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Feudal Alloy won me over. I went from struggling with its early fights to finishing the game and wanting to go back and explore everything I missed on my first playthrough. A fish controlling a medieval robot is a wonderfully odd premise, and the hand-drawn world has plenty of charm. It is impressive how much its two-person team has put into the game. What kept me playing was the combat. Attu builds up heat as he attacks; push him too far and he overheats, leaving him unable to fight until he cools down. It is essentially a stamina system, but it works particularly well here. I tend to rush in and keep pressing attack, so I had to learn to watch enemies, choose my moment and leave myself room to cool down. It made me fight in a more controlled way, and winning felt better for it. I enjoyed both bosses, although Boss 2.0 felt much easier than Boss 1.0 because Attu was so much stronger by the time I reached it. I enjoyed the enemy-wave arenas: surviving each wave gave me a real sense that I was improving. I expected to face crowds of enemies there, but ordinary rooms in the main game could be just as packed, sometimes to the point of feeling overwhelming. I would have liked more bosses and fewer arenas. Finding equipment was satisfying too. When a fight was giving me trouble, choosing more damage over armour or oil capacity felt like a meaningful decision. The game gives you opportunities to try out new abilities after finding them. That is familiar Metroidvania design, but it is done well. There are reasons to revisit earlier areas, although the overall journey felt fairly linear to me. For all that I enjoyed, the little frustrations add up. Enemy types are limited, and several environments look too similar. The map is usable, but being able to place my own markers would have made returning to unexplored routes much easier. Some barriers did not make their requirements clear. Managing consumables could be clearer, and I wanted one screen showing my equipment’s combined stats. The game also does not alert you when you have a level-up point to spend. I finished having spent only one because I had not thought to keep checking. Death could be more punishing in its inconvenience than in the fight itself. Save points restore your health, but their placement can mean a long trip back. Consumables used in a failed boss or arena attempt stay spent, so another try may begin with fewer health or cooling items. With shops sometimes a long way off, preparing for a rematch becomes a chore.I also occasionally caught on doors, doorways or ladders when I was simply trying to move through them. There are plenty of small snags like this that should have been caught in testing. What the two-person team achieved is impressive, but these issues still affect the experience. I recommend giving Feudal Alloy a try, especially if you enjoy Metroidvanias with deliberate combat. I’m glad I persisted through its difficult opening and saw it through. Caveat em-bot-or: go in knowing that its charm comes with flaws.

Tears of the Kingdom is probably technically a better game than Breath of the Wild. I still prefer BOTW. That might sound strange after spending around 430 hours on TOTK and eventually doing everything, but BOTW had one advantage its sequel could never overcome. TOTK gives you far more to do and improves on BOTW in lots of ways, but BOTW was my first experience of getting lost in Hyrule and discovering its world. However good the sequel is, that’s hard to beat. As a sequel, though, TOTK is incredible. Ultrahand completely changes how you interact with Hyrule. I used it constantly, from genuinely useful machines to ridiculously elaborate supports just so Addison could get another Hudson sign to stand up. The two-fan hoverbike is incredibly useful, while attaching a rocket to a shield never stops being fun. Fuse is an excellent addition and makes monster parts much more useful, although it doesn’t completely solve my annoyance with weapon durability. Ascend might be my favourite new ability. After hundreds of hours, being able to go straight through a ceiling feels like something BOTW should always have had. The shrines are particularly good because TOTK is remarkably relaxed about how you solve them. You can look at an elaborate physics puzzle, completely ignore the intended solution, stick a few things together and somehow get Link to the other side. Rather than feeling like you’ve cheated, it feels like you’ve found another solution. The Sky Islands are great, although I would have liked more variety in their environments and biomes. The Depths, however, are superb. My first jump into a Chasm was a genuine “wow” moment: dark, eerie and initially intimidating. Gradually discovering how the Depths relate to Hyrule above – including Lightroots corresponding to surface shrines – makes exploring them even better. I eventually uncovered the whole thing. The temples and puzzles are excellent and there are some brilliant bosses. Colgera is a standout; diving through it as the music kicks in is one of the game’s best moments. Master Kohga is genuinely funny, Ganondorf and the final sequence are brilliant, and Zelda’s story through the Dragon’s Tears really worked for me. Then there are Gloom Hands. Early on, when the sky suddenly changes and they’re coming after you, they get the heart rate going. I still prefer BOTW’s Guardians, though. That sudden Guardian music remains one of gaming’s best ways of telling me that whatever I was planning to do has just changed. I loved getting to the point where I could deliberately hunt Lynels rather than avoid them, with the Barbarian armour becoming my favourite set. The “I need to reach my friend” Koroks also produced some hilarious moments, particularly when attaching them to objects that really shouldn’t be used for passenger transport. A few things stop TOTK beating BOTW. Weapon durability still irritates me. The Sage abilities are badly implemented compared with BOTW’s Champion abilities – finding the right companion to activate one can be unnecessarily awkward. And however brilliantly TOTK expands Hyrule, I already knew that world. None of that stopped me playing for around 430 hours.I reached 100.00% on Switch 1, which was enormously satisfying. Then the Switch 2 upgrade and Zelda Notes arrived and revealed that 100% didn’t mean I’d actually done everything. So I carried on, using Zelda Notes to track down everything I’d missed. Eventually there was one thing left. A Stone Talus. After all the temples, Lightroots, Lynels, Koroks, caves, shrines, signs and hundreds of hours exploring Hyrule, one Talus was standing between me and actually being finished. Finding and beating it gave me a ridiculous sense of achievement. TOTK is at its best when you have an hour spare and decide to do a little exploring or nudge the completion percentage upwards. Then you spot something in the distance, find a cave on the way, get distracted by a Korok, fight something you weren’t looking for and realise several hours have passed. BOTW is still my favourite Zelda game. But after around 450 hours in TOTK, right up until that final Stone Talus, I was still finding reasons not to leave Hyrule.

Skyward Sword HD was the first more traditional Zelda game I played after Breath of the Wild and Tears of the Kingdom, and I was surprised by just how well its much more linear structure worked for me. It’s obviously a very different type of Zelda, and while I would still put BOTW and TOTK above it, this is an excellent game in its own right. The story is particularly good and gives the adventure a real sense of purpose. Skyloft works well as the central hub, I loved flying around on the Loftwing, and regularly returning to the surface areas never bothered me as much as I expected it might .The dungeons and puzzles are among the highlights. Ancient Cistern and the Sandship in particular are excellent, with some clever ideas and memorable environments. The bosses are generally very good too, particularly Ghirahim, although having to fight The Imprisoned three times is unnecessarily repetitive and became more annoying with each encounter. I played mainly using the button controls, and the directional sword combat initially felt quite awkward. I got used to it as the game went on and occasionally switched to motion controls where they felt more natural, but the control system never felt completely effortless. Fi is mostly helpful and I liked having her along, although she can still become irritating at times. Visually, it holds up remarkably well considering the age of the original game, helped considerably by the HD remaster. The music is a real highlight and adds enormously to the atmosphere. At around 50 hours, the length also felt about right. The combination of excellent dungeons, puzzles, music and atmosphere makes this a fantastic Zelda adventure. The awkward controls, some unnecessary repetition and especially having to fight the same boss three times stop it from being a 10/10 for me, but there’s still an enormous amount to love here.

