This is a warm, funny, moving visual novel, with a delightful cast of characters to get to know and potentially fall in love with, dressed up in a loving celebration of arcade history.

Death Come True is, ultimately, a story of romanticism set against a pragmatic realism. This review will make a lot more sense after you've actually played the game, and I'm certainly hoping that there will be people that jump on here down the track to discuss their interpretation of events with me. If Danganronpa argued that Kodaka is one of the genuine thinkers around video game narrative, Death Come True has solidified it, and while this is a much more modest and experimental work in scope to that visual novel series, it's still inspired stuff and it does have a haunting quality that will remain with me for quite some time to come.

QV is another puzzle-shaped feather in the eShop’s cap. Its brainteasers successfully balance accessibility with sophistication. Its vibrant art style and subdued soundtrack evoke pensiveness. However, it’s the small cast of characters and playful comedy that truly solidify it as exceptional. I wish the developers doubled down on these low-key moments since they breathe new life and context into the underlying puzzle game. Even so, QV is an adventure I won’t soon forget.

Shiren the Wanderer: The Tower of Fortune and the Dice of Fate was excellent on PlayStation Vita, and it remains excellent on Nintendo Switch. There are a lot of roguelikes available on this console at this point, but there's something about the classical elegance and adherence to genre tradition that makes Shiren the Wanderer appealing. It's a little like how some people still love the sound and experience of vinyl records, really. You're not going to be blown away by innovation with this game, but you may well find yourself in love with its sincerity and near-perfect refinement.

When Evil Genius 2 gets it right, it gets it spectacularly right, and if you’re the type that can bury your brain into resource management while laughing at the deliberately cliched and over-the-top style of the game, you’ll have plenty of moments of fun taking over the world, one carved-out-of-mountain-rock room at at time. However, there’s still some rough edges here, and some game balancing that could have made it even more engaging, both for those who adore resource management and those who might just like the challenge of taking over the world with the help of a few shiny new doomsday devices.

If you do like Space Harrier and similar, and you're familiar enough with the Neptunia series to know the characters and enemies without needing to have them introduced to you, then Top Nep is a short burst of nostalgic-themed fun. It's also a decent game to introduce people to the genre, thanks to the modest difficulty option, while eventually scaling to something more challenging to give the genre faithful something to sink their teeth into. I have very few issues with Top Nep as an arcade action throwback. My issue is that, as a Neptunia fan, the less-than-lip service paid to the property left the overall experience feeling humourless and soulless. For all the faults and missteps of Neptunia over the years that is something I never thought I would be saying about a game in the series.

Varney Lake was, at its heart, exactly what I expected it to be: a mystery story, a horror story, and a coming-of-age story all rolled into one neat package. There’s even some surprises in there. Playing Mothmen 1966 first was definitely useful for referencing characters, but it’s not absolutely necessary to play it first. The developer did a wonderful job at creating an immersive experience while confined to the visual standard it set for itself. I’m eagerly awaiting the final title in the series: Bahnsen Knights is about a cult. I’m also awaiting further news on the recently-announced Pixel Pulp physical edition for Nintendo Switch, which I will definitely be adding to my collection.

For all its warts, though, it’s also a genuinely interesting and intense mind puzzle. I have no doubt that Metro Quester will not sell as well as Kemco’s usual by-the-number SNES-era JRPG clones. It isn’t as instantly accessible or familiar. But if Kemco published more games like this it would be a publisher to respect and pay closer attention to. These kinds of quirky, different, and memorable experiences are what we need to see more of.

There is a new Tokyo Xanadu on the way, ten years after this first one was released. Whether you’re playing this for the first time, or taking the opportunity to refresh yourself before enjoying the new one, you won’t regret spending time with this new localisation.

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.

I suspect that because I refuse to pay $500 for a digital dress, my interest in Infinity Nikki will disappear the moment I miss out on getting a particularly attractive costume from one of the limited events. But then I’d be better off just waiting for a Nikki figure to come out with my favourite dress on it instead anyway. I can see myself becoming a big-time collector of Nikki figures, and I love the character and what Nikki represents outside of the monetisation. However, the monetisation is inexcusable, even by the standard of exploitative gatcha games. No video game about collecting dresses is worth more than it would cost to buy the actual dresses in the real world. What’s more, when you let the monetisation undermine everything that the creative side of the game is aiming to achieve and suck the joy out of the fundamental mechanics, you’ve just broken your project.

