It’s easy to dismiss Tsum Tsum Festival as being “just” a minigame collection, but there’s value in those – especially on the Nintendo Switch, which is built around the easy sharing of experiences but has, to date, had a relatively minimal application of that potential outside of Nintendo itself.
Initially I was worried that Layton sans the titular professor would be a problem. In the end that wasn't where the issues lay with Layton's Mystery Journey. I'm certainly on board with Katrielle taking over and having the kind of long career that her father did, but Level-5 does need to get some fresh new puzzle-designers in, because with this game they dropped the ball too frequently for a series of this calibre.
Groove Coaster: Wai Wai Party! wasn't quite the celebration of digital celebrities that I had hoped it would be going in. What it is is an excellent rendition of one of the better rhythm games out there, and while it might be more straight-faced and less "party" than the title implies, it's still hard to go wrong with this one.
Like the very best horror, Tokyo Dark takes a look at real-world issues and tensions in a way that's memorably shocking. There's a strong subtext to Tokyo Dark's story, and its told in a nuanced way, with memorable characters and intense imagery. Cherrymochi is a unique developer that has created a unique thing here, and for that the team has certainly earned my attention for whatever it has coming next.
For the first ten hours or so I thought that The Outer Worlds would become a game of the year contender. Unfortunately it ultimately proves itself to be a little too shallow for that, but the combination of stunning vistas, excellent party members, and entertaining gunplay make it much like the 70's and 80's science fiction that it's clearly inspired by: A lot of fun when you're looking to switch the brain off and just unwind.
I walked into The Lord of the Rings: Adventure Card Game fully expecting yet another attempt to "do Hearthstone" on the Nintendo Switch. I walked away thoroughly impressed with how completely the game surprised me.
There's nothing wrong with Mario & Sonic at the Olympic Games 2020. It's presented with verve and for such a large range of mini-games, the fact that there's no true dud in there is impressive in its own right. At the same time, it lacks the competitive edge of the "proper" Olympics title this year, and is a little too feature light for its own good as either a single player or local multiplayer experience.
If there was forward momentum on the subsequent chapters, or some kind of guarantee that the story will actually be completed, then Corpse Party 2 would be essential. I love this series for its sublime use of horror language and the pictures it paints with words rather than relying on (just) the visual grotesque. But this "latest" entry into the franchise only gets to be great if it's actually finished.
There's no other way to say this: by virtue of being two of the greatest games of all time, this combined edition pack is one of the best releases of the year.
As a “game” Death Stranding doesn’t do much. But as a work of art, Death Stranding is something mesmerising, intelligent, and powerful, and we never see genuine art within the big budget, blockbuster space. That alone makes it a rare treat to play, and I rather like this new-look, independent Kojima.
Throw in a functional, but hardly boundary-pushing combat system, and you're left with something that works, but at this particular time of year, a workmanlike experience is just going to drown under the weight of all the other really good stuff being released, sadly.
Boiled down it's a fairly simple riff on GhostBusters, but Luigi's Mansion has been produced with such a sense of humour and eye for detail that it has a personality and uniquely Nintendo quality all of its own.
Lethis had potential. The idea of a steampunk city builder is appealing and does delight the imagination on premise alone. In execution, though, there's virtually nothing of the steampunk concept, beyond the aesthetics, and the game is so stiflingly limited in how it plays that it becomes dull before measure far, far too soon.
I didn't think it would be possible, but Gust really has managed to craft three completely different Atelier games through 2018 - one for the traditionalists, one pushing new ground, and one purely for the fans - and all three have, in their own way, been of the astoundingly high quality and spirit that has made Atelier my favourite JRPG franchise for quite a few years now.
MediEvil is a rare bit of whimsy from modern Sony, and so while it plays a little bit too much like an artifact of yesteryear, it still got me smiling.
After briefly playing around with the arcade stuff I turned that it off, because PBA Pro Bowling really does work better as a reasonably dull and sterile, but accurate take on bowling.
With Conception Plus you get a really wonderful, albeit uncompromising and traditional roguelike dungeon crawler, with all that that entails.
It doesn't really matter how well Summer Sweetheart actually plays, though, because it's such an poor concept, and its executed so clumsily, that it's just not worth touching.
Destiny Connect: Tick-Tock Travelers biggest problem is that there are so many more memorable JRPGs available on Nintendo Switch. It's a sweet little entry-level game, and is refreshingly brief in length and scope. It also has a streamlined, nearly retro approach to its combat, and it has fun with its time travel theme. It might not be particularly profound, but it is sweet and cheerful and has a really good soul.
Mary Skelter 2 is more of the same, but given that no one else out there would touch this combination of fairy tale, fetishistic horror, and anime fan service, I can't complain one bit about what Mary Skelter 2 is.