story that the player moves forward by interacting with the digital environment. Its devotion to representing the mundane means it's not always as exciting as you might hope: Playing through missions that included such thrilling tasks as making dinner, playing with a kid at a park, and burping a baby, I half expected to come across a mission that consisted of nothing but housework. But the pace picks up eventually, and no matter what, it remains an intriguing and innovative exercise in interactive storytelling.