It is worth noting that I gave Hidden Around the World’s predecessor, Hidden in my Paradise, a great score. But for some reason, Hidden Around the World resonates less with me. It’s cute. It’s fun while it lasts. But with the frustrating bugs and very little narrative, it is also easily forgettable. One major problem I’d like to forget is that the game didn’t improve on Hidden in my Paradise: the same issues persist, which were easier to overlook the first time around. When there are already problems, don’t just copy and paste them into another game. It’s just the same, and that doesn’t cut it for me.

The Last Ninja is not likely to find new fans. The archaic nature of them makes them awkward to play, whereas there are plenty of other retro options that are much more instantly familiar and comfortable to play. They are enormously important, influential games, however, so if you’re here for the history and heritage of video games, then by all means, struggle through this collection, because it is right up there with the most famous retro series that we just don’t talk about that much.

Arcade Archives is doing an exceptional job in properly preserving games that would otherwise be left to dodgy emulators or lost to time. Quester might not be the best arcade game you’ve ever played, but it is a moment in gaming history, and it’s enjoyable enough. I, for one, am glad it’s available on modern platforms.

On the Game Cube app, there is Mario Strikers. That is an excellent example of a time where Nintendo and its party sports developers had a handle over the balance between capturing the basics of the sport and making it arcade fun. Now, though, they’ve lost the plot entirely. I genuinely don’t understand who this is for, but it isn’t me. Or anyone that I know who loved what Mario Tennis once was.

Games these days are rarely “finished”, but I’m not 100% certain that a smaller niche title like Speedball will see much in the way of post-release content and patching. If it does, it could evolve into a nice little game for those who fondly remember the original – but as always, I can only review what’s in front of me, and at launch, there’s just not enough of Speedball to make it a particularly compelling prospect at full game price.

PBA Pro Bowling 2026 on the Nintendo Switch has an extremely short lifespan, thanks to the lack of multiplayer and just one meaningful single-player mode. The development team really have done a good job of capturing the sport, and it’s a substantial improvement on FarSight’s previous efforts, which were both dry and not quite nuanced enough to do the sport justice. This gets that right, but just imagine going to the bowling alley to play a game by yourself. It’s not half the experience without friends around, and that applies to both the real sport and the digital adaptation.

Sugoroku isn’t a brilliant board game. It’s not Wingspan, or Catan, or Lords of Waterdeep. It’s not even Hero Quest or Talisman. But sometimes a game has cultural resonance beyond the entertainment value of its mechanics and systems. Sugoroku is as Japanese as Shinto, Kabuki, Pikachu and Sushi. And for that sociological reason, it’s actually worth having a take on Sugoroku and playing it. This one is actually one of the best examples of it.

But these titles do deserve to be remembered as part of the overall patchwork that the games industry grew out of, and I’m genuinely happy that I had the chance to discover Rammy’s Great Adventure. It’s not an easy thing to recommend to anyone because… Well, the Switch already has so many great roguelikes. But if you’re in the mood for something eclectic and eccentric, or just a piece of gaming history that you absolutely haven’t played before, Rammy’s Great Adventure and its sequel and the existence of this remake is genuinely fascinating.

If you are the type that might have bought a Terminator 2 game back in the 1990s when it was something of a cultural institution, and as long as you stick to the regular difficulty modes you’ll enough to entertain you here. Otherwise, though, this is going to be a bit niche for everyone else.

If you’ve never played Tomb Raider, then you can grab this and enjoy the ride. It still looks comparable to other modern titles on Switch 2. The action is also taut and, the first time through, exciting. The thing is, though: Tomb Raider just isn’t worth replaying that often. The best games – as works of art – delight over and over, no matter how familiar they become. With Tomb Raider, and so many other blockbusters over the last 15 years, familiarity just makes the lack of creative inspiration behind them and the slavish devotion to risk-free content delivery all the more apparent.

It is way, way better than Bubble Bobble 4 Friends, and it could be great for you if you like your games on the とても難しい side, or if you don’t already have a copy of the still excellent Bubble Symphony to hand. If you’re after that classic Bubble Bobble gameplay, however, the original is still the best.

Still, while Kirby Air Riders won’t be remembered in the countdowns of Nintendo’s greatest games, and certainly won’t have the longevity that Sakurai brought to Smash Bros., it’s a fun distraction and the kind of thing that you’ll pick up every six months or so for a quick blast and laugh. And sometimes that’s all a game needs to be.

Football Manager 26 is for the diehards alone for this reason. It’s frustrating to deal with the bugs and UI changes, even if the core game remains basically the same. If you were to imagine this game without those issues, however, the new ideas and enhancements that are in the game are universally good and, whether it is just a matter of patches or waiting for Football Manager 27, there are very good reasons to get very enthusiastic about this series again.

