That limited scope, while understandable for an indie team working with a presumably modest budget and not wanting to bite off more than they can chew, nonetheless takes some of the wind out of Flutter Away’s sails. That aside, this is still an enjoyable game that largely succeeds in its goal of creating a relaxing, soothing atmosphere that you can use to unwind, whether that’s by ticking off simple objectives and seeing a cute story unfold through them, or just taking a moment to bask in the serenity.

Bricklandia is a wonderful setting to explore, and it’s clear that the level designers in particular have gone all out in dreaming up the most playful LEGO world they could imagine. Decent kart racing and an abundance of the goofy sense of humour that’s become a defining aspect of LEGO media bring said world to life, and the car building tools introduce an unexpected amount of depth for dedicated builders. Monetisation and open-world fatigue hold 2K Drive back from greatness, but for kids of all ages with some time to kill, it’s a lot of fun.

RunBeam Galactic probably isn’t a game you’ll pour hours into. But for a quick, fun time-waster that keeps faffing to a minimum, it hits the spot.

Comparisons to Vampire Survivors are inevitable, and while Void Scrapper doesn’t quite hit the same highs, it’s an impressive effort that puts its own little twist on the latest genre du jour.

Like I said, it’s Curse of the Sea Rats’ atmosphere and art style that really carry it: if you can tolerate some less-than-stellar writing, this game delivers on Redwall-esque “rodent fantasy” adventure with a pirate twist. Underneath that is a metroidvania that hits the right foundation but struggles to stand out, and lets some odd design choices and clunkiness get in the way of the exploration that the whole genre is built around. There’s still fun to be found here, but in such a crowded field full of creative twists on the form, Sea Rats struggles to leave a lasting impression.

A gorgeous art style ties the piece together, combining cute, cartoony characters, subaquatic wonder, and the ominous atmosphere of submerged ruins. Metroidvania fans are spoiled for choice right now, and while Pronty may not be remembered as the best of the best, it’s an enjoyable take on the genre with plenty of fresh ideas.

Coupled with the timeless charm and humour of SpongeBob, The Cosmic Shake can be a lot of fun—just don’t go in expecting anything groundbreaking or especially polished.

Kirby’s Return to Dream Land is a good game, and by extension, so is Kirby’s Return to Dream Land Deluxe. But it’s also a remaster of a game that’s now more than a decade old, which was itself a deliberate effort to return to the series’ roots, and it comes hot on the heels of one of the best—and most creative—games in Kirby’s history. Nostalgia and the series’ innate sense of joy go a long way, but Return to Dream Land Deluxe struggles to step out of the shadow of Kirby’s more recent adventures.

Lone Ruin doesn’t push boundaries, and a lack of complexity means it can wear thin before long, despite the random dynamic inherent in a roguelike. Even so, it’s a game that finds a good foundation in short bursts of play, with a compelling art style to help pull you in. Hardcore roguelike fans may find it limited, but there’s fun to be found here if you want a simpler, more relaxing take on the genre.

Gotham Knights is a game about stepping out of Batman’s shadow—not just for its troupe of caped crusaders, but for its developer too. While WB Montreal have crafted a solid action game that casts off some of Bruce Wayne’s looming presence, it’s just far too marred by extraneous loot systems, technical woes, and forgettable writing to wholly recommend. And given how cutthroat Warner Bros. has proven itself to be over the last few weeks—butchering entire networks and catalogues of shows with a hatchet man’s glee—I can’t help but feel that the game won’t get the support it desperately needs.

Despite its shortcomings and the missed opportunity to do more with its roguelite concept, The Dragoness: Command of the Flame is still worthwhile for anyone looking for a slightly different take on the tactical RPG. I can’t tell you if it’ll hit the spot for a Might and Magic fan, but as someone with no background in them—and, therefore, no burden of expectations—I’ve enjoyed my time with it well enough. Whether or not it lives up to its inspirations, it’s still a nice introduction to an interesting niche.

For anyone on the hunt for a new metroidvania to chew on, Islets hits the right notes. It’s built on a clear understanding of what makes the genre tick, with a couple of fresh ideas thrown into the mix—even if the potential in those ideas is left underexplored. It’s a relatively concise affair, for better or worse, but with humour and personality laced over a strong exploration-platformer foundation, it’s not a bad way to spend a few hours.

