From Minecraft chess and coding for kids to retro consoles and Doom on vinyl for grown-ups – hit select and start with these original non-digital presents

Gamers can be a difficult bunch to buy for. Most of them will get their new games digitally from Steam, Xbox, Nintendo or PlayStation’s online shops, so you can’t just wrap up the latest version of Call of Duty and be done with it. Fortunately, there are plenty of useful accessories and fun lifestyle gifts to look out for, and gamers tend to have a lot of other interests that intersect with games in different ways.

So if you have a player in your life, whether they’re young or old(er), here are some ideas chosen by the Guardian’s games writers. And naturally, we’re starting with Lego …

Forty years ago, the Nintendo Entertainment System dominated the markets in Japan and the US. But in Europe, a technologically superior rival was making it look like an ancient relic

There’s an old maxim that history is written by the victors, and that’s as true in video games as it is anywhere else. Nowadays you’d be forgiven for thinking that the Nintendo Entertainment System was the only console available in the mid-to-late 1980s. If you were brought up in Nintendo’s target markets of Japan and North America, this chunky contraption essentially was the only game in town – the company had Mario after all, and its vice-like hold on third-party developers created a monopoly for major titles of the era. But in Europe, where home computers ruled the era, the NES was beaten by a technologically superior rival.

The Sega Master System was originally released in Japan in the autumn of 1985 as the Sega Mark III. Based around the famed Z80 CPU (used in home computers such as the Spectrum, Amstrad and TRS-80) and a powerful Sega-designed video display processor, it boasted 8kb of RAM, a 64-colour palette and the ability to generate 32 sprites on screen at one time – making the NES (based on the older 6502 processor) look like an ancient relic.

Activision; PlayStation 4/5, Xbox, PC
With a deafening onslaught of massive shootout set-pieces in exotic locations, an evolving campaign mode and excellent multiplayer offerings, this maximalist instalment of crazed carnage is a hoot

It seems like an anachronism now, in this age of live service “forever games”, that the annual release of a new Call of Duty title is still considered a major event. But here is Black Ops 7, a year after its direct predecessor, and another breathless bombard of military shooting action. This time it is set in a dystopian 2035 where a global arms manufacturer named the Guild claims to be the only answer to an apocalyptic new terrorist threat – but are things as clearcut as they seem?

The answer, of course, is a loudly yelled “noooo!” Black Ops is the paranoid, conspiracy-obsessed cousin to the Modern Warfare strand of Call of Duty games, a series inspired by 70s thrillers such as The Parallax View and The China Syndrome, and infused with ’Nam era concerns about rogue CIA agents and bizarre psy-ops. The campaign mode, which represents just a quarter of the offering this year, is a hallucinogenic romp through socio-political talking points such as psychopathic corporations, hybrid warfare, robotics and tech oligarchies. The result is a deafening onslaught of massive shootout set-pieces in exotic locations, as the four lead characters – members of a supercharged spec-ops outfit – are exposed to a psychotropic drug that makes them relive their worst nightmares. Luckily, they do so with advanced weaponry, cool gadgets and enough buddy banter to destabilise a medium-sized rogue nation. It is chaotic, relentless and stupidly pleasurable, especially if you play in co-operative mode with three equally irresponsible pals.

Raw Fury/Spooky Doorway; PC
An atmospheric folk-horror adventure combines colonial guilt, spiritualism and supernatural chills in a tale of secrets and seances on Ireland’s haunted west coast

A remote manor house on the west coast of Ireland, an eccentric cast of misfits and ne’er-do-wells, a dapper investigator with secrets of his own. The Séance of Blake Manor sounds like the stuff of cosy Sunday evening entertainment. Thankfully, this folk-horror drama has much more to offer than a bit of fun for Agatha Christie fans.

It’s October 1897, and you play as private investigator Declan Ward, sent to the aforementioned manor – now a grand hotel – to discover the whereabouts of one of its guests, Evelyn Deane, who has gone missing in mysterious circumstances. What you discover is a gothic mansion filled with eccentrics: from a psychic researcher wielding a spirit camera to a vodouist oungan and a Brazilian woman tracing her family roots. They are here to attend a grand seance that will take place on All Hallow’s Eve, when the phantasmagoric barrier between the worlds of the living and the dead is at its thinnest. But as you discover while you wander the ornate rooms and meticulously planned gardens via first-person viewpoint, each participant has a secret – some deadly, some tragic – and many know more about young Miss Deane than they’re letting on.