One would hope that IllFonic's past struggles would lead to it delivering more polished games in the future, but Hunting Grounds has many of the same problems that Friday the 13th launched with. Returning players will feel the same sense of déjà vu they would upon watching a disappointing movie sequel... and to be blunt that's something that Predator fans know all too well at this point.

Souvenir Circ.'s Croixleur Sigma offers a blazing fast hack-and-slash game play style that offers just enough complexity to suck you into its colourful world. While its appeal might be limited, it's still good fun in short sessions - just make sure you've got a good controller handy!

Super Toy Cars is a fun game to play, providing a series of increasing racing challenges, the ability to play with friends and to create custom tracks. All of it is wrapped up in a nostalgic package that calls back to my childhood days, zipping around and letting my imagination do the majority of the work.

Run Like Hell! wants to be a good runner, and I can certainly see where Mass Creation was coming from with this one. The execution just isn’t there, microtransactions mar the experience, and the game does little to keep the player engaged.

It's a clean, snappy, hugely entertaining game, and an excellent next step forward for the emerging property. You'll want to have a high tolerance for fan service, but it's a Compile Heart game and you should already know full well what to expect going in. What's important is that it's all executed so well that Azur Lane ends up being too charming to put down, and there's more waifu bait in this one than any other game you'll play in 2020.

For anime fans, it's literally pulling together some of the brightest minds in the industry and allowing them to run free with a very creative format. Short stories are always less inhibited than full-length projects, and if nothing else, everything that we find in the Short Peace package is very creative indeed.

RollerCoaster Tycoon: Adventures is pleasant on the eyes, but is in every other way a disappointment. It's a shallow grind, which challenges none of the player's management skills, and comes across more as an opportunity to simply decorate a theme park.

The big question is: what, exactly, is the target audience for Breakpoint? I can find things that I personally like, as well as moments I can identify as hat-tips to devoted genre fans. I just think that, in its attempt to be a tactical-action-open-world-sandbox-looter-shooter-online-squad-based-co-op, it collapses under the weight of all the hyphens. The disparate parts which Ubisoft tries to cram together are too different for a coherent game to form. I imagine the hardcore tactical FPS fan doesn’t want looter-shooter mechanics, and vice versa; anyone who likes this Breakpoint for one reason will hate it for some other reason. But at least Ubisoft did make the narrative less egregious this time around.

Empyre: Lords of the Sea Gates has a lot of potential but unfortunately it's made so clumsily that it is just painful to actually play. I wanted to love it because of some of its unique ideas, especially in the premise, but I just couldn’t get past the mechanical issues. Being a PC game and all perhaps community feedback will lead to this game being revised. I hope so, so I can come back and give it another spin.

But I can't get over the fact that this is meant to be a survival game that doesn't create a convincing argument for being a survival game. And because it compromises its vision, How To Survive is a fun game, but little more than that.

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.

This really is as no-frills as games come, and is priced to match.

This combat system is a lot of fun. Each character does have distinct abilities and a role in the battlefield, and the action is fast enough that you’ll need to think quickly as you play. The crowning achievement of combat is the super attacks that you work towards (usually in time for the boss battles).

Monster Combine TD isn’t totally polished or totally original but it bears the markings of an eShop sleeper hit. If you’re in the mood for portable tower defence action with a comedic twist, Collavier has you covered.

The presentation is charming and the power ups are fun to use. The problem is, of course, that it's not necessarily a game that you're going to want to play on consoles.

The genre has been able to tap into this to make it the core feature, and while we’ve seen better and more creative applications of that feature in the past, Adventure Bar Labyrinth is a solid, vanilla, example of that appeal.

There’s never been a better time in history for those upset with conservative shooters to set aside all preconceived notions and just experiment. Touhou deserves to be praised equally as a bullet hell and a fighter, performing like almost nothing else on the market. This, ladies and gentlemen, is bullet heaven.

Just as foreign films might be worthy, even essential, even though they lack the budgets and production values of Hollywood, so too does a title like Sword and Fairy 6 deserve to find an audience in the kind of player that is more interested in artistry and theme than how well done the button pressing fun is.

