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But when it’s nailing its concept it really nails it, and making your way through the adventure feels like an endearing throwback to the time of WarioWare, Zelda: The Minish Cap, and Mother 3, without being bogged down by loud, boilerplate references. Plus, the 3D handheld thing rules.

All told, The Fear Business is a pretty solid homage to the horror games of yesteryear. It’s not particularly original, but the PS1 aesthetic, sharp design of Solomon Manor, and compelling puzzles work well enough to make up for its annoyances. It’s not a long game (your first playthrough will probably take between 3 and 5 hours), but there are several difficulties to complete and secrets to find, and it seems ripe for speedrunning. I just wish it controlled better and dealing with Goat Face wasn’t so bloody annoying. But if you’re looking for a horror game to spend an evening with, you could do a lot worse. Just… you know, try to be smarter than Sarah the next time you’re investigating mysterious disappearances, yeah? If a dude had offered me a ride to a cult-infested mansion, I would have just gone home.

Ultimately, Bloodless is an interesting, straightforward kind of game that is exactly what it says it is on the box. There’s a central premise, and the gameplay revolves (almost) entirely around it, even if it wavers a little out of an apparent necessity. And even then, takes the care to justify the shift in a way that lines up in the fiction. The non-lethal combat is fun to engage with, and doesn’t simply feel like another samurai game about parrying. There also isn’t a ton more to Bloodless than that, which is totally fine. There’s a target, the game lines up its shot, and hits it dead center. Good stuff.

Deathbound, like many other Soulslike games before it, brings a few neat ideas to the table. While they are certainly nice to sample and play around with, a lot of the surrounding elements are sluggish and bland. It’s still great to see developers have a go at joining the pantheon of games in the genre, but Deathbound didn’t leave me wanting to come back for more.

Astor: Blade of the Monolith reflects one of the coolest aspects of video games as a medium with a deep history of iteration. You can take a familiar set of concepts, add new context, and come up with something that stands on its own rather than feeling like a ripoff. Astor does this with an impressive sense of knowledge and understanding of not only Zelda-style exploration, but character action-style combat. The latter is much more niche and specialized, therefore harder to pull off. It’s not quite a bullseye, but gets respectfully close and has me curious about further updates, as well as what this studio does next.

Vengeful Guardian: Moonrider is great in a lot of ways. Even if it stays almost too close to the Mega Man X formula, it still utilizes it well. The visuals and music are definite highlights that put this game apart, but it also just feels satisfying to play. The ride is over all-too-soon, but I’m happy to have taken it. It was another good challenge and we cut up tons of machines, fascists, and fascist machines along the way. More than that, I’d love to see some speedruns of this game because it looks ripe for excellent players to learn and master. If you want a decent action platformer to kick 2023 off with, you can’t go wrong with Vengeful Guardian: Moonrider.

All in all, Nickelodeon Kart Racers 3: Slime Speedway isn’t the worst kart racer I’ve ever played, but again, it’s also not the best especially when compared to previous entries in the series. As previously mentioned, Nickelodeon Kart Racers 3: Slime Speedway is a middle of the road racer in almost every aspect save for its character roster, graphics, and elements like picking three characters to be part of your pit crew.

MADiSON is consistent, and that’s one of the key factors in a great horror game. A lot of games tend to struggle with a sluggish second act after an incredible opener or fall off in the final act, but that does not happen here. The puzzles remain a delight to solve, the tension never eases up, and just when you think you’re safe, a light will flicker, and you’ll catch a glimpse of the monster and you’ll need to change your pants. Beyond this, the story and lore is disturbing on a true crime level and manages to maintain its pacing. Suffice it to say, MADiSON is an unnerving, unsettling, and truly terrifying experience.

Aztech Forgotten Gods tries and that's probably the best thing I can say about it. Lienzo journeyed forward with lofty ambitions and, like Mulaka before it, has laid down a foundation that makes me excited for their future projects. Gaming is a better place when stories like this, using atypical mythology, get to be told. Like Achtli, the studio will hopefully continue to grow and learn from its missteps to become the best it can be.

Overall, I enjoyed What Lies in the Multiverse and feel like most people will as well. Just don’t say I didn’t warn you about some of the game’s punishing puzzles, especially the timing-based platforming ones. If you have popsicle fingers like I do, I wish you the best of luck working your way through the game, because you’re going to need it.

The team at Saibot Studios have made exactly what they promised to their Kickstarter backers, but I was left wanting more. This doesn't make Hellbound a bad game, but it certainly feels like there were a few things left on the cutting room floor as I finished the game. After a somewhat slow start in the campaign, I was happy to finish the fight, and any fan of 1990s FPS fans could do worse than slaying demons in Hellbound.

Sky Racket is an excitingly fun love letter to retro gaming. Double Dash manages to marry two genres in such a way that makes it feel like they should’ve been together all along. The game suffers from an overall lack in content, but just about everything there is terrific. Now hitting the Switch, Sky Racket is a great addition to the eShop.