Guacamelee! 2 is a better game than the original for me, refining pretty much everything that made the first game work. The combat is extremely satisfying, the Metroidvania exploration is well handled, and the expanded chicken mechanics are a great addition. The platforming generally strikes a good balance between challenging and rewarding, although there are some very frustrating sections later on where you have to juggle too many abilities and inputs at once. The difficulty overall felt about right, though, and I thought the bosses were an improvement over those in the original. The colourful art style and music are excellent, and the humour works really well with the general atmosphere of the game rather than feeling bolted on. The story is probably one of the weaker elements. It does its job and keeps the gameplay moving, but it isn’t particularly memorable in its own right. At around 12 hours, it was about the right length and never outstayed its welcome. As a Metroidvania, I’d put it up there with Prince of Persia: The Lost Crown, although it doesn’t quite reach the heights of Hollow Knight or the Ori games. I paid £5.81, which was an absolute bargain, but there’s enough quality here that I’d happily recommend it at full price as well. An excellent combination of combat, platforming, exploration and personality, and an easy recommendation for Metroidvania fans.

Prince of Persia: The Lost Crown is a very good Metroidvania and one that gets most of the important things right. Movement is fluid and precise, and the platforming is probably the highlight of the game. Traversing the world simply feels great, particularly as you unlock more abilities. Exploration is excellent, with new abilities opening up previously inaccessible areas in exactly the way a good Metroidvania should. The Memory Shard system, which lets you take screenshots and pin them to the map to remind yourself of places to return to, is a genuinely great mechanic and something I’d like to see other games in the genre adopt. Combat is also very good. The parrying works particularly well and there is enough depth to the combat mechanics to keep battles interesting. The difficulty felt about right overall, although perhaps slightly on the easier side for an experienced Metroidvania player. The bosses were enjoyable and generally pitched at the right level. The puzzles are good and the presentation is excellent. It plays particularly well on Switch 2, with the fluidity of the movement and combat really coming through. The story does its job and keeps everything moving, but I wasn’t particularly invested in it beyond that. At around 18 hours, it felt like the perfect length. I paid £15 for the physical version and would have been perfectly happy paying the £24.99 full price. Mechanically, The Lost Crown comes surprisingly close to the very best Metroidvanias I’ve played. What keeps it just below games such as Hollow Knight and Ori for me is that the story didn’t engage me particularly strongly and the overall experience lacked that final bit of magic that makes those games exceptional. Highly recommended for Metroidvania fans and Prince of Persia fans alike.

SteamWorld Quest: Hand of Gilgamech is a very good deck-building RPG and another strong entry in the SteamWorld series. This isn’t the type of game I would generally play – I came to it because I’d enjoyed the previous SteamWorld games – but I’m very glad I did. The card-based combat is easily the highlight. Building and gradually refining your decks is really satisfying, and I enjoyed experimenting with the different characters to find combinations that worked well together. Even as someone who doesn’t generally play deck-building games, I found the system accessible and genuinely enjoyable. The progression is rewarding throughout and the difficulty felt about right. Importantly for a game built around card battles, the combat never became repetitive for me. The exploration is good too, although the fairly linear structure does limit the sense of discovery somewhat. The familiar SteamWorld sense of humour works really well again here, and the presentation and graphical style are excellent. At around 18 hours, it also felt like the perfect length – long enough to properly develop the combat and progression without overstaying its welcome. There isn’t actually much I can pinpoint as being particularly wrong with SteamWorld Quest. It simply doesn’t quite have that extra something that would push it into the high 80s or 90s. I paid £11.24, which was excellent value, but I’d happily recommend it at its £22.49 full price as well. Definitely recommended for SteamWorld fans and deck-building fans, but also worth trying if, like me, deck-building isn’t normally the type of game you’d choose.

The Messenger is a really good combination of retro action-platformer and Metroidvania, and the way it brings those two styles together is one of its biggest strengths. It starts relatively linear before opening up into a Metroidvania, and although I generally prefer Metroidvanias, I thought the mash-up worked really well and gave the game its own identity rather than simply feeling like another retro-inspired platformer. The controls are probably the highlight. They are incredibly satisfying, precise and responsive, particularly once you get used to cloudstepping and start chaining movements together. The difficulty is reasonable as well. There is enough challenge to keep the platforming interesting without the game constantly trying to punish you, although there are a few sections where the platforming crosses over from challenging into frustrating .The exploration is done well and I enjoyed going back to find everything. Completion actually improved the experience rather than turning it into a chore. That said, the Metroidvania side isn’t quite as intricate or rewarding to explore as the very best games in the genre, which is one of the things keeping it below the 9/10 mark for me. I also really liked the way the game plays with the 8-bit and 16-bit eras. It’s a clever idea that is used as part of the game rather than just being a visual gimmick. The pixel art is excellent, the music is great and the humour works well, with some genuinely funny moments. At around 23 hours including Picnic Panic, it felt about the right length. There’s plenty here to justify the normal price, although given how regularly games like this are discounted I’d still wait for a sale if you can. I paid £1.64 for the bundle, which was ridiculous value. Highly recommended for Metroidvania fans, pixel-art fans and, frankly, people who just like good games.

I came to Zelda through the Breath of the Wild era, so going back to a remake a GameBoy game was always going to feel quite different. Overall, though, I really enjoyed my time with Link’s Awakening. The graphical style works extremely well. Given the game’s Game Boy origins, the colourful, toy-like presentation feels like a clever way of modernising it while retaining the feel of an older Zelda game. The story is good too, although seeing Goombas and other Mario characters in a Zelda game is definitely a little odd! The dungeons are one of the highlights. They have some very good puzzles and are satisfying to work through, although they can become frustrating at times. Combat and the bosses are enjoyable rather than particularly challenging; most of the difficulty comes from solving puzzles, navigating the dungeons and working out where you need to go. My biggest criticism is navigation. The game is sometimes not very clear about what you are supposed to do next, and the gated nature of the world means getting from one area to another can involve more backtracking than I would have liked. Coming to this after Breath of the Wild and Tears of the Kingdom, where you get used to being able to approach the world almost however you want, this was probably much more noticeable to me. I’ve completed the main game at around 19 hours and enjoyed it enough that I’m now going back for 100% completion. It doesn’t quite reach 10/10 Zelda territory for me because of the navigation, occasional lack of direction and some frustrating dungeon moments, but it’s still an excellent game and a very successful remake.