Escha & Logy actually works as a first point of call for the series. There’s very little assumed knowledge brought over from the first game in the Dusk series (Ayesha), and the systems and mechanics are more user-friendly and accessible.

Fate/Extella Link is a delight. It takes beloved characters from a beloved anime franchise, and then appropriates the Koei Tecmo Warriors gameplay structure with such style and panache that Koei should be taking some notes itself. If only the developers hadn't gone with the ham-fisted sci-fi elements. Fate doesn't need that stuff.

A really quite brilliant game. There is fan service in there, and some people will look at that and the anime trappings and not be able to move past it, but underneath this exterior lies a heart that is in many ways the precise opposite of what you might be expecting. It's almost - dare I say it - feminist in the critique it provides over the way that women are treated in this fairy tale world.

Nintendo’s had a bumper year, so I’ll forgive it for some filler (especially when there’s also the Super Mario RPG remake on the way yet). WarioWare: Move It! achieves what it sets out to by providing players with a bunch of microgames that use the Joy-Cons and motion control in an inventive and silly manner. You’ll enjoy the boundless creativity in coming up with so many microgame ideas. In addition, you’ll enjoy the colour and humour at first. And then, about an hour later, you’ll be done with it for good.

You’re going to have fun with this game. For the criticisms I list above, I do think that Tango Gameworks has, with guidance from Bethesda (no doubt), created a refined and highly playable open-world game. It’s one that ticks all the boxes and does so in such a way that’s hard to actively fault. Yet, it's also so frustrating. The hints of what the developers wanted it to be are there. They wanted to make a Noh-inspired, yurei-and-yokai drenched blend of Shinto, Buddhism and neon-modern Japan. That would have been incredible. Sadly that didn't happen. Instead, I was left with the impression that I’d just played a Ubisoft Goes To Tokyo farce, and that left me feeling very deflated indeed.

If you are the type that engages in video games for the quick thrill, then Pillars will probably drive you crazy and you should stir away. However, if you are fine with the other extreme, do not mind lack of arcade style challenges and are willing to take your time, then Pillars offers the depth and the learning experience that mere mortal books cannot deliver. Speaking for myself, I thoroughly enjoyed the experience Pillars had provided me with for that very reason.

Platforming is tight and varied, and the plot matches the lighthearted tone of the rest of the game. Shantae and the Pirate's Curse is a spirited little game, and by far the best 2D platformer on the PlayStation 4 to date.

Ittle Dew 2 has many good things going for it, but I am wondering whether Ittle might thrive more now if she sets off on her raft, unencumbered by trying to be part of another franchise's tradition, to discover a new land all her own.

The Little Acre exemplifies every reason indie point-and-click adventure games can still do more than hold a candle to the AAA shoot-em-ups with more brawn than brains and beauty combined. The story of a young single dad with a missing father and a rather rambunctious daughter touched my heart in ways I forgot video games could, and every time I had to put the controller down I yearned to just boot the console again and enter the phenomenal world The Little Acre takes place in.

Jurassic World Evolution claims a victory of sorts in being the best "big-budget" simulator currently available on Nintendo Switch, though it cruised through there on the back of the port of Cities: Skylines being less than ideal. The fact that the game has a deep library of DLC built into the package certainly boosts its value, and when the only other options are the indies like Project Highrise or ports of the old Rollercoaster Tycoon titles, it's nice to have an option like Evolution for on-the-go play, though I am hoping that the port of Tropico 6 - a much more complex and detail-orientated simulator - proves to be the big one for the console. Jurassic World Evolution is enjoyable, but a little too simple to hit the peaks of the genre.

Having too much of a good thing is the possibly the most forgivable flaw that hit too many games, and Patapon has the pick-up-and-play vibe going for it, meaning that you can always take a break from it if it starts to become draining. The only other issue with Patapon 2 is that the rhythms will get stuck deep into your brain, and it takes ages to push them out. And then you'll load up the game again and it'll be stuck all over again. It's just that charming, bright, and catchy.

For all the games’ narrative themes of consciousness-probing, identity-subsuming science, the reordering of the psychic self for a greater application of the flesh, I needed to look no further than my own pathological gameplay in its honour. The rage quits, the restarts, the late nights, the infinitesimal adjustments to my thirteenth, fourteenth, fifteenth attempts, all part of my drive to survive to the end, no matter how many hours of hell it took.

