So whenever I wasn’t about to Hulk Smash the entire console (I promise I’m exaggerating, no consoles were harmed during the writing of this review) I did actually quite enjoy the game. I’d sit down to play for an hour, and come out of it twice that amount of time later with burning eyes because I barely blinked in case I missed something. There’s a great satisfaction felt when your farm starts functioning, then when it expands a little, and especially when it starts bringing in the cash. If only the developers were better at onboarding players and providing the information that they need to fully understand what’s going on around them, this little franchise has the makings of something special.

Trek To Yomi is what happens when you’ve got a compelling creative vision, and build a game around it, rather than the other way around. Everything you see, sense and experience in this game contributes to the overall experience, with absolutely no fat or waste. It’s intense, dark, and unforgiving, but it’s also the kind of haunting experience that will stay with you for a long time to come. If Menchiari continues to work with the right developers, and continues to deliver to this standard, he’s going to be one of the all-time great video game artists.

I have famously low demands when it comes to fan service games. I genuinely enjoyed Hentai Vs. Evil, and that is a game that you have to have an enormous tolerance for fan service to find entertaining on any level. I know who I am and I roll with it. But Waifu Impact is just beyond terrible. A beachy homage to Genshin Impact with bikinis and water pistol fights could have been a lot of fun. This, however plays more like a very first prototype of that excellent idea that someone actually dropped on to the Switch store about three years too early into development.

I went into Samurai Bringer expecting a generic roguelike (albeit with a samurai setting). On a cursory look of the screenshots, that’s what it seems to be. But it soon becomes clear that it is a very substantial departure from other action-roguelikes. This isn’t Hades-but-with-katanas. This is what I would expect a Samurai Warriors roguelike to be like, and the strength of that concept is backed up with one of the best and most engaging equipment customisation systems I’ve ever seen. In a year that, just four months in, has been packed with so many high-quality releases, Samurai Bringer might be flying right under the radar, but it’s actually one of the best of them.

Nintendo Switch Sports is well-made, with the gorgeous, “lifestyle” aesthetics that have always been characteristic of this series. The motion controls work well, and in local multiplayer it is good fun, as Wii Sports was 16 years ago. However, it lacks the zeitgeist quality that Wii Sports had, and I just can’t see this resonating to anywhere near the same degree. I don’t think there’s any scenario where Nintendo could recapture the magic that made Wii Sports such a mass culture phenomenon, and as well as Nintendo Switch Sports is made, it doesn’t get there.

Ixtona gave me exactly what I was expecting, and, ultimately, I didn’t regret the hours I spent with it.

13 Sentinels: Aegis Rim is lengthy and complex, particularly if you really want to understand every little nuance of the story. The story might not feature player agency, as it has no branching choices or bad endings (and I’d argue that this is a strength of the game, that it’s determined to tell one story and tell it well) but even then the narrative alone will take at least fifteen hours to see to the end. Add on a few hours of the strategy RPG and you’ve got a hefty title on your hands. Ultimately though, I stuck through with 13 Sentinels because it’s paced immaculately – the mystery of the narrative gets its hooks into you and rushes you through an intricate web of conspiracy, discovery, and self-reflection. It got me to laugh, to gasp, and to view the world differently. We talk a lot about the potential of interactive storytelling to deliver experiences beyond film or print, and yet not many games do – but here is Vanillaware making it look effortless. Here’s hoping that 13 Sentinels is remembered long afterwards for all it has achieved.

Whatever platform you play Roguebook on, its sheer quality helps elevate it to the top of a genre that has become far too overused over the past five years. The precision balancing and depth of the gameplay, the entertaining design and varied exploration elements combine to overcome the fact that you’ve probably played what Roguebook is offering a few times over by now.

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.

No doubt the audience for Chinatown Detective Agency is small. Modern video games spoon feed everything to players, so I can only imagine how counterintuitive it will seem to many to have a game that’s actively telling them to Google It, Mate and is willing to leave them high-and-dry with only vague clues. This is a game for people that genuinely enjoy researching stuff, and niche as that is, I have to believe that there’s a space in the market for it. Otherwise, “where’s the curiosity gone?” becomes a very real and sad question that we need to ask about our society and the entertainment that we consume.

