With the superb Final Fantasy heritage to support it and even compensate for the lack of narrative context, as well as some truly exciting multiplayer questing, this is a game I have a lot of time for, and will do so for a long time to come.

Battlefield Waltz is one of Otomate’s stronger efforts. It takes a strong setting, a strong narrative, and strong characters, and makes the most of them. It’s a “safe” game that takes few risks and doesn’t really push boundaries, but it’s an enormously enjoyable and moreish page-turner. The digital equivalent of picking up a good paperback.

Without involving the micromanagement of something like Transport Giant, it’s also a game that offers just enough complexity to offer players a management challenge, and a sense of rewarding satisfaction when they’ve built up a sustainable, large, city. The story mode itself is quite poor, but as with any good city builder, all the fun’s in the sandbox mode anyway, and unleashing both your inner creative and inner city planner at once.

A Wonderful Life on the GameCube was perhaps the most perfect execution of the Harvest Moon (now Story of Seasons) ethos out of all in the long-running series. As such, it’s the one that also generates the strongest pathos. Heart-meltingly warm good-naturedness, mixed with a perfectly adequate remake make this wholesome masterpiece relevant all over again. With the state of the world being this lousy, these little escapes are more valuable than ever.

The Vita has no shortage of quality JRPGs on it, but Final Fantasy X HD Remaster should certainly be in the running for being the finest. With a rich narrative, quality gameplay, and a now in portable form, it's one of the finest games in the entire franchise.

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.

On the other hand, Matrix Games revived a niche and nearly forgotten 22-year-old game to deliver Brigandine: The Legend of Runersia. This may well be just a foundation to build on, assuming there's an audience for it. I certainly hope there is, because this series could go very, very far yet.

The main thing is the developers haven’t messed with the content. Because almost no one bought the Wii U, few people had the chance to play Bayonetta 2. With Bayonetta 3 on the horizon, giving people a chance to catch up is a really good idea on Nintendo’s part. That’s why these ports have been released, and they’re that good that, even if you were one of the few with a Wii U, you may as well buy them again.

Kogado is perhaps the most under-appreciated visual novel outfit out there. You've almost certainly only heard of this developer's work if you're deep into the visual novel space, and while in terms of presentation there's a distinct "low budget" quality, there are two things that help to set Kogado apart: firstly, they're a gorgeous application of the idea that aesthetics are more important in art than technical wizardry. Secondly, Kogado tells stories that are an impeccable blend of tantilising fan service, intense mystery, and subversion to keep players on their toes as far as expectations go. On that basis Yumetsutsu is a perfect follow on to the Nurse Love series.

There’s more work to do with AFL 23, and I’m expecting regular patching for a few weeks yet. However, I can’t sit on my review forever, so what I’ll say is this: The game has already evolved from a disastrous launch to become the finest AFL game ever. That’s a ridiculously low bar to cross, I know, but once Big Ant have brought in the final features and refined the mechanics to fully realise their vision, this will be a truly impressive representation of one of the most iconic parts of Australian culture.

The Eternal Cylinder is quite sad yet somehow there is a delight in finding in the smaller moments: finding an egg and evolving are especially happy moments. It is complex yet simple, running from the big bad thing that constantly looms like the Sword of Damocles is easy enough, but exploring to find the way ahead isn't always completely straightforward. The opposite emotions make the game feel deeply fulfilling. It's not quite like anything else I've ever experienced, and I feel like it will haunt me (in the best way possible) for quite some time to come.

It isn’t what I was expecting, and initially it was confounding, but the more time I spent with it, the more I came to love it for its grungy underground spirit.

This is a profoundly effective game. Digimon has always pushed a little harder than Pokémon to actually spin a meaningful story around the property, and Digimon Survive is not the first time the series has flirted with darker material. Thanks to excellently-flawed characters, clean tactical combat, and an eclectic but interesting blend of genres, Digimon Survive stands out as one of the most different and creative JRPGs you’ll play this year.

Shining Resonance Refrain might not be a classic example of the genre, but it gets the most important components of the genre right – the characters and the storytelling – and backs it up with some gorgeous art and a perfectly competent combat system.

