The Dresden Files: Cooperative Card Game is such a fundamentally flawed concept, and the execution is so lacking, that it offers nothing whatsoever of value.

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.

This new release of Gals' Fighters is, of course, a game with a very specific audience. You've got to really love your fighting games to get much long term value out of it. And yet, for something so "retro", Gals' Fighters feels incredibly modern, with few of the quirks and design flaws of yesteryear that you generally expect going in to an "old" game. Rather, this feels like something produced by a team that deliberately limited themselves as a creative challenge. You may not get long play sessions over extended periods of time from this one, but as a curiosity, it is fascinating... and so much cheaper on Nintendo Switch than trying to track down a physical copy for your actual Neo Geo Pocket Color.

Kogado is perhaps the most under-appreciated visual novel outfit out there. You've almost certainly only heard of this developer's work if you're deep into the visual novel space, and while in terms of presentation there's a distinct "low budget" quality, there are two things that help to set Kogado apart: firstly, they're a gorgeous application of the idea that aesthetics are more important in art than technical wizardry. Secondly, Kogado tells stories that are an impeccable blend of tantilising fan service, intense mystery, and subversion to keep players on their toes as far as expectations go. On that basis Yumetsutsu is a perfect follow on to the Nurse Love series.

While it never manages to rise beyond being a fastidious clone of a beloved series, Daymare 1998 is not as terrible as some might have you believe. Sure, it doesn't have a creative bone in its body, and that is a problem, but it does show that the development team has an understanding of classic video game action/horror, and were they to come back with an original idea and distance themselves from existing, better properties, this developer could end up becoming a solid B-tier players in the space.

Moving Out is a simple game with an easy to understand premise, and even without its superficial similarities to games like Overcooked, it’s likely to be welcomed warmly by any couch of friends. SMG Studios has designed an interesting set of challenges for teams to tackle, textured with interesting gameplay gimmicks that are just as likely to elicit a groan as they are a chuckle. It’s been a long time since I’ve been able to share a game like this, which is just so effortlessly fun in every facet of its design.

One would hope that IllFonic's past struggles would lead to it delivering more polished games in the future, but Hunting Grounds has many of the same problems that Friday the 13th launched with. Returning players will feel the same sense of déjà vu they would upon watching a disappointing movie sequel... and to be blunt that's something that Predator fans know all too well at this point.

I do recognise that as far as the subject goes, I am not the target market for a game about esports. On the other hand, I am a big fan of the simulation genre, and this one is so unpalatable from that perspective that I have to wonder at its existence. If you're just looking for esports, there's no need to play a bad simulator that is largely unrepresentative of the experience of esports anyway. Just go and watch the real thing on Twitch.

STATIONflow is an interesting experiment in urban space design, with an eye for the utilitarian and an ultimately sympathetic outlook on the bureaucracy. All in all, meeting the demands of thousands of commuters is difficult, and the game is effective in teaching the player why inefficiencies tend to occur. It’s a very particular kind of person who would enjoy this – they’d need to like thinking on their feet, and coming up with practical (if a little boring) solutions to complex problems, only to be rewarded by the reassurance that nothing’s gone wrong. But as with most games which target a niche audience, there’s bound to be a dedicated following eager to enjoy what DMM Games have to offer.

Sakura Wars was a surprise - from all the promotional material SEGA would have you believe it's some kind of action JRPG hybrid. The combat stuff turns out to be its weakest element. It's not bad, but it's also not where the magic happens. No, what this game does quite beautifully is the character development and romance. From the perviest moments of fan service through to the most heart-wrenching moments of insecurity that each of the characters displays, Sakura Wars offers a real emotional gamut, and whether you call it a blockbuster visual novel or an interactive anime, it's a rare thing for a game like this to be done to such substantial production standards. SEGA took a risk localising this after many years of popularity in Japan. Hopefully it pays off, and we see more localisations in the future.

Legends of Amberland succeeds in capturing the appeal of those old Gold Box-era RPGs from SSI and their ilk. This was my childhood growing up and as such much of what the game offered fit like a particularly comfortable and well-worn glove. Unfortunately, the developer also decided that for whatever reason the game would have every issue from the RPGs of yesteryear as well, and it's an odd thing for a developer to do - capture the same aesthetics and rhythms of retro games, fine, but why go to all the effort to also emulate all the flaws that the genre has moved on from for good reason?