As a massive Sherlock Holmes fan, I enjoyed The Awakened enough to persevere, but I am not sure I would have finished it otherwise. The story, atmosphere and relationship between Holmes and Watson are the game’s greatest strengths. The voice performances are excellent, while the Lovecraftian horror generally works well without completely overwhelming the detective story. The investigations and puzzles are much less consistent. Some are clever and satisfying, but others rely on obscure triggers rather than logical deduction. The game’s mechanics are not explained particularly well, while the evidence-pinning system is far too complicated. I frequently needed a walkthrough, often not because I could not solve the mystery, but because I had not pinned the precise piece of evidence required to make the next interaction appear. Exploration can also be frustrating. Some areas look accessible but are not, while invisible barriers occasionally block movement until you approach them from exactly the right angle. The pacing is uneven, and the final beam puzzles are more fiddly than enjoyable. The elephant in the room is the graphics. I played on Switch 2, and the presentation does not merely suffer from glitches—it also looks distinctly dated. Shadows across characters’ faces can look terrible at times, undermining otherwise dramatic scenes. There is a strong Sherlock Holmes adventure underneath these problems, but it demands considerable patience. Recommended mainly for dedicated fans of the character.7/10

Captain Toad: Treasure Tracker takes a wonderfully simple idea and builds a charming puzzle game around it. The small diorama-style levels are the highlight, encouraging you to rotate the camera, examine every corner and work out how to reach the star. Removing the ability to jump gives it an identity of its own and forces you to think differently about navigating what would otherwise look like fairly traditional Nintendo environments. The puzzle design is good rather than consistently brilliant. There are some clever stages, but mechanics begin to repeat and the game doesn’t keep finding new ways to surprise you. This becomes more noticeable when going for completion, where replaying levels to find everything can eventually feel more like a grind than a reward. Presentation is excellent. The miniature worlds are colourful, detailed and full of Nintendo charm, and visually the game remains one of its strongest aspects. The controls are generally solid, although manipulating the camera can occasionally be awkward and some of the touch and motion-control elements feel more gimmicky than necessary. Co-op is good fun and adds another way to enjoy the game, although I think Captain Toad works best as a solo puzzle experience. By the time I’d completed everything I was ready for it to end, but I’d thoroughly enjoyed getting there. A clever and distinctive Nintendo game with bags of charm. Greater variety would have elevated it further, but there’s still plenty to recommend here.

Golf Story is a wonderfully charming mix of RPG and golf game that works far better than the concept might initially suggest. Exploring the different areas, completing quests and progressing your character gives the game a strong sense of adventure, while the golf itself is accessible, satisfying and has enough depth to remain enjoyable for most of the 30-hour journey. The writing is genuinely funny and gives the game bags of personality, while the excellent pixel art is one of its biggest strengths. It looks colourful and distinctive throughout and suits the slightly eccentric world perfectly. The difficulty is also well judged, remaining fairly relaxed while providing enough challenge to keep things interesting. There are a few rough edges. Some of the movement and interactions outside the golf can feel clunky, certain mechanics can be frustrating, and the golf does become a little repetitive towards the end. More than anything, though, it just lacks that final layer of depth and polish that would elevate it into the very best games. Still, the combination of RPG progression and golf works brilliantly. Golf Story is much more than a novelty mash-up and remains one of the most distinctive and enjoyable sports RPGs I’ve played.

Guacamelee! Super Turbo Championship Edition is an excellent Metroidvania that gets almost everything right. Its combination of combat, platforming, exploration, humour and distinctive presentation makes it one of the more memorable games in the genre. Combat is a particular highlight. The wrestling-inspired moves are great fun, especially once you can start chaining attacks and throws together. Boss fights are also very good, providing an enjoyable challenge and making good use of the combat mechanics. The Metroidvania progression is equally strong. New abilities open up previously inaccessible areas and make returning to earlier locations worthwhile, with plenty of secrets to discover along the way. The abilities also work extremely well as traversal tools, helping the combat and exploration feel like parts of the same system rather than separate elements. The platforming becomes genuinely demanding, particularly later in the game, but I found it challenging rather than frustrating. The controls are precise enough that successfully making it through a difficult sequence feels earned and extremely satisfying. Visually, Guacamelee! is fantastic. The colourful Mexican-inspired art style gives it an immediately recognisable identity and helps it stand apart from other Metroidvanias. The humour complements this nicely, with plenty of amusing moments and references that give the game personality without overwhelming everything else. At around 15 hours it isn’t a particularly long game, but it is very well paced. I wanted more when the credits rolled, not because it felt incomplete, but simply because I was still enjoying it. There is very little to criticise here. Guacamelee! combines excellent combat, rewarding exploration, challenging platforming and a wonderfully distinctive style into a consistently entertaining package.

"Immortals Fenyx Rising is a very enjoyable open-world adventure that kept me playing for around 94 hours. Exploration is easily its greatest strength. The colourful world is enjoyable to roam around, there is constantly something new to discover, and the different regions make good use of the Greek mythology setting. The game clearly takes inspiration from The Legend of Zelda: Breath of the Wild, particularly in its approach to climbing, gliding, puzzles and open-world exploration. The similarities are obvious, but I found Immortals much easier to appreciate when judged on its own merits, without the weight of comparisons to Zelda that it was never realistically going to overcome. It has enough ideas and personality of its own to stand as a very good game in its own right. Combat is very good, with an enjoyable range of abilities and a satisfying progression system. The puzzles and Vaults of Tartaros are generally clever and enjoyable too, although after such a long playthrough they inevitably start to become somewhat repetitive. The Greek mythology setting works very well, and the different regions give the world plenty of visual variety. The exchanges between Zeus and Prometheus also give the game a distinctive personality. The humour doesn’t always land, but I enjoyed it more often than not. My biggest criticism is the amount of map clutter. Immortals can fall into the familiar open-world trap of filling the map with icons and turning exploration into a checklist. The irony is that exploration is the best part of the game, so I would have preferred more emphasis on discovering things naturally rather than clearing markers from a map. After 94 hours I was satisfied but definitely ready for it to end. It is a large, polished and thoroughly enjoyable adventure with rewarding exploration, strong combat, clever puzzles and a charming setting. It doesn’t quite reach the very top tier of open-world games, but there is a great deal here to enjoy."

Child of Light is a beautifully presented RPG with a distinctive fairy-tale atmosphere. Its gorgeous watercolour art is one of its greatest strengths, giving the world of Lemuria a unique visual identity and making exploring it a pleasure. The story follows the fairy-tale theme well. It is relatively simple and at times predictable, but remains enjoyable, helped by a likeable cast of characters and the strength of the world around them. Exploration is another highlight. Travelling through Lemuria, discovering new areas and secrets, and gradually developing the characters provides a satisfying sense of progression throughout the adventure. The turn-based combat is also very good. The timeline system, particularly the ability to interrupt enemy actions, adds an interesting tactical element and makes battles feel more involved than a conventional turn-based system. It complements the exploration nicely without overwhelming the other aspects of the game. At around 20 hours, the length felt just right. It has enough time to develop its world and mechanics without outstaying its welcome or becoming repetitive. There isn’t any major weakness that particularly stands out. Child of Light is simply a very good, polished game rather than one that quite reaches exceptional territory. The beautiful artwork, enjoyable exploration and satisfying combat combine to make Lemuria a world well worth experiencing.

