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.