Bunhouse is meditative and sweet. It's the kind of game that you can boot up and play for a couple of minutes or hours, depending on how much you need to de-stress, and in so many ways it parallels the joy of having actual rabbits as pets. They might not be the loudest or most boisterous buddies, but their stoic warmth fills the home with wholesome goodness. Ultimately, rabbits are wonderful, and Bunhouse does them justice.

When we think about this Halloween season and all the horror games that celebrate it, we rarely think about a dungeon crawler. After all, the 'crawler doesn't feature visceral action or jump scares. It's all too turn-based for that. But, of course, horror can be much more than jump scares and visceral action, and Undernauts demonstrates that beautifully. Strong atmosphere, challenging combat and Experience Inc.'s mastery of the genre combine to create something that is nearly impossible to put down.

For a game so focused on the monstrous and the grotesque, Severed’s power lies in how it shines a critical and emotional light on an intrinsic part of what it means to be human.

What we have here is a darkly beautiful and emotionally-challenging experience, rather than a game, and completely and utterly essential from a transcendent games as art point of view.

It's quite impressive that SEGA has been able to take something so revered as Valkyria Chronicles, and do it justice with the fourth title in the series. It's even more impressive that it was willing to admit that Revolution's experimental structure wasn't what fans wanted, and to go back to that original formula. It's hard to do justice to something so beloved, but given that the only flaw that Valkyria Chronicles 4 has is that it's not quite Valkyria Chronicles, that's exactly what has been achieved here.

It's a succinct and heartfelt game with a gorgeous aesthetic and an evocative narrative. The Kids We Were seems destined to be a thing that people will overlook, but I really hope that they don't. The way it taps into both a sense of nostalgia for youth and the Japanese nostalgia for the golden 80's might not be the most original narrative angle ever, but it's a story told so well that you won't be able to put it down.

This is the best game in the Assassin’s Creed series. That extra year of development time has really helped Ubisoft find its creative centre again, and craft something that feels both fresh and energised. I could take or leave the shifts in gameplay to make this more like the loot-grind RPG-likes that dominate blockbuster game development now, but when Ubisoft is playing so beautifully within a fascinating period of history, all I care about is how utterly engrossed I am with the storytelling.

There are things that you need to be critical of in Sword and Fairy: Together Forever. The game hasn’t been made to the same precision as the upper echelons of RPGs out of Japan and the West, and that is undeniable. But then Together Forever has the singular advantage of being one of the few Chinese RPGs that we get to play, and that makes it distinctive, different, and worthy on its own merits. Add in incredible art direction (oh how I love Yue), and a gorgeous combat system, and we’ve got perhaps the most interesting RPG of 2022 here. I really hope people don’t overlook it.

Ultimately the irreverence of Final Fantasy X-2 means that the quest isn't as memorable as its predecessor, and while it's good fun, it's also not something to play on rotation. But combined these two games are incredible value, and a great alternative to the XIII series on the PlayStation 3 for people that were put off by those more recent Square Enix games.

Ultimately, Path of Mystery might not have the impact that a Famicom Detective Club, Phoenix Wright, or Danganronpa might, but this visual novel has plenty going for it. A cast of characters with a brilliantly written and believable set of dynamics between them, a clever mystery, told well and surprising enough to keep its hooks into you, and truly gorgeous art and presentation. Aksys picked a good one to localise, and the game deserves more attention than it’s getting.

I'll be really disappointed if Nintendo really is shifting emphasis to turn Smash Bros. into a more "serious" fighting game. It says a lot about Super Smash Bros. Ultimate that the biggest criticism that I have with it is that the intent of this game seems at odds compared with the intent of Smash Bros. entries in the past. This won't work nearly as well as a party game as some in the Smash Bros. series have in the past, but nonetheless this is a genuinely impressive fighting game with a nearly overwhelming amount of content that's going to make the more serious Smash Bros. fans very, very happy.

There's a lot of room for Granblue Fantasy: Versus to grow from here. There are a lot more characters that can be brought into the game, and many more stories that can be told through that RPG mode. As it is, however, this is a remarkably beautiful and intelligently-structured fighting game, which does justice to the source material and offers a stunning foundation for what might come into the future. It also works as the perfect introduction to Granblue Fantasy for the west, and now Cygames should be left with no other choice than to release the mobile game worldwide.