Dandara: Trials of Fear Edition is one of the more innovative Metroidvanias I’ve played. Its defining movement system, where you launch Dandara between surfaces rather than walking and jumping in the traditional way, isn’t simply a gimmick. It fundamentally changes how you explore the world and gives the game an identity of its own. Once mastered, movement is extremely satisfying. It also works very well in combat, where rapidly moving between surfaces while avoiding enemies and lining up attacks creates encounters that feel quite different from other games in the genre. It can become demanding during tougher fights, but I found the difficulty challenging rather than frustrating and generally very fair. The level design is excellent. The world has clearly been built around Dandara’s unusual abilities, with clever layouts that make good use of the freedom to move between walls, floors and ceilings. Exploration and progression are also very good, with new abilities opening up previously inaccessible routes in satisfying Metroidvania fashion. The pixel art is attractive and the atmosphere and soundtrack suit the game well, even if the presentation wasn’t one of its biggest strengths for me. At around 20 hours, it also felt about the right length. The game finishes before its unusual central mechanic has the opportunity to become stale. There isn’t really a major flaw that prevents me rating Dandara more highly. It does a great deal very well and its movement system is genuinely original; it simply didn’t quite have the extra something that separates a very good Metroidvania from the very best in the genre. Inventive, challenging and well designed, Dandara is an easy recommendation for Metroidvania fans looking for something genuinely different.

As a massive Sherlock Holmes fan, I probably got more out of Crimes & Punishments than some players will. It captures the Holmesian atmosphere extremely well and, at its best, genuinely makes you feel as though you are investigating one of Holmes’s cases rather than simply playing through a detective story. The six separate cases are one of the game’s greatest strengths. The plots are interesting and varied, and the format feels particularly appropriate for Sherlock Holmes, almost like working your way through a collection of short stories. Some cases are stronger than others, but I enjoyed the individual mysteries throughout. The detective work is excellent. Searching crime scenes, examining evidence and questioning suspects is suitably methodical, while the deduction system allows you to connect the evidence and arrive at your own conclusion. It isn’t perfect – occasionally a connection between clues can feel slightly arbitrary – but it makes solving a case much more satisfying than simply having the game reveal the answer. I particularly liked that you can reach the wrong conclusion. The game doesn’t simply stop you and tell you to try again, which adds some genuine uncertainty to the investigation. Even after deciding who is responsible, you then have to make the moral decision of whether to condemn or absolve them. This adds an excellent extra dimension to each case: establishing what happened isn’t necessarily the same thing as deciding what justice should look like. There are some rough edges. Movement and controls can occasionally feel clunky, while the graphics are beginning to show their age. The environments still do a good job of creating the Victorian atmosphere, but visually it is clearly a game from an earlier generation. Neither issue seriously detracted from my enjoyment. For me, the mysteries, investigation mechanics and wonderfully Holmesian atmosphere comfortably outweigh the flaws. Being such a big Sherlock Holmes fan undoubtedly added to my enjoyment, but this is also a genuinely good detective game in its own right.

Super Mario Party was the first Mario Party game I played with my daughter, and it gave us some brilliant memories. We played predominantly as a two-player game and absolutely loved Partner Party. Having gone on to 100% complete the game, there was plenty here to keep us entertained, and completing everything was genuinely rewarding. The minigames are a particular strength. There is a very good selection with relatively few weak ones, and the motion-controlled games work surprisingly well. Partner Party was the highlight for us and made this one of our favourite two-player experiences on the Switch. Unfortunately, the boards are where the game falls short. There simply aren’t enough of them, and those included are generally too small and simple. The standard Dice Block only goes from 1–6, rather than the traditional 1–10, although the character-specific Dice Blocks add some welcome variety. This contributes to the feeling that everything has been scaled down. Likewise, reducing the cost of stars from 20 coins to 10 adds to the sense that the traditional Mario Party formula has been scaled back. Partner Party itself isn’t perfect either. The free movement around the boards is a great idea and works particularly well with two players, but it can occasionally create frustrating situations where a star appears in a position that is effectively impossible to land on. The presentation is everything you would expect from Nintendo: colourful, polished and full of Mario charm, although nothing particularly exceptional. Despite its limitations, I look back on Super Mario Party extremely fondly. The smaller boards and scaled-back mechanics prevent it from being one of the very best Mario Party games, but as a two-player experience it gave us dozens of hours of fun and some great memories. I’d happily return to it.

Super Chariot is a very good puzzle-platformer with some clever level design and a satisfying sense of progression. I played entirely solo and found the puzzles to be the strongest part of the game. The difficulty is mostly well balanced, providing enough challenge to make solving a puzzle rewarding without becoming excessively difficult. The main frustration is the physics. There are occasions where working out what to do is considerably more enjoyable than actually executing it, with the chariot not always behaving quite as you would like. The controls are generally good, but can also feel a little awkward when precision is required. There is plenty of content, although over a long playthrough the central mechanics begin to lack variety. The story and characters are also fairly forgettable. Visually and aurally, however, it is a polished and attractive game, even if neither aspect particularly stands out. I was satisfied when I finished it, but also ready for it to end. Despite its flaws, the consistently good puzzle design makes Super Chariot well worth playing, particularly for fans of puzzle-platformers.

Wargroove is a wonderfully accessible turn-based strategy game that gets almost everything right without ever quite becoming exceptional. I came to Wargroove relatively new to this style of strategy game, having recently enjoyed SteamWorld Heist, and found it remarkably easy to get into. The mechanics are straightforward, but there’s enough tactical depth in choosing units, positioning them and planning attacks to keep the battles interesting. The difficulty is particularly well judged. Battles make you think and occasionally reconsider your approach, but rarely feel unfair or frustrating. The story and characters keep the campaign engaging, while the colourful pixel-art presentation has plenty of charm and the controls work very well on Switch. At around 30 hours, the campaign feels just about the right length and never really became repetitive. I only played the main campaign, so there’s still additional content I haven’t explored. There isn’t one major weakness holding Wargroove back. It simply does lots of things very well without quite having that extra something that makes a game truly memorable.

This Is the Police is an underrated and distinctive management game with a great story and an absolutely superb soundtrack, but it doesn’t quite know when to end. The police management works really well, with the various call-outs and smaller incidents making each shift entertaining. Alongside this is a surprisingly compelling story, with difficult choices that feel meaningful and kept me invested throughout . The real standout, though, is the music. The soundtrack and song choices are superb – so much so that I still listen to it while working. My main criticism is repetition. At around 30 hours it noticeably outstays its welcome; cut ten hours and I think it would have been a much better-paced game. The text can also be a little small in handheld mode, although that’s a minor complaint. Flawed and overlong, but distinctive, atmospheric and considerably better than its Metacritic score suggests.

Tomb Raider I–III Remastered is a wonderfully faithful restoration of three classics that reminded me exactly why I loved—and occasionally hated—Tomb Raider in the first place. Having played the originals in the 90s, this brought back a lot of fond memories. The exploration, puzzles and atmosphere still hold up remarkably well, and the remastered graphics breathe new life into the games without losing their original character. I played throughout using the new graphics and modern controls. Those controls aren’t perfect, though. Camera issues and occasional glitches can make some sections more frustrating than they need to be—on top of games that were already famously unforgiving !I completed all three main games and spent around 80 hours with the collection, which probably says more than anything else. They’re still great games, beautifully restored, frustrating in exactly the ways I remember, and an excellent nostalgia trip.

