Gnosia might not be a new concept – there are so many video games out there that feature death games with deception at the core of them. Last year’s Quantum Suicide even set the scene in space and had a less-than-benevolent AI pulling many of the strings, just like Gnosia does. But Gnosia is something rare: it is really, truly different. The developers wanted to take this common-enough concept and craft something that was truly their own, and not only have you got here a game that you won’t forget in a hurry, it’s also going to have you actively thinking about just how smart it is for some time to come.

If you actually listen to what the game's saying, and pay attention to the literary genres that it belongs to, this is really quite a remarkable experience.

While I have some minor issues with Steam Prison, this is a glorious, thrilling adventure, told with expertise and panache. It goes to some very dark places, but never comes across as exploitative or "cheap" in how it does it. Backed up with gorgeous aesthetics and a distinct setting, Steam Prison blends some complex ideas together while ultimately keeping the focus on what people come to otome for - a great harem of men that are all so interesting that it makes choosing between them a real challenge.

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.

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.

You do have to reward creativity, and Legal Dungeon is genuinely creative. This is not a job or process that you would have ever imagined could be gamified, but there you have it. It tells a fascinating story, especially as an outsider to the Korean legal system, and while it's not a particularly comfortable experience on the Nintendo Switch, and perhaps a little imprecise for a puzzle game, it is very difficult to put down.

Littlewood is charming and bright, and wears its “indie spirit” on its sleeve. The developer has created something highly playable that also acts as a lovely homage to the Harvest Moon tradition. By all accounts, Littlewood has been a commercial success, too, on its prior release on PC. That success is deservedly so, but hopefully the developer can invest some of that into some refinements for whatever their next project is, but there’s more ambition in Littlewood than the scope of the budget allowed.

Maquette - and the development team - deserve better. There's some real talent evident in the unique, interesting, contemplative and rewarding puzzle design here, and that kind of quality occurs less and less frequently in this vapid and action-obsessed industry. The development team also know how to write interesting and emotionally engaging narratives - we don't see stories about love told with this kind of sincerity anywhere near often enough. Unfortunately, the one and only problem that the game has is also the thing that almost breaks it; the two elements that the entire experience relies on are at near-complete odds with one another.

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.

Actually, to say that this game is an "insult" is an understatement. This is what happens when a bunch of manchildren get together and giggle at how edgy and "subversive" they are when they use Internet abbreviations and refuse to capitalise properly in a product that they've put on sale as though they are professionals. "Ooooh, we're so awesome," you can just hear them giggling at themselves as you play this. "We're like, totally deconstructing language."

It seems inevitable to me that there are going to be a lot of people that dismiss Bravely Default II as a “retro-style JRPG.” They’ll see the turn-based combat, the very “JRPG” design of the characters, and all the other genre tropes that the game indulges, and assume that that’s all it is. Nothing could be further from the truth. Nuanced writing, impeccable design and subtle subversion highlight that Bravely Default II is, instead, a game that uses its genre rather than allow it to become beholden to it. In many ways it's a highly metafictional thesis that explores what people love about JRPGs, and what is genuinely important to the genre. In doing so the game has become this wonderfully nuanced, beautiful, entertaining and emotive experience, and in my book, that makes it a masterpiece.

Room to Grow is a game that asks to be played on its own terms. And while it’s unlikely that every player will enjoy staring at the same grid-screen as the minutes turn to hours, carefully checking every permutation of movements to finally find the one golden solution, when the game finds its intended audience, the design here really sings.

So there are some very clear positives and very clear negatives to Little Nightmares II. The narrative is quite good, solid with lots of meaning flowing beneath the surface. The gameplay is mostly simple enough, the settings are ugly-pretty, the music enhances everything. Basically, it does wrap into a neat little package that can be unwrapped in layers. I can't ignore the issues, though, mainly with the lack of options and repetitiveness that can happen with failure. Still, Little Nightmares II does in fact feel like a conclusion to the first game in the series, yet still manages to turn it into a never-ending story so that someone else would be able to continue with the world. In that sense, it's actually quite clever.

Curse of the Dead God's biggest problem is simply that it exists in a ridiculously over-saturated space, and doesn't do anything meaningful to help it stand out. In a world post-Hades, it's hard to see where this one fits into the library of any but the most over-committed roguelike fan. That's not a fault of the game in itself. Once you understand how to play it and have learned its rhythms and studied its enemies, it's perfectly competent at what it's doing. It's just lacking a bit of verve and panache, so it will never have the same appeal as its already-storied peer.

If you've ever enjoyed a Metroidvania before, then you'll probably enjoy Cathedral. The fewer of the genre that you've played the better, however, as the lack of original creativity will wash over you easier with less experience and fewer points of comparison among Cathedral's peers. Otherwise, it's a perfectly competent example of the genre. It's just a pity that the Metroidvania genre, in particular, is so over-saturated that we just didn't need more of it.

You do also get to play around with photo modes and the like; Compile Heart play the fan service up to its maximum, and there are some little bonuses in there for people who already own the game on PlayStation 4. Really, though, there's not much to add above and beyond our review of the PlayStation 4 game; this is an almost surprisingly good port to Nintendo Switch, and thanks to those mobile roots it does feel like a game better suited for the comforts of a handheld than the "big screen" - the combat action lacks the sustained thrills for the big screen experience, but the dynamic twitch gameplay makes for the perfect commute killer.

