With more sensational world-building, slick combat and compelling narrative, The Foundation feels like a superb next chapter to Control’s story. It might not do much with the ideas introduced within the original campaign, but with Control being one of last year’s best games, that’s far from a disappointment.
Dan Marshall has said publicly that if Lair of the Clockwork God doesn’t sell well enough, it will most likely be Ben and Dan’s final adventure. And if that’s how it transpires, then this game will be a fitting swansong. But if there’s any justice in the world it will sell hand over fist, because it’s a brilliant, joyous, clever and generous experience.
Final Fantasy VIII isn’t without its flaws, and it spreads them fairly evenly across story, mechanics, and pacing. Happily, the speed boost on offer in the remaster fixes the pacing, which effectively papers over the cracks in the grind-heavy mechanics. What you’re left with is a fun, somewhat silly, and beautiful RPG. And on Nintendo Switch, you can play it anywhere. This really is the best way to play Final Fantasy VIII.
Despite its unapproachable first few hours and some severely rough edges, Planet Zoo is one of the best tycoon games of the year. It offers near-limitless potential through its construction and exhibit tools, while Frontier’s visually stunning animals feel authentic and supremely detailed. With some patches, there’s no denying Planet Zoo could wind up being something extraordinarily special.
In terms of moment to moment gameplay, Song of Horror can feel a little bland. The puzzles are inconsistent, it lacks scares, and the narrative is forgettable. However, the game’s willingness to go all-in on its interesting permadeath mechanic makes it a unique horror experience that manages to disguise its flaws with ambition. It may be largely centred around a gimmick, but with each episode feeling relatively brief, its one that doesn’t wear out its welcome.
Return of the Obra Dinn makes the journey to Nintendo Switch content and feature complete in a sparkling port from Warp Digital. The game is, simply put, one of the best ever made. It’s intricate, macabre, involving and essential. It’s aesthetically phenomenal and intellectually satisfying. Like the very best games, Return of the Obra Dinn is an experience that could only ever exist as a game. It’s’ a masterwork of narrative Sudoku and a recommended purchase on any platform.
A Hat In Time’s Switch port is sadly the worst way to play the game, however, beneath all its bugs and poor visuals, it’s the same aggressively fun and ruthlessly charming platformer. Its nine-hour runtime is filled with fluid gameplay, hilarious characters and diverse set of levels that toy around with the genre in the best way possible. A Hat In Time is simply one of the best platformers in years, and it’s worth dealing with the Switch’s technical limitations to experience.
The Surge 2 is a satisfyingly challenging game with fluid, fast and intense combat that rewards players investment. It’s not going to change the minds of Soulsborne detractors, but it’s got enough smart, unique features and interesting evolutions of the genre’s systems to put it on the radar of its fans. It’s far from a FromSoftware level game, but it’s a worthy alternative with a lot to offer.
The career mode is a little underwhelming, but Grid's racing is as on-point as ever. A culmination of Codemasters' years of experience – combined with brilliant assists and that oh so clever Nemesis system, that makes trading elbows with competitors as much fun as the racing itself – make this an ideal motorsport sim.