By itself, Quantum Break wouldn’t have been as successful as it is. The gameplay is not strong enough to stand alone. But in collaboration with the TV series, the stunning cast, the script, the set and character design all work so well together that it elevates Quantum Break for just an interactive experience to an interactive collective.

TowerFall harkens back to the day when you could play a game like GoldenEye 007, when the person next to you got punched in the shoulder for besting you. This is a game with plenty of laughing and pointing at the screen. TowerFall is not deep in options or features, but the frentic gameplay makes for a surprisingly fun time with your friends and family.

It’s a pity that Dragon Quest Treasures is going to be overlooked as a spinoff dumped into the market late in the year, because there’s still in here that the entire industry could learn from. The way that the developers have clearly built an open world around the concept and adventure, rather than the other way around, makes Treasures one of the most meaningfully enjoyable open world experiences this side of the Yakuza series. Yes, the combat is a misfire, but the opportunity to go chill out with and go on grand treasure-hunting expeditions with your favourite Akira Toriyama creations is always going to be irresistable, and this is one of the better opportunities to do just that.

Nekopara is what it is. As a highly fanservicey, comedy-themed visual novel, it's hugely entertaining and delivers on all of its promises. The fan service is excellent thanks to the superb art, and the humour is there - it's silly, but you won't be able to help yourself but giggle along with it. If the pornographic scenes that are available on the PC version of the game are of interest to you, then the Switch port's going to feel like it's missing something. It's still more than fanservicey enough, however, and I actually think the narrative and thematic elements are strengthed in the restraint. Couple that with the portability of the Switch form factor, and I think this is the best way to go for Nekopara Vol. 4.

Fans of the shooting genre might be tempted to overlook this title because of the cute design, but they would be doing themselves a disservice in doing so.

I can’t help but feel Rockstar’s classic videogame nasty, Manhunt, was a better attempt at critiquing the voyeuristic quality of reality television. It pre-dated reality TV as a genre, so it’s not explicitly about the subject, but the savage grimness in the way it turned snuff film production into entertainment certainly had something harrowingly poignant to say about what we, as people, will find entertaining to watch. The Crush House, meanwhile, is bright and fruity, and the sinister element that is meant to carry the subversion seems to be something more akin to something like “tee hee, we know this is a bit problematic, but we sure love reality TV anyway.” It makes sense that this is where the developers would land. We all know that reality TV should be critiqued even as we all have at least one example of it that we can’t help but watch. The developers have also made a genuinely entertaining game out of it. It would be ridiculous to criticise candy for being good at being candy. I think I’m just surprised that it didn’t have more substance because it seemed like it had all the potential in the world to be a grand dessert.

what Darksiders III gets right - the combat system and that beautiful, intricate labyrinth design - it gets so right that it can hold its head high against the many peers that it has at this at this time of year.

Working with a clearly limited budget, Tamsoft has focused on delivering a tight action-combat system, while also relying on the fan service of both Senran Kagura and Hyperdimension Neptunia to see it through. It’s a good couple of hours of genuine fun, with the requisite bath scenes, humour and familiar characters to meet and fight. You can’t help but think that both properties could have grown to become more than this, but taking as it is, it’s still entertaining nonsense, with a heavy emphasis on the “entertaining”. I play enough serious games that require deep analysis, this kind of thing is my ideal break time between them.

I love the way Mario & Sonic at the Rio Olympic Games is presented. It’s a truly gorgeous game and matches with every expectation that I have for the atmosphere and aesthetics of the Rio Games. But this is an Olympics cash-in game, which means most events boil down to minigames, rather than fully-fleshed out games dedicated to a particular sport. A good half the events in here are games I would buy if they were built further into stand-alone takes on the sport, but in a package like this I’m basically done with them after playing them a couple of times each.

Trails in the Sky: Second Chapter is a perfect sequel to the first entry. It offers some subtle improvements, while also keeping the focus on what Legends of Heroes does best; that narrative. It's traditional, but classy, and well worth the time it takes to play through it all.

Battlefield 1 is the best release the series has seen in some time, and because it no longer is trying to measure itself up against other shooters like Call of Duty, the game itself winds up better for it.

Trials Fusion is a worthy addition to the series, even if it isn't the complete package we were hoping for.

But I can’t help but wish for something more. Not in terms of visuals or gameplay. Those technical elements are fundamentally flawless. Rather, in this story-driven, narrative-focused experience I want a game that is brave enough to actually say something, and give me something to think about. Challenge me on a level beyond my ability to press buttons. God of War: Ragnarök manipulates emotions expertly and people often mistake that for depth. The relationship dynamic between Kratos and Atreus is appealing enough and I’m sure plenty of other reviews will talk about how it made them feel things. There are also plenty of big moments that we’re not allowed to talk about because of spoilers but, yes, those narrative set pieces really are dramatic. These things aren’t depth, though. Ragnarök is popcorn entertainment, and there’s nothing inherently wrong with that. This game’s going to sell a billion copies for a reason. It’s just worth drawing the distinction, because Sony could also be pushing for much more than what it does with these blockbusters.

