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Surprise! A couple of “core” members from Lumines and Rez team at Q Entertainment have just released a brand new game on iPhone and iPad under the brand Monstars Inc. The app is called Kotomon, and it’s available for an introductory price of $2.99 through May 31.

As you’d expect considering Q’s release history, Kotomon appears to revolve around a mix of action and music. In the game, you control an adorable little red monster charged with collecting and firing friendly monsters into bad monsters. Monstars describes it as a little like pinball, except every action you take adds beats and layers to the game’s soundtrack.

Kotomon seems like a neat app, so we’re going to get you something much more detailed as soon as possible. Stay tuned.

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When you truly adore a game, sequels can be a scary thing. Sure, it’s more of what you love—but what if they mess it up? What if they abandon all the things you love for the sake of novelty? Well, Defender Chronicles [$1.99 / $2.99 / $4.99 (HD)] fans, let us put your fears to rest. We’ve had a chance to spend some time with Defender Chronicles II, and it seems to have everything the original had to offer. And every little bit of it is bigger, better, and sexier.

I spent the summer of 2009 consumed by the original. I had a brand new 3GS and pages of games, but Defender Chronicles – Legend of the Desert King was the one that devoured my time. Its mix of vertical tower defense and RPG conventions was completely irrestistable, and Gimka Entertainment and Menara Games propped it up with massive updates that added to its already substantial content. Defender Chronicles II is looking like it will contain that same potential for time investment, so you might want to clear your schedule in advance.

This game is leagues beyond its predecessor in terms of visual appeal, and that’s an achievement—as we pointed out way back in our review, Defender Chronicles was a looker in its time. But now every unit is more detailed and every animation is more fluid. And crisp—Retina support is in for iPhone, though apparently not for iPad. The game lives up to the rose-colored vision you may have of the original, but it’s much more refined, more up-to-date.

The gameplay has been similarly preserved. You’ll still spend your time turning flags into guilds and upgrading them through tiers of units, archers to rangers, squires to cavaliers. Strategy seems more important than ever before, with enemy units that take advantage of every potential weakness in your defense. Height and range are the biggest considerations as you scroll around massive, multi-tiered 2D maps. There are quite a few of those this time around, and they hit an almost Escher-esque level of complexity pretty quickly.

There isn’t much that’s changed outright, really. Voice actor George Ledoux returns to impress us with his Sean Connery impression, though he also pulls off an impressive lizardman. Heroes Melwen and the General return, but this time they’re accompanied by two new friends: Lovell and Elwyn, an archer and priest. The brand-new story of the heroes and their defence of Athelia against the Orcs and Forsaken is told through gorgeous comic-book cutscenes once more.

From our brief time with the game, it really seems like you’re going to be able to put in a ludicrous numbers of hours. There’s so much here for the player that wants to go deep, with heroes to level up and customize, hundreds of artifacts to locate and five difficulty levels and game modes to work through. The difficulty curve also feels a bit steeper, so if you’re already familiar with the game you shouldn’t be underwhelmed. If you’re feeling particularly cocky, you’ll be able to challenge yourself with a huge list of Game Center achievements and leaderboards.

Ultimately, it seems like Defender Chronicles II will be the perfect sort of sequel. It updates already excellent gameplay for a new generation of devices, and brings in all sorts of improvements in the process. It’s hard to imagine any Defender Chronicles fans being disappointed, and folks that are new to the series should be in for a treat. We’ll be taking a closer look at the game over the next couple weeks, and we’ll be back with our review after it hits the App Store on May 24th. In the meantime, the developers are posting regular previews in our discussion thread, so take a peek if your appetite isn’t already whetted enough.

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If you’re looking to spend at least one more dollar in THQ’s so-so wrestling game, WWE WrestleFest [$2.99 / HD], there’s no better time than now. A new IAP pack that includes a new arena and former and past crowd-pleasers Sexual Chocolate, Daniel Bryan, Edge, Mr. Perfect, and Eddie Guerrero is available for purchase.

THQ is branding this as the “Champions Pack,” which strikes us as kind of funny. Is it even possible to name a popular wrestler who hasn’t earned a belt or two over his surely-800 year career? Even Shamrock won championships. Shamrock, man. Anyway, if you’re interested in WrestleFest we highly suggest you read some reviews and community thoughts and check out the demo [Free / HD Free] before diving in. It’s definitely a mixed bag, and for those of you keep track at home, it still doesn’t support iCade for whatever reason.

