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At the beginning of February, the team behind the action platformer Terra Noctis [99¢] announced their new iOS project called Spellsword (no relation to Rocketcat’s upcoming game). After dishing out scant details for Spellsword in our forums, the team has been quiet for the last month or so while toiling away at the project. Today they’ve sent along the first video for Spellsword that finally shows the game in action.

The core gameplay in Spellsword is arcade-style action platforming similar to Super Crate Box [$1.99], but with lots of cool upgradeable items like hats, rings, amulets, and special powers. It will also be more structured and goal-oriented than SCB with 90 missions slated for the release version as well as unlockable endless arenas. It’s looking pretty sweet so far, and it sounds like Spellsword is very near its completion, so expect to hear a release date sometime in the near future.

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Sega’s Phantasy Star Online 2 won’t cost you a dollar — unless you’d like an item or two. Sega has announced that the upcoming sequel to the everyone’s favorite “light” MMO, Phantasy Star Online, will roll with the standard MMO free-to-play model, and charge users for select item transactions from its in-game store. Also, an iOS and Android version has been confirmed. Both are slated to hit at some point in “winter 2012,” according to Andriasang.

Keep your expectations in check, though: Sega has said that the phone versions of the game are simpler and will feature “social game elements,” on top of a basic character creation mechanism, and controls. These versions will be able to loosely communicate with the PC and Vita versions of the game, but the experiences won’t had across these platforms won’t be measuring up to each other.

Images via Andriasang.

The available intel on PSO2 still isn’t fantastic, as it seems like Sega is keeping its marketing efforts for the game contained to other regions. However, we do know that PSO2 will continue to offer the franchises’ specific blend of shooter-meets-brawler combat and offer instanced-based content. Oh, and Mags are totally coming back!

Footage of the Vita version.

[via Andriasang]

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At GDC earlier this month, one of my favorite upcoming games that I had a chance to play was Get Set Games’ Mega Run. They’ve taken Redford, the adorable main character from their hugely successful previous title Mega Jump [Free], and have dropped him into an auto-running game.

But, this isn’t just any boring, old auto-runner. Instead it’s literally bursting with items, power-ups, and enemies, not to mention its colorful visuals and loads of personality. Plus, it has incredibly well-designed levels with multiple pathways and tons of secrets to discover. It really is something you need to see in motion to appreciate. Which is fortunate for you, as Get Set has released a new gameplay video of Mega Run in action.

Mega Run is still in the final stages of development, and with any luck we should be seeing the title hit the App Store within the next month or two. After getting my hands on the preview version at GDC, I really can’t wait to spend some quality time with the final game. Keep your eyes firmly planted on this space and we’ll let you know just as soon as Mega Run gets a firm release date.

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This is a promo image for Solipskier, which was used when Mikengreg revealed the game to people.

When a game developer creates an awesome game, we expect its next release to be just as good. This works both ways. Greg Wohlwend and Michael Boxleiter of Mikengreg fame have told me what it feels like to have to work on something new with the expectation of past success in the background. It isn’t just noise — it’s having an effect on the development on its new title, Gasketball. From ideas to coding, the shadow of the success of an arcade skiing game called Solipskier [$.99] looms. It makes decisions harder. It ramps up the scope and quality. It’s making the stakes higher at a time when the studio is looking to do something totally different.

We discussed two kinds of pressure: external and internal. Mike and Greg said that they don’t feel any external heat as they build Gasketball. Solipskier got into a lot of hands, but that hasn’t given the studio the kind ravenous base that other great independent developers, like Team Meat of Super Meat Boy fame, enjoy. There aren’t throngs of people  expecting mastery in the follow-up from Mikengreg, in other words, so the bar feels low.

The pressure comes from inside, they expressed. Solipskier’s sales were the best Mikengreg has ever experienced, and the studio desperately wants Gasketball to outperform it in revenue, quality, and audience. Success is mutating their goals, as if the magic of Solipskier could ever be repeated.

“We really want our next game to seem like a step up, which is not actually very different from our early development days, every game we’ve made has been more interesting, more polished and more successful than the last,” Mike told us in an e-mail exchange. “The difference, now, is that we are trying to succeed in terms of a million players willing to pay us, which sets the quality bar dauntingly high for a two-man outfit.”

Gasketball's logo and the placeholder image for the game's web site.