Saints Row’s dynamic mission design and chaotic vehicular gameplay do wonders for an otherwise mundane open world experience, one that is sorely missing the iconic characters who brought the previous games to life.

In so many ways, Super Bullet Break is a remarkable game, a blend of different ideas and inspirations with a few strokes of innovative genius thrown in. The non-exploitative twist on gacha games, complete with all the wonderful characters and gorgeous artwork that makes those free-to-play games as popular (and lucrative) as they are. But there’s a fundamental incompatibility between the pseudo-gacha and the roguelike aspects that means neither really gets to show its true colours, and turns what should be a wonderful game into a needlessly restrictive and onerous one.

But “fun, playful way” is really what’s important there—because Train Valley is a lot of fun. It takes a fairly simple concept and adds some well-thought-out layers to create a satisfying, enjoyable train management puzzler. It’s best suited to short play sessions, but in those quick bursts, Train Valley hits a sweet spot.

Despite its shortcomings, I have enjoyed my time with Bright Memory: Infinite for what it is. It’s a slick first-person shooter that’s overflowing with energy and that blends gunplay, melee, and psychic abilities in exciting ways, set against a stunning Chinese mythological backdrop. It just feels like it should be so much more: there’s a foundation here for something great, if it only it was more refined and given the space to fully explore that potential.

If you look only at what is included, Wonder Boy Collection is a decent compilation: a selection of historically significant games—the elusive Monster World IV among them—that hold up surprisingly well, ported cleanly and with the usual assortment of helpful functions. But as good as what’s here is, and despite the marketing speak describing it as a “carefully curated collection”, the package feels incomplete without the two Wonder Boy IIIs. That’d be disappointing regardless, but it’s especially egregious when the (already sold out) limited edition counterpart does include them. Wonder Boy Collection is good for what it is, but it’s missing some crucial pieces, and for the most cynical of reasons. Westone Bit’s classics deserve better than that.

The best way to think of LOUD is like an interactive demo tape in the form of a Switch game. It doesn’t have the flash, licensed music, or sheer song count that bigger-budget rhythm games tend to shoot for, but in its place its something fresh, original, and invigorating in its raw energy. While it falls short of its narrative ambitions, it makes up for that in a kickass soundtrack and finely-tuned rhythm action core—and aren’t those the most important things in any music game?

So while it has some shortcomings and could stand a little more refinement, Yurukill: The Calumniation Games is exactly the kind of game I love to see: an unusual concept that puts creativity first and dares to experiment, even if the ideas don’t always quite click. And even with its pacing and puzzle design troubles, it’s still a rock-solid shoot ’em up, mixed with an engrossing crime thriller, carried by the most compelling villain since Monokuma.

After almost 15 years, the Mario Strikers franchise has returned in a big way with Battle League Football, an engaging arcade football experience that shines in local play. It could benefit from additional characters and an expanded single player offering but for those looking for a super accessible yet enjoyable sports game to play with others, this will satisfy that role nicely.

But such little problems are worth contending with for a game as pleasant and relaxing as Cat Cafe Manager. Just the right balance between a casual management sim, Story of Seasons-esque slice of small-town life, and laid-back but fun customer service game loop makes for a relaxing, engaging hook, all tied together with a host of adorable cats and charming locals to get to know, and the sometimes funny, often touching stories that unfold through them. It’s may not be groundbreaking, but Cat Cafe Manager hits just the right spot for a quiet way to unwind.

So I’m torn. The Sorrowvirus: A Faceless Short Story is a fascinating game in concept, with its looping narrative, creepy atmosphere, grim yet moving tale, and a psychological horror touch built into some neat gimmicks. But that potential gets lost in annoying puzzle design and the lack of saves—something intended to help build atmosphere, but that too often just kills it—and what should be an eerie, unsettling game instead just becomes a tedious one.

In almost every regard, Ganryu 2 is spectacular: it looks fantastic, builds on the original game in meaningful ways, nails the level and boss design that’s so crucial in an action platformer, and plays like a dream in the moment. But a horrific continue system that feels restrictive even by arcade standards means that actually experiencing all it has to offer requires the patience of a saint, and what should be a surefire hit instead turns into a painful slog.