More than anything else, though, what I love about Miss Fisher is the way that the game really represents a very Australian sense of storytelling and aesthetics. As long-time readers know, I often talk about how I’d like for Australia (and other markets around the world) to develop a unique identity in game production, distinct from the US, much like Japan has. This game is an example of that. It’s got that droll sense of humour that we do so well, and the art captures old Melbourne perfectly. If this game helps people discover the Miss Fisher novels and TV series, then so much the better, because they are a bit of a cultural icon that doesn’t get talked about nearly enough.

Fated: The Silent Oath is exactly the kind of game that VR was made for, and it’s nice to finally see the technology put to work on small, intimate, emotive character drama. The good news is that this is the first part of what’s planned to be a multi-episode game, and I’m really looking forward to spending more time in this world, with these people.

I hope Nexomon continues to perform well and grow from here. The developers really do have an opportunity to take what they've done across the first two titles and build it into "the alternative Pokémon", especially considering that both Yokai Watch and Dragon Quest Monsters seem to be on the wane. Nexomon isn't quite the game that its (console) predecessor is, but it's still a warm, comfortable, and amusing experience, and while it can be frustrating at times to try and catch all 300+ monsters on offer, they're so ultra-cute that you'll do it - and love it - anyway.

For a new IP, Nintendo has done everything right in Splatoon. It has forged a game that has an identity that is uniquely its own in a market and genre that is absolutely saturated in me-too nonsense, and has shown us all that there's no reason that a shooter should stick to template: it's okay to be different.

Of course, Minos’ fans – and the game deserves to have a lot of them – will tell you the plot isn’t important. What is important is its creative sandbox and gleefully gory approach to what is essentially a tower defence game. And on that I would agree with them. Minos is really difficult to put down once you start finding yourself daydreaming about new ways to combine your trap arsenal together.

Hyperdimension Neptunia Re;Birth 1’s degree of fan service means it probably won’t resonate with anyone unwilling to step outside their comfort zone, but beyond that entry barrier lies a laboriously crafted JRPG with tangible meaning behind its story and worthwhile commentary on the video game industry.

A truly beautiful game, and a confident, well-meaning and refreshingly positive use of the videogame medium by talented newcomers. The money might be in the AAA fetish shooters, but the heart, soul and future value of games is wrapped up in projects like this one.

It’s not a very long game at all; I’d clocked it in about seven hours, but those are the best, most entertaining seven hours I’ve had with the PlayStation 4 controller in my hands for a very long time.

The core fundamentals of Monster Rancher are delightful, and while this collection has its issues, there aren't all that many modern equivalents to what it offers, so they hold their value well. Whether this is some kind of elaborate market research with Koei canvassing interest for a potential new Monster Rancher, or a simple acknowledgement that the series still has fans and they'll buy anything Monster Rancher-related, I don't know. I almost hope they don't make a new Monster Rancher, because the appeal of these games is in their simple charm. Simplicity that modern game development can't get away with. In that context, I actually believe that Monster Rancher 1 & 2 DX will be the best of this series. Putting aside the inability to summon monsters via CD, both games have aged like the finest of wines, and remain some of the best examples of design from their era.

It might be a flawed experience, but that’s almost irrelevant when you consider just how much of it there really is on offer. This is how you do an “HD remaster."

The Legend of Zelda series has become the incarnation of an adult, and for better or worse, Majora’s Mask is the coming of age story that made us all grow up.

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.

If you were a fan of the original game, this one does enough to justify giving it another play through. If you missed Odin Sphere the first time around, then this is a great introduction that is also easy to recommend.

I went into Samurai Bringer expecting a generic roguelike (albeit with a samurai setting). On a cursory look of the screenshots, that’s what it seems to be. But it soon becomes clear that it is a very substantial departure from other action-roguelikes. This isn’t Hades-but-with-katanas. This is what I would expect a Samurai Warriors roguelike to be like, and the strength of that concept is backed up with one of the best and most engaging equipment customisation systems I’ve ever seen. In a year that, just four months in, has been packed with so many high-quality releases, Samurai Bringer might be flying right under the radar, but it’s actually one of the best of them.

La Mulana 2 may just be more of the same, but it’s also a home run for a winning formula that nobody else is making nowadays. For players who enjoy complexity and depth, there’s an ocean of possibility here which makes any other Metroidvania look like a puddle by comparison. (Yeah, even Hollow Knight.) It’s humbling for a game to show me what it really feels like to not have my hand held at all: it forced me to swallow my pride, grab a pen and paper, and earn my progress forward. Few games can boast that. And once you’ve braved the ruins of La Mulana, you can bravely look to the future with confidence. Because you’re an archaeologist now.