Greg keeps asking himself if it’s even possible to have another Solipskier, and that seems like a fair question to ask. Its development, from idea to prototyping to final release, happened in brilliant flashes of creativity. Gasketball, on the other hand, hasn’t had that sort of conceptual magic. The conceit took longer to come along, and the studio had to throw out a lot of stuff in order to find this game.

“We had to resolve to getting down in the muck and doing the hard work of prototyping, testing, and scrapping everything for yet another prototype that felt like it had promise,” Greg told us. “For a game to really strike all the chords for us it has to be pretty specific.” Solipkier was initially designed as a Flash game. A lot of its systems and mechanics are designed around that platform. Gasketball is a departure, so it took longer to design as the studio learned new tricks.

The idea for Solipskier came from a brainstorming session that revolved around parallax scrolling. Speed and parallax seemed to gel well, so Mike and Greg started prototyping. In a blog post, the duo described the idea for the landscape painting component came as a watershed, “oh my god” moment. With wide-eyes, they went to work. In the end, the Mikengreg created an exhilarating skiing game unlike any other. Instead of focusing on tricks, jumps, and speed, Solipskier leverages style and the emotion that bursts from your chest when you feel like your acceleration is spiraling out of control.

Version ".01" of Solipskier

This wasn’t the duo’s first rodeo. Solipskier was created first and foremost as a flash game, just like Mike’s other titles as a part of Intuition Games. It was, however, the first game of either developer to grab major mainstream appeal. Mike tells me that he realized that this was a truly special project after publishers had entered into a bidding war for the game. An iOS version wasn’t in the picture at the time, but the reality of Flash development changed the tone of the porting conversation going forward.

“We were always looking for the next step out of the Flash world and into a more sustainable market that allowed for us to make larger, more fully formed games,” Greg told us. “The Flash market is great and gave us a way to become better developers while getting paid for it; however, it wasn’t a sustainable business.”

Mike and Greg were working “crazy hours,” and fretting over paychecks when they developed for Flash. Living by the seats of their pants did have its moments. “It was exciting in some ways for sure, but it couldn’t last,” Greg said. “We were lucky to have such success with Solipskier, as it’s allowing us to fully commit to iOS and downloadable titles in future.”

Within the first two months, the iOS version of Solipskier made a little over $70,000, while the sponsored Flash version generated $15,000. On Metacritic, it’s sitting at a 79 average across five positive reviews. Greg tells us that this success “changed the scope” of what it could do with its next game. The duo continued to pay themselves the same amount of money, but Solipskier gave them consistency and the ability to screw up.

Version "0.5." Can you spot the differences!?

“Since Solipskier, we’ve made six or so fairly polished prototypes and scrapped all of them,” Greg tells us. “We could have taken any one of those further but we’d rather call it a failure early and often than find ourselves with a less than stellar finished game that never found that magic we always look for.”

Solipskier’s success and design are weighing heavily on Mike’s mind as he executes concepts on Gasketball. He second guesses a lot and he’s finding it hard to accept praise from friends. “We’ve always seen the flaws in our work first and foremost, but even worse on this project I see things that aren’t there.” Mike elaborated: “My brain is constantly convinced that there are more features I need to discover before the game will be good, but they’re always just out of reach or vision. Every time I implement an idea and it doesn’t make the game instantly better I feel a crush of defeat. I feel a bit like I’m going crazy.”

They’re not alone in this, though.

The Other Guys

Other studios go through the similar issues. Some deliver greatness quickly. After Chair Entertainment released a brilliant Meteroid-style game called Shadow Complex on XBLA, it was able to stoke a similar sort of fanfare and praise with the launch of Infinity Blade. After Simogo released Bumpy Road, it followed it up with an equally charming rhythm and stealth game called Beat Sneak Bandit.

Some studios deliver late. Mobigame released its puzzle game Edge a couple of years ago to insane levels of acclaim and drama. The app was pulled because of a bogus trademark violation just as it was hitting critical mass, and the studio had to fight for the game to get back onto the App Store. Its follow-up, Cross Fingers, released 11 months after Edge. Mobigame’s David Papazian tells us that Cross Fingers is picking up steam. Edge has since been re-released.

