Tag: Nintendo

Ranking Every Game I Finished in 2025

In 2025, I finally got my rumpus room sorted out, and I managed to finish plenty of video games. It’s been quite the eclectic mix of old and new, and I decided that it would be fun to rank them. That’s what people like, right? Rankings? Obviously this is just my opinion, and could quite easily change if I looked at it on a different day, but what follows is my attempt to wrangle every video game I completed for the first time in 2025 into some kind of order.

I’ll quickly mention Mario Kart World, RoadCraft, and Dorfromantik, because they’re not really the sort of games you can “complete” but all got a lot of play from me and were games that I played for the first time this year. RoadCraft is a MudRunner-type game where you find yourself in a big truck in the aftermath of a natural disaster and are tasked with repairing roads and pipelines and things, and Dorfromantik is a map-builder where you place tiles next to other tiles and gradually create an expansive landmass while trying not to run out of map pieces. I’m not going to describe Mario Kart World – you know what Mario Kart World is – but you could call these three my honourable mentions.

I’ll also mention Metaphor: ReFantazio and Eiyuden Chronicle: Hundred Heroes. I enjoyed both, but bounced off both. Metaphor: ReFantazio became a bit of a slog (although I was suffering from excruciating back pain at the time and it hurt to even sit down, so that didn’t help) and Eiyuden Chronicle: Hundred Heroes was just too much faff, as I discuss here. I did still like both games, though, and may well come back and knock them on the head in 2026.

Anyway, enough preamble, let’s get to the ranking! Watch out, here comes number 25!

25. Princess Peach: Showtime! – Switch

I get that I’m not exactly the target audience for this one, and I don’t really remember what possessed me to buy and play it, but honestly, it was still pretty good even though it’s all the way down here at the bottom. If it was bad, I wouldn’t have bothered finishing it, after all. You play as the second best princess from the Mario franchise and collect different outfits that unlock various powers on your quest to save the theatre or something, and the more action-coded stages were a lot of fun. Some nasty performance issues and some less-interesting sections let this one down.

24. Exo One – PC

A short and sweet Steam purchase that I’d had on my wishlist for some time, this one puts you in control of a technologically advanced space sphere/disc thing and uses momentum-based controls to take you on a ride through beautiful, alien worlds. I smashed the campaign in an afternoon but enjoyed it. There’s a story behind it about a missing astronaut and some mysterious space anomalies, and when the pace was high and the mysteries were mounting it was a thrill ride, but it loses some places for the moments when the controls worked against me and the pace was brought to a near-halt (and it felt a little tiny bit like playing crazy golf).

23. Arrow Flash – Mega Drive

A classic shoot-’em-up that I played to completion on my actual Mega Drive in my actual rumpus room. Reviewers of the early ’90s weren’t too impressed, saying that it was too easy and could be completed in an hour or so. I can confirm that this is true, but I still enjoyed it, switching between spaceship and mech forms, and experiencing some trippy visuals and cool tunes. I wouldn’t say it should be mentioned in the same breath as some of the legendary shooters from that era – it’s an early Mega Drive game and it feels like one – but I still enjoyed it.

22. Untitled Goose Game – Switch

I finished it this year but I started it last year and never quite got to the end for some reason. I played it with my daughter this time around, and we enjoyed unleashing our inner aggravating, surly goose personas. Charming and fun, but occasionally a little fiddly and frustrating, this is another game that you can finish in an afternoon. Any game with a dedicated “honk” button is okay in my book.

21. Orcs & Elves – DS

A random eBay pickup that got a few days of solid gameplay out of me. A traditional, first-person dungeon crawler with orcs, skeletons, dragons, zombies, and all that other Dungeons & Dragons-adjacent stuff that gives off cosy, fantasy vibes. It was developed by id Software and published by EA, which I only point out because it just feels quite unexpected. Archaic by design and occasionally esoteric, it’s still an enjoyable and atmospheric experience that I’m glad I picked up.

20. Donald Duck: Quack Attack – PS2

I’ve never really liked Crash Bandicoot. I find the games frustrating and find the character a little grating. I did, however, finish this random PS2 game that’s basically a Crash Bandicoot clone. In general I found it easier and more agreeable than Sony’s then flagship, and I’ll take the cantankerous waterfowl over the wacky marsupial any day of the week. Surprisingly good music, too. The game is known as Donald Duck: Goin’ Quackers in America.

19. The Precinct – PS5

I did a Game Diary on it here and it was a gift from my daughter for Father’s Day, which makes it super special to me. The Precinct has a great soundtrack and a cool, retro top-down view that brings to mind the original couple of GTA games. When it works, it’s all delightful chaos and ’80s vibes, but it had a few too many bugs and random odd NPC behaviours that took me out of the zone. Still, it produced plenty of hilarious emergent moments that make me smirk to look back on.

18. Captain Toad: Treasure Tracker – Switch

A game that I love the idea of slightly more than I love the execution of, but I did still really enjoy this sentient fungus-based puzzler. The compact worlds are cosy and visually interesting, and the brain-teasing gameplay is on point, with lots of additional content made available in the Switch version. I did occasionally find it a bit slow-going and wished my little mushroom pal could run a bit faster, and when played in cooperative mode with my daughter we found that the motion controls could be a pain in the arse. Still great, though.

17. Broken Sword – Shadow of the Templars: Reforged – Switch

I found it especially difficult to rank this one as Broken Sword is one of my all-time favourite game series’ and a go-to for YouTube lets plays when I can’t sleep, but re-playing this in its modern incarnation I couldn’t help but notice where the cracks are starting to show, and feel that if I didn’t have the nostalgia and the pre-knowledge of what to do going in, I would’ve got frustrated and given up. Still, impeccable atmosphere, and George Stobbart’s voice is one of the comfiest in gaming for my money.

16. Uncharted: Golden Abyss – PS Vita

Now for a more action-based take on the globe-trotting adventure genre, as Nathan Drake is responsible for uncountable murders while George Stobbart is still on a big fat zero. This handheld iteration manages to take everything that’s enjoyable about the Uncharted franchise – the spectacle, the atmosphere, the fast-flowing, ever-changing gameplay – and shrink it down to handheld size. I didn’t always want to be fiddling with the touch-screen and gyroscope, however, and the smaller screen took away from the “blockbuster” feel the series is known for.

15. Kena: Bridge of Spirits – PS5

I wrote about this one here, but to put it more succinctly; it’s a somewhat Zelda-adjacent adventure with a Dreamworks-inspired visual style, surprisingly deep and difficult combat, and adorable little critters to locate and manipulate (and put hats on). It was graphically stunning at times and enjoyable throughout, but I didn’t feel much of a connection with the protagonist and the side characters. Still, a great experience from beginning to end.

14. The Plucky Squire – Switch

The short and quirky tale of a young squire kicked out of his storybook, this game delighted with its writing, charm, and Zelda-like gameplay. I finished it right at the end of the year to take my number of games completed (for the first time) in 2025 up from a nondescript 24 to a thematically pleasing 25, and thanks to its imaginative design, clever puzzles, and some amusing dialogue and visual storytelling, I had a very good time doing so. A humble but entertaining slice of wholesome and colourful video game fun. I wrote about it here.

13. Drainus – Switch

Honestly, I didn’t spend anywhere near as many hours on this one as I did the likes of Kena: Bridge of Spirits and The Precinct, but I did thoroughly enjoy every moment, and it was so nice to play a mechanically near-perfect shooter with awesome graphics and music that I could actually get through. The best of the “short” games I played this year, Drainus definitely has a lot to offer for high-score chasers and self-challengers. I, however, just like the pew pew pew. I wrote about it in more depth here.

12. Super Princess Peach – DS

Probably my pleasant surprise of the year, I saw that a lot of contemporary reviewers were generally unimpressed with Peach’s first solo outing, but I found it to be a wonderful balance of accessible platforming, visual charm, neat music, and semi-sneakily hidden collectibles. Not too difficult but with some mildly challenging moments, this title kept me interested until the end and more than delivered on what I was expecting from it; a visually pleasing and well-crafted casual platformer experience.

11. Uncharted: The Lost Legacy – PS4

After having an agreeable time with Uncharted: Golden Abyss I decided to continue my Uncharted adventure by picking up this super-cheap and expertly-crafted thrill-ride and smashing the campaign over a few sessions. I enjoyed playing as Chloe for a change (and I always enjoy Claudia Black’s voice work), and found the set-pieces as exciting as always. I also appreciated the downtime, snooping around spectacular ruins and breathtaking vistas in search of treasures and trinkets. Short but very sweet, and with a nice ending where everyone enjoyed some pizza.