It’s immersive and exciting, and for each battle you really feel like a commander in charge of an army fighting for your country against an enemy which threatens your freedom. Witching Hour Studios have a resounding success on its hands, and no fan of strategy should pass this one up.

Rive is excellently made, and I had a great time flying through space alongside Roughshot. It’s clear that the developers behind it were passionate about making the best experience possible. Rive holds its ground among the best 2D shooters available on PSN – it’s a title which I would readily recommend to anyone with a free afternoon and an affinity for twitch gameplay.

The thing is, Eurojank RPGs are always better than their big blockbuster counterparts, because they’re what the developers really want to make. I don’t think an Elder Scrolls could be made with the grimdark purity of Tainted Grail. Look at what happened when EA put the blockbuster sheen over Dragon Age, which itself once indulged in dark fantasy. I personally don’t think King Arthur is as dark as game developers continue to, but I certainly appreciate that the developers of this game committed to that and actually delivered it. There’s a real heart and soul to this project, and Poland has produced yet another developer that is well worth keeping an eye on.

Total War: Rome was the really big breakout moment for the series, and as a bona fide classic, the remaster makes sense - even if it is just for the sake of nostalgia. I don't think the strategy genre necessarily lends itself to modernisation when the thing that needs moderising the most would have taken Rome Remastered and turned it into Total War: Rome 3, but if you remember what it's like to enjoy older strategy games like Rome, the remaster is going to be quite the rush.

That gorgeous big screen makes for an incredible display of the game's endless winter, and if you're in the mood for the big television experience, you need only dock the console once you're back at home. The added benefit is that the game doesn't tax the Switch's battery anywhere near as badly as games like Zelda does, and I've been able to use the game to make train trips absolutely bearable with a good pair of headphones, for both the trip and the return.

Concrete Genie is a game with a positive message that’s ultimately held back by its execution. While I appreciate Sony’s efforts to let its in-house studios experiment with smaller titles, I’m just not sure that this one will be remembered as fondly as the other PS4 indie exclusives.

GRID Autosport is a quality production, as you would expect from Codemasters when developing a racing game. It's just difficult to see the relevance of this game on console, when there are so many next gen racing games on the way.

I love this game. I really, truly love it. It’s the realisation of a genuine fantasy, and, as I said at the start of the review, this is the kind of completely immersive experience that is exclusive to VR that makes for the most compelling argument for the technology.

This is a strong, strong game by Koei Tecmo, and does the Attack on Titan franchise a great service. Sadly, that's a franchise that doesn't have the pulling power that it did a few years ago, but older fans will enjoy the opportunity to get a new look at the distinctive setting and world, and who knows? The game might just find one or two new fans for the bloody, brutal, but ultimately dazzling franchise.

Tokyo Xanadu is good. It’s a lot of fun and Nihon Falcom has a real touch with combat systems that its developers deserve real respect for. The biggest challenge I found with the game was finding the motivation to actually finish it; it might not get anything wrong, but it’s such a lengthy quest that it really needed a greater thematic depth to maintain my interest, and unfortunately it wasn’t quite able to replicate Nihon Falcom’s own, brilliant, Trails of Cold Steel in offering that.

Those gripes and wishlish items are minor issues that would be nice to see Big Ant address in future titles, but I don’t want to take anything away from AFL 26. It plays incredibly well and has had a lot of effort put into it, despite being a game that only really has Australia to count on as far as marketability. What’s more, Big Ant’s still patching away. It’s going to be fascinating to see where this one ends up in a year.

Simple as it might look, but Yomawari is a remarkably complex game that aims to be something far loftier than most attempts at interactive horror. Its intensity is in its subtleties, and the way it is constructed makes it a masterclass in the aesthetics and theming of one of the most important art traditions to have ever come from Japanese culture.

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.

The Ice Dragon is a fitting end to the first season, but is anything but a proper conclusion. The decisions are hard, the consequences are gut-wrenching and the stakes are incredibly high. So now you get to sit back and look forward to the next season, knowing that you've been suckered right into committing to it before it has even been announced.

Credit must go to Nintendo for supporting this project, though. Yes, it might be the “safest” game that Goichi Suda has produced in quite some time, and the energy is just not the same when he’s retreading old ideas rather than creating something new. But then Goichi Suda on a flat day is still more creative than 99 per cent of the auteurs out there, and No More Heroes III is still big, colourful, bold and filled with surrealistic humour. With the energy dialled right up to the maximum, it’s hard not to love something this brash.