Edge on MacOS

“We were very happy with this second game because it is really innovative and completely unique on the App Store. While I am writing, I can see that Cross Fingers is 5th in the Top Free in the US App Store with more than 8 million downloads. However, the game works a lot better now than it did at the start, because we evolved with the market. We added more levels and in-app purchases. Also, the fans are not the same as Edge fans, a lot of women and men from any ages love Cross Fingers, when Edge is more for gamers.”

Papazian says Edge, and its awards, gave his studio legs. The popularity led him to meeting a lot of people, and gave him a good “in” when introducing his work to press. His studio’s pressure was internal, too.

“But you have some pressure, you must do it again and you polish the new game as much as you can, maybe too much. Luckily we did it again, but we did not receive any awards and Apple never featured Cross Fingers on the US store. We had to fight for this success, by updating the game until it finally worked.”

Tiger Styles grabbed a lot of attention with its puzzle game Spider: The Secret of Bryce Manor. While working on the follow-up, a Metroid-style game called Waking Mars, Tiger Styles’ David Kalina said he felt a subconscious kind of pressure to one-up Spider. It’s a similar feeling that Mike and Greg feel as they create Gasketball. “When you make a game that gets game of the year nods,” Kalina told us, “there is definitely this feeling that EVERY game needs to live up to that standard, which is sort of an impossible bar to try and meet every time out.”

Waking Mars is more about exploration than anything else.

The development of Spider had a sense of urgency to it. He needed the game to succeed so his studio could exist. With Waking Mars, Kalina said that urgency was replaced with the desire to blow everything up in its second game, which again, is something Mikengreg is similarly struggling with. “When you start approaching game development that way, the cost of everything goes up, and the more you spend, the more risky it is to fail,” he admitted.

Waking Mars, in the end, will keep his studio alive. However, Kalina said he wouldn’t pour so much time and so many resources into Tiger Style’s next game. Kalina wants to be able to fail and experiment and do bold things.

“I’d like to release two or three games in the next year and have them all be surprising in some way, and if they don’t happen to set the world on fire, we can be cool with that because we’re at least trying to push in new directions,” Kalina told us. “The worst thing we could do now is to say ‘we have to do something just like Spider or Waking Mars BUT BIGGER…’ If we go down that path, you may never hear from us again!”

On Gasketball

Gasketball has a chance to be stellar. It’s a basketball game that has its users matching their opponents’ last shots. It’s like a digital version of HORSE, except rendered on a fantastical 2D plane that lets you freely move the hoop and shot placement around. It also has special balls and barriers that you can set up to make your shot more Byzantine and advanced. There’s a plan in place to continually update the game as it lives on the App Store.

Surprisingly, nothing mechanically in Solipskier informed Gasketball’s creative direction, Mike and Greg said. In fact, Greg argued that there wasn’t one to begin with. He said Mike came up with the idea for a playful and fun basketball game that was “a bit more skill-based than just a slingshot or pre-mapped trajectory control scheme” game. Moving in a new direction entirely, Gasketball eschews the stark contrasts of Solipskier in favor of a more playful and fun art direction.

Mike walking people through their first look at Gasketball.

Our expectations got the best of us when we first saw Gasketball. It’s just not the game you envision this studio doing at first glance. Solipkier was speedy and sharp, and it had a very specific and awesome rhythm, tone, and style. You’d figure the next game from this studio would incorporate some of these elements. This game is exceedingly friendlier in look and behavior. It’s also more thoughtful and maybe even a shade or two less impressive from a conceptual standpoint.

The stakes are just higher now. But there’s also another reason this project is especially different for the studio. Like with Mobigames and Cross Fingers, Mikengreg see Gasketball as an opportunity to grab an entirely new audience.

“We’re both getting older and want to do more with our lives than spend a hundred hours a week in a dark office,” Mike tells us. “When you start working independently you tend to hold your breath and accept sacrifices to your happiness in the short term for long term gains and we’ve yet to really succeed in a way that really gives us the security to let go and look to the future.  It can get very nerve wracking to think that you only have one shot at releasing each game, and every time you fail to reach your goals you get one step closer to having to quit trying.”

It’s a strange world right now for Mikengreg, as the studio struggles with the success of Solipskier and thinks about a studio-wide transition. But it’s confident about Gasketball and its eventual quality. We are are, too. We’ve seen the game in action, watched the videos, and have even fiddled with a build. The title threw us off at first, sure, but now that we’re comfortable with the fact that Mikengreg are switching focus, we’ve been able to move past our expectations. It’s figuring out a way to do that, too.