10. Super Mario Bros. Wonder – Switch

For my money, Sonic is the king of the 2D platformer. Having said that, I did find this endlessly inventive platform experience to be a fun and challenging ride. The Wonder Flower effects added such a surreal tone to the game that it always felt like anything could happen, and it let me play as Daisy, so that automatically puts it above the two Peach games I’ve already talked about. Daisy is the best princess, after all. A worthy way to kick off the top ten.

9. Ninja Gaiden: Ragebound – Switch

The first ninja-based game to appear on the list, this one stayed true to its NES roots while modernising the gameplay in a few key ways that resulted in a fun and challenging experience. I enjoyed the interplay between the two playable characters and found the bosses to be quite demanding, but wasn’t overly enamoured with the visuals and never felt too compelled to go back once I’d got the campaign in the bag. Still a top-quality, retro ninja adventure, though.

8. Ninja Gaiden 4 – PS5

This game should have been challenging for the number one spot but was honestly a little disappointing. The visuals are great, the combat is poised, tight, and brutal, and the violence is satisfying, but compared to Ninja Gaiden and Ninja Gaiden II it lacked variety and x-factor, and the new protagonist, Yakumo, came across as a socially-awkward emo-kid who all the female characters and some far-cooler male characters seem to have nothing but respect and adoration for despite his complete lack of charisma. It played brilliantly, but the game, like its hero, lacked personality.

7. Shinobi: Art of Vengeance – PS5

The triumvirate of ninja action games concludes with Shinobi: Art of Vengeance, which just won me over with its awesome presentation, animation, combat, and controls. The platforming was really solid too, and I enjoyed the Metroidvania-lite mechanics. An excellent return to the limelight for a classic Sega character that warmed the cockles, but some of the levels felt a bit underwhelming and some of the backgrounds felt a bit lacking in detail. I guess I’m still just a bit salty that the gross, body horror sections weren’t disgusting enough. I wrote about this game and Ninja Gaiden: Ragebound here.

6. The Legend of Zelda: Echoes of Wisdom – Switch

With Tears of the Kingdom and the Link’s Awakening remake still in my unfinished pile, I wasn’t betting on myself to get through this one, but the quirky gameplay and charm carried me right through to the end. I had a great time summoning creatures and items to help with traversal, puzzles, and combat, and adored the atmosphere and visual style. I’m pretty sure I played the entire thing through in handheld mode, and it really worked beautifully as a handheld adventure that kept me occupied for hours. I didn’t even mind the menu interface thing that everyone was complaining about. Good stuff.

5. Prodeus – Switch

The first game I finished in 2025 was this gem of a “boomer shooter”. I wrote about it here, and while I haven’t played it since knocking the campaign on the head in January, it’s definitely one I can see myself blasting through again in the future. Feeling somewhere in between Doom and Quake with a few mod-cons strapped on, Prodeus was an extremely enjoyable romp through sinister enemies and grimy stages overflowing with ominous atmosphere. It was just a really visceral old-school FPS that I look back on with great fondness. Top five material.

4. Metal Slug Tactics – Switch

I’d read about this game (and watched a few videos) before it was released physically, and knew to expect an experience close to the excellent Into the Breach before sticking the cartridge in, so it had a lot to live up to. Thankfully, it turned out to be a very fun and finely balanced strategy roguelike with just the right amount of challenge. Full of personality, Metal Slug Tactics recreates the classic Metal Slug art-style admirably from an isometric perspective, and has some really cool music too. I often go back to Into the Breach, but now I have another option to sate that hankering for tactical grid-based goodness.

3. Metroid Prime 4: Beyond – Switch 2

My final anticipated release of the year, it lived up to my expectations and provided a beautiful and atmospheric space adventure that had far fewer frustrating moments compared to Metroid Prime Remastered. I wrote about it in more detail here, but I found that a lot of the problems people are talking about online – like the radio buddy and the green crystal hunt – didn’t bug me anywhere near as much as they seem to be offending other people, and I found Samus’ latest outing to be a top-quality experience from beginning to end.

2. Prince of Persia: The Lost Crown – PS5

My surprise of the year! When your biggest complaint about a game is that everyone seems really tall compared to the protagonist, then you know you’re onto a winner (everyone does seem so much taller than poor old Sargon though, and it does really bug me because seriously what is up with that?). I did a game diary on it here, and I look back on that time spent with the game very fondly. Great combat, satisfying puzzle solving and progression, and an awesomely charismatic protagonist all combine to form a brilliant Metroidvania experience. It’s super-cheap, too.

1. Clair Obscur: Expedition 33 – PS5

Recent controversies from the Indie Game Awards aside, this has to be my GOTY, and I previously wrote about it here. A fascinating premise that was followed up on beautifully, gorgeous visuals, stunning music, and challenging gameplay that made the whole thing feel way more involved than your average turn-based RPG (not that there’s anything wrong with a traditional turn-based battle system). The passion of the developers is palpable throughout the game’s rollercoaster of a campaign, and I think it’ll live on as one of the true greats in years to come.

The Plucky Squire

A Real Page-Turner

I ended 2025 on a jaunty note, as far as video games go, at least. The Plucky Squire was added to my Christmas list on a whim and was purchased for me by my lovely wife, and over a few jaunty handheld gaming sessions undertaken in the time void known to some as the “Chrimbo limbo”, I saw the campaign to its jaunty conclusion.

If you haven’t heard of The Plucky Squire, it’s an indie game originally released in 2024 and developed by British studio, All Possible Futures, and concerns the titular squire being kicked out of the storybook he’s the main character in and attempting to save the day by exploring its pages and the outside world.

Many of the puzzles involve swapping words out from the book to have an effect on the environment. It’s a really neat idea that has loads of potential, but I don’t feel like it was explored to that potential.

The game is very “meta” in this way (in fact, the magic that the evil sorcerer, Humgrump, is using to cause trouble is referred to as “metamagic”), as the characters become aware very early on that they are part of a book, and many of the puzzles require players to think outside the box (or outside the book) to come up with creative solutions. Not that any of the puzzles were that hard. I never found myself stopping and scratching my chin thoughtfully for more than a few seconds, and I found all of the “glitchbird” collectibles in one play through.

The game will often stop to offer up some dialogue hinting at what the titular squire (who’s name is Jot, by the way) has to do to proceed, and there were times when I could’ve done without this, and would have rather the game let me figure things out for myself and hold back on stemming the flow. There’s also a recurring character that will give you more specific tips to progress, but you can ignore this fellow if you wish. He does have some fun dialogue, though, so sometimes I felt like I might’ve been missing out on an amusing quip or clever reference. You can’t have it all, I guess.

Sometimes Jot’s allies will fight alongside him, but sometimes they just follow passively.

The writing of The Plucky Squire is very pleasing on the whole. Generally, it’s presented as a kid’s storybook, but the writers definitely had some fun with the dialogue especially. The characters are all fairytale standards with some kind of unique twist, like a wizard who’s into EDM or a troll who’s a heavy metal drummer. The premise, writing, and dialogue combined to provide some legitimately fun and frivolous moments, and I actually chortled aloud a few times.

What about the gameplay, though? Well, I can best describe it as “Zelda-like”, in lots of different ways. When you’re exploring the book, The Plucky Squire feels like a SNES-style, top-down Zelda, and when you’re outside the book in the kid’s room, it’s reminiscent of the Link’s Awakening remake. Even Phantom Hourglass and Spirit Tracks feel represented with some of the creative puzzle solutions. There are also a few moments throughout The Plucky Squire where the gameplay will change drastically for a boss encounter. I won’t spoil too much, but if you’re a fan of rhythm games, side-scrolling shooters, and Punch Out!!, you’re in for a treat.

I now realise that I didn’t take any screenshots of 3D Jot in the real world. Oh well, I’m not going back in to get one, sorry. Here’s a screenshot of him on a mug instead.

Early on, The Plucky Squire felt like it was going to be a quirky but somewhat average experience that I’d play through and forget about, but by the end the gameplay changes, the charm, and the writing elevated it beyond this. I also found the segments where Jot was exploring outside the book, snooping around a kid’s desk and navigating paint pots, rulers, and birthday cards, to be extremely cosy. It almost took me back to my Micro Machines: Turbo Tournament 96 days. Are there any more games where you play as a tiny guy in a full size world? I’d like to explore this idea further. Maybe I need to track down a copy of Chibi-Robo!.