Unlike the remake of Final Fantasy VII, Trails of Mana doesn't take the opportunity to rework the story, nor does it aim to add to the existing world that anyone who played the original will experience. It's more akin to Nintendo's own Link's Awakening remake in that it's a traditionally-minded remake that simply seeks to give fans a beloved experience through a modern lens. And yet, it still goes well above and beyond what was strictly necessary for a remake. This is a game that feels decidedly modern and could (and should) appeal to a much broader audience than "existing Trails of Mana" fans. If the lengths that Square Enix has gone to with this remake prove to resonate, then dare I hope for the same treatment to Chrono Trigger or Final Fantasy VI?

Being so critical of indie games never makes me feel good. There's just no hiding when you're an indie - games like Make War are crafted by a tiny team of developers and it's always deeply personal to everyone involved. And yet, when you think about all the masterful, creative, deeply artistic indie games that have been crafted by equally small numbers of people - Papers, Please, Tokyo Dark, Untitled Goose Game, Mini Metro, Undertale, and so many more - it's so hard to resolve Make War. There's the genesis of a good idea in there, but the execution is so far beyond uninspired that there's simply nothing that can redeem it.

Billion Road isn't perfect. The interface makes it difficult to track some of the finer points of detail, particularly around property ownership, and a lack of minigames and other events of excitement mean there's a draining level of downtime in the game where you're just waiting for your next turn to roll around. However, for the board game enthusiast this is a true Japanese experience. Under the bright colours and ridiculous wealth being thrown around (you'll be worth billions in just an hour) lies something that has clearly been created by people who love the unique micro-cultures with Japan, and the sheer delight that you have in simply travelling across the country.

Ultimately, Boot Hill Bounties just doesn't do much of anything. It does succeed in being a retro-themed JRPG set in the Wild West, but it's not a particularly interesting Wild West, the combat system is functional, rather than interesting, and it was really hard to maintain interest in anything that the game offers. Boot Hill Bounties doesn't do anything wrong... other than be so uninspired that it doesn't give anyone a reason to play it either.

You could also say that too much of Pirate Warriors 4 is a retread of the three existing games, and as a result fans of One Piece and the previous titles (at this point, who else would even be looking at Pirate Warriors 4) might come away feeling like this doesn't deliver as much new stuff as they'd like. I don't think that's much of an issue, though. The new battlefields, improved combat system, and sheer action that goes on makes it every bit as much fun to run through those battles again, and One Piece has so much character and personality that the antics of Luffy and his crew never seem to get tiring. With that being said... do Gintama next, Koei. We're still waiting.

So that’s In Other Waters – a play-it-on-its-own-terms sci-fi adventure that’s enormously niche, but excels at what it sets out to do. For those who like to see hard-sci-fi, and a plausible representation of what life on other planets could be like, this is sure to be a fascinating game which will have you dreaming up theories for weeks. But be warned as well though, this is a game which demands effort from the player and isn’t afraid of standing out from genre fare. So if you’re ready to take the plunge with an open mind, the waters of Gliese 667Cc are calling, with a voice unlike any you’ve heard before.

None of these irritants break the game, though, and I did have a lot of fun with Ty the Tasmanian Tiger HD. Having not played the original I got to enjoy something retro-styled from a genre that is effectively dead, and while I never got along well with collect-a-thon, it was still a big part of my youth so there was an inherent nostalgia there. I also loved that this is a genuine product of Australia, with Australian humour and culture depicted throughout. Krome Studios' classic might not have the profile of a Crash Bandicoot or Spyro, but anyone wondering why this got a HD re-release needn't. Ty the Tasmanian Tiger certainly belongs on modern consoles, and it would be lovely for the franchise itself to be resuscitated at some point.

Perhaps the best way that I can describe just how much I've appreciated Final Fantasy VII Remake is this: The original Final Fantasy VII was my least favourite in the series, but after playing the Remake, on a whim I loaded up the original game. Within the first couple of hours I was already so much more invested in it this time around. Being able to visualise the action of the original through the lens that the Remake has provided me has made the game more vibrant, interesting, and emotionally engaging. I don't necessarily see FFVII Remake as a replacement to the original game, as remakes generally are. It's a complement to it, where the developers have built on the world and characters in such a way that it's like two sides of a single coin - for me, at least, without one, the other doesn't exist. Making me love the original Final Fantasy VII is something I never thought Square Enix would achieve, but we do live in the strangest times.