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Let’s wind the clocks back to 2009, as really, to appreciate what Angry Birds has become, I think we need to go back and appreciate what Angry Birds was. The App Store was a crazy place. The “gold rush” was still in full effect. Publishers like Chillingo were trying to stake as large of a claim as possible in this brave new world brought about by the impulse-powered instant gratification of downloading a 99¢ game and the exploding popularity of the iPhone.

Chillingo was incredibly successful in pooling together a library of games we called “AAA titles” at the time. iDracula [ $2.99 ] may look incredibly archaic by today’s standards, but back then, it was among the cream of the crop. In late May, Chillingo spun off a new brand called Clickgamer.com, which per the original press release was intended to “carry casual games and software applications in the Apple App Store. This new brand will fully complement Chillingo’s existing catalogue of AAA innovative titles.”

Clickgamer.com’s aisle in the App Store was (and still is) an odd assortment of ultra-casual games and apps ranging from the SAT Vocabulary Builder [ $1.99 ] to sliding block puzzle games like Pic n’ Mix [ $0.99 ]. Reading between the lines of Chillingo’s own distinction between the AAA Chillingo and Clickgamer.com brands, it wasn’t difficult to see why Angry Birds [ $0.99 ] was relegated to the non-AAA Clickgamer.com brand when it launched, as the late-2009 1.0 version of the game really wasn’t anything that special. Or, as we mention in our original review which almost seems laughable now:

When you see a game with a name as nondescript as Angry Birds, it’s pretty hard to get excited. Even after playing through the first few levels, I was enjoying this game, but failing to see the real appeal.

The original release had a barebones array of birds, 63 levels, no leaderboards, no achievements, and no, really… anything else. Angry Birds wouldn’t even strike it big until months later in early 2010, when Chillingo announced that the game had been downloaded over half a million times. Whether that sales surge was a result of Chillingo’s marketing prowess or creative consulting as a publisher or the product of Rovio’s hard work seems to be a matter of perspective, and the answer to that question depends more on who you ask. Regardless, Angry Birds has yet to let go of a position on the top ten iTunes sales charts.

The Angry Birds kingdom expanded into the Angry Birds empire with the self-published release of both Angry Birds Seasons [ $0.99 ] and Angry Birds Rio [ $0.99 ] over the next couple of years. Since then, Rovio has grown further yet, and now days it’s difficult to find a platform that doesn’t have Angry Birds on it as the brand has made its way to the browser, smart TV’s, and even feature phones being sold in emerging markets. Think about that. People in African countries rocking series 40 Nokia phones have Angry Birds.

Despite Rovio’s unprecedented levels of success, recently it has been hard to dispute the argument that the Angry Birds formula might be getting a little stale. I’ve always been excited to play through the levels added in new updates, but for a while now I’ve felt like I’m just going through the motions of figuring out the weak points in the pig defenses, launching a bird, collecting my three stars, and moving on. This lead to the inevitable question of what could Rovio do in a sequel to not only revitalize the brand to players who have grown bored, but also provide a big enough twist on gameplay to make it worth having a fourth installment in the series?

It turns out the answer was to head to space.

Angry Birds Space [$0.99 / $2.99 (HD)] is close enough to the rest of the Angry Birds family that anyone even vaguely familiar with the games will be able to hop right in. It features the same premise of flinging birds in a big slingshot into dastardly egg-stealing pigs, but this time, your shots are assisted by a dotted line coming off the front of the slingshot to make the aiming process a little more transparent. The boss battles from Rio even make an appearance.

It comes packed with the familiar family of birds, with some minor modifications. All of the birds got a cosmetic upgrade, with snazzy looking space outfits. More importantly, some of their functionality has changed. For instance, the new version of the yellow bird doesn’t just dash forward. Instead, tapping on the screen sends it homing in on that specific location, even allowing for complete trajectory changes in flight. The force exerted by the bomb bird seems to focus more on pushing things rather than destroying them, and a new freezing bird turns anything inside of its blast radius into ice, allowing for easy cleanup with blue birds.