Shovel Knight is yet another fantastic indie addition to the continually growing Vita catalogue. It might lack Vita-specific extras (and is therefore a pointless purchase for people who already own the game on some other platform), but for old-school retro platforming fans who might have missed out on this fantastic title so far, it's a must buy.

The tracks themselves are spot on, and playing through the cockpit view, it’s easy to get an appreciation on how challenging some of them really are.

A remarkable game that only just falls short of what many have been dreaming of for 30-odd years.

The lack of narrative hasn't stopped me from pouring hours and hours into Sky Force Reloaded, and I don't doubt I'll put in a great many more—I have to perfect every level on Insane difficulty, after all. This is a game that doesn't do anything new, but it takes a classic genre and delivers on it so well that it's hard to fault the lack of innovation. If you have even the slightest interest in shoot 'em ups, this is a game you don't want to miss.

Mario Strikers might come across as limited to some people, especially those that are only really going to get stuck into the single-player game. However, as a multiplayer experience, and whether you’re going to play locally or online, this thing excels in every way. It’s accessible, but also had a learning curve that more serious people will love. It’s laugh-out-loud hilarious for party sessions, while also having the feature set that it needs to get entire clubs to form around it. I can easily see this joining Smash Bros., Splatoon and Mario Kart as a standard part of any multiplayer rotation on the Switch. Most of all, though, this is a Mario Sports title that hasn’t lost the identity of the sport itself after implementing power-ups and Mario character specials. In this way, it stands apart from the Mario Tennis and Golf titles, and that’s a good thing.

Whether it released in 2017 or 1989, Warlock’s Tower would be a timeless classic. It explores rudimentary puzzle elements everyone should be familiar with and, armed with a deep understanding of why they work, introduces a meaningful wrinkle. In a game industry that often relies on deceptively shallow open worlds and filler for the sake of content to market, sometimes we need to take a step back and recognise that one grainy little monochrome screen can hold volumes.

It’s really nice to have Alone in the Dark back in form. And for it to have its own identity. After being such a pioneer, this series has spent so long chasing the horror genre popular trends and trying to read the lowest common denominator that it became little more than a pale imitation of other good ideas. It’s genuinely nice to have something that heads in its own direction, and is comfortable in providing a taut atmosphere and a focus on a chilling narrative rather than visceral scares. You could call it “quaint,” but I like to think of it more like a game Stephen King would like to see rather than another cash-in from the Saw writers.

It's games like this that keep me interested in gaming; creative developers working on creative concepts and telling simple, effective stories in a manner that is only possible through an interactive medium.

It has a very steep learning curve, but once you get your head around it all, it’s incredibly fun.

The developer is clearly committed to providing DLC that is cost effective and adds something meaningful to a group of its players - even if it's only a small niche within its overall player base. You're not going to miss out on anything if you don't buy this DLC pack. But then you might just get something out of the investment if you do.

Pokopia is going to occupy you for so many dozens of hours. Even once you’ve completed the main story and collected all the Pokémon, there’s still the core sandbox to play around with. Where Animal Crossing does eventually become a series of routines that you get stuck into until eventually it becomes dull, Pokopia resists falling into the same box by simply giving you so many objectives for when you don’t feel like simply inhabiting the world. Which is just as well, because we’re all going to need a lot of this kind of calming escapism over the next few years.

This is an exceptional port of a hugely underrated game. The character art is one of the most critical features in the game, and on the much larger PC screen the art is vibrant, detailed, and attractive. This alone really makes Monster Monpiece’s PC port the definitive version. Hopefully this is not the last we see of Compile Heart producing CCGs.

Whether you were a witness to its glory in its original context, or whether you’re just reading about it for the first time in 2020, Vanquish is an experience worth having. Its desire to subvert entrenched shooter tropes in both its mechanics and its story, leaves it feeling a breath of fresh air to those who have been jaded by how samey the genre can feel. If you like your games to demand mastery, and to reward those who unlock the potential within its mechanics with an undeniable feeling of coolness, then Vanquish is absolutely worth your time.