There is a solid core game here in Trials of the Blood Dragon, the problem is when the team extends away from that core to do other things. Not all of the motorbike tracks are great, but that is true of the Trials games as well. The platforming segments are terrible, however, some of the more bombastic and colourful stages are an absolute joy to play, and the neon visuals and pounding soundtrack do an excellent job of selling the action.

There was so much potential in Criminal Girls: Invite Only to be a transgressive, unique experience, but sadly, narrative missteps limit it from ever realising that potential. Instead what we have is a genuinely entertaining and original combat, and a minigame that, were Criminal Girls to be a higher profile release, would have been controversial indeed.

The Seven Deadly Sins is a fun anime franchise, and that sense of fun does translate to the game. It’s not a perfect game by any means, and has some genuinely aggravating elements, though, and that means it is going to be one that only fans of the franchise are going to enjoy.

Something about the survival genre has taken all those brilliant ingredients and spat out a failure of a meal, however, and that's an depressing reflection on the entire genre.

Like I said at the start, The Park is an absolutely terrifying game, but what’s continued to haunt me about it long after I’ve put the controller down isn’t Chad the Chipmunk, or the Bogeyman, or the Witch – it’s how distressing and real the game and its themes are once you peel back those monster story trappings.

Aside from Diablo itself, the clones of the genre have largely slid right back into mediocrity, and I have to hope that a new Titan Quest could be the shot in the arm that can revitalise the interest that genre fans have in it, outside of Diablo.

This is clearly one of those times the developers couldn’t be bothered to put enough time and effort into the PC version to make it function properly at a basic level.

I have zero doubt that, given extra time and material to work with, the developers could have produced one of the best anime-inspired video games this decade. What’s here is still modestly enjoyable, though, and this title is worth supporting just to champion the notion that anime games besides the Narutos and Dragon Balls of the world deserve localisations.

Sense: A Cyberpunk Ghost Story succeeds as far as a "ghost story" is concerned. It offers up some good and creepy moments to go with some nicely classical point-and-click adventure elements. It struggles as cyberpunk though, failing to engage with the themes that make cyberpunk a distinctive, interesting genre, and proving unable to integrate those cyberpunk elements with the horror. I'm glad I played Sense, but there are too many inconsistencies for it to be something particularly memorable.

A refreshing experience and well worth the time. If only there were more adventure games of this ilk.

Feather is a beautiful, soulful experience, which is sadly too limited for its own good.

I wanted a game that was like Muramasa: The Demon Blade; a game that would take the aesthetics of classical Japan and really do something with it. Instead, Sadame proves itself to be vapid and uninspired in the extreme, and so very disappointing as a result.

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.

Under Par: Golf Architect is charming and very welcoming, and that first golf course you create will be a truly fun process. After that, though, you’ll realise that Under Par has nothing else to offer and is such a disappointing missed opportunity. It’s all the more strange that the developers would do this because the same team previously created Hundred Days, a vineyard business simulation, and that one was genuinely interesting and engaging, and had proper tycoon simulation challenges built into it.

The oddity here is that while it's a "full" Switch release, it's still listed as an Early Access title on Steam. The three-person team putting Dungeon Munchies together could still tighten up that platforming aspect, and I really hope they do. Dungeon Munchies won't appeal to everyone, but it's precisely the kind of small indie gaming idea that would never get large traction with a bigger publisher.

Despite its short runtime, Feist feels like the video game equivalent of being pushed over and kicked repeatedly without respite.

Its bare-bones design philosophy means it’s perhaps not the best title for survival genre diehards, but it’s a refreshing title to hit the Switch and one you might find yourself playing for way longer than planned.

An intense, special, and downright important game, with a powerful message to share not just about war itself, but also how we also talk about, and share stories about, war.

There's nothing overtly wrong with it, but the 2D platformer isn't exactly one that is underserviced on the 3DS, and it's hard to see value in buying this game over some of the other options out there.

Having a complex customisation and battle system, means that whenever a new player comes along the first few rounds are quite dull while they learn the ropes. And by the time they've learned the ropes it's time to move on to the next game.