I’m going to hazard a guess and say that the potential audience for Sacred 2 Remaster is very small. It’s a very simple, grindy, button-masher action RPG with a totally irrelevant plot. If you’re going to play and enjoy this, it’s because you get hooked on that simple, basic gameplay loop. And if you do… well, welcome to dozens upon dozens of hours of it. If you’ve never played Sacred 2 before, but enjoy Diablo-likes or Eurojank like Risen, Gothic or ELEX, then there’s every chance you’ll find this one amusing (and in the right way).

Ghost of Yotei achieves what it set out to, in that it wanted to take what makes Ghost of Tsushima so popular (the visual engine, the combat, Sucker Punch’s open worlds) and transport it to a “barely settled” location where they could give us a rip-roaring, all-American Wild West story. So… good on them for achieving that, I guess. But, as I brace for the inevitable comment moderation job ahead, I gotta be honest and say I just didn’t care for any of it. Or the way it capitalises on the Japanese/Ainu setting rather than tries to work with it.

It’s also nice to have something in this genre that isn’t weighed down with all the mobile game contrivances that have taken over the puzzle/RPG hybrid in the years since. It’s unfortunate that it’s such a no-frills release (they couldn’t even put multiplayer in the thing!), and that this is the dictionary definition of a game that has “aged poorly,” but who knows? Perhaps Puzzle Quest really is back this time around, and the development team can use the momentum to finally deliver a second game that moves past the mistakes of previous efforts and builds on the heritage and prestige of the original.

As a result of these misfires, Lego Party finds itself in a position where there’s a lot to like about it and bravo to SMG for looking for ways to be creative while also producing a blatant Mario Party clone. On the other hand, it does show that where Nintendo has been producing them for decades now, this is a rookie effort. Perhaps part of the issue is that I played it on a Nintendo console, when I have the alternative sitting right there on the hard drive. On other platforms that don’t have a Mario Party, I can see this resonating more strongly. Unfortunately, though, I can’t see it being a particularly memorable experience for anyone in the long term.

I don’t know if Daemon X Machina: Titanic Scion is going to turn me into a fan of these mecha games, but I certainly enjoyed the combat and design enough that I’m keen to check out some more to see if I do like something about the genre after all. Just be aware that the performance is pretty suspect at times. If you can handle that, then this is certainly an ambitious and entertaining sci-fi game for on the go.

Ultimately, perhaps we do need to remember that this is FuRyu’s first self-published game, and the existence of Varlet at all is, itself, an experiment. We didn’t get the usual creative subversion that we’ve come to expect from the company behind the likes of Lost Dimension, The Caligula Effect, Crystar, and Reynatis, but in taking this step as a company, perhaps FuRyu will be able to protect its ability to continue to do those games in the future. Valent itself, unfortunately, is a game I wish I could love more than I did.

With dozens of characters drawn from the series and a full ten courses, Everybody’s Golf Hot Shots does act like a celebration of the series to date. However, it’s also painfully clear that this game comes from a new developer trying to find their place with such a venerable series. HYDE was timid to try to be too innovative, but at the same tim,e clearly struggled to achieve the same precision from the previous developers. Unlike Clap Hanz’s Easy Come Easy Golf, HYDE’s game actually wants to challenge players and require skill. And I’m quite sure that a patch or two will get the game to where it needs to be. For now, however, as enjoyable as Everybody’s Golf Hot Shots is, it’s just a touch too frustrating for its own good.

As a big-time Shantae fan, I’ve loved having the opportunity to fill in the gap for the game in the seies that we very nearly didn’t get. It’s more a curiosity than something essential – more recent titles in the series are definitely better, but if this continues to breathe life into the series, then I’m all for it.

All of this leaves me in a bit of a conundrum. On the one hand, Mario Party Jamboree is the best thing that has happened to my favourite Nintendo multiplayer properties. On the other hand, this… this was just not Nintendo’s finest hour. A clunky mess of a package that seems not to have been thought through, coupled with an infuriating limitation on online play really lets it down. Also, when you think about it, most of the really good stuff was in the Switch original, and while Jamboree TV adds more, it doesn’t add anything that tops what we already have. Overall, the disappointment of the Switch 2 launch window, despite being essential if you haven’t played it before.

What’s in Tamagotchi Plaza is well-made enough and entertaining, particularly for the younger audience, but this is a very limited and shallow game that somehow manages to lack the meaning and intellectual value of Tamagotchi themselves. As an opportunity to play a few little minigames with your favourite critters, it has value, but as an experience where you get to hang out in the world of these mascots, Tamagotchi Plaza is lacking badly compared to the likes of Hello Kitty Island Adventure or Disney Dreamlight Valley.

Civilization VII is an excellent demonstration of just how good mouse controls can be and the game is significantly better than the Switch 1 release for it. Unfortunately, while the interface and UI is now an order of magnitude better, nothing can hide the fact that Civilization VII is just not very good. I hadn’t played it since launch, so I took this opportunity to dig in and see what the patching has achieved over the last few months, and it’s still not good. I don’t think anything can fix the way the game soft-resets with each era and effectively splits one campaign into three. It’s just broken game design.