Played on Nintendo Switch 2.

Metroid Prime 4: Beyond

Sylux, Psychics, and Sidekicks

There’s something about the Metroid series. It’s a franchise that I’ve been interested in for a long time but didn’t leap into until Metroid Dread. Sadly priced out of most of the earlier entries into the series, I did consume lots of content about Metroid lore and history following my introduction to Samus Aran’s atmospheric adventures. I then jumped into Metroid Prime Remastered, and have now finally finished my third game in the franchise with the recently-released Metroid Prime 4: Beyond. I wrote about Metroid Dread here, and did a game diary on Metroid Prime Remastered here.

Nintendo’s Alien-inspired sci-fi series is fascinating to me, as its mixture of the Japanese giant’s bright and breezy style and the horror and isolation taken from Ridley Scott and James Cameron’s pair of masterpieces creates a beguiling whole. Some of the enemies are pretty creepy, and many of the bosses are incredibly monstrous, but much of the actual horror found in Metroid is inferred from background details and logbook entries. Instead, Samus’ adventures are more tightly focused on atmosphere and that all-important sense of isolation.

I tried the mouse controls and it does work well, but I soon settled on the standard controller-style method.

So, why does Metroid Prime 4: Beyond have a super-talkative companion and radio buddy, then? Honestly, I don’t think the companion characters are that much of an issue. Mackenzie, the one that everyone has the specific problem with, is kind of annoying at first, but he’s okay in the long run, and I always felt that the side-view Metroid games did the isolation thing better anyway. If you’re put off trying Metroid Prime 4: Beyond because of the complaints you’ve heard about Mackenzie and pals, don’t be, you and Samus will still have plenty of chances for alone time in the depths of some godforsaken heck-hole, way out of radio contact from your bespectacled chaperone.

I actually managed to 100% my play-through of Metroid Prime 4: Beyond. The item completion kind of happened naturally, and then I used the internet to find the last few scans before I took on the final area. I feel no shame at this; I don’t have time to piss about aimlessly looking for something called a “blow hopper” that spawns in a single location beneath a volcano, I had to ride my motorcycle around a desert smashing through a seemingly unlimited phalanx of sparkly green crystal formations. That was my way of introducing the other biggest annoyance I’ve seen people bring up about this game, by the way; the great crystal hunt. Again, I didn’t mind it, and spent an hour before my push into the game’s final sequence riding around in a zen-like state and mopping up the last of those crystals in one fell swoop. It was okay, and it didn’t take too long, even with Mackenzie sticking his oar in over the radio link from time to time.

This game has its own share of excellent tunes, but the Phendrana Drifts music will always pop into my head when looking at vistas like this.

Right, enough babbling, let’s start the “review” already. Metroid Prime 4: Beyond looks phenomenal, and uses its rich, mystical colour palette to paint a lively and awe-inspiring fantastical world. At times it reminded me of the awesome sci-fi art of the sixties, seventies, and eighties by the likes of John Harris and Manchu, at times it reminded me of James Cameron’s Avatar series of movies, and at times, yes, it did remind me of Halo. It does have its own thing going on though, and the environments look incredible whether you’re overlooking sweeping vistas and epic sky-boxes in the desert hub area or booking it through tight corridors filled with secreted alien goop at the bottom of a vast mining complex.

I was playing on the Switch 2 in Quality Mode and the game consistently looked fantastic with no noticeable drops in performance. Occasionally I would notice a few pixelated details though, and mostly on the helmet visors of the small squad of Galactic Federation soldiers Samus encounters, or on the hammerhead shark-like face of the super-beefy allied android, VUE-995. On the rare occasions when the squad’s visors open and you see their actual faces, there are no such issues and there are some high quality facial animations on show, but the fuzziness on their helmets is noticeable on occasion and can be a minor immersion killer. For the most part though, this is a mighty fine looking game.

So, what actually happens to Samus when she’s a ball?

The gameplay is also on point. There’s nothing very new to report if you’ve already played any of the Metroid Prime games (meaning that the new “psychic” powers Samus attains aren’t actually very different from her usual abilities in practice) but if you’re new to the Metroid party, expect a super-smooth FPS experience with a slower, considered pace, a fair helping of puzzles and back-tracking, and a high-concept sci-fi feel, favouring elemental-based weapons over Aliens-style modern solid round firearms. Players are expected to engage with the world by way of scanning critters, lore items, and enemies, and by exploring every nook and cranny for upgrades. Puzzles range from simplistic to devious, but progress-blocking brainteasers never offer up too much of a problem, meaning that the pace is rarely harmed.

Comparing Metroid Prime 4: Beyond to Metroid Prime Remastered, I’d say that this game is more straightforward in its level design. There are also fewer aggravating enemies, and most players will have an easier time with the general aggressive flora and fauna (as well as the mysterious “grievers”) that make up most of the combat. One or two of the bosses put up a legitimate fight, and the final confrontation is suitably challenging, but overall, Beyond is an easier game than Prime Remastered. I didn’t mind this at all, as I did find that Prime Remastered started to wear on me at times, and the fission metroids that were encountered regularly towards the end of that game were a frustrating pain-in-the-arse to fight. There’s nothing like that here, and this is alright with me.

This is a Griever. The game’s story definitely has a light theme of grief, mourning and loss, which is unsubtly hinted at with some of the species names.

The weapons and gadgets are as fun to use as always. By collecting enough of the infamous green crystals Samus can upgrade her basic cannon, and this upgraded version feels a lot more satisfying to use. The super-charged fire shot is also a lot of fun to unleash, and the super-charged thunder shot is an absolute dream, sending a devastating beam of erratic, electric energy that homes in on every enemy nearby and erases them in a visual feast of spectacular obliteration. It almost feels overpowered, but you’ll have earned it by the time you get it, and it uses a fair chunk of ammo, too.

Not that I ever really had to worry about ammo. Well, not until the very last battle at least where I was spamming the final suit’s overshield ability which inexplicably uses your missile supplies to power up. Metroid Prime 4: Beyond locks its hard difficulty until you’ve completed the game on normal. I haven’t tried it yet, but apparently it causes save points to only restore health instead of health and ammo, so I suspect that this, along with the generally tougher enemies, means that ammo conservation comes into play a lot more if you’re brave enough and time-rich enough to go through another play-through on hard mode. I won’t be doing it, I’ve got other games to play. Those last few bits of concept art in the gallery will have to stay locked, I’m afraid.

So, should I be getting attached to these guys or nah?

I really enjoyed Metroid Prime 4: Beyond. Its stellar art direction, memorable musical accompaniment, and tried and tested gameplay and progression made for a very satisfying and compelling experience. I found the supporting cast likeable (even Mackenzie by the end) and they were used sparingly enough that the sense of isolation still had its time to shine. I enjoyed the boss fights and felt comfortable with the controls, and I only occasionally got a bit exasperated with the back-tracking and the more fiddly areas (like some of the morph ball sections in the powered-up bike factory).

Speaking of bikes, I’m a sucker for a sleek, futuristic motorcycle design, and Metroid Prime 4: Beyond does not disappoint in that regard. Vi-O-la, as Samus’ glamorous, metallic steed is known, is a highlight of the game, even if you’ll mostly be riding it around empty desert hunting down those blasted green crystals. I like a sci-fi bike, and Vi-O-la is a sci-fi bike that I like.

As a self-confessed Johnny-come-lately to the venerable Metroid franchise, Metroid Prime 4: Beyond gets an enthusiastic thumbs-up from me. Sleek, slick, and exceedingly pretty, Samus’ most recent outing didn’t outstay its welcome and kept me interested throughout, never once becoming a chore, even when I was filling the crystal receptacle so that I could get a special memory fruit or whatever that bit was all about. Look, just stop being such a blow hopper and give it a try, okay?

Mario Kart World – Four Months Later

Keep on Karting

If you read my previous article about Mario Kart World (written on the day of release, I believe), you might remember that I said my favourite thing to do was drive across water. I’ve since changed this opinion. Don’t get me wrong, tricking off the crest of dynamic waves caused by exploding blue shells and bob-ombs is good, chaotic fun, but the long stretches of calm water actually tend to be the low-points of your average intermission.