Almost everyone knows what a roguelike is, and Shiren the Wanderer is a classical roguelike in every way. However, Shiren the Wanderer: The Mystery Dungeon of Serpentcoil Island is one of the most perfectly executed, impossible-to-put-down examples of the genre, and for that reason it’s essential.

Phantom Doctrine did come out of nowhere to become a truly enjoyable and memorable experience. If you had have told me six months ago that it would be possible to take the pulp sci-fi, raw entertainment of XCOM and apply it to a Cold War espionage narrative, I wouldn’t have believed you. That’s exactly what has been delivered here, though, and I hope it has the chance to surprise plenty of other people.

For all I know I’m the only person left on the planet that cares about Snow Bros. and Toaplan’s legacy in single-screen platformers. Nonetheless, it is a bit of arcade history and this is preserving a property that was almost lost. I’ve had an absolute blast playing through this, the new levels are great, and now there’s an outside chance that there might be all-new Snow Bros. adventures on the horizon.

I’ll be committed to Train Sim World for quite some time, I suspect. Give me some DLC train routes through Asia (especially Japan), and I’ll be all the happier. Give me one or two routes of the Sydney network and I’ll buy them just to gloat to Sydney Trains that it is possible to deliver passengers to their stops without a three hour delay. I’m oddly proud of my virtual train driving skills.

There are enough changes in a variety of places that make this the best offering the series has had in several years and should satisfy new fans, yearly players and those who fall somewhere in between.

A charming, entertaining, and effectively endless game offers the same kind of value and quality that has made Puzzle & Dragons such a highlight of the mobile and free-to-play markets. This is certainly my favourite mobile game of the year.

Thanks to its laid-back, low-pressure vibe, aesthetic warmth and overall wholesomeness, Guardians of Azuma captures the comfort food quality of the entire Rune Factory series. Meanwhile, thanks to a vastly improved visual engine, accessible interesting combat, and an exceptional setting, it also takes a strong step forward from its predecessors. This is the strongest entry in a beloved series, and made all the more special because, after the original developer of the series closed shop, it looked like the entire series was dead for several years. This is a pretty good statement that there’s still so much more that it can offer yet.

If I had to sum everything up in one thought, it would be to stop what you’re doing and dive into the Deadfire archipelago. With brilliant storytelling, character development, places to see and many ways in order to do what is needed, there’s no shortage of adventure to be had. Pillars of Eternity 2: Deadfire is a fantastic experience and honestly should be a must for any admirers or lovers of the RPG genre.

Disgaea 4: A Promise Revisited is the kind of game that can ruin sleep patterns and kill productivity. But it's all worth it because it'll keep you chuckling right up to when that favourite Prinny hits level 9999, dood.

Soul Hackers 2 is a smart, evocative, and classically dark game from the Shin Megami Tensei tradition. It’s not going to turn heads like Persona 5 and SMT V did, but the developers seem to have realised this and taken the opportunity to deliver a harder-hitting and more thought-provoking narrative. To me, that’s Atlus getting back to its core vision for the broad and extended SMT property. That’s what I want from this series.

As I’ve said a few times in this review so far, Arc System Works are masters of the genre, and Guilty Gear Strive is a showcase of that mastery. It might not be the most comprehensive fighting game out there, and I do think the developers have made a mistake in giving up on drawing new players into the franchise with a story mode that assumes you’ve been playing Guilty Gear for years. However, those quibbles melt away the instant you get into the action itself. There’s no other word to describe it: it’s sublime.

That balance is why its predecessors were so popular, and that's why the sequel is certainly going to be a major hit.

The team at Telltale Games has done a spectacular job of creating a compartmentalised story that runs parallel to the books and show that fans know so well.

It's one of the most compelling stories to come from a videogame in years.

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.

Perhaps Etrian Odyssey V is the swansong of a franchise that has been one of the few to make meaningful use of an approach to technology and gameplay that has now been obsoleted as Nintendo has retired the dual screen idea. If that’s the case, I’m not going to lie; I’m sad for the end of the end of the franchise, but at least in Etrian Odyssey V it went out on a real high note.

FAST Racing RMX feels like a modernised F-Zero in every regard. Its gameplay feels fluid and engaging, and the track design is arguably better than any other game of its kind. Casual players will enjoy the opportunity to race with friends or online, while hardcore genre fans will have some hefty challenges to speed through. Shin’en Multimedia has outdone itself with this one, and Nintendo should be proud to have the small but talented studio developing for its system - it’s a game which will feel right at home on any Switch console.

