Of course there are a lot of top down shooters on the Switch now. Some, such as Jydge or Mr Shifty, actually do some interesting things with the structure. Crimsonland is the polar opposite. It’s the safest, most generic example of the dual stick shooter in years. There’s no denying there’s a visceral thrill in the action that it offers, but let’s just say it’s just as well the game’s priced to be a cheap bit of throwaway fun.

What lets Uno down is the online infrastructure. There aren’t many players, for a start, and it hurts the appeal of playing online when it ends up being against one human player and two AI. You may as well just play the single player, especially considering how frequently drop outs happen. Conveniently this happens most frequently when the other human player is close to losing. There doesn’t seem to be a punishment in place for that. At least AI players have honour.

Monopoly on the Switch works, much as it did on PlayStation 4. There are some nice little elements, like themed boards, which don’t change the gameplay in any way, but are fun to see. All the popular Monopoly house rules are in there too, so however you like to play the game you’re covered. Loading times are a bit long, and the AI takes its sweet time to take each turn, but otherwise it’s a very clean, visually appealing take on the board game.

It may seem like I’m being extremely harsh on The Frozen Wilds, but it needed to offer something new. Guerrilla Games has made an excellent world with some very interesting lore behind it, and I am definitely keen for a sequel, but at the end of the day, unless you are a huge fan, and really want to know more about the Banuk tribe, there’s no real point to this DLC.

With a bit of touching up, Zwei:The Ilvard Insurrection looks good for a game that came out almost a decade ago. With a great combat system that is supported by a good deal of lighthearted storytelling, this is an action RPG that people who have enjoyed games brought on by Nihon Falcom’s recent rise in prominence in the west shouldn’t miss out.

I really like Gear.Club, though it is overly simple as far as “serious racers” go, while also lacking the personality and spirit that makes an arcade game soar. It’s a game that’s hampered by being on the Switch – a console that’s not really mechanically built to enable serious racers. At the same time it benefits from being on the Switch, where there isn't any real competition just yet.

Sadly, Busby: The Woolies Strike Back barely meets the quality standards and expectations of the genre in its infancy, let alone all these years later.

I love Far From Noise. It's one of my highlights for the year. Not as a game - because it's barely a game. I love it because it's genuine bona fide art, made with that explicit intent and, importantly, successful at it. It's a game that weaves a masterful story, and would only really work as interactive art, because ultimately, what this game is about is a conversation... and it wants to hear your answers as much as it wants to pose questions to you.

Star Wars Battlefront II gets a lot of things right. The presentation is absolutely top-notch, the gameplay is fun and well-executed and the choice of property is among my fall-time favourites. Where Star Wars Battlefront II has hurt itself is in a lack of care around the ability to play with your friends and a progression system structure around microtransactions. While those optional purchases are (currently) turned off, they will be back in some form or another and in the meantime, players are left with a hell of a slow grind in making progress... slow to the point that it's just not entertaining.

The process of investigating and ruling out the traitor is an engaging, multi-part affair that feels meaningful, and the fact that traitors are randomised means that no two playthroughs are going to be the same - the replay value of the game is through the roof. However, for everything good about it, it’s inevitably let down by the unfathomable frustration that is the combat in this port, and there will be those who are unable to look past that to the gem hidden underneath.

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.

I cannot see Ace of Seafood lasting beyond the hangover that will follow you and your mates playing it together, which is probably the only valid occasion for trying this game out. Ultimately, Ace of Seafood is a one trick lobster.

I wasn’t really playing Hyakki Castle for the “gameplay” so much as the opportunity to run through a gauntlet of stunningly-rendered yokai, and the game really scratched that itch. This is the first game for Asakusa Studios, and with it, the team has announced itself as a real talent, and a group of artists and coders with a real understanding on how to meld Japanese tradition with very modern gameplay.

This is a game that offers such poignant and relevant social commentary, and after many years of being either PC-exclusive, or released in a very watered down fashion on game consoles, it’s great to see that this great experiment in giving us the tools to play around with humanity is finally on console in a full and unabridged way.