The magic of Angry Birds Space comes from the physics tricks Rovio is able to pull off by leaning on the gravitational fields of the various planetoids that make up many of the levels. Birds shot into space fly straight as an arrow, as obviously, there isn’t any gravity to make them do anything differently. Gravity fields are indicated by faint blue halos, and completing each level (particularly with three stars) involves the intelligent mastery of both zero gravity as well as the (potentially) multiple gravitational pulls of the different planetoids that the pigs have set their forts up on.

This varying gravity system allows for some incredibly elaborate level design, including puzzle elements that would never have been possible with the “traditional” gravity model of previous Angry Birds titles. One early level that exhibits this in a particularly clever way involves the introduction of the bomb bird. Players are faced with a bunch of pigs hanging out and being smug on a gravity-rich planetoid.

There isn’t a clear shot to be had between the slingshot and the pigs themselves, as there are all sorts of asteroids littering the top half of the screen. Completing the level actually requires delicate use of the bomb birds to gently push the asteroids down into the gravity field, at which point they come smashing down on the pigs. Other levels involve shooting your birds to catch the rim of a gravity field, placing them in an orbit of sorts to slingshot around to hit an otherwise unreachable target.

The truly interesting thing that I’ve found is that this gravity mechanic has allowed for some incredibly creative ways to complete levels. The comparison may be a bit of a stretch, but in Scribblenauts Remix [ $0.99 ] the way to truly have fun in that game was to come up with the most absurd and imaginative solution to each puzzle. Sure, nearly every level can be solved by equipping yourself with some wings and a gun, but there’s just a certain sense of satisfaction to be had when you figured out how to somehow work Cthulhu into your solution. Similarly, while most levels in Angry Birds Space often have a fairly clear-cut solution, I’ve been having way more fun coming up with the most convoluted flight paths for my birds, with personal bonus points awarded for as many orbits as possible before expertly slamming whatever bird I fired into a pig.

Some other changes have been made to Angry Birds Space, namely, the addition of a new in-app purchase system. In previous games, the Mighty Eagle is a one time 99¢ purchase which allows you to skip one level every hour. The Mighty Eagle also adds an entirely new (although not necessarily immediately apparent) game mode where you can go back to previously completed levels and fire off the Mighty Eagle shooting for destroying everything on screen.

Unfortunately, now not only is the Mighty Eagle a consumable item, but it also doesn’t automatically skip a level. When you fire out the sardine can, the Mighty Eagle can totally miss, leaving whatever smug pigs are left on screen laughing at your failure. Additional Mighty Eagles are awarded in small quantities by just playing the game. Alternatively, 20 Mighty Eagle shots can be purchased for 99¢, with additional packs of Mighty Eagles ranging all the way up to 980 for $19.99.

Out the gate, Angry Birds Space comes loaded with two level packs: “Pig Bang” which serves as more of a tutorial for the new space-centric physics and “Cold Cuts” which introduces the new freezing bird. A third (very difficult) level pack entitled “Danger Zone” is available via a 99¢ unlock, and if you even find yourself vaguely enjoying the two included packs, the third one is basically required.

This raises the question of what is going to come of the future of Angry Birds updates, as the tea leaves of this IAP-unlocked level pack can be read in numerous ways. Angry Birds has been known by its seemingly never-ending stream of free content via updates, and I find it to be a little hard to believe that Rovio would put a stop to that with Angry Birds Space. My gut is telling me that future updates might follow a path of offering up a free pack and an optional ultra-difficult paid pack like “Danger Zone” for hardcore players… But, we’ll have to wait for the first update to land to know for sure.

If you’re playing on a new iPad, you’ll be happy to know that the HD variety of Angry Birds Space comes with crisp Retina Display-friendly graphics. Neither the HD or standard versions are universal, so, having the optimal Angry Birds Space experience requires some App Store double dipping if you want to play on both your iPhone and iPad. Sadly, there still doesn’t seem to be any way to sync progress between versions of the game, so, in that regard, there isn’t much point in buying it twice anyway.

Angry Birds is the unlikely candidate with meager beginnings that somehow managed to redefine both mobile gaming and the levels of financial success that are possible in the mobile space. The brand is known worldwide, and the series is enjoyed by everyone from hardcore gamers, to celebrities and athletes, to my own father who couldn’t possibly be more of a non-gamer. Angry Birds is the Super Mario Brothers of mobile devices, and Angry Birds Space is so successful in redefining the Angry Birds formula that everyone should give it a try.