The football itself is solid. The controls are responsive, matches are enjoyable, and I spent around 50 hours mainly playing Career Mode and local multiplayer with friends and family. FIFA is one of those games that almost feels essential on a console for when people come over. The frustration is that the Switch version was clearly inferior to the other console releases. Career Mode lacked depth and features, and the graphics looked considerably older than they should have given what the hardware was capable of. Some compromises would have been understandable, but too many felt unnecessary rather than technical. Despite that, I still got plenty of enjoyment from it. A solid football game and good local multiplayer option, but one that constantly reminds you that you’re playing the lesser version.

Afterimage is a beautiful and ambitious metroidvania with satisfying combat, excellent character progression and an enormous interconnected world. Its varied weapons and abilities make experimentation rewarding, while the hand-drawn environments and memorable bosses kept me invested throughout my 20 hours with the game. Unfortunately, it often does a poor job of explaining itself. Important routes and traversal abilities are hidden behind obscure sequences with very little guidance, making online help feel almost essential. The story is unnecessarily difficult to follow, and even after defeating what appears to be the final boss, the way the game returns you to an earlier save can leave you wondering whether you have actually completed it. Despite these frustrations, the core gameplay and exploration remained consistently enjoyable. At the £3.14 I paid, it offered exceptional value and considerably exceeded what its 64 Metascore suggested. A flawed, confusing but ultimately underrated metroidvania.

Iconoclasts is a beautifully crafted indie adventure that blends metroidvania exploration with clever puzzle design and an unexpectedly ambitious story. It may look like a charming pixel-art platformer at first glance, but beneath its colourful presentation lies a thoughtful, character-driven experience that rewards players willing to invest in its world. The standout feature is Robin’s wrench, which is brilliantly integrated into almost every aspect of the game. It’s used to solve environmental puzzles, navigate the world and tackle enemies, with new abilities gradually expanding both the gameplay and your understanding of each area. The inventive multi-phase boss fights are another highlight, consistently introducing fresh mechanics that make every encounter feel memorable rather than repetitive. Combined with gorgeous pixel art and expressive animation, the whole adventure feels polished from beginning to end. The story demands patience. It becomes increasingly dense and dialogue-heavy as it unfolds, and some players may find themselves losing track of its politics and lore. However, if you’re prepared to stick with it, the narrative delivers an emotional payoff that’s well worth the investment. Exploration is also more linear than many metroidvanias, placing greater emphasis on its story than open-ended discovery. I completed the game in around 12 hours and would happily recommend it to indie metroidvania fans looking for something a little different. It may not offer the freedom of the genre’s biggest names, but its inventive gameplay, memorable boss fights and striking presentation make it an experience that’s difficult to forget. A beautifully realised indie adventure whose inventive wrench mechanics, outstanding boss fights and rewarding story make it far more than just another metroidvania.

SuperEpic: The Entertainment War is a charming metroidvania that combines satisfying exploration with a sharp satirical take on the modern games industry. Taking aim at microtransactions, influencer culture and corporate greed, it’s consistently witty, giving the adventure a personality that sets it apart from many of its genre peers. The exploration is the game’s greatest strength. Unlocking new abilities steadily expands the interconnected world, making it rewarding to revisit earlier areas in search of hidden secrets and collectibles. The hand-drawn visuals are full of character, the presentation is polished, and progression strikes an enjoyable balance between exploration, platforming and light combat. Combat is the weakest aspect. While perfectly serviceable, it never develops enough depth to compete with the best metroidvanias, and there are occasional moments where objectives aren’t as clear as they could be. These issues interrupt the flow from time to time but never significantly detract from the overall experience. What stayed with me most was the satire. Its satirical take on the modern games industry remains sharp and entertaining throughout, giving the adventure an identity that helps it stand out from many indie metroidvanias. It’s rare for a game’s humour to stay fresh from beginning to end, but SuperEpic manages exactly that. I spent around 25 hours with the game and would happily recommend it to fans of metroidvanias looking for something with a little more humour and personality than usual. It doesn’t quite reach the genre’s top tier, but it delivers a consistently enjoyable adventure with plenty of charm. A witty, distinctive metroidvania whose clever satire and rewarding exploration make it well worth discovering.

Horizon Chase Turbo is a love letter to the golden age of arcade racing, instantly reminding me of classics like Turbo Esprit on the Amiga and other pick-up-and-play racers from that era. Rather than chasing realism, it focuses on pure fun, delivering fast, accessible racing that’s easy to learn and difficult to put down. The presentation is bright and colourful, the controls are responsive, and the soundtrack is a real highlight, giving every race plenty of energy. Progressing through championships around the world keeps the campaign feeling fresh, while unlocking new cars provides just enough incentive to keep chasing one more race. It’s a straightforward formula, but one that’s executed with confidence and polish. There are very few real criticisms. It doesn’t try to reinvent the genre or add layers of complexity, instead concentrating on delivering a consistently enjoyable arcade experience. That simplicity won’t appeal to everyone, particularly those looking for deep customisation or simulation-style handling, but that’s never the game’s ambition. I played entirely in single-player and spent around 20 hours completing everything I wanted to do. For anyone who grew up with classic arcade racers, it’s an easy recommendation, but its accessible controls and polished presentation make it just as enjoyable for newcomers. A polished, nostalgic arcade racer that proves simple, well-executed gameplay never goes out of style.

Bastion is a polished indie classic that still feels as distinctive today as it did on release. Its hand-painted visuals, atmospheric soundtrack and exceptional narrator combine to create a world that’s easy to become immersed in. The reactive narration is the game’s standout feature, making even ordinary actions feel meaningful and giving the adventure a personality that’s rarely matched. The combat is straightforward but executed extremely well. A varied selection of weapons and upgrades keeps battles engaging, and the controls remain responsive throughout. While the gameplay doesn’t evolve enough mechanically to keep surprising you from start to finish, the core combat is enjoyable enough that it never becomes a chore. Presentation is where Bastion truly excels. Every environment feels carefully crafted, the soundtrack perfectly complements the mood, and the narration ties everything together into a cohesive experience. The satisfying ending rounds off the journey nicely and leaves a lasting impression. If you’re looking for a polished indie game, Bastion is still an easy recommendation. It may not have the mechanical depth of some modern action RPGs, but its originality, atmosphere and memorable presentation ensure it remains one of the defining indie games of its generation.

SteamWorld Dig is one of those games that completely surprised me. On paper, the gameplay loop sounds simple (dig for resources, sell them, buy upgrades and repeat) but it’s executed so well that it’s incredibly difficult to put down. Every trip underground feels rewarding, with new routes to discover, valuable resources to uncover and upgrades that genuinely change how you explore. The controls are responsive, the sense of progression is excellent, and the distinctive steampunk art style gives the game a charm that’s been carried through the rest of the SteamWorld series. Combat is the weakest part of the experience. It’s perfectly serviceable, but never reaches the same standard as the exploration, and a few enemy encounters feel more frustrating than fun. My only other criticism is that the game is over too quickly. I would happily have spent several more hours exploring, provided the progression systems, abilities and world continued to evolve at the same pace. I haven’t gone back for 100% completion yet, but it’s high on my list because the core gameplay is so enjoyable. If you’re a fan of Metroidvanias, steampunk settings or simply well-crafted indie games with an addictive progression loop, SteamWorld Dig is easy to recommend. SteamWorld Dig is one of the most satisfying short Metroidvania-lite adventures I’ve played.