The Just Dance franchise hasn’t grown a lot since its heyday, but it doesn’t need to. Most of the songs included are a lot of fun to dance to, even if pop music isn’t your thing. The gashapon reward system offers an incentive to keep dancing without making it feel like rewards are constantly out of reach. Grab a friend and clear the lounge-room, because it’s time to get addicted to dancing all over again.

This Is The Police aims to be something of a higher production values take on Papers, Please. For the most part it succeeds, and certainly Lindsay loved in, as you can see from her perfectly fair take on the game. But truth be told the simulation/ strategy gameplay isn't that involved, so what I was left with was the narrative storytelling, and while every moral conundrum gave me real pause to think, too often I thought my emotions were being exploited and toyed with by a game that was going to play out the same way regardless. That in itself is worth talking about in the context of a conversation around determinism, but I was still left feeling a little cheated, truth be told.

The experience also naturally fits with the Nintendo Switch and handheld gaming.

It remains true that Cat Quest is a hugely reductive game that strips the RPG formula to its very roots, and that lack of depth becomes tiresome towards the end. I'm glad that this is not a game that outstays its welcome, but at the same time it's not a game I'll remember, beyond that adorable skipping run of my adorable little furrball.

It isn’t what I was expecting, and initially it was confounding, but the more time I spent with it, the more I came to love it for its grungy underground spirit.

Far too shallow to stand up to the crop of other tactics JRPGs released this year, in what has been a really good year for the genre.

Defiant Development has proven that Hand of Fate was neither a one-off hit, nor that it couldn’t be expanded on in a meaningful way. Hand of Fate 2 retains the aesthetics and soul of the original game, but builds on the world’s lore, its mechanics, and its art in such a way that the two games feel generations apart. As I said at the start, this is one of the best games Australia has ever produced. Now begins the agonising wait for the next stroke of genius from this talented team.

The story as a whole is predictable and underwhelming. It treads a lot of well-worn horror cliches without really doing anything to stand out, and it tries to take you on an emotional journey without giving you a reason to care.

Perhaps Etrian Odyssey V is the swansong of a franchise that has been one of the few to make meaningful use of an approach to technology and gameplay that has now been obsoleted as Nintendo has retired the dual screen idea. If that’s the case, I’m not going to lie; I’m sad for the end of the end of the franchise, but at least in Etrian Odyssey V it went out on a real high note.

Obviously the Switch loses the neat, but ultimately gimmicky PlayStation VR mode with Chess Ultra. What it replaces it with is a far superior featureset, though; cross platform play with anything but Sony’s console, as well as that really neat local multiplayer mode that turns the Switch into an impromptu board. That is so much more convenient than lugging a chess board down to your local café, park, or pub for a lazy afternoon of chess with friends.

The story, cute as it is, is a very familiar one full of archetypal anime characters. The writing is clunky at times, and the overall presentation lacks polish. Not every game needs to push the boundaries of innovation or style, though, and for what it is, How to Fool a Liar King is a cute, charming romance that's easy to just relax with and enjoy.

Demon Gaze II is only one or two tiny steps away from breaking away from its genre trappings to be a game that is so good that people who don’t usually like the dungeon crawlers should give it a play. The developer has done a great job in making the game more accessible (while still leaving plenty of ultra-difficult stuff there for the really committed), and the art direction for the characters and monsters is so vivid and vibrant that you can’t help but admire them.

Empyre: Lords of the Sea Gates has a lot of potential but unfortunately it's made so clumsily that it is just painful to actually play. I wanted to love it because of some of its unique ideas, especially in the premise, but I just couldn’t get past the mechanical issues. Being a PC game and all perhaps community feedback will lead to this game being revised. I hope so, so I can come back and give it another spin.

This has been a blast from the past I’ve been truly happy to leap back into. Shadowgate and its brethren remain as confoundingly beautiful as ever, and there’s such a charm to how these games delight in confusing the hell out of you that most modern games, in their desperation to have people roll through them, just aren’t brave enough to do. This release is perhaps an anthology that could never hope to appeal to any but the nostalgic, but I have to hope that one or two people out there might be twisted just enough to enjoy the way that these games seem to enjoy messing with their heads.