TouchArcade.ru

Double Fine’s Double Fine Adventure is doing … OK on the funding front. In the first 24 hours, it shattered all sorts of fun records, including the most funding raised in that period. As of this morning, the studio has gathered 1.7 million dollars in pledges, which is a lot more than the 400,000 bucks it is asking for.

We covered the project because an iOS version seemed like a good possibility. In the original Q&A, Double Fine said Mac and iOS ports are something that it would “love to do” and they were both at “the top of the list for things” if it raised more funds than it asked for. Mission accomplished.

A recent update to that response in the Q&A, however, is decidedly more cautious about the possibility of a Mac or iOS port. “We would love to do both of those things,” it says now. “They are at the top of the list for things to do and we’re working to determine whether we will be able to offer them.”

This is a subtle change, but an important one. An iOS port sure doesn’t seem as surefire as it once did — which you know, was probably the point in fiddling with the wording in the first place. A rep told TouchArcade that an announcement should be coming shortly, and the change was just a new way of telling people that Double Fine is looking into iOS and Mac and pricing a port out.

[source]

I can hardly believe it’s been more than 6 months since we first told you about Incoboto, the upcoming iOS game from one man development studio Fluttermind. A running theme through that entire preview was that I hadn’t a clue what the hell was going on in the game, but the art style was so fantastic and the possibilities so intriguing that Incoboto has been near the top of my most anticipated games list ever since.

In a feeble attempt at description, Incoboto is a 2D open world-ish exploration and adventure game with puzzle elements and a heavy storyline tying it all together. Whew! In fact, I don’t know how accurate calling it a “game” in the traditional sense really is, since everything in Incoboto is so non-linear and there is such heavy emphasis on the mood and atmosphere of the world it takes place in. So, maybe it qualifies more as an experience? I’m not totally sure just yet, but Fluttermind has finally released a video of Incoboto in action so you can try to make sense of it all for yourself.

Well, I don’t know about you, but that video left me with more questions that answers, actually. One thing I do know however is that the Incoboto game world is absolutely beautiful, even more so due to the incredibly moody soundtrack. If you’re like me and are totally digging the look of Incoboto, but are dying to know what it’s all about, then I have some good news. Our own Brad Nicholson has had his muscle-laden hands all over the title for the past couple of weeks, and we should have a hands-on preview coming for you really soon.

I’m not 100% sure that even he’ll be able to explain Incoboto, but I’m all for anything that will pass the time until the game releases sometime next month. Also, you can check in on our forums for more Incoboto discussion.

[source]

Telltale’s offerings have been received rather frigidly of late, especially after we called Jurassic Park “technically messy” and “poorly optimized.” I’m happy to report, then, that “Ice Station Santa” — the first of five episodes in Sam & Max Beyond Time & Space [$4.99] – is a solid iOS port of the 2007 point-and-click.

To wit: in the four or so hours it takes to beat the game, I didn’t experience any crashes, frame rate drops, or audio stutters. “Ice Station Santa” runs smoothly and stably, and Telltale’s newfound technical prowess is matched with a great touch interface.

Unlike, say, the Hector series, Sam & Max Beyond Time & Space is in three dimensions, and Sam is controlled with a virtual analog stick. A two-finger pinch highlights all the click-able objects in a given area, and the game’s touch implementation is remarkably precise, even when there are dozens of items on the screen to interact with.

And good thing, too, as “Ice Station Santa” is relatively dense when it comes to screen real estate. Because there are only a handful of areas for the Freelance Police to explore, every little piece of information and every relevant inventory item is crammed into a few screens.

I really like the limited scope of smaller games like “Ice Station Santa” because it reduces the amount of aimless wandering and backtracking, without sacrificing Telltale’s ability to cram humor and detail into each nook and cranny of Sam and Max’ office, Boscoe’s Inconvenience Store, or Stinky’s Diner.