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The little things matter in flight games. When you crank up an engine, you want the jet exhaust to grease up the screen. You want to hear the thick, thunderous crack of a sound barrier break. And you want to feel like the world is insignificant as you slice through the air at 1500 MPH while a song that vaguely sounds like the one from that weird Cruise flick pounds in the background. Namco Bandai’s Sky Gamblers: Air Supremacy [$4.99] nails a lot of these little things, and while the premise sucks and it occasionally doesn’t look so great, few iOS games deliver as consistently as this one.

Backing up, Sky Gamblers is an arcade flight game that feels pretty similar to the Ace Combat series. It plays it loose with things like, say, physics and reality, but doesn’t try to pretend to be anything else other than an insanely fast-paced, action shooter in the air. It’s really good at leveraging these aspects, too: the sense of speed is fantastic and the maneuvering and shooting components feel blessedly fluid. These things define the experience.

A good chunk of Apple’s faithful should know this game already. It was one of the two titles given a substantial demo at the new iPad press event. As expected, it delivers on a visual level. The assets, and particularly the planes, are rendered with a healthy respect for the new iPad’s higher resolution screen, and most of the environments look alright, too. It also boasts a ton of atmospheric and effects touches that bolster the pace-pumping, action scenarios that dot its content landscape.

But while it nails a lot of the little things, it flubs a few, too. In particular, some of the texture work on ground details and buildings and infantry are straight up ugly, and don’t reflect the work put into the rest of the title. The tutorial in particular is a mess, and the voice acting isn’t so good, either.

The thing that it gets the most wrong is its own story. Told through a jumble of comic book-style entries as if it were a Max Payne, the premise is a mess of poorly constructed context and devices. From what I can gather, you play as a hotshot pilot who, suddenly, finds himself without an army to call home. After a canyon run, you meet up with a group of lovable mercenaries and then join up.

There’s just enough reason in its madness to justify the fact that you’re in a plane and charged with killing people — a lot of people, in fact, across a campaign that tries to feature every environment, objective, enemy type, and color in the Game Design Handbook.

In the first mission, for example, you’ll fly alongside a squad on a quest to kill enemy fighters across a field and over the top of a city. Later, in a dessert level, you’ll be asked to rip through enemy fighters while bombing ground infantry shortly before moving to a Bomb the Base objective. These layers and the sheer scale of each level hammer home the sheer speed your craft can go, and that adds a palpable thrill to each confrontation or traveling section. Dogfights on the other hand reinforce the gracefulness of flight, as you’ll need to spiral or otherwise dance away from lock-ons, circle for position, and hunt your prey airplane-style.

The latter is an important point: since Sky Gamblers doesn’t care about natural laws, there’s a distinct, teeth-rattling speed inherent in the combat design. Fights are all about how many bullets you can let loose while doing crazy stuff, like, say, flying upside down with the throttle all the way up. The same old flight game strategies still apply: you do want to get behind the enemy and execute successive passes, but the way you go about it in Sky Gamblers gives it an awesome edge. Everything just feels so fast; it’s bliss.

Flight games, strangely, have found a home on iOS. The controls seem to work, and this is no exception. The casual pro scheme in particular is great; the d-pad that controls the movement is robust and floats, and the pitch doesn’t get in the way. You can also use accelerometer controls, but those never clicked with me.

If the campaign doesn’t do it for you, then there’s a bounty of bonus modes and missions to check out. Team Deathmatch, Bomb the Base, and several survival modes are all ready to be played from the get-go. You can take these online, too, and the component seems, surprisingly, solid. I’ve yet to experience lag and the matchmaking is sharp.

If you have a new iPad, this is clearly one of THE games to get, as its boasting some of the best 3D, high resolution visuals at the moment. If you dig explode-y things and moving really fast, you’ll probably want to give this a look, too. Smart design bolsters both of these aspects. Check it out.

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Work with me for a second. Forget that The Hunger Games: Girl on Fire has a connection to the Hunger Games fiction. Instead, let’s just look at is as if it is a normal, everyday product that isn’t being bankrolled by a major movie studio. Let’s do this because, even in this vacuum, it impresses. Provided the final build is as good as the one we’ve been paying, it’s the kind of game we’d recommend without pause: it’s conceptually solid, it has a fantastic look, and it brings some new ideas to a genre that’s hopelessly clotted.