There's also something to be said about the presentation. Combat plays out through an appealing Dragon Quest-like perspective. Environments are simple, but interesting. The music is often quite enjoyable. Justice Chronicles isn't by any means a classic game, but by Kemco's workmanlike approach to the genre, it's one of the more playable ones.

It’s the most enjoyable Kemco game I’ve played to date. More of this and fewer generic RPG Maker-like “retro” JRPGs and I will become a real fan for this company.

We do need more games that go out there and bravely tell stories of deities, cultures and heroes that people wouldn't be aware existed. Aluna is brave in that not only does it do that, but it even goes as far asto make a very dry joke about how obsessed the entire industry is with telling the same stories over and over again. Unfortunately, while Aluna is blessed with some gorgeous art, a brilliant protagonist, and a wonderful setting, it squanders so much of what it does by being an incredibly safe Diablo clone in execution. Aside from a few technical issues with the Switch, Aluna is a perfectly competent and focused Diablo clone, but the game and creative energy behind it promise more which, to our great disappointment, the developers have failed to deliver.

Harvest Moon: One World is ultimately forgettable and limited, but I didn't regret my time playing it. Perhaps that is simply because I'm such a fan of these anime-casual farming sims, and have been since the "genre" emerged all the way back on the SNES, but as someone who has played an awful lot of these things, One World's effort to do something different by getting you to travel around, and the streamlining of the farming mechanics so you can focus on the best bits, is admirable. There's still a long way to go for Natsume and its development teams to catch Story of Seasons, and I question the wisdom in releasing this game to compete directly with the upcoming new entry in that series, but this is still a genuinely pleasant little world to lose yourself within for a while.

E.T. Armies is a well-made indie FPS with a few caveats that occasionally detract from a mostly enjoyable experience.

I enjoyed Hatoful Boyfriend Holiday Star as a fan of the original. It was great getting more back story for several characters that were underdone in the original, as well as meeting new characters all in the holiday mood.

Knee Deep isn’t a terrible game, nor is it as ground-breaking as it wants to be. It definitely gives a unique spin on the interactive drama genre, and it does tell a somewhat dark, noir inspired tale. Folks who approach this as anything other than a slightly more interactive Visual Novel are going to be disappointed, though, and given that it was more pitched towards adventure game fans, I think there might be a few people that are disappointed with their purchase here.

Pixel Heroes is some good old classic dungeon crawling action. The lack of narrative context makes it a tough, but not necessarily rewarding game, but putting that aside, the endless gameplay loop is simple and clean, and there's a fun combat system to make it all worth at least a little of your time.

An interesting, albeit incredibly hard, journey. It's a game made for people who are willing to play and replay the same levels over and over again because they simply won't let it beat them, and while that might be a niche audience today, it's hard to argue that Cast of the Seven Godsends doesn't do it in style.

Rise Eterna is not terrible by any means. It's a perfectly playable effort to emulate Fire Emblem. But it's also incredibly shallow, lacks character and meaningful narrative, and misfires in several critical areas with the gameplay. On the other hand, since Nintendo and Intelligent Systems are showing no haste in announcing a new Fire Emblem, I guess we've got to take what we can get.

I’m glad that I played SkateBIRD, and it hurts that I’ve had to give it this score. I firmly believe that as games are an art form, game developers should be trying things, even if they don’t ultimately succeed. SkateBIRD is a brilliant idea and it takes a big, heaving swing at it. Sadly, though, it’s a strikeout. However, with that being said, if the developers get another innings, I would play a SkateBIRD 2 without a moment's hesitation, and I would fully expect that the developers would deliver having had this experience.

This is by far the worst anime/ manga game I've ever played, and a real tragedy, because it manages to look appealing from start to finish, and could well have been a definitive Dragon Ball experience.

Shephy is mechanically sound and intrinsically fun, but it’s also a harrowing experience if you think about it hard enough. I can’t tell if Pawn intended the game to be darkly humorous or outright desolate, but either way the grim story both tempered my enjoyment and drove me to play more. It’s an emotion that I’ve rarely experienced from a game, and that itself lends Shephy merit beyond the extent that the randomisation within the game actually hurts it.