Sam & Max is at its best when players know what they need to do, but don’t know how to achieve it. It’s appropriate that, in a game ostensibly devoted to two anthropomorphic detectives, the real bones of “Ice Station Santa” involve talking to different characters and gathering clues.

Don’t get me wrong, the mechanics are still well entrenched in the traditions of inventory management, but players who  explore the dialog trees and pay attention to the peripheral, world-building details will have more luck than those who throw items at puzzles until they stick.

“Ice Station Santa” is efficiently designed, and one of its great joys is solving the last piece of a puzzle that sets off a larger chain. These little nests of puzzles give the entire game a smooth rhythm and tight pacing. Playing Sam & Max is more like setting off a row of dominoes than chipping away at some insurmountable problem.

Telltale’s efficiency inexplicably gives way in “Ice Station Santa”’s two mini-games. They’re not particularly well integrated to touch controls (the arcade-style driving game is particularly clumsy), and — no matter the platform — they don’t contribute much to the overall design. “Ice Station Santa” is short, sure, but it doesn’t have to be padded or broken up by a low-rent game of Punch-Out!!

It’s a minor sin, though. Your mileage may vary with Steve Purcell’s brand of absurdist humor, but “Ice Station Santa” is a solid port of a well-designed, compact adventure game. The user interface touches for iOS aren’t necessarily a big deal, but they present enough care and attention to detail to salvage some of the goodwill Telltale lost with games like Jurassic Park. Sam & Max is a breed apart from point-and-clicks like Machinarium, but adventure games never go out of style — just ask Kickstarter.

TouchArcade Rating:

[source]

We’re fans of huge numbers, if you didn’t know. Last week, actually, we shared news of Jetpack Joyride’s latest downloads. Since going free, the title has wrangled in around 13 million consumers. That’s a lot, right? Check this, though: Imangi’s Temple Run [Free] just hit 36 million downloads. That’s more downloads than there are people in Canada, or uh, roughly 35.9 million more blocks than my Church of Brad has in our Minecraft server.

Temple Run ended up going free late in its cycle, too, and has enjoyed the spotlight of being the App Store’s number one game thanks to the constant support that it receives. It was also pseudo-cloned, but Apple fixed that issue fairly fast as we all expected it would.

Anyway, if you’re not one of these 36 million people, you should probably give Temple Run a look. To quote our review:

Corners are something you see a lot of in Temple Run. The game eschews the more traditional one-button jumping control of most runners for a swiping method that still allows for one-handed play . You can swipe up to jump, down to slide, and left or right to turn.

This control setup is risky — it’s much easier to mess up a swipe than a tap — but it works. Though the world is randomly generated, the addition of twists, turns and crossroads makes it feel more organic, like more of an adventure.

[Via @nattylux]

[source]

Halfbrick Studios has announced that their sublime endless flying adventure, Jetpack Joyride [Free], which stars the toughest food-named protagonist that I’ve ever had the pleasure of knowing, has passed the 13 million download mark since going free-to-play this past December. Combined with the downloads from the time it launched as a paid app in late August, this pushes the total downloads to well past the 14 million mark.

We were quite taken with Jetpack Joyride in our review, so it’s not hard to see why multiple millions of people are downloading the title, especially since it’s been expanded on and improved so much following its release. And that reminds me, Halfbrick also mentions that they’re scheduled to release the biggest content update that the game has ever seen sometime next month. Sadly there are no details on this update just yet, but we’ll keep our eye out for anything new in the coming weeks.

[source]

This is neat. Double Fine, the creators of Brutal Legend and, most recently, a swarm of lovable and unique downloadable titles like Iron Brigade and Costume Quest, is asking its fans via Kickstarter to donate a total of $400,000 towards the production of a brand new point-and-click adventure title that’ll be created by “a small team” and one of the adventure game genre’s most influential developers, Tim Schafer.

The fans have answered, too. In under ten hours the project has received well over half a million dollars in backing. And with over 30 more days to go still, you almost have to assume that Double Fine will be forced to use dollar bills as toilet paper to rid itself of all the extra cash it’s going to receive.