Mad Age & This Guy is a simple idea executed well. At its heart, it’s a Bomberman-inspired puzzle game that focuses on clever level design rather than flashy presentation, and that’s exactly where it succeeds. The gameplay is easy to understand but surprisingly addictive, with puzzles that gradually increase in complexity without becoming unfair or overly frustrating. Despite its straightforward mechanics, I found myself wanting to keep playing, and enjoyed it enough to complete everything the game had to offer. The soundtrack deserves a mention too, providing upbeat music that complements the gameplay and keeps the experience engaging throughout. Where the game falls short is in its variety. The environments become repetitive over time, and I kept waiting for new mechanics or more significant gameplay twists that never really arrived. While the core formula remains enjoyable, it relies heavily on doing the same thing well rather than evolving in meaningful ways as you progress. That doesn’t stop it from being a worthwhile experience, especially at the heavily discounted price it’s often available for. If you’re looking for a cheap indie game with satisfying puzzles and addictive gameplay, Mad Age & This Guy is well worth considering. It won’t redefine the genre, but it’s an entertaining, well-designed puzzler that offers excellent value for money.

Jenny LeClue: Detectivu is an engaging mystery that unfortunately doesn’t quite reach its full potential. Its greatest strengths are its storytelling, intriguing central mystery and wonderfully atmospheric presentation. The storybook narration adds plenty of charm, while the colourful cast and beautifully illustrated world make Arthurton a delight to explore. I really enjoyed the game’s narrative focus and visual novel-style approach. The mystery kept me invested throughout, and the puzzles are satisfying without becoming frustrating. My only reservation is that, despite presenting itself as a detective adventure, I would have liked more opportunities to make meaningful deductions of my own. The investigation often feels more about uncovering the next part of the story than influencing it, leaving some of the detective mechanics feeling underused. That said, the presentation more than compensates. The charming art style, cosy atmosphere and excellent narration create a memorable adventure that’s easy to recommend. I’d happily suggest Jenny LeClue: Detectivu to fans of narrative adventures, cosy mysteries, modern point-and-click games and story-rich experiences. It may not fully realise the potential of its detective gameplay, but it’s still a thoroughly enjoyable mystery, and I hope the long-awaited sequel eventually gives these ideas room to grow.

Flipping Death is a charming puzzle adventure packed with personality. Its striking hand-drawn art style gives the game a unique identity, while the dark humour and inventive premise make it stand out from most indie puzzle games. The ability to possess the living from the world of the dead is a genuinely original mechanic, and it’s introduced at a steady pace that keeps the gameplay engaging throughout. The puzzles are well judged, offering enough challenge to be satisfying without becoming frustrating. Although the possession mechanic remains enjoyable from start to finish, a handful of sections suffer from slightly imprecise controls, leading to the occasional bit of trial and error. I also found myself wishing the game had explored its central idea a little further, as there was still plenty of untapped potential by the time the credits rolled. Despite those minor shortcomings, Flipping Death never loses its charm. The colourful cast, witty writing and distinctive visual style make it consistently enjoyable, and it’s the kind of game that’s easy to keep playing just to see what creative idea comes next. If you’re a fan of quirky indie games or modern point-and-click adventures with clever environmental puzzles, this is well worth your time. It may not reach the very top tier of the genre, but it’s an overlooked gem that delivers originality, humour and plenty of personality in a concise, entertaining package.

I don’t normally play hidden-object games, so I came to 1912: Titanic Mystery with fairly low expectations. What carried me through was the setting. As something of a Titanic nerd, simply exploring the ship, recognising locations and uncovering a fictional mystery aboard one of history’s most famous vessels made this an enjoyable way to spend an evening. The story is perfectly serviceable. It isn’t going to surprise seasoned mystery fans, but it provides enough motivation to keep moving from scene to scene. The hidden-object sections become a little repetitive after a while, although they never became so tedious that I wanted to stop playing. I completed the game in around four hours, which felt about right—it doesn’t overstay its welcome. The biggest drawback is that this is very obviously a game designed to be played with a mouse. Using the Joy-Con to move a cursor and click on tiny objects is more fiddly than it should be, particularly when some items are small or blend into the scenery. The presentation doesn’t always help either, with text that can appear slightly soft and backgrounds that occasionally look washed out, making object hunting more difficult than intended. Despite those shortcomings, I genuinely enjoyed my time with it. At full price I’d probably hesitate, but I picked it up for just 89p, and at that price it’s an easy recommendation. If you enjoy hidden-object adventures, you’ll know exactly what you’re getting. If, like me, you’re fascinated by the Titanic, the setting adds enough charm to make the experience worthwhile even if this isn’t normally your genre. One final request: if this ever gets a Switch 2 update, please enable mouse controls. Spending four hours trying to find tiny objects with a Joy-Con felt like searching the Atlantic for the Titanic… before 1985.

Coming to Tomb Raider: Definitive Edition years after its original release, I was surprised by how well it holds up, particularly on Switch 2. This is not a traditional Tomb Raider game. Many of the series’ classic elements are scaled back, and Lara herself feels closer to a modern action-game protagonist than the confident adventurer of the original games. There are also clear influences from the Uncharted series in the cinematic presentation, traversal and action sequences. Purists may not appreciate that shift, but I found it worked well. The story is perfectly serviceable, though hardly the series’ strongest. That said, Tomb Raider has never always been known for coherent storytelling, and compared with some of the more convoluted plots in the franchise, this one keeps things moving at a good pace. The real strengths are the exploration, atmosphere and sense of progression. The island feels like a “closed open-world” – not truly open, but large enough to encourage exploration while maintaining a strong narrative drive. It creates a rugged and hostile environment that remains enjoyable to explore throughout the game. The optional tombs are well implemented. I actually left most of them until after completing the main story because I was so keen to see what happened next. While some players may have preferred more mandatory tomb-raiding, I appreciated having the choice. Performance on Switch 2 is impressive. There is some noticeable pop-in and the occasional shadow issue, but nothing that significantly detracts from the experience. Considering the scale of the game, it runs remarkably well on the system. It may not be the purest expression of what Tomb Raider once was, but taken on its own terms it is an excellent action-adventure game with a great setting, satisfying exploration and enough content to keep me aiming for 100% completion. Highly recommended.

