Overwatch is still an excellent title, even this far from launch, but the Switch version is notably inferior in terms of online performance.

An immersive and engrossing trip to the seedy underbelly of World War II era Los Angeles, the police procedural work enhanced enormously by being in virtual reality.

An impressively ambitious attempt to make a VR-only action game that is both a visual spectacle and a highly enjoyable role-player, full of imaginative ideas.

The Switch is clearly not the game’s natural home and yet even with the graphical downgrade The Witcher 3’s innate quality shines through.

In other words it’s a clone of 1983 coin-op Spy Hunter, but unfortunately what you see in the first minute of the tutorial is all there really is to it, with relatively little nuance to uncover. As mindless entertainment its daily missions are a brief diversion, but little more.

If your ball-like warlock slips between the flippers he falls, taking damage equivalent to his height up the tower. You can recharge health with heart containers, and by getting him through the exit in time, but progress is cemented with the treasure and XP you earn, which permanently unlocks new skills, helping you get even higher next go. All of which is enjoyably addictive.

It’s very simple, but there’s a level of learning involved in when to boost wood and gold production; when to upgrade your defences, barracks, and walls; and which path your raiders should take. It’s very throwaway but the lightly tactical gameplay is still breezy fun.

Video game and cultural references abound in its playfully inventive courses, which jauntily switch from portrait to landscape in a game that revels in its continual ability to surprise.

As you progress words get longer, featuring far more abstruse letter groupings, and although it can’t quite muster the rampant addiction of Alpha Bears, it offers a decent word-based challenge.

The splendidly named Dread Nautical is a turn-based roguelike set on a spooky, zombie-infested 1930s cruise liner. Choosing one of four survivors, you spend action points to move, pick things up, and attack, either melee or ranged depending on what makeshift weapons you’ve managed to purloin.

On a phone, the screen can feel a bit cluttered with icons used to crouch, jump, lob grenades, and more, but on a tablet it’s perfect. Controller support is weirdly absent, but there’s very little else wrong with this excellent console conversion.

If you’ve played Kerbal Space Program you know exactly what to expect (minus the cute characters), but for everyone not familiar with terms like periapsis, there are tutorials that guide you from novice to space flight professional. Having all that in your pocket is a salutary reminder that we live in a wondrous age.

A welcome return to form for the series, and while the co-op puzzle-solving no longer seems quite as original as it once did it’s never been as enjoyable or varied as this.

Becoming one of the best city builders on consoles is the least of Frostpunk’s achievements in this thought-provoking parable about the true cost of being in charge.

An agreeably peculiar mix of role-playing game and Metroidvania but whose best feature is its charming visuals and one of the most endearing cast of characters seen in a long time.

A polished, challenging and colourful 2D platform game that recalls the best of Donkey Kong Country on the SNES, even if it doesn’t really move beyond it.

One of the best movie adaptations of all time and an impressively original strategy game that manages to rival even the best action titles in terms of tension and adrenaline rush.

Some of the finest simulated driving you can find on PC and console, but with a single-player career mode that’s not as fully fleshed out as you’d expect for the money.

A peculiarly underdeveloped riff on Jet Set Radio that never manages to find anything interesting to do with any of its many gameplay mechanics and story ideas.

It always put nostalgia first and gameplay second, but 10 years on and Ghostbusters: The Video Game just feels like mediocre fan fiction.

A disappointingly backwards-looking expansion that rather than signal a new era for Destiny and Bungie is just more of the same empty teases and recycled content.

One of the best narrative-based games of the year, that tackles a number of contemporary issues in an original and entertaining manner and whose main fault is merely a lack of budget.

Something of a greatest hits collection of ideas from Ubisoft’s other open world games but it also has some fun new ideas of its own… as well as a mountain of glitches and microtransactions.

Extremely rough around the edges but even in its current state this is an engrossing and tension-filled strategy role-playing game that offers a very different perspective of WWII.

It’s still not as good as Sniper Elite 4, but years of patches and DLC have improved it to the point where this is a viable alternative for Switch owners.

Gorgeous visuals and some sublime visual storytelling, Ori And The Blind Forest might not do much that is genuinely new but almost everything it does attempt is genuinely great.

Old school to a fault, but fans of the series – and anyone else that appreciates its honest charms – will find much to love in this simplistic but heart-warming role-player.

A good looking but shallow repurposing of Nintendo’s classic kart racers, transforming it form the world’s favourite racing game to a cynical, and disturbingly persistent, cash grab.