Bright Memory: Infinite doesn’t waste time. It goes in, gives you a hell of a time, and then ducks out before it has the chance to overstay its welcome. I hope the developer isn’t done from here, as I’d love to see more of Bright Memory (and Shelia!) in the future. In the meantime, this big action, relentless energy and visually spectacular experience is a true rollercoaster thrill-ride, and is worth every cent on the admission ticket.

Gothic is getting a full remake, which will release in 2024. I actually expect that to be good, because the developers can use the modern tools they have to modernise and restore the original vision of the game. Unfortunately, though, that’s the final nail in the coffin for the original. Unless you have a very academic reason for wanting to play an artefact of B-tier game design from the early turn of the century, there’s just no reason to play this port.

Utawarerumono Zan is obviously a limited game, but as the first attempt to expand the Utawarerumono property beyond its roots, it's a good first step. The action is as fluid and enjoyable as we've ever seen in a Tamsoft game, and your favourite Utawarerumono character's personality and fighting style has been recreated expertly. It might be one for existing fans only, but I would hope that anyone who plays the original visual novels (and you really should) is an "existing fan," and will therefore also love this.

Blue Estate is a fun little shooter that has a sense of humour, but ends too soon. I did enjoy the game but also did feel that it got a little too repetitive. If you're a fan of on rail shooters this is sure to please. If not, it still might be worth a whirl, since it is priced appropriately for what it offers.

What really lets Our World Is Ended down is its lack of narrative focus. On the one hand you'd got a compelling discussion about fluid reality - something that, much like AI and robotics, is quickly falling out of the area of "science fiction" and into "we actually need to talk about this, because it's happening" territory. On the other hand, you've got a lot of stories about a bunch of generally unlikable characters and their obsession with breasts. With the way Our World Is Ended is designed, these don't mix anywhere near as well as they needed to to take this to the upper echelons of the genre.

Spirit of the North almost nails it. From the art to the characterisation, and even the wordless narrative structure, the developers have clearly put a lot of thought and creative energy into this, and it shows. You might want to play on another platform to get the full scope of the vision, because on Switch it is a little limited by the hardware, but even then, Spirit of the North has moments where it soars. It's just unfortunate that it keeps crashing into walls along the way, as the developers tried to justify the existence of the game by what can only be termed "gameplay bits", and every time that happens the motor takes a while to get going again. If you can handle the clumsy pacing and arbitrary puzzles and collectibles, though, Spirit of the North really is beautifully earnest in what it is looking to achieve.

Overall this is a decent game with a deep combat system and some replay value if you want to explore the levels fully and find every hidden item. A weak story with a nasty potential glitch keep this game from being as good as it could have been. Fans of classic Castlevania games should especially enjoy this experience.

I know which game I’d rather play. School Girl / Zombie Hunter is not the longest game, which makes it ideal for quick bursts of fun. It has a brilliant little gameplay loop that certainly has its bugs and low-budget irritations, but never stops being utterly entertaining. Throw in the most perfect take on trashy B-grade horror that I’ve ever seen in a game, and there are not many other games released this year that I’ve had more fun with than this one.

A game with much unmet potential. After clearing out the same area for the twentieth time, players will realise just how little effect they have on the gaming environment.

This is not an indie that has looked to a quick cash-in for minimal effort. It's just unfortunate that the racing genre is such a competitive one and, even on the Nintendo Switch, there is everything from Mario Kart, to rally racers, bike racers, and a half dozen existing top-down speedsters. It's just not enough to provide such a stock-standard racing game, however good the intentions.

I understand why the developers set Crown Wars: The Black Prince during the Hundred Years War. It’s a compelling era of European history and you inherently want to play it. It got me playing a game I otherwise would have glossed over because of the promise of its theme. The problem is that once you have someone’s attention this way, you need to deliver on what you’ve promised them. Crown Wars doesn’t quite get there and fails to fill the void with something memorable.

Tales of the Shire: A The Lord of the Rings Game is such a great idea, but it becomes way too apparent, far too quickly, that the developers either didn’t have the budget to fully explore their idea, or simply had no idea how to turn the great idea into a compelling game. It’ll leave such a warm impression on you, but once that’s worn off, the game sours more quickly than a poorly cooked rhubarb pie. Hobbits like that for some reason. I do not.