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Season finales are undeniably difficult to pull off: they need to pull the disparate plots of the story together in a way that feels satisfying but not hackneyed, while still maintaining a sense of self-contained narrative. A serialized game like Sam & Max Beyond Time and Space carries the added weight of presenting us with the highest expression of the puzzles and mechanics its introduced thus far.

I’ve come to realize that the second half of Sam & Max Beyond Time and Space — say, starting with “Night of the Raving Dead,” [$4.99] and continuing through the finale, “What’s New Beelzebub?” [$4.99] — are funnier and generally better than the first two episodes. This is largely because the last three episodes are more tightly connected, with each cliffhanger transitioning smoothly into the next episode. They feel cohesive, and that makes me feel invested.

But it’s also because, in contrast to the procedural feel of the first two entries in the series “Ice Station Santa” and “Moai Better Blues,” these latter episodes are a perfect fit for the point-and-click adventure genre.

“Beelzebub”’s only narrative blunder comes during the series’ antagonists’ big reveal, which is funny enough on its own, but is probably much better if you’ve played Sam & Max Save the World as well. (This is a recurring problem for Beyond Time and Space as a whole, especially since Save the World isn’t available on the App Store.) Every thing else in “Beelzebub”  – every piece of dialogue, every joke, every plot twist, every fan-service callback — feels earned, not only because it has the rest of the series supporting it, but also because the audience has had to work for it.

Steve Purcell’s writing doesn’t waste time with exposition or lengthy explanations, and players who haven’t been paying attention since “Ice Station Santa” probably won’t make sense of each villain’s plans or of the haphazard and absurd sequence of events that lead up to “Beelzebub.” The jokes, the dialogue, and even the over-arching plot of the series come tumbling out, rapid-fire, and only the quick-witted and observant will get much out of it. Beyond Time and Space hedges its bets, of course: even if you miss something ostensibly important, the games are light-hearted and silly enough to keep moving forward. Nevertheless, Sam & Max hews to point-and-click mechanics that prize attentiveness and lateral thinking, and “Beelzebub,” more than any other episode in the series provides a narrative structure and presentation to match.

Beyond Time and Space is at its best deconstructing horror tropes and, while I liked the time travel puzzles from “Chariots of the Dogs [$4.99],” “Beelzebub” and “Raving Dead” have the best settings and ambiance. The finale tasks the Freelance Police with scrambling between the well-worn block near their office, caught in the middle of the apocalypse, and a snarky, tongue-in-cheek version of Fortune 500 Hell. It’s clever and atmospheric, and it drives the games most interesting puzzles, which involve attempting to disrupt Hell’s operations long enough to free some damned souls.

“Beelzebub”’s narrative hook literalizes an abstract idea like the afterlife and reduces it to another explorable screen to interact with. In other words, there’s no difference between Hell and the “real” world for Sam and Max, in the same way that there’s no difference between 1967 and 2008, or between being alive and being a zombie. It’s right there in the title: Beyond Time and Space. Without intellectualizing too much, that’s a pretty sophisticated concept, but Sam & Max is charming and self-aware enough to keep it in check. Purcell doesn’t let metaphysics get in the way of Max’ fart humor, and the result is a series that allows for outlandish puzzles and silly in-game logic without sacrificing pithy dialogue or character interaction. It’s also why, for example, one of “Beelzebub”’s puzzles can call for the death of Jimmy Two-Teeth’s entire family, and no one really has to feel bad about it.

There’s a lot to admire about the way “Beelzebub” illuminates and caps off the various narrative and thematic threads running through a five-game series, but its puzzles generally lack punch, an unfortunate side-effect of following the preternaturally clever “Chariots of the Dogs.” Over the course of Beyond Time and Space, the best puzzles have challenged our perception of the game world, mutating and iterating on inventory-based puzzle design with portals, zombies, and time travel. “Beelzebub” has a few standout puzzles, including a fourth-wall-breaking language trick, but is generally less ambitious in its design than previous titles.

Telltale is, as a rule, well-versed in designing accessible, intuitive puzzle games and “Beelzebub” is generally no exception, despite featuring a few textbook examples of adventure game pratfalls: guess-what-the-developer-is-thinking crops up once or twice, as do scenarios that require thorough, exhaustive clicking and hunting instead of puzzle-solving. “Beelzebub”’s occasional clunkiness is somewhat mitigated by a retroactive appreciation of the funny in-game logic, but that’s to substitute for the thrill that accompanies solving Sam & Max‘ best puzzles.