I truly wish I had better things to say about Spray Paint Simulator. I do have good things to say: it’s really chill, the graphics are vibrant, the painting gameplay is great, and the options cover a good amount of possibilities. Unfortunately, the game is weighed down by its clunkiness and lack of story. (Yes, even a game about spray painting needs a story.) I would like to say I will go back to it, but I’m left wondering if I’ll ever feel that itch to return.

For all my criticisms here, I do want to see another take at this. There’s absolutely room for an anime Returnal, and the base mechanics are there. Scar-Lead Salvation does play well. It is so achingly close to a good game. It’s just crushed by trying to spread that quality across a very, very long gauntlet.

I like my retro gaming to be bathed more in rosy nostalgia and details about what made a game great or a company significant, not drenched in cynicism. Super Technos World: River City & Technos Arcade Classics isn’t awful by any stretch, but it’s hard not to come to the conclusion that it is something of a cynical cash grab first and foremost. Do better, Arc System Works!

I came into Lushfoil Photography Sim expecting to love it, and maybe that was a mistake. I do like it. I plan on returning to it for little escapes sometimes (emphasis on little). There is just something I love about taking a view that countless others have seen and putting your own twist on it; as it turns out, that feeling can also exist thanks to video games. Unfortunately, the camera controls never became intuitive, and accessibility around motion sickness is lacking. Lushfoil Photography Sim has a solid base, but I could never recommend it to someone without also pointing out the heavy negatives.

If you did have nostalgic love for Snow Bros 2, it would clearly hit you a little harder, though I do have to note that if it’s just the arcade game you want in a legal fashion it is part of the Amusement Arcade Toaplan app too – and there it’s a fair bit cheaper than Snow Bros 2 Special’s asking price too.

Despite the subject, Secrets in Green is easy to play, so that’s a plus. The issue comes with its development side of things. The game does touch on mental illness, but it almost feels like the secondary narrative rather than the primary. It had so much potential thanks to its theme (women with mental illness in Victorian England), but it did little to touch on them. The classic visual novel gameplay fits well with the narrative, though I would have liked a few more choices sprinkled in. Some of the behind-the-scenes graphics choices are just plain strange to me. Unfortunately, my best one-word description of Secrets in Green is “forgettable.”

To be clear, Indiana Jones and the Great Circle is good fun. The presentation is spot on, and it’s an example of how nostalgia can be traded on in a way that is fun, rather than desperate. But as a video game, it’s yet another example of how the AAA blockbuster end of the market is totally incapable of breaking away from the overly safe and familiar, and the inflexibility of these “video game design best practices” means that no property is allowed an identity of its own anymore. Every gameplay feature, character, environment, item and puzzle needs to be the exact clone of the successful examples we’ve seen before and in the end, even punching Nazis starts to feel too rote for the joy that it should provide.

Warside’s single biggest flaw is that it fails to do anything to step out of the shadow of Advance Wars in any meaningful way. Without its own personality it is, ultimately, not as memorable as it should be, but that cross-play multiplayer and the fact that you don’t need your gaming group to all own Switches to enjoy playing together does save it. For not just locked to PC, but by the time it comes to consoles, I expect it will have a pretty dedicated following.

The developers really tried with an exceptionally difficult genre. AI Limit won’t be remembered alongside FromSoftware or Koei Tecmo’s work in the genre, but it’s also by no means a poor effort. It’s like the work that a student who really understands the source material produces. It might only be a shade of the master’s work, but you can’t help but hope they get another swing at it, because they’re on the cusp of breaking out and carving out something brilliant with its own identity.

Bleach Rebirth of Souls is authentic to the anime, does a good job with the narrative retelling, and is meticulous at giving you all your favourite characters to brawl around with. I can’t see a Bleach fan picking this up and not having some immediate good fun with it. I just can’t see them still having fun with it a year from now, and while the Bleach star may have faded a little from a decade or whatever ago, I do think that there was more that could have been done with it than this.

It’s hard to be a solo developer, or a small team collaborating on a visual novel. It can be intimidatingly expensive, high risk, and potentially low reward. I can certainly appreciate the desire to just get something out there even if there are massive corners to cut. Unfortunately, while I can get a sense of the kind of story that the developers wanted to tell, this was the kind of horror that needed to be deep in atmosphere and intensity, and unfortunately, everything about the presentation of Scarlett Snowfall undermined the vision.

I’m not the world’s biggest SHMUP fan, and I’m not great at the genre, so I struggled to get through Kamikaze Lassplanes. However, the entertaining visual novel side, along with some of the finest, most brazen fan service we’ve seen this side of Senran Kagura, kept me invested. This has been an interesting experiment. We probably won’t see another game quite like this for quite some time.

If you do remember having good times with Glover back when it was a quirky alternative, then you may well have fun blasting through it again. Anyone else picking it up today for the first time is going to see nothing but a very B-tier platformer that lacks the charisma and creativity that once helped to elevate it over so many of its peers.