Right, now that I’ve retconned that outrageous take, let’s talk about how Mario Kart World is holding up four months after release to a casual player like me. I’ve seen loads of analysis online, but YouTube suggests the popular analysis and the popular analysis is made by competitive, online players. I play Mario Kart World with my daughter, I can barely remember where all the whacky rail shortcuts are supposed to be let alone hit them with anything remotely resembling consistency, and I don’t need to be constantly challenged and faced with split second decisions at all times to stay entertained. Sometimes I just want to look at a nice sunset and listen to some cool music while I strategically place banana peels on the tarmac.

Well, Mario Kart World has plenty of dazzling vistas and an awesome soundtrack to go along with them. Many of the tunes have made it onto my list of regularly played video game music pieces on YouTube, and I often find myself whistling the themes to Faraway Oasis or Cheep Cheep Falls while at work, much to the chagrin of my new manager who apparently doesn’t like whistling. Maybe she just doesn’t like my whistling. Sucks to be her, I guess.

I only played as King Boo for a bit of screenshot variety.

The actual racing gameplay of Mario Kart World is best in class, too. All of the courses are awesome, with very few tracks that come across as weak or forgettable, and this latest iteration of Rainbow Road is absolutely stunning. I was quite moved on my first play-through, dazzled by the gorgeous visuals, glorious music, and beautiful set-pieces. What an experience.

I also don’t mind the intermissions, and I guess this is where my casual nature – and my lack of interest in playing online – comes in. It’s nice to just blast through some open lanes, chucking shells at my fellow road-users and taking in the sights. Sure, I don’t always want to play them, but it’s easy enough to do a series of full courses while offline, so I really don’t see them as an issue. So far, so good, right? Right. Well, I do have some concerns, and they’re mostly to do with the open world.

I’ve always had a thing with driving games where I imagine longingly what it would be like to break free from the track and drive wherever I wish. I’m sure I’m not alone in that feeling. Whether its being fascinated by those pixelated mountains on unattainable horizons in Lotus Turbo Challenge, being compelled to veer off the track and direct my Lancia Delta into the Finnish forests in Colin McRae Rally ’04, or indeed wondering what’s beyond those colourful, ocularly endowed hills in earlier Mario Kart games. However, when I do play games that actually allow you to do this, I tend to fall off of them pretty quickly, the Forza Horizon series being an appropriate example. I guess the realised worlds, no matter how gorgeous and expansive, can never live up to our imaginations.

Look! A P that’s still blue!

I thought that Mario Kart World might be the exception – this is a big budget game made by one of Nintendo’s top level teams, after all – but it’s actually kind of empty. There’s stuff to do, like the missions and the blocks and the Peach coins, but there’s also a heck of a lot of nothing, and the missions, blocks, and coins only unlock stickers anyway. The stickers are wonderfully designed, but all you can do is look at them (and choose one for your little emblem, I think?). It’s been said many times, but it would have made way more sense if the outfits and characters were locked behind these open world aspects. The way you unlock both seems crazy to me. Why are outfits locked behind food? Why are characters locked behind the barely-seen Kamek item? Both mechanics just feel esoteric and unfinished.

Mario Kart World’s open world is beautiful, and I do enjoy driving around, finding missions, listening to the music and taking in the scenery with Daisy, the best princess of all, but it’s also a facade. There’s not really anything going on, the toads, yoshis, and shyguys wave and get in and out of their cars, but they’re not really doing anything, there are no real secrets to find, very little in the way of Easter eggs or cool hard-to-reach areas (I don’t count Daisy’s palace because it’s, well, right there), and no one to interact with outside of the occasional Chargin’ Chuck who you’ve got to hit with a green shell. No secret Blooper cave, no mysterious, caged Thwomp that the internet can theorize over, no out-of-the-way corner where a strange, creepy sound plays for no apparent reason. It’s just a bit bland, and I wanted more.

It helps if you think of it as more of a theme park than an actual functioning, populated landmass, but that still doesn’t make up for the general emptiness. Still, they’ve just added an update with a few more UFOs around the place, and they’ve apparently addressed that thing that people are upset about online with the intermissions. There’s no telling what future DLC might bring, so I’ll definitely be keeping an eye out as the game inevitably grows, and in the meantime, playing the cups and the knockout tours with my daughter is always going to be great for an hour of fun. Still, my dreams of exploring a vast, beautiful and interesting Nintendo-fied world and immersing myself in the bright colours as a form of beautiful escapism during these trying times have not come to pass.

The music often adds to the theme park vibe.

It’s still the only proper Switch 2 game I own. I’ve got Metroid Prime 4: Beyond preordered, and will hopefully be getting Yooka-Re-Playee because it looks great and is getting a proper physical release, but I’d like to have a few more excuses to turn my new Nintendo on other than using it to play Switch games. I’m a little worried that my Switch 2 collection won’t grow to epic proportions, as I refuse to buy key cards and the grand majority of third parties seem to be going with them even when they’re releasing their games physically on other consoles. That’s another rant, though, that I don’t want to get into right now. Let’s try to stay focused on the matter at hand. Mario Kart World; it’s bloody great in some ways and somewhat disappointing in others. I should’ve just said that at the start and saved everyone some time.

Ninja Gaiden: Ragebound vs. Shinobi: Art of Vengeance

Battle of the Ninja

Sometime in the last couple of years, the planets aligned on the same night that a full moon cast an eerie light over the bamboo forests at the base of Mount Fuji, and two separate studios came up with the idea of resurrecting a classic 2D ninja franchise for modern consoles at the same time. Lizardcube dragged Joe Musashi out of the shadows with the Sega-published Shinobi: Art of Vengeance, and The Game Kitchen shone a spotlight on Ryu Hayabusa, creating the Koei Tecmo and Dotemu-published Ninja Gaiden: Ragebound. Well, kind of. Ryu Hayabusa is in the game, but he’s not playable.

Ninja Gaiden: Ragebound came out first, but Shinobi: Art of Vengeance was the first one to get a physical release, so it was the first one I played. I was going to buy them both on Switch, but the boxed release of Shinobi was a code-in-a-box, which I soundly rejected as everyone should, so I got that one on PS5. Still, I played Ninja Gaiden: Ragebound docked on my Switch 2, and didn’t notice any particular performance issues in either game, so I think it’s still a fair fight. As such, it’s time for me to figure out which 2D ninja action game is the best, and I do this as a fan of both franchises who is old enough to have played both back when they were first released. No ninja favouritism from me!

I’m going to use the most coveted and respected review setup of all, that being the method adopted by premier 90’s periodical, Mean Machines Sega. As such, we’ll be judging each title on the following aspects; Presentation, Graphics, Sound, Playability, Lastability, and Overall. Make sense? No, not to me either, but we’ll get into that shortly, so get your tabi on and bring your kunai, it’s time to take to the shadows.

Presentation

So, what’s the difference between presentation and graphics/sound, then? I guess I’m just not on the level of those fabled Mean Machines Sega writers of old, because I don’t really get it. I’ll tell you what, I’ll use this section to talk about each title’s story setup instead. That’s kind of like presentation.

Shinobi: Art of Vengeance’s story is pretty basic, with a fairly unremarkable bad guy who is leading an enormous and incredibly well-equipped army of soldiers, creatures, and demons on a steamroller journey of world domination. The bad guy, known as Lord Ruse, has somehow cheated Death (yes, the Death) out of his scythe, and so wields incredible power. Ruse’s forces hit Musashi’s village early on and burn the whole place to the ground, murdering everyone except Joe and Joe’s pregnant wife. Mr. Musashi is obviously fairly pissed, and goes on his own rampage with vengeance on his mind.

Being able to play as a ninja of the Black Spider Clan is pretty cool for Ninja Gaiden fans.

Ninja Gaiden: Ragebound has an interesting story hook in which main character, Kenji of the Hayabusa Clan, ends up becoming a vessel for the soul of Kumori, an equally skilled kunoichi aligned with the shady Black Spider Clan. The two must work together to defeat the minions of a powerful fiend who plans to open the veil into the human world and wreak havoc. The bad guys feel less important than those of Shinobi: The Art of Vengeance, but the relationship between Kenji and Kumori is actually pretty fun to see develop, and the game’s finale wraps up their story in a surprising way, so I think this one takes it.

Winner: Ninja Gaiden: Ragebound

Graphics

Shinobi: Art of Vengeance goes for that playing-a-comic art-style that Lizardcube had previously used for Streets of Rage 4. It looked great for that game, and it looks great here, and most of the enemy designs are very memorable (I especially like the big guys with the electric gauntlet weapons).