Raidou Remastered: The Mystery of the Soulless Army is one of the more niche Atlus classics, but the remaster has been well worth the time and effort. There is a dark and culturally interesting heartbeat at the centre of this one, and while I do prefer turn-based combat to this action button-mashy stuff from Atlus, I was more than willing to put up with it for everything else about the game.

If nothing else, the simple reality that Shenmue is again a living franchise is, all by itself, something truly amazing.

Unmechanical: Extended is a beautiful game. The graphics and landscapes are simply stunning and the character has real heart, despite being a little helpless. It's a pity that it leaves the door open to questions about the quality of puzzles, however.

The Room is an expertly crafted puzzle box game that does a whole lot of things right and I doubt anyone would have regrets picking this one up.

We don't get many games that aspire to be true and honest works of art, but Observation is one.

Doraemon Story of Seasons brings the best of the long running Harvest Moon/Story of Seasons formula together with a true cultural icon of Japan. It's rare that the Doraemon video games make their way out west, but this one works so well as a Story of Seasons title that if it is your introduction to Doraemon, you're in for a treat. Even if it means you'll then have around 1,700 episodes of the anime to catch up on (and no, that's not an exaggeration).

There’s not much else I can say, given that any commentary on the story would be a spoiler to the first game, and as much as I can breathlessly enthuse about the aesthetics and presentation, that’s something you’re going to have to see to get a feel for just how well it works despite being so eclectic. Cupid Parasite: Sweet and Spicy Darling is a sequel to a game you should play before it. But it’s also a game you really should play, because it is the most artfully unique and downright entertaining otome visual novel out there. Sweet and Spicy Darling is more of the same, and that’s all it needed to be.

There's nothing wrong with how Black Future '88 plays. It's actually quite exceptional. But there are a lot of exceptional roguelikes and hardcore 2D platformers, and Black Future '88 lacks the narrative or context that it really needed to stand out against its many competitors.

With regards to the artwork, the designs of the Ironcasts and Steamtanks themselves are noteworthy. The backgrounds, however, are very, very bland and simple. Repetitive buildings and uninspiring scenery make for a visual experience that doesn't do the concept justice.

Moero Crystal H does what it sets out to so well - be an outrageously perverse work of extended sex humour - that if you can enjoy that, on those terms, you're not going to find something more amusing on a console, likely ever. There's something almost noble about that purity of vision.

Pac-Man’s been through worse, like that Adam Sandler abomination I won’t mention again here. But it feels like gaming’s elder statesman deserves more recognition, and a better museum than this.

Handholding aside, and beyond failing to offer something truly above and beyond its predecessor, the multiplayer offerings are superb, and Swords & Soldiers 2 is good, reliable fun. It won't likely be a game you'll remember a decade from now, but as a weekend buster, you could do far worse than this one.

Raid mode returns, and while it’s not as exciting or fast paced as what we saw in previous title's Mercenaries modes, it adds an incredible amount of longevity to the game.

The best books, movies and video games try to make you feel something, and to that end Event[0] is an interesting experiment and a worthwhile experience that stands out as very unique game despite its humble roots.

Overall Cryptark is a great, albeit limited, fast paced experience. While it could have benefited from having a greater narrative scope and dialog between the characters, the action and replayability will be more than enough to keep you going for a long time.

Who Pressed Mute on Uncle Marcus? is a shining example of everything I love about FMV murder mystery games: the intrigue, the interpersonal relationships, and the quest for the truth. I especially like that no matter how often you fail there will always be another chance to uncover the truth, and without penalty. In fact, “failing” and pointing the finger incorrectly is especially interesting because that’s when true colours really shine. I have such high expectations from Good Gate Media and Wales Interactive that I keep expecting one of the game to be a flop, but alas, this was not!

It might be decadent, and looking at the screenshots in this review will tell you if it's a decadence that make you uncomfortable, but the gameplay behind it is rock solid and perfectly precise.

Even though that narrative isn't quite of a quality we want to see, it's a step forward for the new franchise, and after the bugs are fixed up, Evoland 2 will be a whole lot of simple, but effective, fun.

I imagine the target audience is less the philosophical and the obsessive, but rather the more casual JRPG fan looking for a light way to spend their spare time. As with most Falcom games, the game feel is straightforward and kinetic, paired with a vanilla aesthetic that’s more inoffensive than groundbreaking. I can’t fault a game for not being ambitious enough when it’s following a tried and true formula and does it without any perceivable blemishes at all.