In some ways, Neptunia x Senran Kagura: Ninja Wars is a little disappointing: a mash-up like this should aim a lot higher than what this one does. But missed opportunities aside, Ninja Wars is an enjoyable enough game, with characters that are as lovable as ever, a hefty dose of the humour that both series thrive on, and some downright hilarious moments where they collide. It may not be the dream collaboration it should be, but Ninja Wars is still a worthwhile outing for any Neptunia or Senran Kagura fan, especially with the convenience of a Switch version.

There are moments when Slipstream finds a groove, everything clicks into place, and it just feels good. Disregard the actual objectives of the game and just enjoy the ride, let the Out Run vibe wash over you and get lost in the moment, and it can be enjoyable, as a sensory experience. As a game, though, it’s infuriating: not a tough but worthwhile challenge, but the sort of difficulty that feels specifically designed to be unfair, even on its easiest settings. There’ll be some who relish that sort of archaic design, but for the most part, it just holds back what is otherwise a beautiful game and an impressive feat for a solo developer.

Tiny Tina’s Wonderlands is exactly what you’d expect from a full-game follow-up to Assault on Dragon’s Keep: a raucous, often hilarious parody of Dungeons & Dragons built on Borderlands’ looter-shooter foundations. Bigger isn’t always better, and it can feel needlessly drawn out at times, but the shooter-looter action, wild energy, and Tina’s Bunker Master antics are a whole lot of fun.

That’s Taito Milestones‘ biggest problem: the missed opportunity to do really shed some light on the impact of the games it collects. These are historically significant games, but presented devoid of any of that historic context. Without that, and when almost every game is already available separately (and in an identical form, no less), saving a few bucks on a bulk-buy is the only real reason to pick this up. A collection claiming to be a celebration of the milestones of one of the most important companies in arcade history needs to be more than just a way to pinch pennies.

If you come to Onde looking for a typical puzzle platformer or a rhythm game, you might find yourself disappointed. But take it for what it is—a game that takes pieces of the above, and uses them to drive an atmospheric, sensory experience of colour and sound—and you’ll find something worthwhile. Some rough edges and odd design decisions hold it back a little, but it’s a game that certainly leaves a lasting impression.

It doesn’t make a good first impression, but there’s a lot to like about Chocobo GP. It may not be as finely-tuned as the genre’s king, but there’s a lot more depth and nuance to the game than there first appears, especially in the 64-player tournaments that are the centrepiece. At the very least, its goofy sense of humour, playful jabs at Final Fantasy’s legacy, and the endearing nature of the Chocobo spinoff series create a delightful atmosphere that’s perfect for some kart racing shenanigans.

It’s those little humorous little touches that help make keep Maglam Lord going, even if it’s not especially ambitious or finely tuned in its basic action RPG setup. The story of a Demon Lord turned endangered species playfully riffs off JRPG tropes, finding plenty of laughs in the silliness of its own concept. Sharp writing makes sure every joke hits home, even when they seem on paper like they should fall flat, and there’s an unexpectedly earnest heart beating underneath it all. The game itself may not be anything memorable, but the journey that Maglam Lord takes you on makes it all worthwhile.

While Trigger Witch doesn’t exactly push the boundaries of the heavily-populated genres it draws from, it mixes them together in a satisfying way. Frenetic twin-stick shooter action backed by tight controls and fluid movement never loses its touch, while exploration, hidden secrets, and puzzle-filled dungeons bring some balance into the mix. The story of gun-worshipping witches who’ve given up on magic is just playful and self-aware enough to work, with a satirical touch and unexpectedly heartfelt moments to help keep it at least a little grounded. It may not be the most original, but there’s an exciting, enjoyable romp to be found in Trigger Witch—long live Ballisticism!

I’d love to see what the initial vision for Ghostwire: Tokyo was, before former creative director Ikumi Nakamura’s sudden departure from Tango Gameworks, because what we ended up getting feels like the shell of a different, far more interesting game. A rendition of Shibuya that’s authentic, atmospheric, eerie, and brimming personality deserves better than the most banal version of a generic open-world formula that ran out of steam a decade ago. Despite all the potential in its concept, the Ghostwire we got is—despite its ghostly theme—soulless.

Martha is Dead is a remarkable game, in the story that it tells, the way it tells it, and the ideas it explores in the process—a potent, powerful exploration of some of the darkest corners of human existence. It’s deliberately uncomfortable and confronting, but that’s part of what makes it work, and it’s underscored by a genuine sense of empathy, humanity, and a call for the world to be a better place. But, at least for now, game-breaking bugs and technical struggles that go far beyond mild inconvenience mean the Xbox One version should be a last resort.