While “Beelzebub” lacks the unified theme of “Chariots of the Dogs,” it’s no slouch. A few missteps aside, the puzzles — while of the traditional match-this-item-with-this-NPC sort — are clever and well-realized, even if they tend to be a little on the nose. It’s still one of the best in the series, funnier than “Moai Better Blues” and with clearer puzzle design than “Raving Dead.” If you haven’t played any of Sam & Max Beyond Time and Space, now’s a good time to start: “What’s New Beelzebub” is a fine capstone to a great series.

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In this week’s edition of “How Many People Have Downloaded Angry Birds,” we’re proud to share this interesting little fact: Angry Birds has now been downloaded over one billion times. Developer Rovio Mobile announced the stunning download number this morning, but didn’t note specifics as usual. However, because the numbers on previous benchmarks line up, it’s safe to assume this is a combined number of downloads across every iteration of the game and the insane number of platforms they’re available on. Seriously, you can get these games wherever: browser, PSP Minis, your mom’s TV; whatever.

It’s no secret that Rovio is working on some sort of new IP, and the studio gave a “sneak peek” in its celebratory one billion Angry Birds download video, which debuted today, too. Check it out:

As eagle-eyed Jeff Scott over at 148apps points out, the kid at the end of the trailer is none other than Casey from Casey’s Contraptions [ $2.99 (HD)]. Everyone involved so far seems to be being fairly coy with the details, so it remains to be seen whether Rovio is simply publishing a Casey’s sequel, if they’re taking the IP over, or something in between. I suppose we’ll have to just wait and see.

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A couple of years ago, Brandon and Cody Pollet formed F5 Games as a clever way to sneak into Electronic Entertainment Expo and experience the gaming event firsthand. Both were college students with big ideas, and they ended up leaving it with even bigger ones. E3 gave their studio a soul. When the App Store exploded later, the duo discovered a direction.

In 2011, Brandon and Cody went back to the Los Angeles-based event that got them dreaming big in the first place to reveal Pocket Heroes. They describe it on this week’s bonus episode of the TouchArcade Show as the game they’ve always wanted to make, and it’s been a long time coming. Pocket Heroes hits either later this month or early June, almost a full year since the duo initially showed off their idea.

iTunes Link: The TouchArcade Show
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RSS Feed: The TouchArcade Show
Direct Link: TouchArcadeShow-Bonus-036.mp3, 17.4MB

Pocket Heroes is a little like what would happen if Words With Friends [$2.99] and Dungeons & Dragons were slammed together repeatedly. In Pocket Heroes, you’ll battle foes and explore dungeons alongside other users asynchronously and level up and manage the skills of your priestess, Dwarven mech, rogue, or paladin in the process. As you’ll see, it’s also rocking a gorgeous lo-fi art style, but with specific enhancements that make it feel new and relevant on phones.

Demoing the game for the first time at the event wasn’t an intentionally poetic move. It also wasn’t a coordinated reveal drawn up in an elaborate, year-long marketing plan. Brandon and Cody just wanted to see if people liked their idea before they committed to it. They needed a push to believe in what they had. Their idea was big, bold, and it seems like they knew it was going to push them creatively.

“We were pretty hesitant to show it off,” Brandon tells TouchArcade. “We made Independence Night [Free] and then we made IncrediBlox [$.99]. They weren’t huge successes on the App Store.”

“We were kind of at the point — do we have what it takes to figure this thing out, do we know how to make something that people are going to like? So, we decided to go to E3 and show it off. This is the game we’ve always thought we should be making. Let’s show it off and see if people are interested.”

“We did, and then we got this huge response,” Brandon says. “I don’t regret showing it off as early as we did. I don’t think it would have ever been made if we hadn’t gotten that feedback from everybody.”

It’s been a heck of a ride for Pocket Heroes fans, in part because Brandon and Cody didn’t realize what they had, but also because what they had planned was too ambitious for its own good. Brandon explains.

“When we first started mapping out Pocket Heroes, it was called The Black Fortress. We had a very specific idea of how it was going to play out.” Brandon and Cody soon discovered that having underpowered heroes tackling tremendous evil in what would have been an end-game dungeon wasn’t, in fact, awesome. The game needed progression, and it needed to be more consumable.

So, the game has been split into simpler, more digestible parts. What you’ll see in a couple of weeks is the just first of four chapters. The rest will be added over the year. The last chapter will be, roughly, the game Brandon and Cody originally designed a year ago. They’ll see their original vision through, though it might be close to next E3 before we see it all. How fitting, right?

On this week’s bonus episode of The TouchArcade Show, Brandon and Cody talk freely about all of this and further elaborate on the delay between sneak peek and reveal of Pocket Heroes. They also dive into what sets their apart from the rest of the RPG herd. Other topics include the games that inspired the development of Pocket Heroes and what F5 Games’ name actually means. Feel free to grab the audio version above or subscribe to us on iTunes.