I can only hope that this isn't the end of of this little project.

Ginga Force is one of the better shoot ‘em ups I’ve played. As someone who traditionally is not a fan of the genre, this game absolutely gave me reason enough to play each of the levels. It is a shame that the narrative is too difficult to follow as it happens alongside the action. The ability to upgrade weapons and purchase bonus items, even after failing a level, is a welcome ingredient to allow people who only casually play within the shoot ‘em up genre the ability to enjoy the game enough to get through to the end, but the fact that a lot of the good stuff is locked behind "for genre veterans only" difficulty settings does whittle down the game's potential audience a little.

teamcoil’s PUSS! is memorable for its visual style and bizarre aesthetics, but the gameplay sadly doesn’t match the creativity of its graphics. For any player excited by the surreal dialogue and fearsome bosses, there will be another player who won’t be engaged in navigating simple mazes. I anticipate the difficulty will also be prohibitive for some players, and it does feel like the challenge and repetition are the only things stopping the game from being overly short (and there’s only so much that can be done to spice up this style of gameplay, too.) I love that the Switch’s eShop is a home for strange games like this one, and I appreciate the nod to Newgrounds culture, but this one left me wanting a lot more.

With a second season pass to come, RoTK XIV is a significant investment, but it's one of those games that becomes a hobby all by itself. The portable platform suits it, as the clean aesthetics and design look resplendent on the Switch screen, and while it's not exactly a pick-up-an-play experience, it's also the kind of strategy game where you can get a lot done when you've got an hour's spare over lunch or before bed. This is going to be on heavy rotation for a long time to come.

Grey Skies: A War of the Worlds Story is one of the strongest arguments that copyright should remain on literature into perpetuity. I don't really believe that, of course, but when any hack can take a classic novel of such gravitas as War of the Worlds, and turn it into a delivery mechanism for a form of propaganda that the author stood diametrically opposed to, there's a problem. Not only has this developer completely insulted the author's memory and undermined the integrity of his work, but they've willfully delivered a game that completely misinterprets everything about the source material... and as a fan of Wells, good literature, and good video games that's just an insult to the intelligence.

For so many people, Super Mario 3D World is going to be an all-new experience, with the bonus of an all-new half-game in Bowser’s Fury. For the rest, it’s an excuse to play through a masterpiece of game design and then, as a bonus that almost overshadows the "main" event, there’s the new Bowser’s Fury to play through. Either way, this is an exceptional first release for Nintendo in 2021, and it’s a safe bet that the Switch is in for a big year, even as those new generation consoles from Sony and Microsoft start to pick up steam.

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.

If you hadn't played the Nioh games previously - perhaps concerned over their difficulty - then don't let it miss you the second time. They are difficult, but that was essential in setting the desperate, nightmare tone and atmosphere. One other key takeaway that I've had from replaying both games for the remaster is this: what nearly made me quit the first time around has become comfortable now. The learning curve is glacially slow, but you do actually "learn" how to play these games, and there's a real sense of reward that comes from pushing through. Now, if you have played these title already, the upgrade isn't anything to write home about but, then again, perhaps you just want two brilliant games on your PlayStation 5. It's not like either Nioh is going to age poorly; you're going to want to revisit them at some point. You may as well play the best version.

If you’re going into Gal*Gun looking for some voyeurism, then you’re playing it wrong. At the same time, if you go in without a strong stomach for fan service then it’s going to throw you out too. Gal*Gun is for people who enjoy a kind of hyperbolic satire that borders on the transgressive and enjoy light gun shooters. It’s almost a dead genre these days, but Gal*Gun Returns is, all things considered, an example of it at its best.

Where Ys VIII took the series so close to becoming something that I could love, Ys IX gets it there. It tells a strong story with vibrant characters, has a great setting, gorgeous aesthetics, and slick combat, and most importantly, it balances all of that out in a way that is nuanced and engaging. I have reviewed three top-flight JRPGs in just the last week alone, and with a pile more to come in the coming weeks, 2021 is off to an incredible start for the best genre of them all.

Märchen Forest will be chalked up as something "weird" or "zany," I'm sure. It's not really. It's what would happen if you got Salvador Dali and Lewis Carroll together with the Atelier and Shiren the Wanderer developers, and while that sounds like a mix too eclectic to work, it does in a way that can only be described as "surprising" and "delightful." Märchen Forest is better in concept than execution, but that concept is so strong and original you're doing yourself a disservice if you don't grit your teeth through the more laboured gameplay bits.

But for myself, who liked every aspect of Olija, the whole package is a flawed but thoroughly impressive ride. There is a lot to enjoy here, in a game which lets the player feel alienated and disempowered one moment, and then agile and dangerous the next. It wins even more points for the way that it perfects the cinematic platformer formula which has a lot of nostalgia value, but not a lot of modern interpretations. I love that Olija arrives as a palette cleanser to the Metroidvanias and the rogue-lites of the side-scroller scene, and I wish all the success for it.