Crusader Kings III is a hobby all by itself. When you start a campaign in this one, you’re going to need to settle in for the long haul, and in the initial stages, where you’ll make mistakes (and often not understand why), it can all be too overwhelming and you’ll give up on it. That’s fine if you decide on that basis that the game isn’t for you. It’s not for everyone and it’s certainly not Civilization. However, there’s no other way this game could have been made, and when it all finally clicks, the depth and intelligence of what Crusader Kings III offers also make it impossible to put down. You’re not going to find a more complex strategy game, nor a more rewarding one, on consoles.

I don’t have a problem with games that feature nudity and titillation. If a developer were to make a strip poker game then I would be all over that (assuming the poker played well enough). Bring on all the Gal*Guns and Dead or Alives that developers can produce. But for the love of Hatsune Miku, Nintendo, don’t let the eStore be flooded with this nonsense.

Normally when I review a game, I play, I write, and I’m done. Cat Café Manager is different: I fully intend to continue playing it for many more hours. A terrible saying is that variety is the spice of life, and this game provides a lot of variety via the choices players can make with regards to progression. The cats are great, of course, but the real fun here is running the café and learning the town’s story. Aside from some fairly minor issues, such as my qualms with building, I always came away from Cat Café Manager with a smile on my face.

The House of the Dead is a classic and monumentally important video game. I didn’t even bat an eyelid when this popped up on the eShop. Even knowing that as a Forever Entertainment project it probably wasn’t going to be all that, my fierce loyalty to the brand caused me to buy this instantly. As I wrote in the introduction to this review, however, The House of the Dead Remake makes Uwe Boll’s film seem like a masterpiece by comparison. At least Boll had the good sense to put gratuitous B-genre exploitation nudity and unintentionally hilarious directing in his film. His film was a thing you could enjoy drunk. You play this game and you’ll just jump straight to the hangover.

This score is not reflective of the quality of the games (overall). I’m not going to be putting Alpine Ski down in a hurry, and I’ve been playing Qix for decades now, so I would never begrudge it being part of a Milestones collection. Most of the other titles are interesting as a curio. The quality of the ports for all of these titles great thanks to Hamster’s technology, but nonetheless, this is a woeful excuse for a compilation, and that’s particularly surprising given that it came from the same publisher that gave us the Space Invaders Invincible Collection. That was one of the very best retro collections. “Disappointing” doesn’t begin to describe what I feel about Taito Milestones.

The Cruel King And The Great Hero is a lovely and loving adaptation of everything that people love about the fairy tale, with the charming premise of a girl that dreams of being a hero, and a gold-hearted dragon that makes that happen for her. I know we’re all feeling JRPG fatigue from the sheer number of them that have been released this year, but don’t let this slip past you. It almost did me, and that would have been a big pity.

The biggest problem Sony faces is in getting more casual fans to enjoy its baseball games. The hardcore are going to love it, and mechanically, MLB does a great job of giving you ways to fine-tune how you play, the control system that works for you, and so on. This is effortlessly the best baseball game we’ve seen to date. However, what it doesn’t do is make players comfortable with it before throwing them in the deep end. Whether it’s endless statistics and career-altering decision trees in the career mode, the overwhelming experience of having cards and items and microtransactions thrown at you in that mode, or the need to manage an entire team while also dealing with the on-field performance, MLB The Show 22 is difficult to get into if you’re a casual fan of the sport. A simple season mode would have gone a long way to address that, but, for whatever reason, Sony doesn’t seem overly concerned with making its series the catalyst that converts people with a casual interest in baseball into fans.

Like the best in literature and the arts, by the time Chrono Cross’ credits roll you’re going to be left in a reflective mood. It’s not just that it’s a very good game – though it is – is also that it’s a probing work of art that asks meaningful questions of the players and respects them enough to allow them to come to their own conclusions about it. This is the first time that we’ve had the opportunity to play the game here in Australia, and it’s telling that this 23-year-old game comes across as one of the most forceful steps forward for games as an art form that we’re going to see this year.

While Ikai’s a missed opportunity, it’s not one that necessarily should be missed. It’s not overlong, has some vivid imagery, and while the puzzles are almost laughable at times for how out of place they are, the actual design of them remains interesting right throughout. I’m glad I played Ikai, but I doubt I’ll play it again.