Yu-Gi-Oh! has come a long way in the years since these titles, both as a card game to play (many might argue that it’s too complex now) and as something to adapt to video games. This collection is a lot of nostalgic fun to remember the simpler times, but is also important to understand just how limited these games are. It would be like if EA put together a retro compilation of its FIFA football games. Sure, you’d have a rush of nostalgic delight loading up the GBA game that you spent months playing back in the day, but it would only take one or two matches to realise that nostalgia has a habit of warping memories and not all classic video games are timeless. Some are. Konami’s Castlevania collections show that. I fully expect the impending Suikoden collection to be a similar story. These, however, are not.

Rugby Challenge doesn’t really have licenses (aside from Jonah Lomu). It has teams – both domestic and international, but the rosters are made up, kits and logos are generic, and nothing that could be considered a licensable brand is in there. You’ll need to spend a lot of time in the editor just converting names, let alone trying to massage the team to actually look approximate to anything in the real world...If licenses don’t matter too much to you, though, then there’s a basic, but halfway reasonable game of rugby available in Rugby Challenge 4. It’s not going to be something that you spend hundreds of hours with, but for some quick play, it scratches an itch.

For now, though, I think it’s pretty telling that while Civilization VII certainly costs a pretty penny, I’ve already found myself going back to play VI when I want to play something that I enjoy. It’s simply not inspiring me, and given that this series above all others has, in a very real sense, shaped my lifelong interest in history, being uninspiring is perhaps the worst mistake Firaxis could have made.

Sugoro Quest: Dice Heroes can be a fun game, albeit a frustrating and unfair one. With that said, I won’t blame you if you decide to rely on save states while playing. Now onward and roll for great justice!

Neptunia Riders Vs. Dogoos is frustrating. For fans of the series, it’s fun and hits all the right notes. It’s just over way too quickly and the developers missed a real opportunity to make this a dynamite multiplayer experience. It’s also so totally reliant on appealing to existing fans that it’s going to completely fail to find a new audience for the broader Hyperdimension property. It could have been so much more for all audiences, but as it is will simply be a fun little spinoff while we continue to wait for the next big step forward for this delightful series and its characters.

I wanted to like Love Too Easily more than the game let me. There are a lot of good ideas and noble intent in there. It’s just let down by what I will put down to creative inexperience.

It firmly exists within the Ys series, and just as last year brought us that magnificent remake of Dragon Quest III, here’s an old-timey classic within the action JRPG genre for the people who appreciate it. Not everything needs to be deep and meaningful, and Felghana certainly isn’t that. But it’s easy to appreciate its place within one of the longest-running and most enduring JRPG properties of all time.

I hate to be the guy railing against a lack of content in a game, but while Riki 8Bit Game Collection was clearly a labour of love, I have to question why this wasn’t released as a music CD or music download instead, because 99% of the experience is in those music players and the Switch is not the ideal place for a music player. There’s less than ten minutes worth of gameplay in this collection, and as good as that music is, I can’t add it to my Apple playlists for working out or enjoying while I’d reading a book. The end result is, sadly, a conceptual misfire.

Talisman is really just a glorified game of Snakes and Ladders when it comes to players having the agency to determine the winner. They simply don’t. There’s a lot to like about the presentation and theming of the board game, and unlike its previous Talisman project, Nomad’s done a sparkling job with the presentation and aesthetics of this one. For that reason, it is the definitive version of Talisman out there, but there are just so many board games that were released in the past decade that have ruled Talisman obsolete from a game design perspective, and so many of those have a digital edition too.

To be frank, here, I don’t think enough was done to make Planet Coaster 2 enough of a sequel. Adding water parks and slides, and more rides in general, were all perfectly rational ways to expand on the Planet Coaster experience, but we’re in an era now where DLC is getting Game of the Year nominations, and I do think that this feels more like a massive DLC drop at 50% of the price of a base game than a new, full-priced game. And as fun as the emerging “Frontier Simulation” formula is I also can’t help but wish that the developers would challenge themselves to try and create an actual simulator at some point. Make something with teeth, folks! You might be surprised just how invested your players get when their decisions have consequences for their parks, too.

Goblin Slayer is a perfectly adequate tactics JRPG that people who have nostalgia for the genre back on the PlayStation will have a particular fondness for. Mileage may be slightly better for the fans of the anime, but even then I think the big problem this game has is that it’s very superficial and shows very little interest in making any kind of statement or point. In other words, it plays exactly like an ‘anime tie-in’ game, and nothing more or less than that.

Digital Eclipse is onto something special with its “interactive documentary” approach overall. Atari 50 has become the standard against which all retro compilations should be judged. Additionally, I appreciate the intent and effort that went into Tetris Forever a great deal. I just hate, so much, how licensing has let everyone involved with this effort down.

Yakuza Kiwami is an excellent game, and if this is the start of the entire series making its way to the Switch 2 then it’s still worth having it on the device in the interest of completion. It’s a solid 5-star game that unfortunately is just a bit too much for the Switch to do full justice to.

Dragon Age: The Veilguard is an objectively well-made product that is perfectly playable and it’s both empowering and entertaining. But it’s also nothing more than a product, finely tuned for passive consumption, right off the content mill.