It's still a great looking game, and the core narrative is a fun, if underdone and derivative one. It's simply disappointing that this game had a reasonably large budget, and in the process it lost some of its identity and seems to be shoehorned into some very unnecessary and destructive mechanics. This game would have been far better off being made for a fraction of the budget by a small team willing to take real risks.

I'm sure there's something good at the core of Road Redemption, but over and over again the developers made some truly horrible decisions that let that core down. Coupled with an attempt to emulate the aesthetic of Mad Max without the slightest understanding on why Mad Max is such a revered series of films, Road Redemption comes across as a wild swing for glory that didn't even come close to connecting with the ball.

Empathy wants to be a narrative-first game, that much is clear. But the constant distractions, menial busywork, and tedious puzzles constantly distract from the pacing that’s so critical to a story like this, and the end result is something that doesn’t really work well as either a puzzle game or a narrative experience.

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.

Of course, it's also "just" another match-4 title, and perhaps that's why the developers didn't feel like putting the price up to something more appropriate to the size of the game. Lucky us, then; because while Swap This! is by no means going to end up on anyone's favourite games of all time lists, it's bright, pleasant, and perfect for those times that you do want a quick burst of puzzle action. And all for the cost of candy bar.

Dark Crystal: Age of Resistance Tactics is cynical. It has taken a safe, familiar genre, done absolutely nothing but the most straightforward, safe application of it, and thrown the Dark Crystal license over the top, but it has in no way tried to do anything interesting with Dark Crystal.

The environments are detailed and beautiful, replete with pops of colour. Unfortunately, navigating them through a haze of lag destroys your enjoyment quite quickly. Pathways are dotted with doors, and the slightest glance in their direction pops you into places that you don’t want to be.

The Weaponographist is a solid game to play if you're ever in the mood to dwindle a few minutes or hours off the boring day you're having. The pick-up-and-play quality, easy-to-understand nature and lightweight gameplay all come together to make The Weaponographist an easy recommend for everyone.

Neptunia Game Maker R:Evolution is an admirable effort to find a way of introducing more characters and an all-new plot-line, while also in some ways going back to the fundamentals in terms of storytelling and structure. I do wish the Idea Factory people would give up on this action combat system when the turn-based approach was less obviously affected by the budget, but the usual gorgeous fanservice art and antics of the characters kept me smiling throughout.

One of the saving graces I found with Nindroids was the fact it, like some other recent portable LEGO games has been made more, well, portable friendly.

What you won't get is much personality or balance. The game undersells its "real people from history" basis; indeed, some of them I didn't even recognise at first. Their fighting styles are only vaguely reminscient of their real-world personalities, too, which is disappointing (aside from the special attacks, that are spot on). More critically, there are some characters with spammy attacks that make the game far too easy, and other characters that are next to useless. Given that the game already has a small roster, this doesn't do much to help its long term value.

Death end re;Quest: Code Z ends up being something of an archetypical JRPG for Idea Factory in one way, while the opposite of what we expect in the other. It’s far sharper and smarter than the over-the-top fan service suggests it will be. That’s the archetypical half. Meanwhile, the JRPG mechanics are competent and enjoyable, but very standard with little experimentation. That’s categorically not what we expect from Idea Factory. It’s usually a company that experiments with combat systems to its detriment. That being said, I’m not disappointed by this at all. We haven’t had a proper “Chocobo Dungeon” style roguelike in a long time. This scratches the itch and then, thanks to the exquisite horror art and theme, leaves a bloody scar behind.

Star Ocean: Integrity and Faithlessness will probably not be remembered as one of the PlayStation 4’s finest. It’s greatly let down by technical issues with a camera that actively works against the game’s strengths: the epic sense of scale and the beautiful presentation. Dig beneath that, however, and you arrive at a game with an enjoyable narrative, fun characters, and a solid action JRPG combat system – all the stuff that’s actually important, in other words.

While I appreciate that multiplayer is always going to be the core of the Mario Tennis experience, the complete absence of any kind of single player meat to go with the local and online multiplayer is another blow against it.

There's a basis here to grow into something truly spectacular, but the first entry of open world One Piece hasn't delivered on its promise.

The theme could have been better explored and the rough edges on the control detract from the inherent fun of the puzzles. More than anything else, however, is that Attractio doesn't do anything to progress its genre.