The symbol over this unfortunate fellow’s head means that he’s ready to be executed. Finish him off, Joe!

The backgrounds can be spectacular, with highlights including the sparkling lantern festival, the gorgeous fields that the game starts in, and the rooftops of the night-time city stage. Where Shinobi: Art of Vengeance really excels though is in its animation. Joe’s movements are incredibly fluid and the battles look spectacular, and this helps you feel super cool and badass when you pull off spectacular moves while managing to avoid damage.

Do the visuals lose some personality and authenticity with the move away from pixel art, though? Possibly, and occasionally it feels like the backgrounds lack detail, but it’s a superb-looking game overall nonetheless.

Both games feature a really cool-looking bamboo forest early on.

Ninja Gaiden: Ragebound has more of a retro feel, opting for the familiar pixel art style. This looks great, although perhaps not as striking as Shinobi. Some of the backgrounds look awesome, especially the early-game bamboo forest and the areas in and around Mount Fuji. However, there were locations that I thought were a little bland with uninteresting colour palettes, especially the stage that’s a big construction area. I also found that Keni’s arms looked cartoonishly huge when he was holding onto the ceiling or hanging off a helicopter. Both he and Kumori’s sprites are gorgeous, though.

Ninja Gaiden: Ragebound gives players the option to turn off the gore, but honestly it’s pretty cartoony anyway.

Interestingly, both games have a couple of levels and a sub-section of enemies based around body horror themes, and both of them kind of fall flat when it comes to making it, well, gross enough. You know, that sort of stuff should send shivers down your spine, leave you morbidly fascinated and unable to look away despite the soul-clenching nature of what you’re seeing. For an example, look at Shinobi III: Return of the Ninja Master and its Hydra boss fight, as well as the stage that proceeds it. Shinobi: Art of Vengeance’s gribblies look too clean and sleek thanks to the art style. Ninja Gaiden: Ragebound’s pixel art style gives the twisted horrors a bit more of a visceral nature, but they still look a bit too cartoony to be effective, even the monstrosity fought at the end of the train stage. Disappointing.

Honestly, there were times during Shinobi: Art of Vengeance where I found myself wishing it went for a pixel art style (especially in the underground laboratory level), but I think that it looks better overall. Both games look great, but Shinobi: Art of Vengeance has that extra edge. Lizarcube are winning this one, but it’s darned close.

Winner: Shinobi: Art of Vengeance

Sound

While both games sound good, and both games have great, appropriately action-packed soundtracks, only Shinobi: Art of Vengeance had any pieces that I remembered after I’d finished the game. They were the track that plays during the “Ankou Rift” sections, and the battle music from the Lantern Festival stage, if anyone is interested.

Winner: Shinobi: Art of Vengeance

Playability

Here we go, the meat and potatoes of any ninja game, or should that be the rice and tofu? Let’s get one thing cleared up straight away; Ninja Gaiden: Ragebound is harder. I beat most bosses in Shinobi: Art of Vengeance on my second try, and didn’t have any real trouble until the very last showdown with Lord Ruse himself. The first boss in Ninja Gaiden: Ragebound (a giant fire bat monster demon guy) took me numerous retries, and things only got more challenging. It never felt insurmountable, though, and I persevered and finished the game in the end. Incidentally, Shadow of the Ninja – Reborn (click here for my review), is harder than either of these games.

This floating boss might not look like much, but is an absolute bitch.

Ninja Gaiden: Ragebound is a decidedly old-school action platformer that plays like an updated version of the classic Ninja Gaiden games, and it’s definitely closer to its inspiration than Shinobi. Kenji can do two quick slashes with his sword, and can fling projectiles thanks to Kumori’s assistance. The pair have access to a few equippable special weapons and abilities, and can leap from enemies, projectiles, and certain pick-ups using a mid-air attack, which becomes very important for traversal and combat as the game progresses.

Most enemies fall in one hit, but others are much tougher and require Kenji to get up close and slash away, putting himself at risk of some health bar-sapping counter-attacks. However, there’s a nifty mechanic that can help to make these big boys and girls less of a pain. Certain enemies will have visible auras, and depending on whether you defeat them with the right kind of attack, Kenji can sap this aura, super-powering his next strike, which will make short work of the tougher enemies if you play it right. This mechanic also comes up during every boss fight, and it can feel pretty good when you take out a group of tough enemies or stun a boss thanks to smart use of the available auras.

Shinobi: Art of Vengeance feels much more modern and further away from the Shinobi games of old, with Joe Musashi gaining directional attacks, upgradeable combos, and a satisfying execution move. There’s a similar system of equippable items that have in-game effects, but I felt more compelled to experiment with different loadouts in Musashi’s outing. Art of Vengeance will also have players going back to earlier stages once new abilities have been unlocked in order to get to new areas, and as such it has a bit of a Metroidvania flavour. I’m a fan of the ways Lizardcube have expanded on the traditional gameplay, and it still feels like a Shinobi game despite these changes.

Moving platforms over electrified water with rotating flamethrower turrets. Good luck!

Shinobi: Art of Vengeance also has some devious platforming sections. I didn’t find the Ankou Rifts too bad (optional areas that provide combat or platforming challenges that provide Joe with a stronger weapon if you beat them all) but there were occasional optional areas in the main levels that slipped from challenging to aggravating. The most egregious example of this was a platforming section known as the “secret bunker” in the battlefield stage late in the game. That place was a nightmare, and was the only time I felt like the controls were working against me, but I beat it.

Both games have some really cool set-pieces, including levels based on moving trains, and “mounted” stages, with Shinobi having a mechanised surfboard interlude as well as another one that’s a slight spoiler, and Ninja Gaiden having a couple of sections on a scrambler bike belonging to Kumori. One later stage in Ninja Gaiden has Kenji leaping from vehicle to vehicle in a military convoy, which was a nice bit of spectacle.

You wouldn’t believe how unnaturally talented Kumori is in the saddle.

Lastly, I encountered glitches in both games. Ninja Gaiden: Ragebound had Kumori riding her motorcycle backwards after a collision in one of the on-wheels stages, which was a little confusing and immersion-breaking but didn’t hurt in the long run, but there was one instance of a section of a level starting with Kenji falling through the floor and dying, even when I restarted from the last checkpoint. I had to quit the game completely and restart the level from the beginning to get past it, which was annoying.

Shinobi: The Art of Vengeance hit me with a recurring glitch where the map screen wouldn’t correctly identify where Joe was in the stage, which actually proved to be a major setback when I was searching for the last few collectibles in a stage. Also annoying.

Both games are incredibly smooth and satisfying to play, though, and are challenging in such a way that rarely falls into frustration. However, due to the sheer spectacle and “cool” factor of Shinobi’s combat, I have to hand it to Joe.

Winner: Shinobi: Art of Vengeance

Lastability

Well, the campaign in Shinobi: Art of Vengeance is a lot longer. With the expansive, Metroidvania-lite levels and the backtracking Joe Musashi’s adventure will last you a fair bit longer if you’re the type to play through a campaign once and then move on. When the campaign is completed an arcade mode is unlocked where the goal is to finish each stage in a good time while locating all the collectibles and taking as little damage as possible (as well as finishing the boss off using the awesome execution mechanic). Attaining S rank is pretty challenging, and then when you add in the Ankou Rifts, an unlockable boss rush mode, and the optional secret boss, there’s plenty there for completionists to get on with.

Ninja Gaiden: Ragebound is a more focused experience, with the ranking mechanic applied from the beginning of the game. In my experience it was slightly easier to attain an S rank in Ninja Gaiden (depending on whether one of the stage’s challenges involved beating the boss without damage or something crazy like that), but I didn’t especially try for the S ranks in either game so I can’t speak with too much authority on it. Once the campaign is completed a hard mode is unlocked, and there are also secret ops missions which are challenging optional stages in the vein of Shinobi’s Ankou Rifts.

When it comes to sheer content, though, I’ve got to give this one to Mr. Musashi again.

Winner: Shinobi: Art of Vengeance

Overall

Well, it’s looking like a bit of a Shinobi whitewash at the moment, but that’s really not the case. Every single category was very close, especially the all-important playability category, and the relationship between Kenji and Kumori in Ninja Gaiden: Ragebound did add a lot of personality to win me over. Of course, Joe Musashi is a legend, and Kenji and Kumori are mere newcomers, but I really enjoyed their interactions and this iteration of Joe comes across as more of a personification of vengeance who says literally one word over the course of the entire game. That does give him a badass edge, though.

