I might not be much of a Sonic fan, but I know that if Square Enix had done the equivalent of this to that Final Fantasy Pixel Remaster collection, I would have blown my top. I did give the lazy effort to bring the mobile ports of Dragon Quest 1 – 3 to Switch a piece of my mind, and I don’t see that SEGA’s done any better with the Game Gear games here. The good news is that if you’ve already got Sonic Origins, then you’ve got all the bits of Sonic Origins Plus worth playing.

The creative team behind Danganronpa and, now, Rain Code, are a rare group in video games. They know how to entertain – I didn’t even mention the “replacement” for Monokuma in this game, but Shinigami the ghostly reaper is somehow even more brilliant foil and source of sadistic humour than the iconic bear. But under all the hyper-colourful art, the mysteries that would give Sherlock Holmes a run for his money, and the sheer energy and panache of it all, they also offer something intensely thoughtful with a strong and blunt message to share. As much as I loved Danganronpa, by the end of the third in that series I did think they were running out of ideas. As it turns out, all they needed was a new creative playground.

There’s room for improvement, and it’ll be interesting to see how that takes shape, given that they’ve said the plan is not for annual sports game style releases, but instead iterative development over many years. Maybe adding in a cage match, smoothing out some of the games’ slightly rougher animations, even if they are hand-drawn, and adding commentary would be good for a start. Yes, I know, I’m asking for them to add in even more DLC, but it seems like that’s what they actively want to do here, and it might just be the right approach for the challenger brand.

There is a lot to like about Loop8, and there’s the sense that the creative team put a lot of work into the symbolism and theming of it. They shot for the stars. Unfortunately, it fell slightly short, and while it’s interesting and different, it never lives up to the clear potential it had. But that’s also okay. At least they tried something different. Gaming wouldn’t be worth it if people didn’t take a creative risk every once in a while.

It's far too early to determine where Final Fantasy XVI sits in the ranks of Square Enix’s venerable series. However, this is an engrossing, entertaining and, most importantly, fiercely intelligent game. The developers have taken the AAA-blockbuster budget they had to work with, and used it to craft an experience with a strong, provocative and timely message, and then have that backed up with some of the most entertaining action combat we’ve ever seen. Not a second of the game’s runtime is wasted, there’s not a single dud character, moment, or scene, and the plot is a riveting epic "page-turner.” If only more blockbuster games were like this, game development would be a far more mature art form.

I can see what they were going for with Park Beyond, and they did get achingly close to it, but right now, and at least in its console variant, it’s not quite a recommended game without a little bug stomping and AI fine tuning. Also an option to switch on total bastard mode, so I can be the truly evil park operator of my dreams wouldn’t go astray, Limbic Entertainment. Just a thought, you understand.

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.

For all the good, the reality is that Bleak Sword is in serious need of substance, and the novelty of a “lo-fi Soulslike” on mobile is lost a little on a proper console.

Sakura Dungeon is, ultimately, a fan service delivery mechanism. But it’s one that doesn’t overlook the need to also be an enjoyable game. Were you to remove the fan service, the no-frills approach to dungeon crawling would still be enjoyable. Not exceptional, no, but still enjoyable. The Switch version is inferior to the PC release from a half-decade ago because there isn’t the option for the adults-only version that some would prefer, but that aside, if you’re content with “all ages” fan service and a genuinely good dungeon crawl backing it up, then you can do far worse than this.

Demon Sword Incubus may technically work. But it’s not inspiring or interesting. It’s not even good. Most egregiously of all, though is that it lacks the one thing people bought the game for. In a very real sense, buying Demon Sword on Switch is like buying a porn DVD with the nudity and sex cut out. What’s left when you do that?

Hatsune Miku: The Planet of Wonder and Fragments of Wishes is not the finest Hatsune Miku “spin-off”, but it is a delight in its own right. It might only offer a small library of minigames, but they all play nicely, and the bubbly charm behind every second of the experience is infectious. I am intrigued by the future and what Crypton could do now that they have the assets to start delivering story experiences. More than anything else, however, this is a Miku game, and in a very simple and pure sense, spending time with it makes me happy.

Overall Super Mega Baseball 4 is immensely disappointing and an unworthy successor to its predecessor. SMB 3 was a genuinely fun and clean playing arcade baseball game, and never needed to be more than that. Now, though, it seems like the series is being positioned as a viable alternative to the MLB license. The new game modes, efforts to bring real-world names into the fold, and aesthetic shifts all seem to be designed to pivot Super Mega Baseball to become something to take more seriously and commit more time to. You know, like MLB The Show. Unfortunately, these new additions are directly at odds with arcade good times and now, thanks to the influence of EA in all likelihood, we’ve been dumped with a series experiencing an identity crisis.

Jack Jeanne is a celebration of the finest qualities of theatre, held within a visual novel that’s enjoyable to read. It has some distinctive, evocative art, and some minigames that help make the overall experience even more engaging. Yes, sure, future generations might not study these plays in school, as they do Shakespeare and Chekov, but the plays-within-the-game framing allows the writers to explore a love for the form, and that passion and respect infuses every second of the experience.