Yonder: The Cloud Catcher Chronicles is a relaxing and surprisingly enjoyable exploration game that succeeds largely through its atmosphere and sense of gentle progression. Even though I do not usually enjoy cosy games, I found myself consistently drawn into its world and ended up fully completing it. The relaxing exploration and atmosphere are the game’s biggest strengths. The world feels peaceful and enjoyable to move around, with a strong sense of freedom and discovery that keeps exploration rewarding throughout. The side quests are also handled well and give the world enough structure and progression without making the experience feel stressful or repetitive. The lack of combat is both the game’s biggest strength and its biggest weakness. At times I felt the game could have benefited from some form of danger or combat to add more variety and tension. At the same time, removing combat entirely is also what gives the game its distinctive calming atmosphere. In the end, I think the game succeeds precisely because it fully commits to that approach, even if it occasionally leaves the gameplay feeling a little too gentle. Overall, I enjoyed my time with it far more than I expected. It is charming, relaxing and easy to become absorbed in, even if some of its systems are fairly simple underneath.

New Super Lucky’s Tale is a charming and enjoyable 3D platformer that feels heavily inspired by classic mascot platformers without ever quite reaching the same level as the genre’s best games. The platforming is consistently fun, the worlds are creative enough to stay engaging, and the overall tone is light-hearted and genuinely likeable throughout. The game’s biggest strength is probably its charm. The colourful presentation, simple humour, and relaxed atmosphere make it very easy to enjoy, and it works particularly well as a comfortable “pick up and play” platformer. Difficulty is also handled fairly well, with some levels offering a decent challenge without the game ever becoming frustrating. The main issue is that it rarely feels especially original or memorable. Some sections feel a little repetitive, the gameplay ideas are not always fully developed, and there is a lingering sense that better platformers have done most of this before. The camera can also occasionally become awkward in tighter areas, although it is rarely serious enough to ruin the experience. Still, I enjoyed my time with it. It knows exactly what type of game it wants to be, does not overstay its welcome, and delivers a charming platforming adventure that is easy to recommend to fans of classic 3D platformers.

Eiyuden Chronicle: Rising is a decent spin-off that succeeds more through its world and characters than its gameplay. The story and town-building elements are engaging, and the game does a good job of making you interested in the wider world of Eiyuden Chronicle. The main problem is that the gameplay never quite matches the quality of the setting. Combat is perfectly serviceable but very repetitive, and some mechanics feel a little too simplistic for an RPG built around constant questing and progression. Thankfully, the side quests are handled well enough that the game rarely becomes outright tedious. I still enjoyed my time with it overall. The atmosphere is strong, the pacing is good, and there are flashes of something much better underneath it all. But while parts of the game are excellent, the overall experience averages out as fairly ordinary.

Stick It to The Man! is one of those wonderfully strange indie games built around a genuinely clever idea and, more importantly, one that fully commits to it. The central mechanic of reading minds and pulling objects from people’s thoughts is not just original, it is consistently entertaining and integrated surprisingly well into both the puzzles and storytelling. The humour is a major strength throughout. The game manages to balance absurdity, quirky characters, and genuinely funny writing without becoming irritating, helped enormously by very strong voice acting that gives the entire world a lot of personality. The comic-book visual style also works extremely well, making everything feel like a bizarre interactive cartoon. Mechanically, the game does a good job of keeping its core idea fresh for the entire runtime. The puzzles are generally enjoyable, and using thoughts to solve problems gives the gameplay a unique rhythm that helps it stand out from similar indie platform adventures. Importantly, the game also knows when to stop, ending at about the right point before the concept begins to wear thin. The platforming itself is solid enough too, even if the puzzle-solving is clearly the main attraction. Some puzzles can occasionally feel a little illogical or reliant on odd leaps in logic (something other players have criticised as well) but these moments are not common enough to derail the experience. Ultimately, Stick It to The Man! succeeds because it feels confident in its own weirdness. Funny, inventive, stylish, and packed with charm, it is an easy game to recommend to anyone looking for something a little different on the Switch.

80 Days is one of the best examples of modern interactive fiction on the Switch, combining excellent writing with a genuinely clever gameplay structure that makes every journey feel different. The central concept, racing around the world while managing time, money, and relationships, is immediately engaging and remains compelling even after multiple playthroughs. The standout feature is undoubtedly the writing. The game’s alternative-history steampunk world is packed with memorable locations, interesting characters, and constant small story moments that make travelling feel exciting rather than repetitive. It captures the spirit of classic “choose your own adventure” books remarkably well, while adding meaningful strategy on top through route planning and resource management. The choice system works brilliantly because decisions genuinely matter. Different routes, encounters, and risks can dramatically alter how a playthrough unfolds, giving the game excellent replayability. Completing the adventure once barely scratches the surface, and experimenting with different paths becomes part of the fun. Few narrative-driven games encourage repeated runs as naturally as this does. The resource management systems add tension without becoming overwhelming. Balancing finances, timing, rest, and travel options creates a satisfying layer of strategy underneath the storytelling, helping the experience feel more interactive than a standard visual **** main thing missing is voice acting. The writing is strong enough to carry the experience on its own, but full voice performances could have elevated the atmosphere and emotional impact even further. Ultimately, 80 Days feels much more like an interactive novel than a traditional game, but that is entirely its strength. Smart, atmospheric, and hugely replayable, it remains one of the most distinctive narrative experiences available on the Switch.

Flashback remains a fascinating and atmospheric cinematic platformer that still manages to impress decades later, particularly for anyone with nostalgia for the original release. Having first played it on the Commodore Amiga, there is something genuinely satisfying about returning to its distinctive sci-fi world and methodical gameplay. The presentation still holds up surprisingly well. The rotoscoped animations remain impressive, giving movement a cinematic feel that helped the game stand out in the early 1990s and still gives it a unique identity today. The atmosphere is excellent throughout, with the alien environments and lonely tone creating a strong sense of tension and mystery. Gameplay has aged better than expected too. Exploration, puzzle solving, and careful platforming remain enjoyable, even if the controls feel a little clunky by modern standards. The deliberate movement style is clearly part of the game’s design philosophy, though it can occasionally make already difficult sections even more demanding. Many of the frustrations from the original game are still present here. Some sections can become frustratingly unforgiving, and the difficulty regularly borders on punishing. There is also a fair amount of trial and error involved, particularly in some of the more obscure sequences, although fans of the original will probably expect that going in. Despite those rough edges, Flashback remains an absorbing and rewarding experience that is easy to appreciate both as a classic piece of gaming history and as a genuinely enjoyable adventure in its own right. It may feel dated in places, but the atmosphere, presentation, and sense of accomplishment still shine through.

Mario Golf: Super Rush is an enjoyable but ultimately fairly average Mario sports game that never quite reaches the heights of the series’ best entries. The core golf gameplay is still fun, easy to pick up, and backed by reliable controls, making it a good fit for quick sessions with friends or relaxed solo play. It is nice to see Mario Golf finally arrive on the Switch, and the arcade-style approach keeps matches moving at a good pace. Shot mechanics feel solid, and multiplayer works particularly well when playing casually with others. Speed Golf is entertaining enough for a while, though it feels more like a novelty mode than a game-changing addition. The Adventure mode at least gives solo players something more substantial to work through. While it drags a little in places, it adds some welcome structure and progression beyond standard matches, even if it never becomes especially memorable. The main issue is that the overall package feels a little thin and lacking in personality. The courses are decent without being particularly standout, and there is a lingering sense that older Mario Golf games offered more charm, depth, and long-term appeal. Once the initial excitement wore off, there was little reason to keep returning regularly. Mario Golf: Super Rush is perfectly enjoyable for a week or two of concentrated play, especially in multiplayer, but it never quite captured the magic or depth of the older Mario Golf titles. A competent and accessible sports game, though one that struggles to rise above “good enough.”