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.

As JRPG’s have become more of a niche genre and have been steadily downgrading to be focused experiences, here comes Square Enix to deliver a Dragon Quest game that’s packed tight with the gameplay we know and love. While it doesn’t innovate much on the formula and might be a hard sell for those who can’t stand turn based combat or long, meandering plotlines, it is also comfort food for those who love this kind of play. It’s a testament to the robust qualities of the traditional JRPG genre, which arguably started with the original title in this franchise, that these mechanics are still so captivating and compelling 33 years later.

Neptunia Virtual Stars is an intelligent, relevant, topical and timely satire. It does represent a new direction for the series, and is clearly an effort to find a way to stay relevant now that the jokes that previously provided the foundation for the series have lost their relevance. In doing so Idea Factory decided to experiment with the gameplay, and while that wasn't executed to a particularly fine degree, the heavier focus on narrative and the sheer energy of the whole package means that I found it impossible to remain disappointed by the game's rough edges. The rest of it was too much of a laugh-out-loud delight.

Unlike the remake of Final Fantasy VII, Trails of Mana doesn't take the opportunity to rework the story, nor does it aim to add to the existing world that anyone who played the original will experience. It's more akin to Nintendo's own Link's Awakening remake in that it's a traditionally-minded remake that simply seeks to give fans a beloved experience through a modern lens. And yet, it still goes well above and beyond what was strictly necessary for a remake. This is a game that feels decidedly modern and could (and should) appeal to a much broader audience than "existing Trails of Mana" fans. If the lengths that Square Enix has gone to with this remake prove to resonate, then dare I hope for the same treatment to Chrono Trigger or Final Fantasy VI?

It’s an unrelentingly bitter game, one which has the power to incite a strong reaction in anyone who plays it. Just as much as I liked it, I’m sure there are others out there who will come to hate it with a passion. But then again, what’s worse - playing Arrest of a Stone Buddha for five hours and leaving with a negative (but powerful and thought-provoking) reaction, or playing a blockbuster for forty bland hours and not feeling a sliver of genuine emotion the entire time?

I have no idea how a non-Chinese person might react. All I can do is be honest and say that seeing my own experiences represented in a game like this is a truly powerful thing.

Atelier Ryza 3 should be the final chapter for Ryza, and it’s a fine send-off. It’s a game in which nostalgia plays a key thematic role, and has been made for nostalgic Atelier fans first and foremost. I know this probably sounds like faint praise, but Atelier is my favourite JRPG series and Ryza 3 is a perfectly fine game in that context. Hence the store. It’s just that, more than anything else, I dearly hope that after the next Marie remake, Gust settles down to give us new stories, new adorable alchemist girls, and some new ideas again.

It is a massively atmospheric title with an invigorating, original set of mechanics. It's the kind of creativity we like to see from indie game developers, and shame on the Australian Government for stifling that.

Coupled with the bright, colourful art style and cheery soundtrack, I honestly struggle to see how anyone could play one of these games and not enjoy their time with it.

The sheer scale and scope of it ought to be a reminder to the games industry that creativity doesn’t need the most powerful hardware, and the playful approach to gameplay makes this a rare open world game that’s a pleasure to explore and rewarding to immerse yourself within. I hope Nintendo understands that this can’t be the Zelda formula forevermore, and the next one will be an all-new and transformative experience again, but I also don’t begrudge the company the desire to take a second crack at what made Breath of the Wild so special to so many people.

The sheer weight of content that is packed into the game can't be understated; this is a big, chunky game that demands a lot of time to work all the way through it, but every step of the way is a truly entertaining one.

No Sleep For Kaname Date – From AI: The Somnium Files is a kind of filler release, and that’s okay. Not every game needs to be something that overs tens of hours of highly emotional plot and deep gameplay, and the first two AI: The Somnium Files games have already established an intelligent pedigree for the series. It’s nice to have something that goes for pure comedy as a contrast. The Zero Escape team stuck to what they knew with the gameplay, and clearly had bundles of fun doing so. That makes it very easy for fans to have fun with the game in return.