In theory, a roguelike FPS could work, however, there needs to be a very specific reason to even try. Nightmare Reaper never gives us that reason. It comes across like a game that’s a roguelike purely because that was how an indie developer should shove 100 levels of grind into it. There’s no narrative nor thematic value to it being a roguelike, and in all that randomness, it loses the soul of what makes those games it pays homage to so special.

I’m torn on these remakes. On the one hand, I don’t think they work on Switch. Not in recreating the original vision of Etrian Odyssey, at any rate. The best way to play these is to jettison the mapping feature that was so core to the experience on the DS and 3DS. This truly is disappointing. On the other hand, even as a stock-standard set of dungeon crawlers, the three Etrian Odyssey titles bundled up here are beautifully elegant, ethereal, and artful. They’re challenging and fundamentally enjoyable, classic dungeon crawlers. If these new releases help a new legion of people discover Atlus’ dungeon-crawling genius for the first time, then I’m ultimately very glad they exist.

I do think that if developers want to tackle World War 2 as a subject, they need to go one of two paths. They could take a clinical approach and create a wargames simulator that focuses purely on the strategy. Or they could create a serious commentary that deconstructs and analyses the war. What they should not be doing, however, is presenting the war as a purely entertaining experience. As a work of pure entertainment, Company of Heroes 3 would have been better served tracking a fictional war. However, its quality as a piece of entertainment is undeniable, and for most, that’s going to be all that matters. It also works far better on a console than I would have expected something from the RTS genre to ever do. For those that do find World War 2 to be entertaining, this one’s going to be hard to resist.

I really wanted to enjoy Sunshine Shuffle so much more than I did. I love poker, noir, and anthropomorphised characters. It should have been a slam dunk, but unfortunately, the execution of the strong concept left me cold. I can see what the developers were aiming for, but sadly they never quite get there.

What makes Gollum stand out is that most other developers and publishers then use their creative teams to try and hide the crass cynicism and capitalism. Daedalic didn’t bother with Gollum. This game represents the games industry with its mask off.

I’m definitely returning for Ghostpia season 2. It’s not just that this game looks quirky. Quirky aesthetics are plentiful. It’s that Ghostpia does something purposeful with the quirkiness, and uses it to enhance a pretty affecting and soulful narrative. I checked in with limited expectations and was thoroughly impressed. PQube picked a real winner here (at least in the artistic sense, who knows how many copies it’s going to sell).

I imagine that there will be some kids that will enjoy a mild kick out of Rubberduck Wave Race, as it is accessible and doesn’t require as much skill as most kart racers. However, thanks to the soulless presentation of the subject material, the lack of replay value and no sense of reward, It’s hard to imagine that anyone would get more than a very short chuckle from playing this. It sucks, really. As a fan of rubber ducks, I would love a game like this if it was even halfway decent. Unfortunately, it doesn’t even get to that point.

Puzzle Bobble Everybubble! is a good game, and it’s absolutely fine fare if you don’t already own a version of Taito’s venerable series. The new quirks don’t break anything fundamental, and that’s for the best in terms of maintaining series quality. At the same time, the new modes don’t add a lot.

As a (mostly) classical roguelike, Monster Menu is a good time. It’s well-balanced in its efforts to be excruciatingly difficult. It also has an entertaining loot and character development system. Most importantly of all, the core cooking mechanic is engaging. It will force you to approach everything from exploration to battle in a different way than most roguelikes. But I really can’t help but wish the developers made better use of the strong concept. Monster Menu really could have had a compelling, if nightmarish take on humanity’s sheer will for survival.

By giving us a rare – albeit fantastic – look into an almost completely ignored period of Japanese history Otomate has given us a gift. Winter’s Wish is beautiful and written with a deft touch. We’ve got a great cast of characters, a meaty narrative to work through, and some notes to start learning more about a fascinating chapter of history. It’s a win all around.

The open world format really lets LEGO 2K Drive down. It’s disappointing that all those development resources went into a pointless “story” when the developers could have focused on giving players more awesome tracks and cups to enjoy. The underlying racing mechanics are so very entertaining. Instead, though, we have a familiar story: a massive space to “explore” but no meaningful reason to do so. Developers, if all you’re going to do with open worlds is dump busywork on players and use it to pad out the number of hours it’ll take them to finish the game, then find a different format. Not everything needs an open world, and I would argue that arcade “kart” racers are a good example of that.

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 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.

I hope Rideon continues to produce Mercenaries titles. They’re genuinely entertaining as “no-frills” examples of the tactics JRPG genre. However, the Switch has so many of them now. Recent years have brought us the incredible remake of Tactics Ogre, the stunning Triangle Strategy, and earlier this year we got, arguably, the finest Fire Emblem to date. I don’t expect Rideon to get to that standard, and I think there’s plenty of room for a “no frills” and inexpensive little experience in between the big guns, but I would still like to see the series continue to evolve, rather than simply find ways to continue to repackage the existing assets.

Dokapon Kingdom Connect is a very niche thing indeed. But it’s silly, wacky, colourful and charming. Everyone in the household can have a laugh with it, and putting aside the old school “cheating” AI, it’s mechanically sound. It’s no replacement for Boom Street/Fortune Street/Itadaki Street, but it’s not a bad substitute, and might be on high rotation on your Switch longer than you think.