An interestingly designed take on the tower defence genre.

Is Ghosts ‘n Goblins Resurrection for everyone? No, it most definitely is not. It’s a very deliberate game that demands to be played on its own terms. That means accepting Arthur’s slower, more deliberate movements, the realities of a single jump, fixed arc system for platforming, and a brutal difficulty curve that rewards patient play, all the while gently mocking you when you cross one threshold only to be ground into a fine paste by the very next trap.

If the developers were to take the tower defence sections and spin that into an entire, dedicated game, Aegis Defenders could be really something worthwhile. That side of the game is truly enjoyable. But it's let down by trying to be something more than that, and the platforming and "exploration" elements just don't gel well with the good stuff to make this game as cohesive as it needed to be.

The reality for Raiden IV x Mikado Remix is that hardened fans of the series probably do already own this game in one form or another already. In some respects, this is just a late port, and a slightly odd one given it’s gone from the lower-powered Switch to the PS5 (as reviewed), XBX and PC. If you do already have it, while this is a nice take with some great music choices, it’s hardly essential...If you don’t, it’s a very good shmup, if not one of the most complex out there in terms of gameplay mechanics. You’re still ultimately chasing a high score and not much else – and I didn’t appreciate that the default high scores were set pathetically low, because I’d rather have something to chase from the get-go. Still, I am a bit of a Raiden tragic, so in that frame at least, this is definitely a top game – for me.

Konami could have done more, for sure. There are several titles that really could have been included in this collection for the sake of completion – Metal Gear Solid 4 remains locked to the PlayStation 3, while MGS Acid and Twin Snakes look pretty set to be lost to time at this point. Sure, MGS V remains a viable product in its own right, but Konami really could have filled us in on the rest...With that being said, the original Metal Gear Solid trilogy isn’t just a trio of great games that people have strong nostalgia for. They’re genuine masterpieces and deserve to be preserved into perpetuity. This collection is a perfectly adequate way of preserving them for this hardware cycle.

I cannot say enough good things about Caravan SandWitch. It is a top-tier chill game. You can tell the instant Sauge steps foot on Cigalo: it’s especially calm for a post-apocalyptic planet, save for a massive storm brewing far out. The very few elements that didn’t work in my favour aren’t enough to even consider lowering my score for the game. That yellow van is instantly iconic the second you lay eyes on any visual of it. Caravan SandWitch has simple controls, colourful graphics, and oddly enough no sense of pending doom (despite Cigalo being on the edge of extinction.)

This carefully crafted feel extends to the player as well; there’s a definite feeling of weightiness to your actions, and consequences will rear their ugly heads should you make rash decisions.

I have no doubt that when everything is said and finished, this chapter will prove to be important to telling the story as a whole, it just lacks the depth and impact I have come to expect from The Wolf Among Us up until now.

Like the best in literature and the arts, by the time Chrono Cross’ credits roll you’re going to be left in a reflective mood. It’s not just that it’s a very good game – though it is – is also that it’s a probing work of art that asks meaningful questions of the players and respects them enough to allow them to come to their own conclusions about it. This is the first time that we’ve had the opportunity to play the game here in Australia, and it’s telling that this 23-year-old game comes across as one of the most forceful steps forward for games as an art form that we’re going to see this year.

What makes Sky Force work so well, though, is the thought and care which went into keeping the gameplay balanced – and it’s hard to appreciate just how narrowly the game’s design teeters.

LEGO DC Super Villains is another example of how TT Games haven’t just sat back on its LEGO titles to simply release “just another game” with a reskin. It doesn't always work, but the developer has tried to do something new while also keeping elements of previous titles that worked. Add in the iconic slapstick humour and you're in for a reliably good time.

Uurnog Uurnlimited is a Nifflas game through and through, but unless you’re a diehard fan of his puzzle design philosophy, this isn’t a game which will win you over.

If you enjoy some online competitive play, this is a great way to get your fix. If you were already a fan of the Awesomenauts, then it is hard to recommend against this updated version.

Crymachina asks probing questions about the nature of humanity through the lens of machines, and its conclusions are evocative, emotive and ultimately quite uplifting. It does sit in the shadow of a giant of a game that already canvassed exactly the same subject through exactly the same lens. However, there’s a greater warmth to Crymachina that makes it more relatable than the relatively academic NieR: Automata. Throw in some vividly memorable art direction and what we have here is a JRPG that might surprise people with just how memorable it proves to be.

