Perhaps I'm wrong with about all of this. Perhaps the developer made the right move in paying for the official PBA ten-pin bowling license. Perhaps all that energy that went into license development so that half the game's feature list on the Nintendo listing can trumpet the real-world authenticity will translate into big sales for Farsight Studios. If that is the case I reckon I'm going to go out and acquire the world croquet championships because there is clearly a big untapped market opportunity in this licensed hyper-niche sports game market.

On the surface, Akane is a super difficult game that requires absolute dexterity with a controller. It has some fantastic ideas which sadly are all cancelled out by mechanics and design choices that fight against the good stuff. It looks gorgeous, and can be enjoyed in really short spurts, but unfortunately there’s just not enough substance in this game to consider recommending it above the vast array of games available on the eShop right now.

Zenith’s gameplay issues don’t stop it from being a very workable system in a very entertaining genre. If it was devoid of its plot (or, better yet, with a more interesting narrative), I’d actually be arguing that it’s an enjoyable little game. However, the relentlessly juvenile attempts at humour never let up, and I didn’t laugh once. I think that says all that needs to be said about Zenith’s fundamental issues.

There's nothing offensively wrong with Labyrinth of the Witch. It's a cutsey Mystery Dungeon-like roguelike. There are already so many examples of that genre, though, and the Nintendo Switch didn't need another one whose only innovation was to bring a mobile gaming grind to proceedings.

That’s a shame, because there’s a lot of potential in the Psychonauts universe for a fantastic VR game – this much is apparent even to me, despite having never played the original game. The quirky characters and outlandish locations are just begging to be explored with the kind of immersiveness that VR offers, but Rhombus of Ruin isn’t that game. If anything, it’s a game that makes me want to finally check out Psychonauts itself, but that’s due as much to what this game fails to deliver as to what it succeeds in.

Lacking personality as it is, and with its main selling point - the multiplayer - being an apparent bust, it's very hard to understand who would actually want to buy into this version of Skulls of the Shogun.

The game lacks originality and suffers from a lack of narrative, and those two factors aren't enough to make up for the decent puzzles.

There will be a very small audience for Barton Lynch Pro Surfing. People who want an effort to build an accurate and serious simulation of the sport will likely find something admirable about the attempt. As limited as it is, there has been a real and genuine effort to create something authentic. However, as the first effort at a proper surfing game in quite some time, I would hazard a guess that even the hardcore surfers would have just liked something fun to play, even if the developers dialled back the attempt at realism just a tad.

The biggest problem with Gunman Clive 2 is that for all the attempts to expand on the original game's formula, it remains a very limited game. It's not just that it's over quickly, but it doesn't do anything to really make it something memorable. It's fun, it's not much more than that, but that might well be enough to give it a go.

112 Operator is ultimately a niche game let down by some bad design choices on the Switch. While the premise is interesting, the UI immersive and the gameplay compelling, the control options and confusing visuals on the Switch make it hard to stay focused. This is a game best played on a workstation with no distractions, and that’s about as far away from the Switch’s capabilities as one could imagine. If you’re the kind of player who can stomach the game’s flaws and dry moments, you’d still be better off to try it on another platform.

The only redeeming factor of Toby: The Secret Mine is that it’s not one of the many, so many, “roguelikes” or pseudo 8-bit platformers that are the norm these days from indie developers. It felt kind of refreshing to go back to 2014, even for a fleeting moment. The ideas in Toby are sound, the execution however is a lot to be desired.

It's a niche game for a niche audience. Fighting game fanatics who don't mind a spot of fan service will get right into it. Everyone else is better off sticking to BlazBlue, or Dead or Alive, or Street Fighter, or any of the dozen other more accessible fighters that have been released in the past few years.

Battle Fantasia has some ambition. Character variety is strong, and one or two characters are designed in such a way that spam attacks don't immediately overcome strategy, and are both fun to play with and against as a consequence. But there are too many negatives to encourage a purchase over other quality fighting games available now.

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

Combine the uninspired enemies and level design with a checkpoint system that’s more than happy to erase half an hour of progress if you die midway through a run, and you’ll find that RemiLore becomes a game that’s more tedium than fun.

The gameplay isn't enough to carry the simple story and Vesta shouldn't be played in anticipation of the engrossing dystopian tale that it initially promises.

I really wanted to love SwapQuest but it's neither memorable nor essential in any sense of the word. That's not to say it's a bad game, because it's not. It's still fun to play, but as an experiment in mixing a puzzle genre with the RPG, it's proof that this particular genre isn't necessarily easy to smash together.

Ubisoft’s city builders tend to be good: Anno was released on console just last year and it is a genuinely good time. But then Anno respects the player’s intelligence and allows them to make mistakes and try things along the way. The Settlers: New Allies wants you to play like an automaton, and the inflexibility and lack of variety in this game become draining far too quickly. It’s a treat to look at, but it’s a sour thing to play, and it’s immensely disappointing that we’ve waited 13 years for this.

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.

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

Firefighters: The Simulation is a long way from being a great game, and in the state that its in now, I wouldn’t even call it a good game. But if you can look past its flaws, you’ll find a framework for something quite fascinating. I just hope that updates, or maybe a sequel, eventually do that framework justice. I’d love to see what a truly finished version of Firefighters: The Simulation would look like.

The whole experience feels so utterly soulless it’s hard to really care about any of it. It feels like a game that has been carefully pieced together with every feature, bit of narrative and gameplay moment structured out of commercial desire, rather than any love or respect for the Lord of the Rings franchise. And as far as I'm concerned, for a game that's quite explicitly a Lord of the Rings game, that's a fail.

It simply comes across as decidedly average and without an ideal target audience.

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.

With few quirks, Solstice Chronicles is a well-made isometric shooter that effectively cribs an aesthetic that calls to mind a blend of Doom and Aliens. For local multiplayer fun, mowing down the hordes with a mate remains reliably good fun. A shockingly cliché and poorly-constructed narrative, combined with a sense of monotony that sets in far too quickly, does let this game down though. It’s best played in very short bursts, with big breaks in-between sessions.

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

I could perhaps recommend this game to those looking for a crushingly difficult dual stick shooting game. It’s humorous at times and it does have some personality to it. It is the kind of game that could be brilliant with a few tweaks here and there, but presented as it, I do find it difficult to recommend to most people.

I'm all for retro compilations giving players the option of making games more accessible, so players can set their own experience. Rewind features in old arcade shooters and platformers are great. But imagine if a retro re-release of Castlevania (or whatever) made it impossible to fall down a gap or get killed by a boss by automatically rewinding the mistake. Now imagine they gave players no way of turning that off? To deny people an inherent, defining quality of a game in favour of something that fundamentally changes the experience, without completely redesigning the game so that the new experience makes sense... Nah, it hurts this to say because I love Monkey Ball, but this is all terribe decision-making by everyone involved.