Dying Light 2 is an experience rife with suffering, stemming from its dawdling progression, woeful narrative and intrusive presentation issues. In spite of these shortcomings, the parkour shines once the right equipment and skills are unlocked, salvaging a modicum of joy from this disappointing nightmare.

All these pieces come together to make ELEX II’s world a fascinating one to explore and get lost in, so long as you approach it with the right frame of mind. There’s more to discover than you could ever see in one playthrough, but that’s also not really the point—it’s not about checklists and activities that pave the road to 100% completion, but about discovery and adventure. And, yes, the jank is part of that—it’s unwieldy and often frustrating, it’s going to be a deal-breaker for a lot of people, but there’s a certain low-budget charm in the messiness of the game’s combat and pulpy dialogue. Polished to a sheen isn’t always better, and ELEX II is a nice reminder of that.

Still, if RPGolf Legends’ greatest sins are being a little bland, it could be a lot worse. Its mashup of golf and action RPG is a fun idea, and those disparate pieces come together well to create an adventure that’s full of playful charm. It’s an enjoyable enough romp in its own right, but it also shows there’s potential in this sort of genre clash, and I sincerely hope that’s something ArticNet continues to explore.

Edge of Eternity is tough to recommend—which is a real shame, because the potential and ambition here is clear. There’s some entertainment to be found in its combat system and the sense of wonder in its more impressive zones, but it’s held back by a lack of substance once the sense of wonder starts to wear off and a woeful story.

It’s that charm and playfulness that keeps Grapple Dog going, through its ups and downs. Slightly unwieldy controls mean the fluidity you’d expect isn’t always there, particularly on the trickier levels that demand more precision, but it’s hard to get too frustrated at something so gosh-darn cute. And when the grapple hook mechanic and nifty level design do come together just right, which is more often than not, the exhilarating result makes the odd annoyance worthwhile. A grappling hook and a dog just go together—I don’t make the rules.

When all the pieces come together, Operation STEEL finds a nice balance between the controlled chaos of a roguelike and the precision of a shoot-’em-up. A bad draw will sometimes put those two influences at odds, but more often than not, there’s an exciting confluence of styles of play that, on paper, seem incompatible. That’s an impressive feat as it is, but even more so for a solo developer’s first project.

Aspire: Ina’s Tale sets itself apart with stunning visual design and a story that, in knowing exactly when to leave things unsaid, encourages reflection just as it does adventure and excitement. It’s vivid, brimming with little details, but also leaves the door open to personal interpretation. It’s a shame that the game itself can’t reach the same heights, though, with lacklustre puzzle design and lots of little frustrations that get in the way of Ina’s inspiring tale, rather than enhancing it.

One aspect of Ghostrunner that is consistently impressive is the presentation.

Pokemon Brilliant Diamond and Shining Pearl may be the weakest entries in the series yet, and it’s a testament to the franchise’s solid foundations that I liked them at all. Their cheap graphical presentation is salvaged by a combat system that, despite its lack of innovation, has been steadily refined over twenty-five years. Thankfully, there are two other Pokemon games on the Nintendo Switch, so you can play one of those instead.

That simple sense of fun and frivolity is the spirit that runs through Big Brain Academy: Brain vs Brain, and the thing that separates it from more “serious” brain training games. It doesn’t push any boundaries, but what it lacks in a structured training regimen it makes up for in playful energy and a party game touch. Sometimes you want to meticulously practice an instrument, but sometimes you just want to jam—Brain vs Brain is the brain training version of the latter.

Death Stranding: Director’s Cut is a solid remaster with smart upgrades that build upon the original release without taking away from what made it a unique experience. The game itself has a lot to say and some of it is genuinely compelling, however, the pacing is abhorrent and the core gameplay is a deadly pill made out of tedium and boredom, that I really wish I hadn’t swallowed. Let’s hope I’m a Repatriate.

In a lot of ways, Metroid Dread is exactly the game that people who’ve been waiting 20-odd years for a new 2D Metroid could want: authentic and mostly true to its roots, but with enough new ideas thrown into the fold that it doesn’t just feel like a retread. Given the pedestal that Metroid gets put on, that’s an impressive achievement in itself. But it’s also uneven in that aim, sometimes clinging too closely to the past, and other times losing sight of what made the older games the classics that they are. Ultimately, what you get out of Metroid Dread will depend on what you expect from Metroid in the first place, but if you want an accomplished exploration platformer and can put up with a bit of frustration and narrative bloat along the way, you’re in good hands here.