I do wish there was more to Light de Deux, not because it feels incomplete but simply because there really could have been greater ambition behind it. We’re talking about a rare game with dance as the central theme. There was the opportunity there for the developer to really come out with something that had something big to say. Of course, it would also be unfair of me to criticise the game for it, given that we are talking about an independent developer weaving magic out of fumes. Games cost money to make and if you make the most of what you can resouce. In that context, the developer definitely punched above their weight with what they’ve delivered here. I hope that Light de Deux is a success and perhaps, down the track, if they get to the point where they have more resources, they can come back to Susanna and Mark and give us a more fully fleshed-out story about the relationship and experience of being a ballet dancer.

Because Arc of Alchemist is such a short JRPG, the more draining elements of it don't end up being exhausting. Because the game moves at such a snappy pace it's easy to focus on and enjoy its strengths - the narrative and characters. Over the last couple of years Idea Factory has really broadened its horizons. Where once it focused almost exclusively on pervy humour, stuff like Arc of Alchemist show a different side of the studio. It's creative, different, and interesting, and respects your time so don't feel like you've made some epic commitment just to play through it. I love it.

As a compilation, Legacy Collection thankfully makes an effort to be more than a sloppy pile of regurgitated code from decades ago.

Super Bullet Break is an easy-going, easy-playing thing, great for short bursts of play in-between the many bigger games we’re getting dropped on us at the moment. There’s a lot of value in that kind of experience, and when it’s backed up with some excellent fan service and highly replayable mechanics, it’s a game that you’re going to keep coming back to as a time filler over the long term.

This is a game with undeniable soul and an incredible amount of shine considering its budget. There’s very little that A Hat in Time can’t do as a classic platformer, and it really throws itself into creating a cute and cohesive universe for you to explore.

Stranger of Sword City is a stellar, and surprisingly unique example of a dungeon crawler. It's dark, grim and gothic at times, and revels in the same difficulty that Experience Inc was able to throw at players in Demon's Gaze, but its unique mechanics and themes make it one of the most boundary-pushing dungeon crawlers we have seen in recent years.

I can't stop screencapping because it is all just so adorable or hilarious, or both. Now I have a folder with hundreds of cat-loving screencaps that nobody will ever see again. I feel like Floofybutt hoarding goodies he finds on the island. I have a cat problem and I'm proud of it.

I found it challenging, but rewarding, vibrant and dynamic without being beyond my skillset. I don’t necessarily understand – nor agree – with people criticising the game for trying to be a streamlined dogfight simulation, but at the same time I don’t think this game has nearly done enough to push it forward.

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.

Despite the long turns and multitude of menus, Total War: Attila succeeds because it gets you invested in your armies and the period of time.

Lost in Random isn't a terribly long game. Even if you do keep the battles long by maintaining normal difficulty you can knock it off in around a dozen hours or so of gameplay time. By that stage, you probably won't find the combat as charming as you did when you first started, but you'll still want to see it to its conclusion, because the narrative and humour are so particularly strong.

Despite these minor issues, Process of Elimination is high quality, authentic, classical example of Japanese detective fiction. It’s not subversive or particularly boundary-breaking, but it’s also a very good student of the genre. So long as you can still kick back and enjoy a good Conan Doyle, Christie or Ranpo story, you’ll enjoy what this has to offer.

With plenty of levels, several endless modes and multiple characters, there's a lot of replay value to be had in Rollers of the Realm. The relatively toned back violence makes this a game I'd readily recommend to younger audiences, and the story is very good on the inclusivity front with representation for characters of various races, genders and ages.

Sheltered is like a premium version of Fallout Shelter, and it's a far more thematically compelling proposition. I love that it makes you be quite ruthless in your efforts to keep your family alive, but then allows you to feel awful when they die. It's less humanising than The War of Mine, which is the most readily comparable game out there at the moment, but it's intense for its own, valuable, reasons.

Romance of the Three Kingdoms 8 has a lot going for it. Thanks to the “Tales” feature it’s possibly the most accessible RoTK game to date, easing players in by giving them a clear set of targets to prioritise. Once you’re comfortable with that the depth of strategy and a staggering array of ways to play make for a deep experience with dozens upon dozens of historical play. I still find it odd that Koei Tecmo decided to remake this game, but ultimately I’m glad that it happened.