I don’t quite think Shin Chan is that bad as Matt makes out, but the tone is jarring, and I do kind of feel that I’d get on just a little better with the core game that’s here without him present – though I’ve little doubt that his presence probably helped shift more than a few copies when Shin Chan: Shiro and the Coal Town first debuted in Japan earlier this year.

I don’t usually like marking a game down for bugs, because when the patches come in the review becomes dated. However, Wildermyth really is a bad example of bugs letting the experience down to the point that the game, as wonderful and moreish as it is, is difficult to recommend right now. Add a point to this score in a few months when, in theory, the worst of its crippling bugs have been patched out, and then settle in for the perfect tabletop RPG experience when you haven’t got friends around to play a real session of Dungeons & Dragons with you.

There are 80 tracks to painstakingly unlock in I*CHU, and by the time you have them all, you’ll also have a team of pretty boys who are powerful enough to make hard mode for these tracks playable. At that point, it’s finally a full-scale rhythm game, and indeed more generous with the content than many of the others on the Switch. Unfortunately, it really needed to be redesigned to remove all the mobile game elements from it and leave players with a simple, straightforward, but enjoyable rhythm game. That core heartbeat of I*CHU is a lot of fun and very worthwhile, but it’s let down by an annoying gacha system being kept over from the mobile original (despite no longer costing players anything) and an infuriating series of visual novel “minis” that you need to spend hours in to unlock all the music.

If you’re looking to scratch that EDF itch, Earth Defense Force: World Brothers 2 is a decent enough way to do it – but EDF 6 is considerably better and more engaging, and that does make it a harder game to recommend. It’s still fun, for sure, because EDF mostly has that pizza-like quality that even when it’s slightly bland and predictable it’s still quite good – but I can’t help but feel that a fully-fledged World Brothers sequel should perhaps have taken its LEGO-like destruction mechanic a little further, or leaned more into the abject silliness of some of your comrades.

In just about every way, Reynatis is a game that tries to reach well beyond what the team was perhaps capable of achieving. Which raises an interesting question: What to score it? I, personally would rather play something like this than the 99 per cent of games out there that copy off the “best practices” template of what has come before. Of course they’re more refined then Reynatis! But they’re just iterating on what already worked. Reynatis is a wild, chaotic mess that frequently loses sight of itself, but that’s the consequence of reaching for something different. Sometimes when people try this the ideas just don’t pan out as hoped. Reynatis is still very playable and the core gameplay is genuinely enjoyable. It might consistently fail to meet its lofty ambitions, but at least it tries, and as a work of art there is value in exploring what it does try to do.

The long and short of it is that Worms Armageddon is a classic, both within the Worms series and multiplayer gaming in general. While today it might seem a little barebones in terms of content, and the online multiplayer features are far too limited for a game that relies entirely on the multiplayer experience, as far as the playability goes it’s still off the charts, and one of the best games you can treat yourself to.

The Hokkaido Serial Murder Case: The Okhotsk Disappearance is a game I would recommend any ADV fan to try out, but even with the Yuji Horii pedigree, it needed more TLC on the localisation and marketing for it to truly make waves outside of Japan.

It’s not that it needed to be longer, as it would outstay its welcome and short games are 100% fine by me, but perhaps some adjustable upwards difficulty, or breaking out the mini-games into their own unlocked sections – while they’re quite derivative, they’re well realised for the most part — or a way to encourage just a few more puzzle variant solves wouldn’t have gone astray here too.

Visually, the pixel art style works well enough, and it helps on the Switch not being that complex a title so load times are minimal. Because your foes only respond after your attacks, there’s always time to stop and plan out shots around how each orb’s power works – once you wrap your head around that – and so it’s a pretty easy drop-in-drop out kind of game. Not everything needs to be a 100+ hour epic, you know?

The problem with Kairosoft games is that they’re inevitably good fun and even compulsive for a while. Once you sit down to one fresh you’re inevitably going to get hooked for a while, be that a few days or a few weeks. But soon after you’ll put it down and completely forget about it. You’ll come across it at random a few years later and then get very briefly hooked again, but again you’ll soon get tired of it. Kairosoft games are pure consumption, no meat, and while they’re fun – and this game is fun too (I hate coming across as overly critical of Kairosoft!) they are junk, and Doraemon deserved better.

It’s very good that the Switch has Ticket To Ride, as it is a lovely, inoffensive, easy-playing board game. It’s as accessible as something like Risk, Monopoly, or Catan, but less luck-based and therefore far less frustrating than those other games. Marmalade is a highly competent developer and while the presentation of the game isn’t the most inspired, this is still going to be heavily in the rotation for multiplayer fun if your group has any interest in board games at all.

The New Denpa Men is a throwaway free-to-play game, but it’s not a bad time by any means and you’ll have a smile on your face while you play. Do I wish that Genius Sonority went the other way with Denpa Men and gunned for something of the scope of Dragon Quest proper? Yes, absolutely, and I think the inherent quirkiness of the series could work at full scale. But do I regret playing this? Not at all.