Actraiser Renaissance, however, is a remake that should have simply stuck to the basics that made Actraiser great. Instead, what you get are moments of greatness broken up by far too many moments of mediocrity.

The fact that El Shaddai has been remembered as a cult classic (albeit with a fleetingly small cult) that has never been replicated, while its immediate peer from a decade ago has been relegated to the deep collective memory of “content that was kind of fun, I guess, but I have new toys to play with” highlights which of the two we, as a collective, should be trying harder to encourage more of. We need to stop acting like “complexity” (i.e. some abstract ideas and the occasional metaphor) is an inherent flaw.

For Christie nuts, The Raven is one of the better attempts to do her style of detective mystery that Christie herself wasn't involved in. It's well performed and convincing, and the age of the game is hardly a concern because, dated as it looks at times, the appeal of this one has to do more about the cerebral. It's all about the storytelling, in other words, and that side of things is spot on.

To say anything else about Emio would be doing you all a disservice, as it’s a winding, twisting mystery that is best enjoyed unspoiled. If you did play the remakes of the first two Famicom Detective Club titles then you’ll get more of the same here, just with modern standards of writing. That alone makes it a much stronger experience, because the narrative in this thing is incredible.

Really, the only thing that RAD is missing is Richard Simmons. As a game, there's a bit of a misfire in that the one area where RAD looks to distinguish itself from its peers actually hurts more than it helps, but the core action remains sound, and the nostalgia trip back to my childhood was like a precious gift. I question just how many 30-somethings are out there looking for a new time-draining roguelike to play, but regardless of just how niche RAD's audience turns out to be, I'm very glad that Double Fine gave it a crack.

Between that design creativity and the sheer stylistic beauty of it, Semblance is a game that'll stick in my mind for a long time.

Once you put aside Starlink’s somewhat confused nature and design, what you’re left with is a genuinely enjoyable open space adventure. It offers a fun little story (boosted by the presence of the Star Fox crew), enjoyably exotic worlds to scoot around, and tight, clean, and efficient combat. Remembering that ultimately Starlink is aimed at a younger audience, it’s hard to argue that the development team have in any way gone wrong in delivering both something new, and something that recalls the nostalgia from their own childhoods.

The Alliance Alive invokes the finest elements of the JRPG genre, modernizes them, and innovates where necessary. Its gripping fantasy plot can be worshiped for its emotional center or parsed for statements on equality, order, and free will. Whether or not you enjoyed The Legend of Legacy, this one stands as an authentic classic that captures the majesty of a Super Nintendo/PlayStation era masterpiece while also gazing forward.

It’s still the same cosy time and resource management simulation we fell in love with decades ago, but Story of Seasons: Trio of Towns stands out from the pack in understated ways. Its gentle but omnipresent plot functions in tandem with a broader perspective of agriculture to serve up one of the more distinct entries in this long-running franchise.

And there's some lovely sketches taken straight from the Fighting Fantasy original book that are sprinkled through the game that help to visualise the action.

It's got all the right ideas in there, but it's so timid in exploring any of them that it comes across as altogether too safe to be good horror.

While Death End re;Quest 2 didn't have quite the same impact on me as the original, that's only because things are never as surprising the second time around. I still found this game to be an intensely engaging blend of a brutal kind of horror, classical turn-based JRPG, and fan service. It's a mix that I would never have thought could work prior to this series, but Idea Factory has proven otherwise, and done so incredibly effectively. I wish I could delve more deeply into the themes in this review, because there's a lot to talk about with this particular dark mystery and I'm looking forward to discussing it at greater length with people down the track, but just be aware going in that there are layers of nuance to this game that it will never get the credit it deserves for.

I love the Pixel Pulp series due to the storytelling and art. So I definitely like the visual novel part. But I get so very frustrated with most of the mini-games. I’m in this weird place where I have to juggle which is more important to me, narrative or gameplay. And honestly, narrative will win out every single time. Bahnsen Knights is a curious, creepy celebration of the pulp fiction genre. I have really enjoyed seeing the developer grow over the three games in the Pixel Pulp series, and I cannot wait to see what it does next. I bet nobody will see it coming.

Tom Clancy's Rainbow Six Siege is a very attractive game that clearly had some effort put into the visuals. Beyond that, the title offers more tactical gameplay than most shooters on the market. The biggest sin that the game commits is that it just offers so little overall content.