Ethan: Meteor Hunter is an interesting little game and a decent platformer with interesting concepts, however sometimes the unrefined controls can get in the way of being truly enjoyable.

Hyperdimension Neptunia: Producing Perfection is an attempt to blend the idol management sim with the crazy universe of Hyperdimention Neptunia, and it largely works.

There's plenty of merit to Demon's Rise as the developers have delivered a game that is nicely balanced and blends a rich tapestry of gameplay elements together in a surprisingly nuanced manner. Purely on the basis of how this game is presented you just would not expect that going in. The total lack of effort in the writing kills it, though. How am I meant to enjoy a fantasy game if there is nothing to draw me into the fantasy?

It's always difficult to rate niche games like The Witch and the Hundred Knight, and this one moreso because it takes a certain degree of patience to mentally work into the game before it becomes enjoyable as a twist on a dark fairy tale. But I enjoyed myself and found the combat engaging enough to be confident that niche JRPG fans will get a kick out of it.

We’ve seen better from ACE Team. Abyss Odyssey was a gorgeous representation of the developer’s own culture (something we still see too infrequently in video games), while Rock of Ages was as funny as a Monty Python sketch, and Deadly Tower Of Monsters was the spot-on love letter to the dodgy B-cinema that so many of us loved growing up. In that company SolSeraph seems a little too unfocused and uncertain of itself, despite being an entertaining and challenging game in its own right. However ACE Team at its worst is still more distinctive than most other developers at their best. I do think that SolSeraph will find an audience, and I do hope, for those who have played ActRaiser, that this comes across as the spiritual successor they've long been waiting for.

Even more than Monopoly, The Game of Life is a board game from a bygone era. Once upon a time, the nice, meandering journey through suburban life and expectations thereof that the game depicted was considered a representation of a happy, wholesome life experience, but in 2021 lionising that seems incredibly passe. Sticking a "2" next to the title while not doing much to address this dissonance doesn't paper over the fact that very few people actually want to play The Game of Life these days.

You just need to look at something like Theatrhythm Final Fantasy to realise that when people really love a franchise, taking the music from that franchise and turning it into a rhythm game can be a magical experience. But then people pay a lot of money to go to symphonies of Final Fantasy music. As my old mates Dunning and Kruger would always say: people should know their limits. The Legend of Dark Witch franchise is far too limited and nowhere near of the standard where its music is ready stand alone, and Rudymical is just not worth playing on any level.

Solar Shifter EX doesn’t add anything special to its genre, but it is certainly a solid entry worth a play or two if you dare.

The one saving grace to Bedlam is that it doesn't take itself seriously. There's some nicely written self-referential humour in there. Sadly, Bedlam seems to think it is genuinely funny, rather than the actual joke, so some of the humour falls a bit flat in assuming that people want to play the game in the first place.

It fails to demonstrate any inquisitive or creative spirit, which is what makes indie games innovative, vibrant and, ultimately, worth playing.

Ice Cream Surfer deserves full credit for offering a taste the Wii U could use more of. I just wish the developers focused less on decking their digital sundae with chocolate sauce and realised that the ice cream beneath it was past its prime.

As confusing as it is that this game happened at all, I loved having the chance to play it. Akiba's Trip: Hellbound & Debriefed might look like a game that should have stayed on the PSP, but the satire and humour is there, the grainy rendition of Akihabara is still enough to make this homesick otaku miss Japan, and the action remains on the right side of simple and entertaining that you can enjoy it while it lasts. Akiba's Trip isn't going to win GOTY awards, but I sure enjoyed collecting a big pile of skirts.

Flip Wars' problem is that it has no depth whatsoever. That silly, simple, chaotic, and utterly pointless button masher that you had a quick laugh at when you play it for the first time really is all that’s on offer.

The important thing about this game is that despite what anyone has to say about the various stages of nudity, it’s perfectly playable and delivers exactly what it sets out to – boobs, butt, and brawling.

Timberman Vs is such a confused and poorly thought out game, I wouldn't recommend it if it was free (and it is free on the iPhone anyway).