The project doesn’t have a real name yet. It also isn’t exactly slated to hit iOS — the initial pitch was for the development of a PC point-and-click “utilizing modern touch technology.” Double Fine says that if it raises more than what it’s asking for, as the project has, it might put the game on Mac or iOS.

This seems like a big deal for Double Fine: it’s a small, but notable studio that’s triumphantly shedding the typical publisher / loan shark model that it usually uses to make something that it has complete creative control over. But, this is also a studio that has been OK with funny funding deals. It let a dude pay for several PC ports in the past, and it’s apparently currently in talks with Minecraft creator Notch about funding Psychonauts 2.

So, when will you be able to play this game? It’ll be awhile. Provided everything goes as planned, it might appear on Steam as early as October 2012. However, backers will see the game as it’s being developed — this entire experience will be documented by 2 Player Productions and private videos will be released on an ongoing basis.

[source]

Only in the indie space do we see games like Pizza vs. Skeletons. Bright and humorous, as well as off-the-walls, it’s a 2D action game that stars a 10-foot tall pizza. It has a knack for catching you off guard by design; delicately crafted to avoid the mechanical monotony so common in its space, it’s an adventure that re-imagines what it is in almost every level. Sometimes you’ll save puppies. Other times, you’ll ski. Or butt heads with gigantic skulls. Or just bash skeletons because, hey, that’s fun.

You just can’t pitch this game to a major publisher. This will never be a blown-up, $60 retail title. It’s too free-wheeling, too idealistic. It’s too … different.

I’ve had my paws all over a pre-release build for the last week or so, and I’m OK with saying that it’s looking every bit as awesome as its name implies it will be. Sure, it might not have any ultra-familiar trappings to draw connections to, but that’s kind of the point: this thing is bananas, man. It’s as far-out as a quasar.

Take the mechanics, for example. In the game, you control a house-sized pizza that can roll, stomp, and jump. Rolling requires a simple tilt of the device. Tap the screen and the pizza jumps. Tap again while in the air and the pizza unleashes a devastating stomp.

Rolling automatically obliterates enemies into plumes of grave dust — provided they aren’t hoisting an over-sized, pizza-skewing spear in front of their bodies. If this is the case, a physics-bending jump and stomp will do the trick. As you play, you’ll start running into a few enemies that twist this basic combat model. There’s a flying skeleton that requires a bit more touch, as well as other minor iterations on this specific idea.

If that was the game, I’d still be as into it since, you know, you’ll be controlling a giant, grimacing pizza on a quest to kill all the skeletons ever. But that’s not all there is. Pizza vs. Skeletons is like a conga line of levels and different systems, each one bolting onto the back of the last and making the stream stronger and crazier.

In the first chapter, you’ll be introduced to a skiing mini-game that doesn’t task you with killing. Instead, the objective is to hit the ramps perfectly in order to collect the most currency possible. Later, you’ll be balancing the pizza on the top of a huge skull while crossing a pit of spikes, pummeling telltale Angry Birds structures into oblivion, or even bouncing on rocks in a timed adventure that has you knocking skulls off of the tiny platform you’ll be forced to work with.

There’s a lot more, and I won’t spoil it all. I will say, though, that nothing I’ve been doing is striking me as particularly interesting. Everything in the game exists in the service of fun, kinda like a Rock Band. You’re just playing to act out weird power fantasies, and that’s cool.

Also, while there’s a level of schizophrenia inherent in this kind of design, Riverman ties all of the bits and bobs together into a coherent whole; the sound design is as kooky as the game, and the art direction? It’s like something Tim Burton would do if he could (a) draw and (b) chill out every once in a while. The game is bent, but lightly so; its style and its tone fits well with the oodles of off-the-wall content.

There’s a good story about this game’s design in this week’s show. Riverman is composed of two brothers, Jacob and Paul Stevens. Jacob, the art dude, dreamt up the scenarios. Paul, the programmer, then had to figure out a way to not only make it work technically, but also make them fun.