The rudimentary nature of the game underneath all the moody presentation mean Gynoug’s appeal is probably going to be limited to the most die-hard shoot-’em-up fanatics, historians, and those with a nostalgic connection to it. But that’s all the more reason to preserve it in a readily available, accessible way—and with the suite of conveniences layered over the top of , that’s exactly what Ratalaika Games have achieved.

All this makes Crisis Wing a game that will appeal to a very particular niche—there’s certainly an audience for shmups with a particularly old-school flavour like this one. But design that feels a little too constrained, a lack of features that are now standard even in retro-styled shooters, and a tedious approach to difficulty make it a tough sell, even within that space.

In a genre that’s grown crowded in recent years, Patron finds a way to stand out with deep, intricate social systems that build cleverly on city builder foundations. The limited information tools and lack of any sort of scenario mode make it feel a little rudimentary, but the quirks of the social system and the way it interacts with everything else make this worth a look.

Despite its fiddly interface and a farming side of things that’s a bit underwhelming, Staxel’s open-ended nature and creative potential make it an enjoyable outing in blocky rural life.At the very least, it shows the potential in this idea of a life sim block-building game: even if it doesn’t get the balance quite right, creative freedom and the laid-back, satisfying rhythm of farm life go hand-in-hand.

Ultimately, that’s what How Buddy’s Parents Met is: an enjoyable collection of jigsaws that come together to form a sweet little picture book tale of two people falling in love (and the cute cat who gets to bask in that love). It’s simple, relaxing fun—nothing more, nothing less. Sometimes, that heartwarming comfort food is all you really need.

There’s a definite appeal in its cozy atmosphere and oddball characters, and the story about a community banding together to save what’s important to them is a heartfelt one. The minigames are a lot of fun, and what they lack in the precision you’d expect of a full-fledged arcade game, they make up for in sheer charm. But it’s also a game that leans a little too heavily into the quirky style of the “wholesome game” meme at the expense of substance and depth.

But even if it doesn’t always hit that mark, Arietta of Spirits still shows how well a short-form Zelda-like game can work, and with so many games competing for time and attention, that’s an exciting prospect that I’d love to see explored further. More importantly, this is a game that has a poignant story to tell about coping with loss and treasuring what’s dear to you—the kind of intimate tale that benefits from a less-is-more approach, and in daring to go small in a genre you’d normally associate with grand, world-saving adventures, Arietta of Spirits carves a memorable, heartfelt journey.

If you want to play something that scratches that life sim itch while also breaking away from the Harvest Moon mold just a little bit, you can’t go too far wrong with My Time At Portia. It suffers here and there from the simple fact that it’s an adaptation of a game that wasn’t designed around touchscreens to begin with, but this is still a more than serviceable port of a very enjoyable game.

At times, Where the Heart Leads crafts an interesting narrative on the complexities of family relationships, and how the decisions one makes can have consequences. I enjoyed the plots between Whit and his immediate family members, and the possibilities his decisions can create that might benefit everyone—but much like real life, the game also reinforces the concept that you can’t please everyone, and the story plays out as such. But being inundated with other characters that I felt I had to talk to, and text that felt needlessly drawn out, evolved the dialogue-heavy game from a customised narrative into a bit of a chore. Where the Heart Leads is a game with its pros and cons, so it’s hard for me to veer my review of this game from middling.

On balance, I’m still glad that Adventure Mode is there, giving something with at least a little bit of substance for solo players, but Mario Golf is a party game first and foremost, and Super Rush is no exception. But as a party game, it’s great: the sheer frivolity of Super Mario’s more playful spin on golf makes playing with friends a joy, with plenty of creative courses and neat modes like Speed Golf and Battle Golf to really dial up the fun.

How much you get out of Kingdoms of Amalur: Re-Reckoning is really going to depend on what you expect from it. It’s a familiar fantasy action RPG, but comforting in that familiarity and easy to just lose yourself in. It may have been overshadowed by the games that have followed in its footsteps in the decade since Reckoning first came out, and Open World: The Game has well overstayed its welcome by now, but Kingdoms of Amalur finds the right balance of simple fun and routine yet satisfying RPG loops to make that format work, even today.