Goblin Sword is a very solid retro-style platformer with enjoyable old-school gameplay and a strong pixel-art presentation. The responsive retro platforming makes it very easy to pick up and play, and I found it strangely addictive despite how straightforward it is mechanically. The simplicity actually works in the game’s favour. Rather than trying to overcomplicate things, it focuses on short levels, satisfying movement and a steady gameplay loop that works particularly well on Switch. It does not do much that feels especially new, but the core gameplay remains enjoyable throughout and the retro presentation is consistently charming. Overall, I thought it was excellent value for money (£0.89) and an easy recommendation for anyone who enjoys classic-style action platformers.

Limbo is a very good indie game that still stands up well thanks to its atmosphere and visual design. The monochrome presentation works brilliantly and gives the whole game a constant sense of tension and unease without needing much dialogue or explanation. The environmental storytelling and ambiguity also work really well. The game never fully explains itself, but that mystery is part of what makes it memorable. The puzzles are satisfying overall, although some rely a little too heavily on trial and error. The repeated deaths can become frustrating at times, but they also feel like part of the experience rather than simply bad design. Overall, I thought it was a strong puzzle-platformer with a distinctive style and a good sense of pacing. The relatively short runtime also felt about right for the type of game it is.

The Bug Catcher ended up being a bit of a hidden gem for me. I really enjoyed my time with it and found it worked especially well as a relaxed “loading game” that I could dip into for short sessions.Despite initially looking like more of a puzzle game, it is really more of a straightforward blaster, and a surprisingly enjoyable one at that. The simple but satisfying shooting gameplay keeps things moving nicely, while the presentation is polished enough to make the whole experience feel far more premium than its low price **** gameplay itself does not evolve massively over time, but the core loop remains enjoyable throughout and the difficulty felt well balanced.Overall, I thought it was a very solid little indie game and definitely one of the better low-cost discoveries I have made on the eShop.

Figment 2: Creed Valley is a worthwhile sequel that builds sensibly on the ideas from the original game, even if it inevitably loses some of the originality and surprise that made the first Figment stand out. The story and themes still land well, the musical elements remain enjoyable, and overall it feels like a slightly fuller game. The sequel develops the mechanics and narrative enough to justify its existence, although I also came away feeling that it perhaps did not push the concept quite as far as it could have done. Visually, it retains the same imaginative style and atmosphere as the first game, although I would not say it feels like a massive leap forward overall. My biggest issue was again technical. Playing on the original Switch, I actually found the performance problems more noticeable than in the first game, which was disappointing given that this should have been the more polished release (it does however play better on Switch 2). Overall though, I still enjoyed my time with it. It is a creative and thoughtful indie adventure that expands on the original in sensible ways, even if it never quite recaptures the freshness of the first game.

Figment is a creative little adventure game with an interesting story that I thought was handled surprisingly well. The themes around fear, memory and the mind could easily have become heavy-handed, but the game keeps things imaginative enough that they land emotionally without losing their sense of fun. The art style is the standout feature and gives the whole game a distinctive dreamlike quality. The musical elements and boss songs also work far better than I expected and help give the game its own personality rather than feeling like a gimmick. The puzzles are fairly light overall, but still satisfying enough to keep the game moving at a good pace, and I thought the combat added just enough variety without becoming intrusive. My main criticism is that on the original Switch the game can stutter noticeably in places, although it runs much better on Switch 2 where those issues are far less distracting. Overall, I thought it was a well-made and imaginative indie game. The five-hour runtime also felt about right for the ideas it was working with.

Simon the Sorcerer Origins was an enjoyable return to a series I have a lot of nostalgia for, having originally played Simon the Sorcerer on the Amiga CD32 with Chris Barrie voicing Simon. The original is still the stronger game overall, but Origins does a good job of capturing the humour and general feel of the series. If anything, it also made me want proper modern re-releases of the original games with updated controls. The voice acting is probably the standout element for me and the writing remains genuinely funny throughout. The puzzles were also enjoyable, with the spell and hat-changing mechanics adding a nice bit of variety without becoming overly complicated. Visually, the game looks good, and I enjoyed my time with it consistently across its runtime. The overall length also felt about right. My biggest annoyance was the way the game handles moving between screens. When walking to the edge of an area, the screen doesn't transition automatically, which became surprisingly irritating over time. Overall, I thought it was a solid modern revival of the series. Not quite as memorable as the originals, but still a very enjoyable point-and-click adventure in its own right.

The Way Remastered successfully captures the feel of older cinematic platformers and immediately brought to mind games like Another World and Flashback. The sense of old-school sci-fi adventure is easily the game’s strongest element and gives it a distinctive atmosphere throughout. The puzzles were satisfying for the most part, although some rely on fairly illogical solutions. The controls and movement also feel dated by modern standards, which occasionally makes the platforming and traversal more frustrating than they probably needed to be. The pacing drags a little in the later sections and the storytelling never becomes quite as interesting as the setting itself, but there were still enough good ideas and atmospheric moments to keep me playing through to the end. Overall, I enjoyed it more for the atmosphere and nostalgia than the gameplay itself, but I still thought it was a worthwhile experience.

Candle: The Power of the Flame is a distinctive puzzle-platformer with a strong identity and one of the more memorable visual styles I have seen in an indie game. The hand-painted visual style gives the whole game a unique atmosphere and helps it stand out immediately. The stealth mechanics work surprisingly well alongside the environmental puzzles, and the game generally keeps introducing enough new ideas to stay engaging throughout. The puzzles themselves were satisfying and the overall length felt about **** pacing does slow in places, but I still enjoyed the experience consistently from start to finish. Overall, I thought it was a very solid indie puzzle adventure with a genuinely distinctive style.

Down in Bermuda is a polished little puzzle adventure that suited handheld play particularly well. It worked especially nicely as a 'loading game'; something relaxing to dip into for short sessions without needing to fully commit to it. The colourful visual style gives the game a lot of charm and helps keep the light puzzle-solving enjoyable throughout. It also deserves credit for how well it was ported to Switch, because it never really felt like a mobile game awkwardly moved onto console. The main thing holding it back slightly is that some later sections start to feel a bit similar mechanically, although the game did not overstay its welcome. Overall, I enjoyed my time with it and would definitely recommend picking it up when it is on sale if you enjoy relaxed puzzle games.

Isoland is a very enjoyable little surreal puzzle game with a strange atmosphere that kept me engaged throughout. The puzzles are the main strength and generally strike a good balance between being clever and challenging without becoming frustrating. The strange atmosphere and surreal world design help give the game a distinctive identity, and because I played this before the sequel, the abstract tone felt particularly fresh the first time around. Overall, I thought it was a good length and enjoyed my time with it throughout. If you enjoy slower puzzle games with a surreal edge, this is well worth playing.