It’s only around 14-20 hours from go to final blow, depending on how frequently you need to repeat boss battles, and that feels about right. Flintlock isn’t a majestic epic in the vein of Elden Ring, and nor did it need to be. This is a nicely streamlined, elegant, and focused Soulslike, with an interesting setting to explore and some excellent, refined combat. This is a tough genre to get right, and the developers, in realising their limitations, have not over-extended themselves. The result is very playable and enjoyable.

I can’t help but feel that B-Project: Ryuusei*Fantasia would have benefitted from an approach more like Jack Jeanne, with its “Princess Maker”-like daily management of activities to train the group, but as a straight-up visual novel, this checks all the boxes with colour and panache. It’s a good addition to the B-Project project by Mages, and good on PQube for localising something with as narrow interest in the West as this.

Nintendo World Championships: NES Edition feels like a release schedule filler. While the multiplayer features are robust, they’re hardly innovative, and really it’s just a package of sliced-up classic games with a timer attached to them. I’d never call a game development project “lazy,” because they’re not, but the minimum work has gone into this, and while it will become a competitive obsession for a small minority, there could have been so much more done to draw in a much broader audience and really celebrate the deep heritage of these games (as well as Nintendo in facilitating competitive play).

Ultimately, the best way to play Teenage Mutant Ninja Turtles: Splintered Fate is in exceedingly short bursts. As a “switch your brain off and button mash” kind of experience it works and in so closely emulating Hades it is inherently entertaining. But it’s also soulless and draining to play for longer than a half hour here or there. It doesn’t even work as TMNT fan service since it behaves more like Hades. It is, simply, a pastiche that is simultaneously a decently made game but also a very bad creative work. If only the games industry were better at using the language to grapple with stuff like this.

Any single run through of Princess Maker 2 Regeneration is just a few short hours, making it very moreish, especially given that the sheer number of endings it is clearly designed around replay value. You’ll probably want to use some kind of guide to get all those endings, as the game does nothing to indicate how any of them are unlocked… but then again, perhaps the spirit of experimentation is what you’ll love most about this. As a stat-based simulation sandbox, there’s a lot of joy in this trip through Princess Maker nostalgia. But given how difficult it was to effectively modernise this classic, perhaps it is time for a new title in the series. The last one was released back in 2007, and there’s a lot of creative opportunity that this series is now leaving on the table.

It’s still a lot of fun, don’t get me wrong. I’ll be playing this with my brother for our weekend gaming catch-ups for quite some time, there are already lengthy periods where there is not a single online game of Machi Koro With Everyone available, and you can be sitting in a lobby that you’ve created for 10 minutes just to get a group to join randomly (in a game that is less than a week old). Given that, it’s unfortunate that the party game flavour makes it less viable as a long-term single-player experience. I love it, but at the same time, Machi Koro With Everyone is an almost excellent adaptation of a brilliant board game that made one very big, unforgivable mistake.

An enjoyable, if generally uninspired city builder and light-touch RTS. It’s pretty to look at, has a comfortable, laid-back vibe, and aside from wrestling with the controls, is an easy-playing experience that you can tune out to. It ticks all the boxes and leaves you wanting nothing, even if, after a few weeks of solid play, it will then be buried in the Steam list to gather virtual dust.

Overall, C.A.R.D.S RPG: The Misty Battlefield is a brilliant idea and, mechanically, it’s executed well. But it’s also hard to shake the impression that this is just the first iteration of the idea and that a sequel, while unlikely, would be all the developer needed to really elevate this concept to become something special. As it is, though, it’s a very fine time waster, and, personally, my favourite application of the Slay The Spire style of deckbuilding roguelike yet.

Monolith is made by people who love the genre, and has clearly been made for people who love the genre. I cannot fault the intent or the effort that has gone into it. It’s beautiful, most of it is genuinely intriguing, and it’s filled with classic puzzle design that the genre’s biggest fans must surely be missing for long stretches of time these days. If only the onboarding in the first hour wasn’t such a poor start, and if only that ending wasn’t such a rug-pull, this could have been something memorable.

It’s fast, furious, and often frustrating. Slave Hero X is what it wants to be, and in principle, there’s nothing inherently wrong with that. It’s just that Slave Hero X also does little to stand out within its little niche. The original is a cult classic, and perhaps this will be too, especially among the collectors for the new physical edition. If I were a betting person, however, I’d be inclined to argue that it will be simply forgotten.

Five Memories Spent With You doesn’t hide why it exists – you’ll see your favourite girl (and all her sisters) in their bikinis within the first hour, but what you’re really building up to is the wedding dress scene. It’s quite sweet when it comes.

I understand why the developers set Crown Wars: The Black Prince during the Hundred Years War. It’s a compelling era of European history and you inherently want to play it. It got me playing a game I otherwise would have glossed over because of the promise of its theme. The problem is that once you have someone’s attention this way, you need to deliver on what you’ve promised them. Crown Wars doesn’t quite get there and fails to fill the void with something memorable.