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If there’s anything I’ve learned after pouring several days of my life into the latest installment of Com2uS’s action-rpg Inotia franchise, it’s that no amount of Engrish exposure can truly prepare you for that strange moment when a gorgeous brunette clad in diaphanous silks informs a ‘pretty boy’ of an anti-hero that he is squirting blood.

This awkwardness informs a lot of the dialogue in Inotia 4: Assassin of Berkel [$2.99 / Free ]. While relatively free of the grammatical errors that usually plague such games, Inotia 4 has a rather, uh, unique way with words. Here, you’ll find imposing-looking orcs declaring that things are “kinda awkward” and villains that order their lackeys to “allure” helpless souls to a nefarious end. This isn’t necessarily a bad thing, mind you. Unless you’re totally adverse to the idea of peculiar phrasing, the accidental humor actually offers a light-hearted touch to what otherwise feels like a stereotypical jaunt.

The story in Inotia 4: Assassin of Berkel is one built out of familiar tropes. For example, the protagonist’s an effeminate-looking but curmudgeonly chap who also happens to be young, gifted at the art of assassination and a member of the Shadow Tribe. His star-crossed love interest? A young woman who bears more than a passing resemblance to Final Fantasy heroines like Rinoa, Garnet and Yuna. Needless to say, this sort of sets the pattern for the rest of the game. Inotia 4 is a little bit of everything you’ve ever encountered in an RPG from the Orient. There are warring factions, magic, subterfuge, hidden pasts, and even an arrogant stranger with an overpowered weapon. If you were looking for something new, this isn’t the KRPG you’re looking for.

While I’m not particularly fond of the virtual d-pad utilized here or its periodic lack of responsiveness, the controls are pretty standard fare. It’s the interface that bugs me to no end. On top of many smaller issues, the deluge of buttons, character portraits, health bars and mana bars can make it literally impossible to see where you’re going. To be fair, it doesn’t happen all that often but when it does happen, you’ll take painful notice.

From an audiovisual perspective, Inotia 4 is neither particularly impressive nor completely humdrum. An odd mixture of Retina quality elements and retro-looking graphics, the game feels a little older than its actual release date. As for the audio, I’m somewhat on the fence. On one hand, the music isn’t too shabby; it’s the kind of stuff you would expect from an RPG. On the other hand, the sound effects left something to be desired for.

So, why play Inotia 4? Why go through strange localization and flighty controls? Why endure the storyline you’ve probably heard a thousand times before? Why did this get a four star as opposed to a plea for you to run away?

Simple. Because it’s actually pretty good.

Like a blind date between mostly compatible people, things can begin on a slightly shaky note. However, once momentum has been built, beautiful things can happen. If you have nothing against grindfests (it IS a Korean RPG, after all) and an obsessive-compulsive need to build the perfect party, Inotia 4 will eventually suck you in and keep you there.

The party system, though far from ground-breaking, is rather commendable. One of the things I liked best about it was the fact that while you can only have two party members (in addition to the protagonist) active at any given time, the game not only allows you to keep a stable of six but also ensures that all of them level up in an appropriate manner as you progress through the game. It’s a small feature but a clever one. Unlike many other RPGs, you can actually elect to mix and match your selection of humanoid minions without having to first devote extensive amounts of time to their personal developments.

Speaking of party members, they will consist of mercenaries summoned from item drops and, from time to time, the odd plot-generated NPC. Most of your time, however, will be spent with the former. Your mercenaries may belong to any of the six different classes available in the game. They also come with as many item slots as the protagonist, their own set of skills and statistics appropriate to the quality of the item that conjured them. While you’re in command of their equipment, you will need to cough up a few crystals if you want to change the rest.

As you can imagine, some of the appeal in the game lies in how you can tailor the composition of your party. Curious as to how pet-wielding classes will do against a stubborn boss? Bring them out and prepare for a crowded rumble. Fancy seeing how well three tanky priests can hold up against the game’s dungeons? Go ahead and test out that theory. Nothing will stop you. The level of micromanagement required is also entirely dependent on you. While you can choose to rely on your A.I settings, you can opt to take control of any of your characters at any given time.

