For the first time in the 15-year history of Call of Duty games, the developer Treyarch has decided to completely do away with the single player story campaign for its latest Black Ops offering. With context-free multiplayer shooters like Fortnite doing great business at the virtual tills, why spend the valuable resources crafting a 6 to 8-hour story mode that will get played through once and then long forgotten while the vast majority of gamers take the action online to the multiplayer battlefields?

Reinventing the wheel is no easy task, yet EA, the powerhouse publisher behind the multi-decade long FIFA series, manages to pull the digital rabbit from the hat year after year. The majority of the on-pitch action hasn’t changed in iterations, and nor does it really need to; it’s a slick, great-looking and responsive playing experience.

Design/Play/Disrupt at the V&A covers a wide variety of games that are spearheading the gaming world at the moment. It takes a closer look at eight of the most innovative and different games that have changed the world of gaming in the last five years.

Spider-Man is among the most popular videogame characters in the history of gaming. His swing and climb ability, plus a bit of meaty hand-to-hand combat, some nifty web shooter gadgetry, a slick repertoire of one liners and a cracking all-in-one body stocking encouraged publishers to serve up more Spider-Man games than pretty much any other character, bar the Bat bloke with the cool car. 

This strategic simulation game is an interesting take on the classic dinosaur franchise. Coinciding with the latest big screen release, Jurassic World: Fallen Kingdom, the title puts you behind the virtual desk of theme park manager in a clever management sim that combines playing god with dinosaurs and playing host to the demands of an army of theme park visitors. Occasionally the two meet – and it never ends well. 

Interactive stories are a tricky proposition. Make the on-screen action too passive and your audience feels like they’re watching a succession of cut-scenes. Tip the balance the other way and it’s just a game with pretensions of cinematic story telling. The idea that every decision you make in-game, whether it’s a dialogue choice or an action, will ultimately affect the outcome of the story is a bold ambition.

The God of War games are legendary action adventure titles that specialise in the slaying of giant mythical beasts via intuitive brutal combat. The hugely popular series was developed by US studios in response to the overwhelming success of Japanese-based publishers releasing titles like Devil May Cry and Bayonetta. The GoW games dialled down the combat complexity and made the story more coherent, resulting in more plaudits and awards than you could throw an enchanted axe at.

Civilisation is under threat from a bunch of religious rednecks, and it’s your job as the new Deputy Sheriff of fictional Hope County to right the wrongs of a year-long silent coup initiated by Eden’s Gate, a fanatical doomsday cult, intent on purging sinners and imposing their law on the land. There's a Brexit gag in there somewhere.

Survival is hard work. If you’re not desperately trying to hunt and forage food you’re dying of thirst or trying to scavenge materials to make the most basic weapons and tools. Who needs Netflix and Deliveroo when you can roast a gerbil and wash it down with a rusty bucket of dirty water?

Cage fighting summons up images of the most brutal hand-to-hand combat. Two fighters, an octagon cage, punches, kicks, submission holds, and the trademark "ground and pound" when an opponent drops to the floor and his rival goes in to finish him off. Not very tasteful, is it?