The prototyping phase took awhile and the duo had a lot of back and forths on the subject of dreams vs. the reality of having to make solid, fun-to-play content within the technical parameters of the game.

“There are a few levels that have the theme of your sort of crushing a structure in a way like how you fling birds in Angry Birds at something and destroy it. We thought could we make that fun as a pizza? Well, if you actually physically control your character and just crush, say, the Great Pyramids, that could be interesting.” Paul told us earlier this week.

“Jake’s ideas probably come from a totally different place than mine do. In mine, I was thinking what’s fun being a huge, powerful character? Crushing structures.”

Another fun thing that comes hand-in-hand with the conceit of driving around a huge pizza is topping customization. As you beat levels, you earn currency which can be dropped into extra vegetables or meats, new faces, new glasses, and even hats. Each is lovingly animated, and most are pretty hilarious. I’ll go on record here and say that nothing comes close to being as cool as a 10-foot tall pizza with a top hat.

I’ve held back my progression in the game so I wouldn’t get too review-y in this, but I think it’s pretty obvious that I’ll be embracing the game with open arms when it hits a little later this month on the 16th. We’ll be bringing you more around that time, too.

For now, though, keep your eyes on this and Riverman. The studio has never attempted a game this ambitious, this out-of-the-mold, and it seems like it has hit a new stride in the process. I’m excited, and I think you should be, too.

[source]

I have no shame whatsoever in telling you that I was literally obsessed with Myst when it came out in 1993. The mystical adventure that dared me to tumble into an unknown world and explore beautiful oversized tomes to unlock its secrets had everything that I wanted from a game at the time. It gave me a solo adventure, puzzles that were hard as hell to solve, and atmosphere for miles. I just might have played Myst (and all the clones of it) a rather embarrassing number of times.

So, it was really kind of a given that I was going to be thrilled to see The Lost City [99¢], which at a glance seemed to be aimed like a notched arrow at the heart of the Myst-era adventure game lover. Of course, anyone who was with me on the long ride through the adventure clones that Myst spawned knows that there were a handful of decent ones, but mostly many, many bad ones.

I’m quite pleased to report that this is not the case with The Lost City. Far from it, in fact. While the storyline behind the game is not quite as fleshed out as that of Atrus and his wayward sons, Fire Maple Games really nailed it in terms of atmosphere. But even more importantly, they got it right with the puzzles – and added a few extra things that Myst itself could have really benefitted from back in the day.

Navigating your way through The Lost City is as simple and pleasant as can be: the touch of a fingertip navigates you through the hidden city your grandmother promised you really did exist (apparently, she wasn’t kidding). Your inventory is neatly tucked into a small briefcase in the bottom left corner of the screen, and touching it pops up a small row of all the items you’ve collected. Items for what? For solving puzzles, of course!

But The Lost City doesn’t do that inane thing where you have to figure out the item that makes the least sense to use, cram it into another item and then use it to magically unlock some door that had no keyhole in the first place. No, these puzzles actually make sense, which as anyone who ever played a Kemco adventure game back in the NES days can tell you, was rarely the case.

Speaking of things that adventure games should have thought of a long time ago, another welcome one here is the map. Each scene of the game you encounter is represented by a numbered panel if you hit up the map screen, which you can move around with your fingertip so you can get an overview of the entire area.

You also have a journal which logs important notes you’ll need for future puzzles, and it just so happens to contain (gasp!) a hint guide, so if you get stuck you can consult it. I know, it’s not proper hardcore. And I don’t care, because the days I spent crying and pulling at my hair in front of my computer because I couldn’t solve that one puzzle were so bad that I don’t mind one bit that this game doesn’t want me to go mad with frustration.

One little touch about The Lost City I really adored was the addition of puzzles affected by seasons. You will encounter stone angel statues which you can place a heart item into to change the seasons, which affects which puzzles you have access to solve. This fit in beautifully with the overall coziness of the game, and it simply brought a smile to my face.