You could argue that Girl on Fire is a spiritual successor to Canabalt [$2.99]. It’s an endless runner that revolves around a daring escape, but it boasts some key points of iteration that change up the play in strong ways. For one, Girl on Fire boasts a regenerating health system. If you take a hit, you lose your momentum, but not the game. As a result, you get get married to sessions, and the overall runner experience doesn’t feel as hollow as it usually does.

More interestingly, Girl on Fire allows you to act on blockades. When one of the game’s huge human-sized hornets buzz into the picture, you can shoot it. There’s also an avoidance mechanic, too, that allows you to jump between the jungle world’s upper and lower tiers. Choosing when to kill and when to jump is a cool tactical layer, which brings choice to conflict. Do you jump when a conga line of hornets fly hurdle towards you, or do you stand your ground and pluck them off? When they fire back at you with their purple balls of doom-y doom, do you jump and take care of them or do you just try to avoid the confrontation altogether?

Solid controls compliment this action. Swipe to move between planes, press to aim your projectile bow weapon and fire. It’s all sharp, simple, and responsive, just like the 16-bit games that the art style and tone of the game have been modeled around. Playing this is like step back into a portal where gaming was purer and simpler.

Semi-Secret’s Adam Saltsman is one of the big independent developers attached to this project, so that’s probably why we feel the connection to Canabalt so strongly. Even if we could stop ourselves from the comparison, we’d still be high on Girl on Fire after our hour or so with it. We’ll be taking a much longer look at the final build when it hits iPhone and iPad tomorrow, so stay tuned.

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In its brief time on iOS, Radiangames has shown great skill at finding the spark of potential in games that are getting on in years. Late last year we looked at Super Crossfire [$0.99 / HD], a powered-up take on Space Invaders. Now we have Fireball SE [$0.99], a game partly inspired by Geometry Wars II and its Pacifism mode.

In Fireball SE, as in Pacifism, you fly around dodging huge waves of enemies in a top-down arena. Trouble is, you can’t shoot. Instead you lead your foes to their deaths, through bombs here, or gates in Geometry Wars. But where one was a tiny afterthought of an avoidance mode in a much bigger arcade game, here it’s been fleshed out with new rules, stages, achievements and scoring mechanics, and it’s so much better for it. It’s sort of like Tilt to Live [$2.99 / HD] without the tilt, but let’s put comparisons aside—this game is seriously fun on its own.

Fireball SE is broken down into three modes, but all three share the same fundamental mechanics. Using a truly responsive (and adjustable) virtual joystick, you pilot a fireball around the arena. Enemies spawn, starting in the corners and spreading out from there. Bombs appear. You skim by them to set them off on a short timer, or slam into them to blow them apart. If the action gets too fast, you can jam your other thumb down to activate Meltdown, which slows everything down for a few seconds while you get back in control.

The scoring is particularly intricate. Killing enemies is worth points, and killing them in combos is worth a lot more. It’s more than a linear increase, so it’s really worthwhile to string along as many enemies as you can before smashing through a bomb. When they die they drop sparks. Collecting those is worth points too, so you’ve gotta go back into your trail on a regular basis. Fireball rewards the daring.

Of course, you only have one life. Did I mention that? One little mistake and you’re dead. Waves mode counteracts this by letting you start from any wave you’ve reached, so hitting all eight isn’t obscenely hard. But your score will suffer—it carries over between waves you survive, and starts fresh when you do.

Survival and Countdown are two sides of another coin: Survival counts your time up, and Countdown counts it, uh, down. But Radiangames has done something interesting here. Both modes are split into five stages each, and each stage has a different feel. The speed is a little different, enemy spawn patterns vary, bombs appear more or less often. Part of this is about letting you find your groove, but another part is ripping you out of your comfort zone. The Game Center leaderboards for these modes track your total score across all five stages, so getting in a rut hurts.

Otherwise Fireball SE is comfortably familiar. There’s a good beat in the background and art that’s stylish in a very blue and orange sort of way. There’s a whack of achievements to earn. There’s even an easy mode that accounts for its lowered difficulty with similarly lowered scores. The package is nothing all that special, but what’s inside is quite cool.