I went into Void Terrarium a little apprehensive. With every indie out there scrambling to call their game a "roguelike", and with so many Mystery Dungeon roguelikes on the Nintendo Switch already, it can be difficult to muster up enthusiasm for yet another one. NISA and Furuya Masayuki surprised me, though. From the gentle subversion of the nature of progress in roguelikes, to the razor-focus on a sweet, paternal-style relationship between a robot and his ward, told with minimalistic elegance, Void Terrarium is a mature, different, and interesting take on the genre.

What really impressed me about I Am Setsuna is the way that the various systems layered on top of one another to reinforce and complement the intense, powerful themes that sit at the core of the game.

The Famicom Detective Club games are excellent, highly traditional detective mystery stories. Some might see that as "quaint", "old", "antiquated" or even "simple." That's simply our cultural experience talking. The reality is that these games are highly relevant to the Japanese understanding and interest in the genre, entirely modern, and the core storytelling experience is so modern it's easy to forget that they're remakes of NES-era classics. Throw in some of the most stunning VN art from the very masters of the genre, and this little collection of two titles has every chance of becoming one of the sleeper hits of the year. And, who knows? If it finds the audience it deserves, it might just inspire Nintendo and Mages to make a new one. I'd be up for more Famicom Detective Club.

The game itself doesn’t give much in the way of context of who Tesla and Lovecraft are, or even why a scientist would be fighting an author to begin with. Nonetheless, Tesla vs Lovecraft is a fun twin-stick shooter, made even better by being technically on-point and very clean to play.

While the visuals and combat are quite simple and not blow you away, The Escapists provides a surprisingly deep game that offers plenty of room for creativity despite the illusion of a rigid framework around your inmate's daily activities.

The Shrouded Isle is so razor-focused on its darkly original theme that it comes across as quite brave. This isn’t a necessarily uplifting or relaxing game. Nor is it particularly rewarding. It is, however, genuinely clever with how it works within an established genre, and it’s uncompromising in its vision. We need more games that are willing to do that.

You've just got to persevere with Battle Brothers to really appreciate it, and it really is the epitome of the saying "it's a marathon, rather than a sprint". Once you've overcome the horrible excuse for a "tutorial" and onboarding process, you've then got to deal with some really repetitive quest design and an astronomically unforgivable difficulty curve. But, slowly, the game starts to open up, and before you know it, you realise that you're really enjoying this thing. It's expansive, it's complex, it's nuanced and it puts complete control over the story and quest in your hands. It's everything good about Mount & Blade, but in a more compact, turn-based format. It's no wonder the game has become a beloved hit on Steam, with fans pouring hundreds - if not thousands - of hours into it. It's not quite the same experience on Switch, and yet I can't see a scenario where I tear myself away from it, now I've pushed through its various walls. A truly fascinating example of a game that's just worth the effort.

With its focus on storytelling and historical authenticity, Nobunaga’s Ambition: Sphere of Influence - Ascension almost has educational value. You’ll get a good overview of the overall shape of Japan through the Sengoku period, as well as a solid idea of the impact that major battles and events had on everyone else alive at the time. This game, like its predecessor, is very niche and very serious, but it’s a very worthy and very intelligent complement to last year’s Nobunaga’s Ambition.

Where the Water Tastes Like Wine is an incredible achievement, and the latest in a growing body of games that really push the bounds of what the medium can do. It is, at its heart, a game about stories, and the incredible power that they have, brought to life in the most beautiful way possible.

For all the beauty and the brains behind Expeditions: Viking, the one gripe of mine that chips away at its score is the bugginess.

Borealys saw a winning formula, gave it a little glitter, and came up with something that plays well to both young and old audiences without relying on any gimmicks. My only regret is that in playing so much to its narrative strength, it left a lot of environmental world-building and magic-mastering hidden in the background when those well-designed elements deserved so much more than that.

Persona 5 Tactica is an excellent addition to the overall Persona 5 property. What at first looks like a cheerfully whimsical bonus spinoff ends up being something that adds to the core themes of the base game, and is impressive in the way it does that. It also backs up with some of the sharpest “fast tactics” play we’ve seen in the genre. I just wish the concept and theme were written better, and I honestly never thought I would say that of a Persona title.

Street Fighter V looks and plays exactly like how you'd expect any instalment in the series to, but there's something unfinished about it, something that makes you feel the series has taken a giant step backward.