The game is constrained by budget and underproduced so there are technical and visionary flaws in the game, and it's disappointing that Spiders decided to stay on the safe side of narrative boundary pushing for the first time in its existence. But an enjoyable theme and combat system is just enough to make Bound by Flame addictive enough that it succeeded in holding my attention from start to finish.

If being humiliated and demoralised by in-game defeat is synonymous to Mel’s downfall, achieving victory in battle is a feeling equivalent to earning a billion dollars just for punching your life-long nemesis in the face.

Monopoly on the Switch works, much as it did on PlayStation 4. There are some nice little elements, like themed boards, which don’t change the gameplay in any way, but are fun to see. All the popular Monopoly house rules are in there too, so however you like to play the game you’re covered. Loading times are a bit long, and the AI takes its sweet time to take each turn, but otherwise it’s a very clean, visually appealing take on the board game.

It misses all the marks on the most crucial elements, with a game that's constantly let down by its physics and controls and a story about "Gamers" fighting back against "anti-leisure laws" that seems to entirely miss the point of anti-authoritarianism as a concept.

Beyond those useless side quests, there’s almost nothing to actually do in Revenant Saga.

I love that Netflix is investing in game development, because many of its properties could potentially use the medium to enhance the overall experience for fans. It needs to do better going forward though. Stranger Things 3: The Game is trash that does more harm to the property than good. It was almost quaint going on a memory trip back to when video games were used to churn out cheap bonus money grabs every time a major film landed, but the industry has moved on from that nonsense, and there's nothing about this game that is acceptable in this day and age.

While it never manages to rise beyond being a fastidious clone of a beloved series, Daymare 1998 is not as terrible as some might have you believe. Sure, it doesn't have a creative bone in its body, and that is a problem, but it does show that the development team has an understanding of classic video game action/horror, and were they to come back with an original idea and distance themselves from existing, better properties, this developer could end up becoming a solid B-tier players in the space.

While the basic premise is a simple one, it is the added elements such as the day and night transitions, defense building, RPG-like elements and that online leaderboard that makes Over 9000 Zombies quite the enjoyable arcade game.

Modern board game design greatly de-emphasises the importance of dice rolls in favour of systems that are more predictable and strategic, and I've got to say that I much prefer this brave new world of strategy over luck that we have in our board games now.

The game is decent at times but it lacks some features that would have made this a better experience. Things like mutiplayer and a leader board would have really helped to give Dogos legs. There's also some irritations in the art style, frame rate and general presentation, and the lack of a narrative to give context to what's going on hurts as well.

I wanted Replica to say a lot more than it did. We're living in a time where governments are becoming more aggressive in snooping into people's lives and for the first time since McCarthy, being branded as a "communist" is shifting from being someone who the right-wing impotently laugh at to someone who could be in some real danger. Replica does the right things in many ways, name-dropping real-world events and giving it enough context that the game is clearly anti-fascist in tone. Unfortunately, it lacks the intelligence and emotional resonance to be the interactive Orwellian experience that it wants to be.

I’m starting to wonder if I’m too picky about farm sims. I justify that by saying that all I want is a functioning game. I don’t expect some crazy story to bring you to the farm. I don’t expect perfection. But I do expect things like auto-saves to save often enough, the game not to crash, and farming itself to be pretty chill. I experienced none of that in Everdream Valley. I wanted so badly to like it, too. But instead, it feels rushed or incomplete. I don’t doubt the devs had all the best intentions, but it’s too big for its britches. It has potential, it just doesn’t feel like a fully polished game.

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.

Ultimately, Hidden Dragon: Legend is a fairly average beat-em-up/platformer, but its sky-high production values and sheer love of spectacle is sure to delight players.

If the developers had been content to just play to the game’s strengths as an adventure game, Uncanny Valley could have been something really good. Sadly, the shoehorning in of dull “survival horror” pulls the rug out from under that potential.

Lacking the multiplayer makes it difficult to really get into Yu-Gi-Oh! Zexal World Duel Carnival. What's in the game is perfectly functional and the core game is one of the most popular and lasting CCGs for a very good reason, it's difficult to really get into a game such as this that lacks the social experience.