In a time where we spend a lot of energy weeding out clones and lousy rip-offs, it’s great to see a game that lands on the good side of imitation. Fireball SE has a lot in common with other titles, but it builds on that foundation. We end up with a game that captures something fun that has been left fallow elsewhere, one that turns a small spark of inspiration into a solid, well-rounded new form. So give it some love, and swing by our forums to share what you’d like to see from it next.

TouchArcade Rating:

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Depending on how much you relish your DotA (If the acronym made you raise a puzzled eyebrow, don’t worry. We’ll get into all that shortly), you may either find Plants War [Free] an unexpected treat or a moderately competent RTS. It could go either way. Best described as a heavily diluted, single-player version of the world’s favorite Warcraft III mod, Plants War will have you leading Dryad Forest’s local vegetation in a struggle against some encroaching… animals? Global warming definitely screwed up the environment here.

Gameplay-wise, Plants War – Gamevil’s latest freemium title – works something like this. Before you begin each stage, you’ll be asked to elect an upgradable hero (the first you get for free, the others you’ll have to earn through extensive grinding or buy as an in-app purchase). After that, you’ll be at liberty to select the troops you want to deploy in the upcoming onslaught. Yet again, only the first one comes free.

To unlock the other units, you’re going to have to amass a fortune in gold or green leaves. A fair warning, however – the number of horticultural soldiers that you can utilize is limited by the number of slots and plants points you have available. In order to exceed the quota, you’re going to have to (you guessed it!) make a few choice purchases.

Once you’re done with all those decisions, the action begins. The objective here is to blow up the enemy’s base before they can do the same to yours. At regular intervals, both bases will spawn pre-determined units that will barrel towards their opponent with all the suicidal fortitude you would expect of NPC shock troopers. Needless to say, death is their only inhibition. Though you’re significantly more powerful than the ground troops, you’re not omnipotent. In order to succeed in your mission, you’re going to have to make efficient usage of your unsuspecting meat shields.

You will also have to make full usage of the four different skills available to the Leafy that you’re using. Initially, you’re only going to be able to invest a point in one skill. However, as you gain in level (acquire the last hit on an enemy to gain the maximum amount of experience points possible), you will be able to pour more points into your skills. Alternatively, you can choose to increase your mana pool. The choice is yours. Anything goes so long as it ensures certain victory.

(For those of you who do play DotA, Plants War can be summed up as ‘Middle-lane only DotA with no river, items or neutral camps.’)

And that’s pretty much the whole game in a nutshell. It doesn’t get more complex than that. However, the details are what make Plants War work. Each stage will impose a new challenge to your talent for picking the most suitable troops. Are you facing off against highly aggressive mice with a penchant for gnawing through shrubbery? Be sure to bring along a Tree Protector and a grim-faced Potato Blower. Are you up against some sturdy bears? Try some Seed Shooters.

Though certain combinations work better than others, it’s not impossible to be creative with things. As you progress through the game, you’re also going to have to battle with a variety of enemy heroes, each more difficult than the last. While you can bring a different hero to the conflict (assuming you’ve already purchased them, of course), you can also attempt to make do with the first Leafy you use. How do you bait a fast-moving tiger into being mounted onto a wall? Can you kite a hard-hitting bear around in circles while slowly pepper spraying him into submission? Once again, it’s entirely up to your own discretion.

The controls in Plants War are responsive and extremely simple to learn. To move, you tap on the screen. To attack, you tap on the screen. To use an ability, you – you get the picture. In order to zoom in and zoom out, you’re going to have to alternately pinch and unpinch the screen. My only complaint here is the fact that targeting can be extremely difficult at times when the hero is clumped up with their troops.

With three levels of difficulty associated with each stage, twenty-four achievements to unlock, a multitude of rewards to collect and a menagerie of units to discover, there’s not much to dislike about this stream-lined little title. Unfortunately, there’s also not much to it. Once you’ve beaten the first few levels, things can grow rather repetitive. You can only do so much with the same set of faces. If you want new minions to abuse, you’re going to have to either spend an inordinate amount of time grinding for gold coins or cough up the greens.

All said and done, however, it isn’t too bad given the non-existent price of admission. The problem here is whether or not you like this style of play. If you enjoy this sort of experience, you will probably lose occasional hours to the game. If not, you will probably lose interest after the first three games. It’s all rather binary.

TouchArcade Rating:

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