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.

“A darkly comedic narrative game based on real world philosophical papers” is an apt description for Trolley Problem, Inc. but one that feels incomplete. Through its surreal story and black humour, it delivers a thoughtful, fascinating reflection on the moral philosophy underpinning the famous thought experiment. It won’t give you an answer—that was never the point—but it’s a captivating way of delving into those murky depths.

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.

Hundred Fires: The rising of red star is not a good game by any stretch: a Metal Gear Solid clone that is, at best, functional. It replicates superficial details with a wink, but it’s far too clunky and lacking in substance to be enjoyable. And yet, I find myself morbidly curious to see where the bizarre story of a Cuban Solid Snake, a ghoulish JFK hologram, and a Kojima-lookalike weapons manufacturer ends up.

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.

Tormented Souls is a true homage to the survival horror classics of the ‘90s. It’s sold as a modernisation of the genre, but really, it’s the opposite: a game that resists the allure of polish and convenience, and instead commits to the clunky, unwelcoming design—deliberately—that makes those classics tick. That approach won’t appeal to everyone, and the balance isn’t always spot on, but when it comes to dredging up some creepy atmosphere and instilling a constant sense of tension and unease in the player, Tormented Souls hits the mark.

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.

Boasting a polished presentation, enjoyable gameplay that more closely resembles modern pro wrestling and two brilliantly executed modes in Showcase and MyRISE, WWE 2K22 is genuinely delightful and a defining chapter in its franchise’s legacy.

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.

Z-Warp might be one of the more conventional shmups from a studio that usually leans into the experimental side, but I think it might be Panda Indie’s best yet. The mix of Cave-esque movement, creative bullet patterns, and the inventive twist on bombs makes for a satisfying bullet hell, drenched in the grimy atmosphere of its lo-fi pixel art and sci-fi horror theming. Forget what you know about clinging to your bomb stock—in Z-Warp, that button is your best friend.

When Chrono Cross first came out in ’99, it proved divisive for not simply following in the footsteps of Chrono Trigger. In retrsospect, it cuts closer to its predecessor than it got credit for back then, not necessarily in style or game design, but in the way it pushed the boundaries of the genre and the stories that videogames can tell. That it still feels unique and even subversive, more than 20 years on from its first release, is proof its timelessness. And for a large part of the world for whom The Radical Dreamers Edition will be the first chance to (officially) play Chrono Cross? Well, they’re in for one hell of a ride.

Even without some bells and whistles, Hatsune Miku Jigsaw Puzzle still stands out as one of the better jigsaw games on Switch. A careful choice of images that fit the jigsaw format well and the sheer beauty of the artwork involved make the puzzles a joy to solve, and that’s only heightened by pristine presentation and the cheerful energy that Miku and her friends always brings with them.

In some ways, though, the lack of those sorts of nice-to-haves almost helps with that whole nostalgic arcade vibe that Andro Dunos II so flawlessly nails. If I didn’t know better, I’d have guessed that it was actually a forgotten relic from the ’90s, and a particularly timeless one at that. For a two-person indie studio licensing a sequel to a 30-year-old game, that’s one hell of an achievement.

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!

Even with some technical shortcomings, the charm of Rune Factory 5 is undeniable. It does what the series has always done best: combine the laid-back nature of a farm life sim with the sense of adventure you find in an action RPG, with a lighthearted touch and cheerful tone to tie it all together into something delightfully comforting. A few tweaks to the formula create a more cohesive whole out of those two sides, but at its core, this is the classic, tried-and-true Rune Factory.

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.

“Final Fantasy meets Nioh” is in easy assumption to make about Stranger of Paradise: Final Fantasy Origin, given appearances, and while that’s not exactly inaccurate, it’s an incomplete description. Team Ninja’s pedigree and inventive riffs on Final Fantasy staples makes for an action RPG that’s hard to put down, but what really sets Stranger of Paradise apart is the subversive way it approaches its source material. This isn’t your typical origin story; it’s a deconstruction of that first Final Fantasy and a reflection on the legacy it left in its wake—one that’s entertaining, often funny, sometimes biting, but above all, is willing to question its own canon in a way that you don’t often see from a series as high-profile as this.

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.

It works because, as much as it’s a “bigger, better, more” approach to a sequel, Hidden Depths it never feels excessive or like it’s just about pushing bigger numbers for the sake of it—a trap that far too many sequels fall into. Everything here, from the more pristine visual finish to the way the relics you dredge up help paint a picture of the world that was, helps to build up that atmosphere that made the first game so captivating: peaceful, serene, a little melancholy. There’s a serious warning tucked just beneath the surface, but it’s also a game that wants you to just enjoy being in the moment and find a piece of peace. It’s that atmosphere that made Submerged so memorable, Hidden Depths never loses sight of that.

It may be a little uneven at times, but even at its worst, Grand Mountain Adventure: Wonderlands is still a whole lot of fun. When all the pieces come together, though? When pure adrenaline and absolute serenity find just the right balance, and don’t just coexist but reinforce one another? In those moments, it’s sublime.

I think Welcome to Elk is one of those games where the less you know about it going in, the better. That might seem an odd thing to write after a few hundred words trying to describe it, but it’s also so unique and unusual that whatever expectations you might have, they’re almost certainly not going to prepare you for what’s inside. And in a game so fundamentally about stories—not just telling stories that would otherwise risk being forgotten, but exploring the way stories are told and the lives they take on in the process—that willingness to reject expectations goes a long way.

Among Wadjet Eye’s back catalogue, Primordia is certainly one of the most memorable: a gripping sci-fi romp that’s mysterious and dramatic, with fascinating philosophical subtext and just the right amount of humour to balance everything out. It shows its age in some ways, but nonetheless makes a smooth transition to Switch and finds a natural home in handheld mode. If you like classic point-and-clicks and want a different, more thoughtful type of post-apocalypse to explore on your Switch, Primordia is one you don’t want to miss.

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.

Whatever it is that draws you to Gran Turismo—the rags-to-riches solo campaign, online competition, collecting cars, automotive photography, technical accomplishment—Gran Turismo 7 goes above and beyond. It is, as it set out to be, the ultimate celebration of car culture, and I can think of no better way to commemorate the series' 25th anniversary.