It’s clear that the developers at TripWire put sincere effort into the presentation and mood of Maneater, and far be it from me to dictate how they make games, but I can’t help feeling like the gameplay should’ve been a higher priority. The failures of Maneater are most heartbreaking to me because it’s so clear that the developers were in love with this premise. The tone here is pitch-perfect, but the realities of being a shark are pretty miserable.

Preservationist gripes aside, Wonder Boy: Asha in Monster World is a great remake of a delightful, if flawed, Mega Drive classic. The new art style is gorgeous, capturing the vibrant beauty of the original wonderfully, and the modern tweaks are welcome, though a few more wouldn’t go amiss. But most importantly, it stays true to what made Monster World IV so unique, which, for a game that Sega seems to have largely forgotten about, is lovely to see.

I just wish it did a better job of fully realising the possibilities of virtual reality. Layers of Fear VR manages to ramp up the terror and intensity thanks to the sensory overload and isolation inherent in the medium, but it’s held back by awkward controls that serve as a constant distraction and detract from the atmosphere that the original game did such a good job of creating. Layers of Fear is a riveting piece of psychological horror, but the VR version falls short.

Beneath all the new technical capabilities and extra DLC features, the core of Days Gone on PC is still Days Gone, for better and worse. It’s a game that can be a lot of fun to play in the moment, with a good balance between stealth, action, and exploration and the exhilaration that comes with fighting its zombie hordes. But it’s also a game that struggles to stand out from a very crowded room; that despite its story-driven focus and early signs of promise, ends up tracing all the same cliches as every other zombie outing before it.

This isn’t to say it’s not a fun game, it’s just a very generic one, with a standard premise (kid gets sucked into a videogame) and a basic fantasy world. It’s a stock-standard action platformer—nothing more, nothing less—and if you enjoy the genre’s no-nonsense fun and you’re not concerned at a lack of bells and whistles, you’ll like this one too. On the other hand, if you’re coming in expecting a metroidvania because the game’s own description calls it such, prepare to be a little disappointed.

R-Type Final 2 is a worthy revival of an iconic shoot-’em-up series, with plenty of ships to unlock and exciting new levels to explore. But with performance struggles that can create unfair, unexpected failures in a game that’s already pretty challenging to begin with, Switch isn’t the way to play this one.

That’s not to say Breathedge doesn’t have its moments. It can be genuinely funny when it lets itself, and once you reach the point where the survival aspects start to open up and oxygen management becomes less of a pain, it even starts to get a little fun. But the journey to that point is too long and too laborious, and as soon as Breathedge finds its groove, it cuts away to a particularly unsatisfying end.

That’s the running theme through Don’t Forget Me: fantastic ideas that never get taken to their fullest. It’s a cyberpunk story that dives deep into the timeless question about whether freedom is worth sacrificing for peace and happiness, about whether freedom without peace is truly peace at all, and vice versa. A puzzle system built around navigating people’s memories using keywords turns the storytelling itself into part of the game in a fascinating way. But the full potential of gets lost in the brevity and abruptness of the experience; Don’t Forget Me is a compelling game full of unique ideas, but one that feels a little incomplete.

I'm torn. On the one hand, Returnal is one of the best third-person shooters you'll find, full of the kind of frantic, precise action that's so satisfying to master, but on a scale and with a sense of atmosphere that's far beyond anything Housemarque has done before. On the other, the ill-conceived idea to make it a roguelike sits at odds with everything the game does best, undermining its greatest strengths and turning an exciting game into a tedious and frustrating one. If you've got the patience for it, this is an adventure that's absolutely worth taking, but I can't help but wonder how incredible Returnal could be if it didn't keep getting in its own way.

How much you get out of Where’s Samantha? is going to depend on your tolerance for its clever but unyielding approach to puzzle design. It’s got some clever ideas, and if you find satisfaction in finding cryptic solutions, you’ll enjoy what’s on offer here. But little annoyances and a general lack of variety—despite the creative potential of the fabric-world theme—make it a less than satisfying experience for all but the most dedicated puzzle solvers.

But if you can deal with that, Deiland: Pocket Planet Edition is a fun little farm sim, one that lacks depth but makes up for in charm and the uniqueness of its setting. Put your favourite comfort show on TV and play this while you’re half-watching, and you’ve got a nice way to unwind and turn your mind off for a spell.

