Mini Motorways is a surprisingly ambitious game for its scope. It executes a simple yet remarkably thoughtful premise and largely achieves great results. In everything from its visual style to its gameplay, Mini Motorways is broadly accessible, and smartly introduces the player to increasingly complex scenarios. Even though it doesn’t quite match the design perfection of something like Tetris, that’s still a pretty remarkable comparison to inspire.

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.

Packed with technical improvements and a superb single player expansion, Final Fantasy VII Remake Intergrade further cements its spot as one of the greatest remakes in gaming history.

Though the circumstances that made a whole new release necessary are disappointing (for Christophe Galati more than anyone, I’d imagine), Save me Mr Tako: Definitive Edition really does live up to the “Definitive” part of its name. It keeps intact everything that made Save me Mr Tako so great back in 2018—the authentic Game Boy look and feel, the vibrant world, the nifty platforming, the surprisingly deep and heartfelt story—but with a bunch of welcome tweaks, balance improvements, and new features that really bring out the best of a delightful, if overlooked, indie gem.

Scarlet Nexus reminds me a little of The Caligula Effect, in a way. Not in theme or style, but in tone, in energy, and the way it uses the JRPG format to go down some fascinating, thought-provoking paths. But where such games are not unusual from smaller developers, it’s a rare joy to see a publisher like Bandai Namco take the same risks, and to see those experimental ideas get the budget they need to truly shine. In a world where the “punk” suffix is often just a shallow aesthetic choice, Scarlet Nexus truly lives up to its “brainpunk” vision.

Ever since its announcement, there have been concerns about Guilty Gear Strive and the new direction it’s going: concerns that it would try too hard to make the game approachable at the cost of depth, that it would oversimplify things, that it’d lose what makes Guilty Gear Guilty Gear. And sure, Strive is a different beast, with a different tempo and a different focus, but it’s still got all the quintessential pieces of Guilty Gear in place: the tactical depth, the interplay between systems that creates fascinating strategic opportunities, the rich characters, the hype, the big juicy combos. It’s a little lacking in bells and whistles and the lobby system leaves a lot to be desired, but the core of the game is rock solid—and, really, that’s what’s most important.

Disco Elysium – The Final Cut is something rare. It’s a re-issued version of an already-beloved game, that manages to eclipse the source material through clever and thoughtful additions that maximise one of the game’s most beautiful assets: its prose. But more than that, it’s the only CRPG that can truly claim to emulate the tabletop experience—not through adherence to statistics or rules or character sheets, but through the simple act of asking questions, and thoughtfully incorporating the answers.

Despite those technical shortcomings and the lacklustre experience that is Ninja Gaiden 3, Ninja Gaiden: Master Collection is an impressive collection that shows why this series is so lauded. From the ambitions of Ninja Gaiden Sigma to the way Ninja Gaiden Sigma 2 refined those ideas to near-perfection, these are some of the best action games you’ll play—and they hold up surprisingly well today. I guess I like Ninja Gaiden now.

As the first entirely new Ratchet & Clank in almost eight years, and the latest entry in one of the defining franchises of the PS2, Rift Apart had a big legacy to live up to. But boy, does it manage to step into those magneboots, delivering a decidedly modern game that creatively pushes technical boundaries, while also being grounded firmly in the joyful, playful design philosophy of that golden age of 3D platformers. Ratchet and Clank: Rift Apart feels like something from an alternate dimension where that early 2000s style of platformer design never went out of vogue.

Sumire isn’t quite like anything else out there, because that’s the nature of grief—it’s deeply personal stuff, despite being such a universal thing to deal with. It’s heartbreaking, in the way that losing a loved one can only be, but it’s also a bittersweet story of hope: of keeping the memory of loved ones alive in our actions, about living each day to the fullest, and cherishing all the little moments that we’re blessed with. It’s beautiful.

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.

The very nature of what Strangeland is means it’s not going to be for everyone—there’s something inherently alienating in its bleak premise and puzzles that make the odd dose of frustration a thematic design conceit. But if you’re on the same page, this haunting, uncanny, strange adventure is one that will sit with you.

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.

In short, Experiment 101 delivers an ambitious experience in Biomutant. Repetitive mission design and shoddy pacing at disparate points in the story hold it back from being a true masterpiece in its genre, but exhilarating combat and meaningful incentive for exploration make this an entertaining open-world game.

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.

Even with some minor technical concessions, Layers of Fear 2 is every bit as impactful on Switch as it was on beefier platforms, full of the unsettling atmosphere and disturbing yet insightful psychological horror that Bloober Team is so good at crafting. Only now, there’s the added convenience of handheld play—and the option of playing under the covers with lights turned off for maximum effect.

De Tres al Cuarto is just the right note to close Essays on Empathy with, because it so perfectly encapsulates everything that the collection aims to achieve. This is so much more than an anthology of games; it’s a journey through Deconstructeam’s history, their game design philosophy, their struggles and motivations. It’s a peek behind the curtain at the groundwork that was laid for The Red Strings Club (and beyond), but more than that, a candid look into the lives, creative process, and growth of a team of developers telling some of the most emotive and thought-provoking stories you’ll find.

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.

New Pokemon Snap is, well, a new Pokemon Snap—nothing more and nothing less, but that’s exactly what it should be. It captures everything that made the original such a beloved game two decades ago, building on that with some new features and a bigger pool of Pokemon to snap, but not messing too much with a formula that works well. The arcade fun of a rail shooter, the joy of photography, and all the personality of these adorable pocket monsters is a combination that never gets old.

The fact that Nintendo would remake Famicom Detective Club at all might be one of the most welcome and unexpected surprises of this year, and they’ve turned out remarkably well—dated puzzle design notwithstanding. An art style that combines the best parts of visual novel stills and fluid animation helps to lay the groundwork for a pair of truly engrossing detective stories. The way each mystery unfolds as you piece together the clues is nothing short of masterful, with the atmosphere, nuanced storytelling, and emotional underpinnings to tie it all together beautifully.

The fact that Nintendo would remake Famicom Detective Club at all might be one of the most welcome and unexpected surprises of this year, and they’ve turned out remarkably well—dated puzzle design notwithstanding. An art style that combines the best parts of visual novel stills and fluid animation helps to lay the groundwork for a pair of truly engrossing detective stories. The way each mystery unfolds as you piece together the clues is nothing short of masterful, with the atmosphere, nuanced storytelling, and emotional underpinnings to tie it all together beautifully.

But those are minor complaints, really. Before We Leave is an intriguing, enjoyable game—one that puts its own twist on a Settlers-style civilisation-building game with a heavy environmental focus and a reframing of the colonialist implications that tend to underpin the genre. It’s a relaxed, chilled-out city-building experience, but within the premise of reclaiming your own land instead of colonising someone else’s, it’s also a thought-provoking one.

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.

With the latest re-release of Shantae, the entire series is now readily available on Nintendo Switch. It’s a delightful franchise that’s gone from strength to strength over the past 20 years, and to have the game that started it all easily accessible, with the convenience of save states to help work around some of its more dated elements, is a true joy.

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.

A Resident Evil that moves away from zombies in favour of gothic horror and European folklore was always going to be something unique and impressive, and Village certainly delivers. But it's so much more than that, too; not just a new take on Resident Evil, but a reflection on the series' genre-defining history. And with its anthology-like structure that so effortlessly traverses so many different horror subgenres and styles of storytelling, it goes one further: it's a reflection on horror itself. In that, Resident Evil Village is magnificent.