I went into QUALIA expecting it to be a fairly run-of-the-mill big boob fanservice game. And in some regards it is. It’s not really breaking new ground on how these stories are told. On the other hand, the subject of the game is inherently interesting and highly topical, and while the presentation is very familiar, it’s exactly what the target audience likes to see. It’s also an impressive example of how to build a visual novel on a minimal budget without needing to make concessions to the goals of the project. The android at the heart of QUALIA might not be my idea of the ideal love robot, but I certainly enjoyed the opportunity to learn more about her here.

For a collection that will only ever appeal to a very limited niche, the Epyx Collection does a decent job of making those games playable on the Switch, but a terrible job of celebrating them. The only way this thing had a chance was to go the full virtual museum tour, and they completely missed that opportunity. As it stands, most people will buy this, play it for five minutes to remember the console they lost to the garage storage boxes decades ago, and then move on.

It’s unfortunate that Sand Land isn’t quite up to the standard that one of Japan’s all-time great artists deserves. It’s not that it’s a bad game. It’s very entertaining, especially when you start messing around with the tank battles. It’s just nothing more than a well-made licensed tie-in, something that you’ll forget soon after you play it, and never feel the need to return to. It really does look great, though. Akira Toriyama is going to be missed.

Sker Ritual would have been easier to get along with if it had its own identity. It plays well and is genuinely entertaining, but if the developers are going to treat their work as a totally transient effort to exploit and leap on the money train, then I’m going to treat the game in-kind. The creative vision behind this game is so shallow and unformed that the game will be forgotten in a few years.

Game developers, I am begging you. If you want to place your game within a literary or cinematic genre, then, by all means, do so, but understand what that genre is about, first. Cyberpunk is not an aesthetic with angry robots, neon colours and body modifications. Cyberpunk is a warning against alloying corporations and the political elite to take technology and leverage it for their gain over the good of humanity. If your game doesn’t have that message at its core, you’ve missed the point of the genre.

There might be just a handful of people that this kind of experience would appeal to, but for that audience, it is enormously appealing. If you enjoyed the remakes of Famicom Detective Club that Nintendo published a few years ago, or have fond memories of stumbling your way through Shadowgate or Déjà Vu, then both this game and its predecessor are made specifically for you.

While Outward is certainly a port with limitations due to the platform, I’m not entirely sure I would have enjoyed it any more on any other console. Yes, there is a joy to being dropped in a big world and left to carve your own journey through it. Outward is a fundamentally appealing experience. The problem for Outward is that there other games that have done that with much more soul.

The Gap is in an intriguing and compelling idea. Unfortunately, it’s underdeveloped, and structured in a way that undermines something critical for any psychological thriller: if you’re not connected to an invested in the characters, then you’re not going to care about what they’re going through enough for it to chill you. The Gap also comes across as something that is badly trying to be analysed in intellectual terms, but fails to land on a distinctive theme that it can call its own. It’s great to see projects like this, from a games-as-art perspective, but it’s not one of the finest examples of that, either.

I’m going to get dozens of hours of play out of Cricket 24 on Nintendo Switch, of that I’m sure. I am very disappointed in how the development team has gone about optimising the game down to fit on the more modest hardware, and the portability of the Switch has to be a major selling point for you to go for this version over the objectively superior console versions. But it’s still Cricket 24 on the go, and that’s a critical hit right to my weak spot.

Violet Wisteria is very transient, ultimately. It is enjoyable, yet also forgettable. Once you get into the groove with the triangle combat system, the pseudo-puzzle quality to the platforming will keep you on your toes and get you to think about movement and combat in a different way. It’s a clever quirk and the developers have implemented it well. The art in the cut scenes is also gorgeous and I’d like to see the developers expand on this character and her world in a visual novel or similar. However, the platforming itself is clumsy, the effort that went into the visuals in the cut scenes is not reflected in the gameplay, and ultimately Violet Wisteria is only going to appeal to the hardest of hardcore retro platforming fans.

I’m not the world’s biggest fan of Contra in the first place, but I’ve always admired the series for challenging and inspiring so many players over the decades. Likewise, I understand what WayForward’s done with this remake of the original. I appreciate the effort to try and find a broader audience. But if that was the goal they should have properly built the game around that kind of experience, rather than half-measuring it and then giving players the ability to just ignore it all. The complete lack of confidence in actually following through with whatever creative vision WayForward took into this project, unfortunately, leaves the entire experience feeling soulless.

Platformer purists are going to love Berserk Boy. As a blended homage to just about everything they have ever loved about the genre, the effort that has gone into meticulously recreating the best qualities of the genre is truly impressive. It’s just disappointing that the game, while drawn nicely and supported by an excellent soundtrack, ends up ringing hollow because the developers forgot to give it an identity that extends beyond the franchises that it celebrates.