Graceful Explosion Machine is simple, pure arcade fun, with a level of polish and attention to detail in the design that’s rarely seen. It’s the sort of game that you can pick up for a quick 5 minute session, and then find yourself still playing hours later.

Three Houses is so vibrant that I didn't really mind the lack of difficulty. I was too invested in the characters, and looking forward to the next major plot point too much to really care. It can be bloated, messy, and unnecessarily padded with content at times, but when it comes to the core strengths of Fire Emblem - its character-driven epic fantasy, tight tactical battles and a full harem of both waifu and husbandos, Intelligent Systems have delivered something truly resonant with this one.

Sunset Overdrive is just what the Xbox One needed - a distinctive exclusive to set the thing apart from the PlayStation 4. Titanfall was adequate and the Forza games are great for racing fans, but Sunset Overdrive is a glorious breath of fresh air.

My admiration of the game comes from its self-aware humour, traditional gameplay, and surprisingly unique story.

For people who are looking to build a JRPG as a hobby, or a youngster not quite ready to learn proper coding, the RPG Maker 2003 remains a spectacular tool, all these years later. It provides a platform that allows genre fans to indulge their creativity, and makes the tools so easy that anyone, regardless of programming skills, can create something.

Cities Skylines is a ridiculously clever and enjoyable game, and one that I expect I will spend a lot of time playing down the track. EA looks like it will not be revitalising Sim City as a franchise anytime soon, so I’m so glad that another developer has stepped up to the plate and created the game that the last Sim City should have been… and I am so glad it’s finally on PlayStation 4.

Ultimately, Pokemon is a coming of age story, as told through the analogy of monster collecting and battling. This new game loses none of that, but in building a greater sense of narrative into the action, has given it a greater resonance and purpose. This is also the most creative that Game Freak has been with the franchise in quite some time, and players who had grown tired of the iterative approach the developer had been taking may well find this one a Renaissance for the series.

All of this might sound critical of Iwakura Aria, and I guess in one way I am disappointed in this, but only because it could have very easily been another House in Fata Morgana. The intensity of the themes are there. The art is right up there with the best VN art I’ve ever had the pleasure to see. The writing is beautifully eloquent, and this is a rare visual novel that I would happily pick up as a proper novel, where it would stand strong on any bookshop’s shelves against any of the literature on there. Even as it is, Iwakura Aria is better than 99% of the other visual novels out there. It’s essential as-is, and right on the cusp of being a masterpiece, and that’s ultimately why I’m disappointed that it doesn’t quite get there.

Ultimately, Pokemon is a coming of age story, as told through the analogy of monster collecting and battling. This new game loses none of that, but in building a greater sense of narrative into the action, has given it a greater resonance and purpose. This is also the most creative that Game Freak has been with the franchise in quite some time, and players who had grown tired of the iterative approach the developer had been taking may well find this one a Renaissance for the series.

Nintendo first released a Clubhouse Games way back on the Nintendo DS, about 15 years ago now. It was a brilliant example of the company's ability to appeal to a broad audience then and now, a decade and a half later, the company has backed it up resoundingly. Putting aside the presence of Ludo - which will forever be the worst board game ever made - 51 Worldwide Games is a pristine package of some of the most valuable cultural properties we have, and it is truly masterful at explaining even the most complex of them to a completely new audience. This is a rare opportunity to learn something about artefacts as wide-ranging as Chess, Mahjong, Hanafuda, and Mancala. That's not something you should miss out on.

With stellar gameplay, wonderful art and a superb soundtrack, Rayman Legends is one of the best platformer games ever released, hands down.

Star Ocean 4 looks incredible on the PlayStation 4, too.

The King of Fighter XIV channels the spirit of the 90s whilst very subtly evolving to attract more casual players.

Persona 5 Strikers surprised me. I was expecting something down the lines of Hyrule Warriors or Fire Emblem Warriors – a game that was true to the franchise, but also explicitly a “Musou” title. But Strikers isn't that. Koei Tecmo has somehow crafted not only a genuine sequel to Persona 5, the JRPG, but the team has managed to equal it. Or – if action combat is your thing – perhaps even exceed it. That is no mean feat.

It's the kind of experience that, like Gone Home, people will dismiss for lacking action or having a narrative that doesn't treat its players like idiots, but it's also the kind of game that shows that the games industry is growing up and pushing the limits of what can be achieved given the freedom and resources to be properly creative.