In the end, I found myself trying to slow down and simply enjoy being in the game’s atmosphere. I really didn’t want the game to end, and I suppose that’s the best compliment I can give anything I play. If you’ve ever loved an adventure game of the Myst persuasion, then you’re going to love The Lost City. But not because it’s a clone, or even a really good clone. This one’s got a magic that’s all its own.

TouchArcade Rating:

[source]

The Corpse Party series of video games have been loitering around my “I really should play these some day” game list since I first heard about them a few years ago. The games have some crazy roots behind them, as the first title was made in RPG Maker, a point and click game studio that was responsible for countless terrible ultra-indie RPG games. My personal favorite of these RPG Maker games was Chef Boyardee’s Barkley, Shut Up & Jam: Gaiden, Chapter 1 of the Hoopz Barkley SaGa. (Yes, that’s a real game, watch the trailer. No really, watch it.) Anyway, Corpse Party has had two different remakes since then, the most recent of which landed as a downloadable title for the PSP in late 2010. A sequel arrived around a year later, and there have even been two manga adaptations. One was even published by Square Enix.

If this is the first time you’ve heard of Corpse Party, Joystiq’s JC Fletcher put together an awesome description of what the game is all about. In essence, it’s your typical 16 bit JRPG that jumps the rails in a big way. You quickly find yourself in a nightmare dimension where no one can see each other, doors don’t work, windows are blocked by human hair, and evidence of countless child murders are everywhere. (Making you wonder how this is getting by the App Store approval department, eh?) There’s a cast of characters who are subjected to the torture of this environment, and you sit by and watch what unfolds.

What interested me about this crazy game is that there’s tons of “bad endings,” like a Choose Your Own Adventure book. I’ve always really liked games that divert from a linear roller coaster ride to letting you screw up, and then showing you the consequences. The PSP version is even constructed with selectable chapters to allow you to go back and explore all these different outcomes.

According to Andriasang, Corpse Party will be hitting the Japanese App Store this week for ¥2,200 which in US App Store pricing would be $29.99. No word yet on a localized English release, but I figure if the game will be available for iOS devices with Japanese text, an English adaptation can’t be that far off, since presumably the translation already exists from the PSP game.

Fingers crossed, anyway.

[Famitsu via Andriasang via Joystiq]

[source]

Depending on how you look at it, my weekend was either a complete success or a disastrous waste. Asides from my daily ablutions, I’ve done nothing but sit on my derriere and play Capcom’s Ghost Trick: Phantom Detective [Free]. It’s true. I’m not ashamed.

I would be ashamed if this was a cheap rip-off stemming from some copycat’s attempt to cash in on a popular indie title somewhere but Ghost Trick: Phantom Detective isn’t that sort of game. If you had to liken it to a gender-unspecific trophy spouse, Ghost Trick: Phantom Detective would be a 6′2″ Scandinavian model with a degree in rocket science and a part-time job as a professional comedian. You won’t be ashamed to be caught with this one.

The only problem here is that not everyone likes a talker. Ghost Trick: Phantom Detective’s only real flaw (which is also, paradoxically enough, its strongest quality) is the fact that it is extremely heavy on the narrative. More than half of your time in the game will be spent reading. Sorry guys. Ghost Trick: Phantom Detective doesn’t come with a voice pack either. If you’re the sort who thinks that actions are louder than words, Ghost Trick: Phantom Detective is probably not for you. (I still recommend giving it a whirl, though.) As for everyone else, why are you still here? Get the game already!

What? No? Fine. I see those raised eyebrows and I’ll raise you with a more thorough explanation. Ghost Trick: Phantom Detective is the long-anticipated port of an adventure game Capcom developed for the Nintendo DS. The titular character in this eccentric little delight is, as you might have guessed already, sort of dead. Sissel is also sort of awesome for an amnesiac red-suited ghost with a bad haircut.