Relayer gets so much right. It’s gorgeous on the eyes, the narrative is twisty and fun in the way that the very best pulp sci-fi can be, and the traditional tactics JRPG action is well-executed and clean. It takes such joy in what it is doing that I can’t imagine there will be many people that walk away from it without a smile on their faces. While it might not do enough to stand out as one of the greats of the genre, it is more than worth your time, especially if you’ve ever looked to space and wondered just what tactical warfare up there might look like.

Submerged: Hidden Depth didn’t quite hit me as strongly as its predecessor. It is a more rounded and proficient take on the vision, but ultimately it is also the exact same vision as its predecessor and, this second time around, the impact just isn’t the same. However, it is still a beautiful, emotional and poignant bit of art, and we should all be sending our politicians copies to play. Otherwise, we’ll all find ourselves travelling around our crumbling, drowned cities soon. Just like Miku and Taku do here.

It’s hard to develop your own voice until you understand how other artists find theirs. While I ultimately find Dark Deity to be uninspired and certainly won’t be replaying it every year or so, as I do Fire Emblem, I also hope that this developer produces another tactics JRPG. I would buy that in a heartbeat, because I am quite certain that with a bit more experience as a team of artists, not only will this developer find its own voice, but it will start to build on everything that made those GBA Fire Emblem titles great. That – the promise of some kind of “Fire Emblem Plus” – is some exciting promise indeed.

I’m not the world’s biggest fan of platformers, but I can’t help but delight at what Kirby and the Forgotten Land offers. It’s bright, wholesome, charming, funny and memorable. It’s also a near-flawless example of Nintendo at its very best.

I must reiterate that The Ascent is gorgeous, and for a team of just a dozen developers, they have outperformed themselves in that regard. Unfortunately, because the narrative is so anaemic and there is so little that connects the narrative to the aesthetics and gameplay, The Ascent ends up feeling empty. There’s nothing memorable about the characters, the world is dull and far too large for how little it offers, and while, yes, the story hits those key cyberpunk talking points, the developers largely missed the nuances that elevate cyberpunk beyond pulp fiction. So, again, the game’s fine, if you are looking for a generic sci-fi shooter (and can ideally drag a friend along). As a work of cyberpunk, though, it’s a failure.

At this point it’s pretty clear that Crypton’s strategy has shifted from positioning Hatsune Miku as something associated principally with music, to developing an all-ages mascot character in the same vein as Hello Kitty, Rilakkuma, or Doraemon. I am quite certain that these light and casual little puzzle games are cheap to produce while Crypton builds its capabilities in this area… but at the same time, it is quite clear that these games do come from a proper company with a serious vision and a commitment to quality. Even putting aside my undying love for Hatsune Miku, this is genuinely the best digital jigsaw puzzle game I’ve played to date, and as a fan of jigsaws, this was the nicest of surprise releases.

Gal*Gun: Double Peace was excellent on its original release on PlayStation 4, and it’s excellent here. People will no doubt write this up as shallow and crass titillation, just as they did with the first release, but then shallow commentary isn’t exactly uncommon where anime and fan service is involved. The game is satire and it is therefore a commentary. You don’t have to like it, but that doesn’t change what it is. Without a doubt, Gal*Gun will unsettle some people, and that’s fine – the game’s just not for you, and you don’t have to buy it – but if you do find these kinds of games interesting, and have somehow missed out on the series to date, now you can jump in with the best in the series, on the console best suited to it.

Who Pressed Mute on Uncle Marcus? is a shining example of everything I love about FMV murder mystery games: the intrigue, the interpersonal relationships, and the quest for the truth. I especially like that no matter how often you fail there will always be another chance to uncover the truth, and without penalty. In fact, “failing” and pointing the finger incorrectly is especially interesting because that’s when true colours really shine. I have such high expectations from Good Gate Media and Wales Interactive that I keep expecting one of the game to be a flop, but alas, this was not!

I have to wonder if the gaming audience is quite ready for the kind of metatextual experience that Stranger of Paradise presents. It’s not only a game that doesn’t take itself seriously, but it outright challenges players’ expectations on how games are made and how they should be played. It’s hugely entertaining and as experimental as Final Fantasy at its best, but I do wonder how well something so reflective will click and be remembered as a great in the longer term. I only hope that people realise that the nonsense of Jack, his iPod, and his obsession with Chaos is just the surface of this brilliantly smart, layered thing, and they then take the time to dig into what Stranger of Paradise is really saying as a work of metatextual satire.