Silent World is, mercifully, over quite quickly. It's a real pity that the game hasn't turned out better - there's a nice art style in there and aside from the monsters, the sound effects and ambiance shows what the game might have been. Unfortunately there was no clear vision driving this game and without the vision all that's left is a bunch of elements thrown together without any cohesiveness.

There is so much potential for Operencia. Zen Studios has crafted a gorgeous, elegant dungeon crawler, with rich lore, interesting characters, and the team has demonstrated real talent with dungeon design - something that is by no means easy. Cleaning up the combat system so that it's not so exhausting and frustrating is all it would take for Operencia to be a top-tier example of the genre.

Coteries of New York does a good job being a Vampire: The Masquerade game. The developers have captured the essence of the property, crafted an appropriate aesthetic and narrative environment, and avoided any inclination to try and "change" what Vampire: The Masquerade is. Playing this game feels every bit like playing the tabletop pen-and-paper experience with a good GM weaving the story. Sadly, by nature pen-and-paper RPGs are about fun stories rather than anything meaningful, and Coteries of New York doesn't really have anything meaningful to say. Throw in some confused mechanics and this one won't be remembered as a classic of the genre.

For all its technical issues, Disaster Report 4 is a truly astounding bit of video game art and a true reflection on something that is important to understand about the Japanese culture and mindset. It is nothing like the disaster stories and games that come from western creatives, and the more melancholic, sympathetic, and people-focused themes of the game might confuse those that expect a disaster experience at first. Embrace it for what it is, however, and the game is so much better than any of that blockbuster trash. There is something very subtle, but very powerful at the core of Disaster Report 4, and, even as I've had the likes of Animal Crossing and Resident Evil 3 to play this past two weeks, I've found myself coming back to this one, and reflecting on it to a far greater degree. It's not necessarily fun, in a traditional sense, but it's culturally insightful and intelligent, and that makes it valuable.

La Mulana 2 may just be more of the same, but it’s also a home run for a winning formula that nobody else is making nowadays. For players who enjoy complexity and depth, there’s an ocean of possibility here which makes any other Metroidvania look like a puddle by comparison. (Yeah, even Hollow Knight.) It’s humbling for a game to show me what it really feels like to not have my hand held at all: it forced me to swallow my pride, grab a pen and paper, and earn my progress forward. Few games can boast that. And once you’ve braved the ruins of La Mulana, you can bravely look to the future with confidence. Because you’re an archaeologist now.

So let's go down the list of what makes The Complex compelling: phenomenal cast, complicated characters, a deep and rather dark narrative. No, it's not a traditional game. No, it's not a traditional film. But when it comes to interactive films, it's a very solid effort worth several playthroughs to discover what you may have missed the first time. The developer even makes it easy to play again, offering a skip button for subsequent plays. There are some components that seem unnecessary, and some settings that could be improved upon, but The Complex is absolutely a game I will recommend again and again.

I recognise that Resident Evil and what I want Resident Evil to be are on different trajectories. I still want the series to engage with the horror of being almost out of bullets and surrounded by a hostile world of very dangerous enemies. I also want more of the dry humour of the B-grade that used to define the series, that both indulges the horror while recognising how silly it is. Resident Evil 3 doesn't give me that, and Resident Evil as a series isn't largely interested in indulging it any longer. Which is fine. I can still kick back and enjoy the empty action and cinematic profile of the new take on the series. What's more, I do realise that I'm in the minority in what I want Resident Evil to be and Capcom has delivered more of what the series' larger base of fans want with this remake. Which is fine. Resident Evil 3 is a very, very fine example of what it wants to be, and anyone who loved the Resident Evil 2 remake should be won over all over again with this one.

There's a lot of room for Granblue Fantasy: Versus to grow from here. There are a lot more characters that can be brought into the game, and many more stories that can be told through that RPG mode. As it is, however, this is a remarkably beautiful and intelligently-structured fighting game, which does justice to the source material and offers a stunning foundation for what might come into the future. It also works as the perfect introduction to Granblue Fantasy for the west, and now Cygames should be left with no other choice than to release the mobile game worldwide.

We all need games like Animal Crossing: New Horizons, and while I don't think it's perfect by any means, and some of the new elements this time around come at the expense of what made previous titles so wonderful, the winning charm is still there in full. This will be Nintendo's biggest game of 2020, and with good reason - everyone who has been looking forward to it will be absolutely delighted by what Nintendo has delivered.