King Arthur: Knight’s Tale is a high-quality tactical RPG, mechanically, but that’s overshadowed by an dismal narrative, setting and characterisation. At no point does anything in this game suggest that the developers had the slightest interest in doing the Arthurian legends justice (or even respect). This is the end result of the entire industry being motivated around content rather than artistic integrity. King Arthur: Knight’s Tale sure has a lot of best-practice dark fantasy, as the developers chase after all the financial success that other dark fantasy content products have received. If only anyone who worked at the development studio actually picked up Le Morte d’Arthur and learned something about what they were “adapting” to video game form first. They may have realised what a mistake they were making with this game then.

With no narrative, no variable AI, and no continuity to playing (there isn’t even basic statistic tracking like win-loss scores), as good as Kashido is – and I must emphasise that it really is a fascinating game well worth learning and playing – it fails in its basic task of actually helping people to actually experience and want to invest time into this game. No digital board game should lack online play. We’re all better off importing physically copies of Kashido and taking it along to chess club meetings to see if we can get them to give something different a spin.

It might not be the most ambitious spinoff that you’ll ever see, but Piczle Cross is a generous and heart-warming good time. The world needs more Story of Seasons, not less, so the existence of this game is an objective good in the world.

I had a lot of fun playing (or, more accurately, replaying) Mario Vs. Donkey Kong. It’s a brightly-coloured, wholesome good time, and the rare all-ages puzzle game that strikes the right balance between making sure that everyone that plays it feels smart, without being condescending about it. As much fun as it is, however, this is one of the most transient games that Nintendo has published in quite some time. You’ll play it, enjoy it, and very quickly forget about it because it is, ultimately, a remake of once of Nintendo’s most niche titles – a title that was niche for a very good reason.

It’s difficult to recommend Tomb Raider I-III Remastered as a thing that people should play. The games in the collection – especially the first one – are classics, though they’re not classics for the way they pushed gameplay or storytelling forward. They’re quite deficient in these areas. Tomb Raider is a classic because it helped redefine the nature of what a digital character could be. Sure, we had Mario and the Final Fantasy characters well before Tomb Raider, but those were closer to mascots. In Lara Croft we had a kind of human-proxy superstar for the first time. To many people, the gameplay didn’t matter. Not when rumours were spreading of nude codes for this new superstar.

I had fun with Yuuna and the Haunted Hot Springs The Thrilling Steamy Maze Kiwami, but then I am a hardcore fan of classical roguelikes. I still play Chocobo’s Mystery Dungeon every once in a while, and I am looking forward to the next Shiren the Wanderer a great deal. Given that the fan service is neither fun nor sexy enough and the game doesn’t do anything else to stand out within its niche, it’s not my favourite roguelike. But I don’t regret having played it by any means.

On one level I am sure that there will be people that appreciate that, after all this time, they finally have a Stargate SG1 game. I just can’t help but see it as a missed opportunity on every level. Stargate was, at its core, a narrative-driven (not action) show about exploring the stars, meeting alien species and embracing science over religion. A more grounded take on Star Trek, basically. An isometric RPG in the vein of Disco Elysium would have certainly been harder to produce, but much more appropriate to the ideology and intent of Stargate than this stealth tactics title. It’s well-crafted and were it not carrying the license it would have been much easier to enjoy. Painted as it is, however, it’s far too dissonant and incoherent to be the celebration of the property that it needed to be.

As a proof of concept, Reigns: Three Kingdoms is intriguing. As far as allowing players to travel through history (and/or literature) and play out “what if” hypothetical scenarios based on moral decisions, there is clearly a lot of potential here. Is there a future where we can talk sense into Napoleon before he marches on Moscow, or give Romeo & Juliet a happy ending? Reigns could well give that to us. For it to truly work, though, the developers just need to manage continuity and introduce a sense of consequence to our actions when trying to reverse history. That way, when we successfully do achieve something, we can feel like actual heroes in the story.

The Monty Mole Collection isn’t extremely expensive, and that’s perhaps its saving grace, because examining its fare won’t set you back a lot. But in the shadow of far superior collections that genuinely pay homage to why retro gaming is so important to not only be preserved but played, this is definitely second-rate. Monty may or may not be innocent, but he deserved better than this.

Even if you love The Last Of Us 2. Even if you think it’s the Citizen Kane of video games. Even if you think that Shakespeare himself would have thrown in the towel after seeing this game, realising he could never compete with it as a storyteller, you must surely realise that a game that is four years old and is readily available on your current console doesn’t need the remaster. Surely you understand that this is a ridiculous excess, done purely to milk revenue out of fans, and that it’s particularly frustrating given that Sony is sitting on dozens of incredible properties. That it would rather leave all of them on ice and inaccessible to release this indulgence just isn’t acceptable.

I think I would have appreciated My Next Life as a Villainess so much more if I was an existing fan of the property. Otomate seems to have created something that is a fascinating observation of the otome genre and a very funny, character-driven “romance” story to go with it. Unfortunately, too much of that washed over my head. While I totally respect that developers of games can assume that players have read or seen something else first, and that their game is a continuation of an existing story, I would suggest that giving newcomers the option of a 10-minute summary to catch up first would be a helpful way for those of us coming in fresh to at least understand the basics before we’re thrown in the narrative deep end.