Gensou SkyDrift is easily one of the more unique kart racers I’ve played, if a little rough around the edges. Unbalanced spells, aggressive rubber-banding, and a relative lack of game modes are frequent sources of frustration, but it’s also so full of clever ideas and the inherent charm of the Touhou property that it’s hard to get too mad at it. And hey, if it’s a choice between a polished game and an interesting one, I’ll choose the latter every time.

Barrage Fantasia may be a bit no-frills as an overall package, but the core game is rock solid: a retro-styled bullet hell that knows what makes the genre work and leans into that. It doesn’t try to reinvent the wheel, but packs enough of its own ideas to feel unique, with stylish pixel art and cute, eccentric character designs to top it all off.

It’s an intriguing game in concept, with an abundance of eerie atmosphere and some clever ideas at play, but it struggles to reach its true potential. If you like the sort of moody puzzle games that Darq follows in the footsteps of, the couple of hours you’ll spend in Lloyd’s dreamworld are certainly worthwhile, but this is a nightmare that, strangely enough, feels like it’s over too soon.

It’s an experimental game that uses its PS1 aesthetic to drive home the surreal atmosphere of this world, and it’s easy to get lost in that atmosphere as you explore and experiment in search of different endings. It’s just a shame that the mystery runs out of steam so much sooner than the game itself does, dulling the impact with each new outing and robbing the “true” ending of much of its potential.

Gal*Gun Returns doesn’t quite reach the same heights as Double Peace or Gal*Gun 2, but it’s still a thoroughly enjoyable rail shooter, and one that’s far more subversive and clever than its infamy would have you think.

Cathedral is a competent metroidvania, made by a team that clearly loves the genre and knows well what makes it tick: it’s got a huge, detailed map to explore, full of secrets to find and upgrades that give you fun new ways to navigate the space. But it’s also an unremarkable game in a saturated space, and one that gets in its own way to often. Cathedral is an enjoyable enough game that will scratch that exploratory itch if you’re the sort of person who can never get enough Metroid (guilty!), but it won’t have much appeal beyond that niche.

With its vibrant art style, playful atmosphere, plenty of cleverly-designed levels to solve, and some interesting, if uneven, new ideas at play, Drawn to Life: Two Realms is an enjoyable game, but it never quite manages to capture the magic of its predecessors.

Iris.Fall continues the trend of shadow-based puzzle games, finding plenty of opportunity to build on the core concept of moving 3D objects to create paths among the shadows cast. It doesn’t quite hit the mark with the sort of introspective, abstract storytelling it tries to deliver, but its clever puzzles and stunning presentation nonetheless make Iris.Fall a few hours well spent.

That final level aside, The Pillar: Puzzle Escape is a great way to just shut out the world and unwind for a few hours. Its colourful world, soothing music, and puzzles that, for the most part, manage to be satisfying without being overly taxing make for a chill, relaxing game.

While Yaga doesn’t always deliver on the potential that comes with its unique premise there’s still some good fun to be found. What it lacks in depth it makes up for in style and humour, wrapped around a decent, if uneven, action RPG.

Unfortunately, a cute and thoughtful story isn’t enough to distract from Sword of the Necromancer‘s other struggles. There’s a competent action RPG in there, but it’s lost beneath a misguided attempt at a roguelike experience that misses most of what makes roguelikes exciting. Even something as unique as a system of reviving slain enemies to fight alongside you gets lost in the narrow constraints of the game’s other systems, resulting in a largely forgettable experience.

Even with the added “help” features that Initiate Edition introduces, Cultist Simulator demands a willingness to fumble around in the dark–not only to see the best of what the game has to offer, but even just to come to grips with its basic fundamentals. If you’ve got the time and patience to meet its demands, Cultist Simulator can be a fascinating game, but an overcommitment to being deliberately obtuse robs the game of impact in what should be its strongest moments.

There’s a great game somewhere in Destruction AllStars. The concept is an original take on the “hero” trend, and could be a nice return for the vehicular combat genre that’s been quiet for a while. Every now and then, when everything clicks into place, you can see that potential on display. Sadly, despite its vibrant cast and unique concept, the lack of content and matchmaking woes prevent it from really delivering on that potential.

Turrican Flashback is still a solid collection. Super Turrican 2 is an odd and stark omission, but it’s nice to have the rest of the series readily available on current platforms, keeping their history and influence alive.