It’s just as cool as it was in 1993.

Like I said early on, both franchises mean a lot to me. I played and loved the Shinobi games as a kid on the Master System and Mega Drive, but I didn’t play any Ninja Gaiden games until the 2004 reboot and only played the classic games in retrospect. However, whereas I view the Shinobi games as great titles, 2004’s Ninja Gaiden is one of my favourite games of all time, so there’s no real favouritism here. Just based on how I feel about both games, though, I don’t think I can wrangle a plot twist and name Ninja Gaiden: Ragebound as the overall winner despite Shinobi taking most of the categories. It’s great, but Shinobi: Art of Vengeance just has that edge, a more palpable “cool” factor, and the combat is so darned satisfying.

Winner: Shinobi: Art of Vengeance

Really, though, both games are winners, and I’m just grateful to have had the opportunity to play two brand new 2D ninja action games here in 2025. Which ever game you choose to play you’re in for a fun and challenging time that has plenty of spectacular content to offer, and if you’ve got a few extra pennies, you could always double up. Support your local ninja in these trying times. Buy both!

Mario Kart World – Impressions

It’s a Knockout

I bought a Nintendo Switch 2 on the day of release. I’m not actually sure if I’ve ever done this before. Maybe with the PS Vita? I got really caught up in the hype for that one. Let’s hope the Switch 2 lasts a bit longer than Sony’s sleek, handheld, unwanted stepchild, shall we? The only Switch 2 launch game I was interested in was Mario Kart World (I already own Cyberpunk 2077 twice, okay?) so that was all I bought with it, and I spent most of June the 5th 2025 racing, battling, free-roaming, and unlocking and beating the Special Cup in 150cc. I like playing as Daisy, but she’s not unlocked from the start. I played as Dry Bones, Mario, and the bee for a bit before I unlocked the Queen of Princesses, and then I never looked back.

Mario Kart World handles better than Mario Kart 8 Deluxe. There, I said it. The karts are more satisfying to control and they feel more like they’re doing what you’re telling them to do. It’s probably a me problem, but I would often find myself frustratingly over-steering on tight corners while drifting in Mario Kart 8 Deluxe, and trundling off-road, hitting a barrier, or troubling Lakitu. In Mario Kart World when I feel like this oversteer is about to happen I can keep hold of it, and end up hugging the inside line like Travis Pastrana in a flouncy orange dress.

If you jump into that water during free roam, Lakitu will show up and ruin your fun. Only certain bodies of water are accessible. I guess he doesn’t want you to catch a cold.

Being a careful and conscientious kind of fellow, I started playing in 50CC. I do not recommend this if you’re coming from Mario Kart 8 Deluxe as the controls are exactly the same and the handling is close enough that you’ll slide right back into the zone and 50CC will bore you to tears. If you saw all those previewers and YouTubers worrying about the “boring” straightaways during the build up to release, you’re going to live it if you play on 50CC. It’s for young kids and pensioners only. 100CC offers a bit of challenge and the occasional surprise, but 150CC is where it’s at. It feels fast, there’s plenty of chaos, and the other drivers will trouble you for most of the race.

Mario Kart World looks fantastic. The environments are wonderfully designed and the weather effects and skyboxes are gorgeous. As you progress through the cups the tracks really up the ante in spectacle, and there are some awesome moments. My first “okay, this is really fucking good” realisation came during the Wario Stadium circuit later in the Flower Cup that leads into Airship Fortress, and things only escalate from there, culminating in everyone’s favourite kaleidoscopic Mario Kart mainstay. Mario Kart World Rainbow Road is absolutely stunning, by the way. Transcendent, even.

A few of the P-switch missions I’ve encountered involve sliding around on these vines. You’ll tend to mess up if you try and get too fancy, so just keep the stunts to a minimum, okay?

I tried Battle Mode a couple of times. It’s fine, it’s the same as it’s always been. I like that balloon battle is knockout-based again. The arenas are all fairly large so it doesn’t feel overwhelming having 24 characters sliding around everywhere. In fact, you’ll barely see most of the back-markers during standard races, so upping the participant count to 24 seems a little superfluous. It’ll make a difference online, to be sure, but I’ve not dabbled in that yet.

The Knockout Tour is a lot of fun, but again seems geared towards multiplayer. It’s a bit of a shitter to get knocked out late on, but the mode is a good alternative if you fancy something different to standard races. Other than that, the new items seem cool, the costumes are pretty nice (but there aren’t as many as you might hope), and the new characters are cute if you can put aside any misgivings about bats and crabs and other such critters “steering” karts without arms.

Oh yeah, the Free Roam. I like the free roam, but I’m not sure of its lasting appeal. So far, though, I’ve enjoyed mooching around, finding P-switches, and undertaking the little missions. Many of them are tricky enough that you won’t beat them first time, but you can easily restart if you mess up. I’ve found a few Peach Coins and ? Panels, but they only seem to unlock stickers and I haven’t figured out what those do yet.

Would it have been better if they’d brought in some cool characters from the expanded Mario universe (Geno, Vivian, etc…) instead of sticking all these minions in karts? I think so, but I’m not going to lose any sleep over it.

My absolute favourite thing to do in Mario Kart World, though, is race over water. The watery sections of tracks are genuinely spectacular, and tricking off of the crest of the waves as bob-ombs and blue shells cause mini-tsunamis is an absolute blast. Hopefully someone in power at Nintendo will see how cool the water sections of Mario Kart World are and decide to dredge up Wave Race from the depths. We can hope, right?

Jet-ski dreams aside, everyone is talking about the price of Mario Kart World. Is it worth it? That depends on what you’re giving up to afford it. If you’re paying for Mario Kart World instead of feeding your children this week, then I’d probably recommend that you rethink your purchase. If you’re sacrificing a night out on the town for it, then yeah, you’ll probably get more out of this in the long run. Mario Kart World isn’t the next step in gaming, it’s not the ultimate, endless, open world experience that justifies the price hike, it’s just a really good Mario Kart game. It’s possibly the best Mario Kart game yet. I don’t know, just buy it if you want, I guess. I’m not your mum.

Drainus

Not Without My Drainus

I don’t feel all that qualified to assess Drainus. I really like a good shoot-’em-up, and have lots of respect and nostalgia for the genre, but I’m actually shockingly bad at them. Whether I was begging my parents for change just to instantly get shot down on the 1942 arcade machine they had at a local pub, or never getting past the first level on the likes of Hellfire and Thunderforce II on the Mega Drive, I don’t exactly have the skill-set to excel at anything resembling “bullet hell”.

Drainus is fucking cool, though. I mean, don’t get me wrong, that title obviously doesn’t come across very well to a native English speaker, but everything else about the game is about as close to perfect as a shoot-’em-up can get.

In Drainus, which was initially released in 2022 and developed by Team Ladybug (who also developed one of my game diary subjects, Record of Lodoss War: Deedlit in Wonder Labyrinth), players take on the role of Irina, a young lady with a strong sense of justice and a haircut that made me think she was a boy. She’s an excellent pilot, and she’s been hiding out from an evil space empire while trying to find a cure for her extremely sick “daddy”.

It’s probably not hardcore enough to be called Bullet Hell by real genre aficionados. Bullet Heck, maybe?

She’s accompanied by a time-travelling “humanoid” pilot called Ghenie, who looks like something in between Slippy Toad and the drummer from Interstella 5555, and between the two of them they have to fight through the Kharlal Empire’s humongous fleet of deadly weaponry, tie up nasty time paradoxes, and deal with Irina’s sister, Layla, who happens to be second-in-command of the Empire’s forces (and yes, even though she’s clearly older and more together, she refers to their dad as “daddy”, too).

Luckily, thanks to Ghenie, Irina has found herself in the pilot seat of a “Drainus”, an advanced experimental craft that can adsorb energy from light-based weapons and unleash it upon the enemy in the form of a powerful homing attack. This ability, on top of presumably being responsible for the game’s unfortunate title, provides Drainus‘ unique twist – a mechanic that allows players to absorb certain types of attack in a similar vein to Ikaruga, and also to take the offensive in interesting ways.

The beam absorption mechanic in action.