Inotia 4 is also a dream come true for those who just HAVE to have the best gear. By and large, there’s no shortage of equipment to collect. Random beasts will sporadically drop legendary headgear. Fusion machines will occasionally offer the chance to engage in repeatable quests, quests that will grant you access to recipes for absurdly powerful items. You will also find goodies from boss battles, treasure chests and their spoils, side quests and shady merchants marketing what may or may not be the next best thing. Inotia 4 makes it easy to be covetous and is shameless about rewarding those willing to grind their way towards glory.

You know what the best part of all this is? Your party’s appearance will change with every high-priced trinket you acquire.

By the way, I’m impressed with how Com2uS handled one aspect of their IAP system. In Inotia 4, crystals are used for, well, pretty much everything. Have a weapon you really want to make but lack the ingredients for? Pay for its creation with a handful of crystals. Want to resurrect your party instead of restarting from the last saved point? Cough up the crystals. We know you have them in there. While hardly the most unusual approach, Com2uS has made usage of those crystals as enticing as ever. In the grand scheme of things, five crystals is nothing compared to an hour spent scouring the maps for material. You almost find yourself compelled to conform.

In between all of this, crammed between the good and the bad, nestled between the occasional guilty crystal expenditure, that’s where the magic happens. Inotia 4 will have you mashing buttons, switching hot keys, pondering talent points and beating on artillery turtles without so much as a second thought. It will have you gathering ingredients for a powerful new weapon even as you effortlessly transform your glass cannon of a priest into a shield-wielding bastion of power. It will keep you trucking towards the next level, determined to see how your new weapon will do against the latest dungeon or how well your latest collection of party members will hold up. Inotia 4 isn’t the most original title out there but it certainly knows which buttons to press.

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Robbery Bob [ $0.99 ] has moments where you can tell it was designed by someone who cares. I’m not implying that that is a rarity, but you do rarely see the level of care that portions of Robbery Bob exhibits. Unfortunately though, those portions are few and far between, and what is in between is, well… Uninteresting.

But I’m getting ahead of myself.

Robbery Bob’s premise is simple: sneak into houses, steal items of value, leave without getting caught. There is a thin narrative wrapped around these acts, but this isn’t a game about story, it’s a game about the sneaking mechanic. And it is that mechanic that the game lives or, more often, dies on. Things start off real strong. Sneaking around the first few houses shows off a lot of the potential for the mechanic, but the game soon devolves into a repetitive room-by-room hunt with obstacles sprinkled haphazardly around. But, again, I’m getting ahead of myself.

Sneaking into a house is easy, the front door almost certainly is unlocked, and once inside Bob has to assess any potential threats to his mission (taking care to avoid them.). “Threats” can include dogs, cameras, old ladies, other humans, and, most importantly, the police. Luckily for Bob, there are ways to avoid these threats. Unluckily, for you they are almost all a pain to use. The methods for avoiding detection range from mundane (hiding in a planter) to the interesting (leaving doors open to pull patrolling inhabitants off their path). Each one of these methods of avoidance are fun, if not a little frustrating the first couple times, but they show their one dimension-ness and tedium by the eighth or ninth time you employ them.

While playing Robbery Bob, I couldn’t help but think about Shaun Inman’s brilliant The Last Rocket [ $2.99 ]. Inman, like the team at Level Eight, had to stretch a simple mechanic over 60+ levels, while keeping it interesting the whole time. He succeeded by not only developing interesting level mechanics, but also by weaving those mechanics together. If you’ll forgive those cliche, by the end of The Last Rocket, you had a veritable symphony of mechanics woven together beautifully. Robbery Rob goes half way in that endeavor. The mechanics themselves are interesting (seeing, for the first time, the way a camera interacts with open doorways was what inspired the review’s opening sentence), but when those mechanics are just dropped into the level without context, they lose almost everything they have going for them. They don’t work together, they don’t play off each other, they exist only as a standalone obstacle, forgotten as soon as you pass them and move into the next room.

Again thinking of The Last Rocket, another thing it did so well was instilling the notion that once you figure out the puzzle, you could move through it with nothing but grace and ease. Unfortunately, Robbery Bob never seems to get to that point, and therefore you never feel like you could replicate a victory. The last levels of any particular area (of which there are 3) feel like a crap shoot with your victory being tied more to chance than to skill. I, just now in fact, went back to try and finish the last level of the first area again and failed 3 times before I was able to do it.

While the game offers plenty of gameplay for the price, including encouraging you to go back and perfect all the levels (ala Angry Birds), it never hooks you like a game of that ilk should. It is a game where the potential is sky high, but you feel like the game itself stayed on the ground, only looking up every now and again. It fails to make a promising mechanic interesting.

Robbery Bob isn’t bad by any stretch of the imagination, it just isn’t good.

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