Anima is not that engaging at all because of that overreach, and it’s stressful because I really did want to enjoy this. But the games it tries to be like; titles like Nier and Dark Souls, are unforgettable, potent, important titles. I should not be forgetting almost everything about a game that aspires to that level of greatness. But in this case I did just that.

I suspect that Forgotten Wars will be a single player only experience very quickly, and I'm just not willing to pay a premium for a solo player CCG.

They hide behind nostalgic pixilated visuals, stick safely to existing game tropes, and are really quite culturally tone-deaf. While I love that digital distribution has allowed indie developers to create some genuine masterpieces that would never have had a chance otherwise, games like Kung Fu Fight! are the other side of that particular coin. If we didn’t have digital distribution there is no way a game like this would have ever been inflicted on us, and that wouldn’t have been a bad thing at all.

There are bugs (because of course there are), and very long loading times, but on the plus side there is a multiplayer mode. On the downside I never managed to actually get someone to play this with me. They took one look at the single player game, with all its misfiring attempts at nostalgic glory, and begged me to play something else instead.

Dementium is not even slightly entertaining and all the developer has achieved with this re-re-release is broadcast that their original game wasn’t ever anything more than a gimmicky novelty. What an incredible own goal when Dementium did actually have something of a legacy from people nostalgic for the DS.

It was certainly compelling enough for me to want to finish the game. There are also plenty of challenges to help hone platforming skills which ultimately do help in finishing the regular levels. As a game that is clearly supposed to appease Mega Man fans who will likely never get a new game in the series ever again, it falls spectacularly short of their expectations, particularly those that assisted in the crowdfunding campaign.

Spectra reminds me a great deal of Audiosurf, which is meant to be high praise as I have spent a lot of hours with both games in that franchise. However, while the soundtrack provided in Spectra is an excellent one, the inability to import more music of your own choosing and the lack of visual variety in the levels makes this title quite inferior.

Caveman Warriors is a competent platformer weighed down by the problems of a game which wants to be Metal Slug, and Trine, and Joe & Mac, but hasn’t synthesised a unique mechanic or gameplay loop to set itself apart.

The gameplay loops that New Frontier Days offers are addictive and it's easy to get dragged into watching the town build over a period of hours, but the $13 or so that the game asks upfront is about $11 more than I've ever been suckered into paying for one of these games when they're free-to-play on mobile (I got a little too hooked and enthusiastic on Sim City BuildIt once, so sue me).

There’s a reasonably robust toolset that allows people to create their own adventures, and this helps extend the long-term value of the game if you can get a group of friends together for some play sessions. But, unfortunately, there’s just not enough to Sword Coast Legends to make it the truly classic game that I wish it could be.

Perhaps Insult Simulator won’t be the game you play longer than Persona 5, but I have no quarrel whatsoever with games that know what they can deliver and avoid overstaying their welcome. Insult Simulator is one such game, and it is no insult to say I had much fun with it.

For all its technical issues, Disaster Report 4 is a truly astounding bit of video game art and a true reflection on something that is important to understand about the Japanese culture and mindset. It is nothing like the disaster stories and games that come from western creatives, and the more melancholic, sympathetic, and people-focused themes of the game might confuse those that expect a disaster experience at first. Embrace it for what it is, however, and the game is so much better than any of that blockbuster trash. There is something very subtle, but very powerful at the core of Disaster Report 4, and, even as I've had the likes of Animal Crossing and Resident Evil 3 to play this past two weeks, I've found myself coming back to this one, and reflecting on it to a far greater degree. It's not necessarily fun, in a traditional sense, but it's culturally insightful and intelligent, and that makes it valuable.

Sacred 3 is borderline offensive, and if this game hasn't killed the franchise's commercial value, Sacred 4 better look more closely at why people actually want to play these games. It's not good enough to be dumb fun.

I'd say Unearthing Mars is well worth a couple of hours away from the real world. It's rough around the edges, but there are some great ideas at play and an enjoyable adventure to be had.

You can get these two great existential crises in one package of fourteen minigames for just 6 AUD on the Nintendo Switch eShop. What a bargain!

It’s a smart, genuine little game, with soul and a story to tell, and wraps it within one of the best examples we’ve seen to date of serenity as a play concept.