This results in gameplay that encourages a daring play-style. In order to get the upper hand against the swarms of basic enemies, challenging mini-bosses and overwhelming stage bosses, players will have to suck up otherwise devastating beam attacks and unleash them at the right time, taking chunks out of the health bars of hard-to-reach enemies.

There’s also a question of timing, as you can’t just fly your Drainus around without a care in the world, sucking up all of the enemy projectiles willy-nilly. Hold down the button for too long and the ship’s energy absorbing apparatus will fail, leaving you vulnerable while it charges up again. Also, you can’t suck up physical projectiles (handily highlighted with a red outline), so constant vigilance is required.

Throughout the game, players will be collecting power that can be spent at any time in the game’s menu to upgrade their ride’s weapons and other systems, meaning that there’s plenty of different ways to customise your gameplay. You can even upgrade your energy absorption bar, meaning you’ll be able to hold down the button and tank that super-boss’ screen-filling beam weapon for even longer. It’ll make you feel powerful, but you’ll need all that power to take on the rapidly-escalating threat of the legions of bosses, synchronised enemy fleets, and stage obstacles that the game will throw at you.

I actually found myself fairly interested in the story, too, and was invested in how Irina and Layla’s relationship would develop. There’s even a bit of a fake-out ending, and the game handles its time-travel story in a way that keeps things interesting until the very end. That’s coming from someone who has a major aversion to time-travel stories outside the first two Terminator flicks.

Another possible explanation for the game’s unattractive name is that the developers might have wanted it to sound a bit like Darius or Gradius.

The game also lets you continue as much as you want, even saving your progress through a level when you pick it up and try again, and this is the only reason I was capable of finishing the campaign. I got shot down my fair share of times, but I still felt like some kind of badass, bullet hell pro when I saw those credits roll, and I came back for more, too. There are also unlockable difficulty levels and an arcade mode for those looking to prove themselves in the pilot’s seat.

On top of all of its accoutrements and imaginative gameplay elements, though, Drainus manages to do the basic stuff perfectly. The game looks fantastic, the controls are crisp and poised to perfection (the whole thing looks and plays superbly using the Switch’s handheld mode), and the music is toe-tapping throughout.

My favourite power-ups are the ones that attach a formation of blaster-equipped pods to your ship.

I imported the physical Switch version of Drainus based on the fact that I wanted a nice shoot-’em-up on the console and that I’d heard some good things here and there. I’m really glad I did, as Drainus has proven to be yet another prize specimen indie title in my physical Switch collection. With this and Record of Lodoss War: Deedlit in Wonder Labyrinth in the bag, Team Ladybug are now two for two on exemplary games that get an emphatic thumbs up from me.

Wait, are Team Ladybug the new Treasure? Drainus certainly feels like a 2D classic in the vein of Treasure’s legendary output, but maybe it’s a little hasty to compare the two just yet. I’ll definitely be keeping an eye on what the ladybugs get up to in the future, though. When they’re not sitting around on leaves eating aphids, that is.

Tumblepop

A Tumble in the Jungle

As a small child with a wide-eyed interest in the natural world, I embarked on one or two trips to a place called the Tropiqaria in West Somerset. It was (and still is) a small tropical house and zoo built in and around an old BBC radio transmitter. I have two memories from visiting the Tropiquaria; one school trip during which I held a snake around my neck (they’re dry, not slimy!) and one trip with my parents where I sank a few coins into the single arcade machine that stood near the snack bar.

Over the following thirty years I would think about this game every now and then, surrounded by snakes, lizards and tropical flora as it was, but could never remember the name. It was a single-screen platformer along the lines of Bomb Jack but with a bit of a Ghostbusters vibe; the characters had vacuum guns with packs on their backs, and you’d suck up enemies into your pack and then fire them at other enemies. It was bright and colourful and whimsical, and something about it burrowed into the back of my mind and found a permanent home there.

Incredibly, by using the modern art of “Googling it” I have managed to identify this mysterious game from my youth, so I’d like to bring your attention to Tumblepop, released in 1991 and developed by Data East. Tumblepop is an arcade platformer for up to two players starring a pair of ghost hunters who travel the world, sucking up spooks and blasting them into their allies. The machine was published by Namco in Japan, a company called Leprechaun Inc. in the US, and a company called Mitchell Corporation in Europe. Despite sounding very English, the Mitchell Corporation was apparently a Japanese developer and publisher, and somehow delivered a Tumblepop cabinet to a random exhibition of tropical animals in the depths of the English West Country. Strange how things work out, isn’t it?

The Japanese stages take place during sunset, just like in Road Rash 3. Wait, it’s probably sunrise, come to think of it.

Thanks to the modern gift of emulation, I spent some time today playing Tumblepop on my desktop PC using a USB Nintendo Switch controller, and I have to say I had a pretty good experience with it, despite there being very few lizards nearby. The game definitely has an air of Bomb Jack about it, with its single-screen layouts and backgrounds featuring world landmarks, but the rainbow-hued suction beams of the magic vacuum guns add a whole extra dimension to the gameplay.

After selecting the nation they’d like to save from a simple world map, players will battle through a number of stages, slurping up a variety of enemies as they work their way towards a boss battle. The gameplay is simple and satisfying, and it’s not as tricky as a lot of arcade platformers, but it’s still easy to get caught out with so many enemies packed into the single-screen areas that are capable of attacking from above and below. As you progress through the stages, projectile-spewing baddies will begin to appear, as well as baddie-producing generator-type enemies that take a couple of hits to remove.

Each location has a boss waiting at the end of it, and the bosses tend to dominate the screen and represent an interesting change of pace. Despite each boss encounter having its own simple gimmick they all have the same solution; suck up their minions and empty the tank right in their enormous, ugly faces. Oh, don’t hold the suck button down for too long though, or your guy’s backpack will explode and you’ll lose a life. It’s a tragic and shameful way for a ghost hunter to go out.

Remember when that giant octopus terrorised New York? Yeah that was crazy.

As far as I can tell, Tumblepop was never ported out of the arcade with the single exception of a Game Boy version that was later released for the Nintendo 3DS Virtual Console, meaning that outside of emulation there’s no way of playing Tumblepop in full, living colour – unless you want to track down what must now be an exceptionally rare and obscure arcade machine, that is. I wonder if the Tropiquaria still has theirs? Maybe I’ll go over there soon and check it out. Worst-case scenario; I get to see some turtles.

Prodeus

Become a Vessel of Destruction

Despite not being a “boomer” (I’m D-Generation X, baby), I’m quite fond of Boomer Shooters. Anything that reminds me of simpler times blasting away on the likes of Duke Nukem 3D and Hexen on my Sega Saturn is going to have a decent shot at earning my affections. Also, I like that they don’t tend to be too much of a time commitment, and can make for a straightforward and violent palette cleanser between lengthy RPGs or modern cinematic action games that demand lots of hours and dedication.

These days, I tend to try to be a physical-only gamer, as I enjoy feeding the shelves in the rumpus room almost as much as I enjoy playing a good video game, and in the last few years I’ve finished the (as far as I’m aware) only three Boomer Shooters that you can buy physically for the Nintendo Switch: Ion Fury, Warhammer 40,000: Boltgun, and now, finally, Prodeus.

You’ll be mowing down so many minions of Chaos you’ll think you were playing Space Marine 2! (I completed that, too, by the way) 

I didn’t write about the first two games so I’ll very briefly sum up my opinions on them here. Ion Fury is a fantastic Duke Nukem 3D love-letter that has been tastefully modernised in all the right places, and Warhammer 40,000: Boltgun is a satisfying blast through the endless minions of Nurgle and Tzeentch that often pushes Nintendo’s ageing HDMI-enabled tablet beyond breaking point when it comes to framerate.

That leaves Prodeus, which I purchased sometime in 2024 and finally got around to playing in January of 2025. The game was developed by Bounding Box Software and was the result of a successful Kickstarter campaign. It offers multiplayer content as well as a single player mode, but I don’t dabble with multiplayer these days. I like my peace and quiet, you know? This will be a review of the campaign only.

The plot of Prodeus is purposefully left fairly ambiguous. From what I can fathom from the pre-stage descriptions, the game takes place on an asteroid that’s being mined for fuel (and possibly artefacts) and two opposing, interdimensional forces have converged on said asteroid to enact some kind of cosmic war. These two forces are Chaos, who have a demonic vibe and can apparently turn human soldiers into Doom-style zombies, and Prodeus, who are technologically advanced entities of light who can wrest control of Chaos’ demonic units, turning them into upgraded, blue-tinted versions of themselves.