Unlike most of the recently deceased, he has to navigate between the Land of the Living and the Ghost World. Sissel can also traverse telephone lines, perform minor feats of telekinesis, communicate with certain living beings (we’ll get to that in a bit), and go back four minutes in time to avert untimely deaths. (Sadly, that’s only applicable for everyone but himself.)

Incidentally, you’ll find yourself using that last power a fair bit. The supporting cast is somewhat uniquely skilled at dying repeatedly. At least, one of them is.

Meet Lynne. She’s a somewhat bombastic little redhead of a detective, the sole witness to your murder and – according to the helpful desk lamp (yes, a literal desk lamp) you meet in the introductory sequence – the key to deciphering the circumstances behind your posthumous condition. Needless to say, you will spend a lot of time rescuing her only to watch her barrel headlong into yet another humorous tragedy.

Along the way, you will also meet the rest of the highly memorable crew. From an unbelievably adorable if loud-mouthed Pomeranian (To quote our very own Mr. Nicholson, “Just wait until you meet the dog, man!”) to a shotgun-wielding assassin (His name is Nearsighted Jeego. He never misses his target if they’re in range.) to a slow-witted prison guard who dances when distressed, every entity you encounter in Ghost Trick: Phantom Detective is, uh, unique, to say the least. The development team definitely went all the way with the character design here.

(For those of you curious about how well Ghost Trick: Phantom Detective survived the transition to the iOS, I’m happy to say it looks pixel-perfect. While I’ve never played the original, I’ve seen the videos and if the videos are any indication of how things were, well, Capcom did you proud.)

Humor-wise, Ghost Trick: Phantom Detective is about as off-kilter as the menagerie that populates it. Facepalm-inducing moments are in abundance. The actual plotline, on the other hand, is deeper than what the initial twenty minutes might implicate. How so? I can’t tell you. Games like Ghost Trick: Phantom Detective are kinda like Fight Club. You don’t talk about Fight Club. You don’t talk about games like this either. At least, not in the context of the plotline, the actual dialogue and whatnot. Not unless you want to peel away some of the magic. The only thing you’re getting out of me on this front is the assurance that when the bleaker moments of the game hit, they will hit hard.

Of course, a good story’s not much without decent gameplay. Though marketed as an adventure game, Ghost Trick: Phantom Detective feels more like a puzzler sequestered away in a visual novel. When you’re not otherwise thumbing through conversations, you’ll be in what the game calls ‘Trick Time’.

To make this a little easier to understand, we’re going to use an example here. Let’s say you’re inside a flag and you have to make your way across the room to get something. In order to accomplish this, you’re going to have press the ‘Ghost’ button, switch to the Ghost World, and then draw a line from the flag to, say, a pitcher of water. Sissel will then do the rest. Interacting with objects is just as easy. For example, if you’re inside a candle and the words ‘burn brighter’ are present on your side bar, all you need to do is switch to the Land of the Living and hit the ‘Trick’ button. Once again, Sissel will take it from there.

The puzzles themselves are a lot more complex and likely to leave you going, ‘Wait. So, how am I supposed to use two suits of armor, a set of curtains, a globe and a framed-up sword?’. To complicate matters even further, there is often a time limit associated with these puzzles. Luckily for you (and everyone else in the predicament), Sissel can rewind time as many times as he likes, something that makes Ghost Trick: Phantom Detective nicely balanced between the realms of ‘forgiving’ and ‘why would you do this to me?’.

While we’re on the topic, here’s my only other infinitesimally tiny issue with the game. It’s too linear. I know, I know. This isn’t some sprawling, open-world sandbox of an action-RPG. However, they’ve done such a superb job at developing the environments that I kind of want to spend some time away from the main storyline. Ahem. If you haven’t guessed it already, I think Ghost Trick: Phantom Detective is the bee’s knees and with the first two chapters available for free you should definitely give it a shot. Following that, you shouldn’t have too difficult a time parting with the cash to unlock the rest of the game.

TouchArcade Rating:

[source]