As for the protagonist? Well, it’s hard to tell. There’s an opening sequence where they get killed horribly and then awoken in some kind of tank, and in-game text occasionally refers to them as a “Vessel”, but that’s about all you’ve got to go on. The Doom-style portrait at the bottom of the screen (that appears more skull-like as you take damage), has a cybernetically-enhanced super-soldier aesthetic, so maybe they’re some kind of Prodeus experiment that went rogue, but it’s all a bit vague. The setting is compelling enough, though, and you won’t be thinking too hard about the nuances of character development when you’re blasting something’s face off with four simultaneous super shotgun shells.

Which one is the Keymaster and which one is the Gatekeeper?

All of the guns in Prodeus are great, and the game starts you off simple with a very satisfying pistol. All of the usable weapons are split across five different types of ammo, and each ammo type will feed every weapon in that class. These are bullets, shells, rockets, energy and chaos, and the different guns in the various classes all do a fine job of staying relevant as you unlock new implements of destruction. Even weapons that you’d think would be very similar or just straight upgrades, like the shotgun and the super shotgun, are different enough to drastically change gameplay. The shotgun fires more shells before needing to reload and has a secondary mode that’s a bit more effective at range, while the super shotgun can fire all four loaded shells in a satisfying blast that’ll leave all but the most elite enemy types with a severe case of bloody dismemberment.

Speaking of which, the blood effects are on point, too, with enemies exploding very satisfyingly and painting floors and walls in a tasteful shade of crimson. If a baddie pops in a tight enough space its insides will even cover the ceiling, and this results in a generous period of dripping gore, giving the game a very violent and visceral air.

Even when they’re not covered in copious helpings of tomato sauce, Prodeus’ environments look great. The visuals are purposefully very pixelated (although it looks less so in motion than the screenshots would have you believe), but the game still has a sleek feel with heaps of atmosphere. Many of the locations are quite alien and abstract, especially once you enter the Prodeus dimension, and the whole thing is built on a very dark base colour scheme with orange or blue highlights depending on whether Prodeus or Chaos are in the ascendancy at that point in the campaign. The game could be accused of looking quite samey, but a couple of highlights, like the Space Station or the dark, rainy ocean environment in the Trench level, do manage to provide some memorable focal points along the way.

As for the gameplay; it’s extremely solid. The controls are crisp and responsive, I only noticed two sections where the framerate took a noticeable hit, and the enemy variety keeps things interesting right through to the end of the game, in part thanks to the more-powerful Prodeus-controlled versions of Chaos enemies that appear later on. While most levels consist of moving through environments, locating the odd key card, and taking out groups of enemies as you go, some stages are straight up arenas that throw enemy waves of ascending difficulty at you, just to keep things spicy. The aforementioned key card hunting doesn’t overstay its welcome either, and serves as a nice throwback to similar mechanics in the games Prodeus is so clearly influenced by.

The Prodeus campaign is a dark and dismal, viscera-soaked treat for fans of old-school FPS action, and the “boomer shooter” style gameplay is spot on. There are plenty of difficulty levels to dabble with, depending on whether you want to barely survive each encounter as a wounded, bloody wreck, or feel like an invincible god-warrior who effortlessly leaves a gory wake of destruction in their path. The locations are grimy, intimidating, and occasionally awe-inspiring, and the music, while not necessarily all that memorable, provides a fine accompaniment to the flying bullets, plasma, and Chaos energy.

The environments get quite a bit more ominous as you progress.

Where would I rate it alongside Ion Fury and Warhammer 40,000: Boltgun, you ask? Well, that’s a tough one. For thrills and personality, I’d rank it just below Ion Fury, but then, Duke Nukem 3D was the shooter I jammed with the most when I was but an eager young gamer. I’d probably say Prodeus plays a little better than Boltgun, though, just feeling that little bit crisper and clearer, although the fact that I played both games on the Switch could be affecting that decision.

Still, they’re all winners in my eyes, and that’s the important thing. Now I’m just waiting for that perfect modern re-imagining of Hexen to come out physically on the Switch. I heard Graven turned out to be a bit of a let-down though. Shame, that.

Shadow of the Ninja – Reborn

Blue Shadow (And a Pink One Too)

A modern remake of a “Nintendo hard” NES game that I’d never even heard of? No, it’s okay, I’ll leave it, thanks. What’s that? It’s got gorgeous, pixelated sci-fi cityscape backgrounds and super cool modern re-imaginings of 90’s ninjas and robotic enemies? Alright, you twisted my arm.

Shadow of the Ninja – Reborn, developed by Tengo Project, is a modern remake of the NES title Shadow of the Ninja, known as Blue Shadow here in Europe. It features two ninjas of the Iga clan, Hayate and Kaede, as they navigate six distinct stages in a direct attempt on the life of the evil Emperor Garuda, whose forces have taken over the United States of America.

There’s a bit of Contra in there, a sprinkling of The Ninja Warriors, and perhaps a slight bouquet of Metal Slug.

This re-imagining updates the visuals in bombastic style, with chunky sprites filled with personality, a grimy tech aesthetic juxtaposed with neon lights and splashed with delightfully garish, luminous colours, and fluid animation bringing bosses and set-pieces to life.

It’s a gorgeous-looking game, but you won’t have much time to take in the sights, as beyond a couple of basic grunt-type enemies, most of the mechs, monsters and mooks you’ll face are perfectly equipped to catch out sightseers and careless wanderers. Shadow of the Ninja – Reborn is challenging, and I can see how the original might have been a very tough nut to crack. This remake allows players to continue indefinitely from the last stage reached, but most areas still took me a lot of tries to get through, and the bosses take the difficulty up another few notches, forcing the recognition and memorisation of some devious attack patterns.

Both Hayate and Kaede control exactly the same, and can attack, crouch, jump, and attach themselves to walls and ceilings, flipping up onto higher platforms if the terrain allows. They both start off with a katana (that can be powered up to launch projectiles) and a kusarigama, which is basically a blade on a chain. The kusarigama packs a punch and can attack at range, but its longer attack animation will leave its wielder vulnerable and, unlike the katana, it cannot deflect enemy projectiles. As the game progresses, it becomes necessary to fully understand the strengths and limitations of each weapon to succeed, and knowing which attack to use and when so as not to leave yourself vulnerable to counter-attack is the key to success.

The heads fly off of these cute little laser horses when they take damage, resulting in a flying head drone and some charging, disembodied legs to deal with.

Successful players will also have to master jumping, as Shadow of the Ninja – Reborn features a few fiddly jumps here and there. The jump button has a slight delay, and this has led me to more than a few health-sapping plummets into nothingness. Luckily, falling off the screen isn’t an instant death, but the jumping is the most unsatisfying part of the game for me, and I feel like it could have been a lot smoother. The ninjas also have the ability to momentarily hover, and this is activated by pressing down and holding the jump button, which was a little too fiddly for an old and decrepit gamer like me at first. It all clicks into place eventually, but not before more than a few frustratingly missed ledges.

The “ninja gear” mechanic adds another element to the game. Throughout each stage crates will regularly hide limited-use weapons – including firebombs, larger swords, and even guns – that can be kept in a limited inventory and brought into action when they’re needed. There is a system where players can purchase unlocked items of gear to start the game with, which is definitely helpful in certain situations, but this starting gear is lost upon death, so if you’re having trouble with, say, the fourth stage boss, and purchased some gear you thought might help you with it, you better hope you get there without continuing.

If you repeatedly die on a certain stage, Shadow of the Ninja – Reborn will start to take pity on you, packing extra health-restoring goodies in your inventory like a proud ninja mum. I have no shame in admitting that I made use of these pity dumplings on numerous occasions. I did find myself getting better at the game, however, and was breezing through the formerly-difficult early stages upon a second play-through. The later areas could still be a bitch, though.

There’s also a two-player co-op mode, which I imagine is great, but I haven’t talked the daughter into trying that out with me yet.

This boss was really tough until I realised I could bash it in the head with a sword. It … wasn’t clear at first, okay?

Shadow of the Ninja – Reborn is a great retro platformer-action game with fantastic visuals and satisfying combat, that’s let down slightly by some occasionally fiddly jumping. It’s a stern test of reflexes, pattern memorisation, and patience, but if you think you’ve got the ninja skills, then I’d highly recommend taking a trip through this extremely dangerous neon metropolis.

Played on Switch