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After spending some quality time with a preview version of Int13’s new bullet hell shooter Shogun: Rise of the Renegade [Free] last week, we were eager to get our hands on the final version to see how it all came together. And sure enough, earlier this week Shogun quietly snuck into the App Store.

It was interesting that Int13 was departing from their typical augmented reality based games, like ARDefender [Free], and trying their hand at an established and nuanced genre like arcade-style manic shoot ‘em ups, especially with veteran shmup developer Cave basically cornering the market with their stable of high-quality ports. However, Int13 has surprised me with just how right they got Shogun, and while it might fail to totally impress the more discerning bullet hell enthusiast, fans of shmups in general will find a lot of action and fun brimming from the game.

The very first thing that pops out at you about Shogun are its graphics. The environments are done up in 3D and give off a great feeling of depth as you’re scrolling by in your ship. It’s also Retina Display ready, meaning it’s razor sharp. Enemies are your standard alien-type of spacecrafts, and there are some rather interestingly designed mid-boss and end-boss fights that will give you a run for your money in terms of challenge. On the whole, gameplay in Shogun doesn’t divert too far from your typical bullet-hell shooter formula, but it executes the components of that formula extremely well.

However, Shogun does show some more innovative signs in a couple of areas. One is the method in which you change your weapons. Your ship comes with 3 weapon types: spread shot, laser, and homing. Whenever you lift your finger off the screen, the game slows down bullet-time style and a small menu pops up above your ship that lets you choose from the 3 weapon types, as well as trigger a screen-clearing EMP or choose to add small wingman ships for added firepower. It’s nice that the action slows down to allow you to concentrate on what weapon you need to pick, but you can still take damage in this mode so you’ll still need to stay alert.

The other thing in Shogun that I found very interesting is the system for filling and using your shield meter. You have the ability to scrape bullets that pass you by, which basically means getting your ship extremely close to them without actually getting hit. With each consecutive bullet you scrape, you build a multiplier, and this adds to your shield meter above which can go past the 100% full mark. Every time you fill up your life meter completely, it fills one of the 6 reserve tanks above the meter.

Now, these reserve tanks can be used for various things, like setting off the aforementioned EMP blast or adding one or more sets of the satellite helper ships to your own ship (which VASTLY increases your firepower, I might add). Also, when you do get hit by enemy fire, the game will automatically clear the screen of bullets and shield you for a brief moment while giving you a refilled meter, but it will cost you one of your reserves.

The scraping and usage of reserve tanks aren’t totally new ideas in the shmup world, but they’re done well and add a ton of strategy to how you go about being the most effective in Shogun. It’s in your benefit to scrape as much as possible and always strive to keep your reserves well stocked for particularly challenging sections and boss battles. But, you can’t concentrate too hard on just scraping, as inevitably that will lead you to take damage if you aren’t paying enough attention to killing the enemies as well.

While the graphics are gorgeous and the underlying mechanics are sound, about the only thing I don’t like about Shogun is that it’s pretty short. Featuring just 4 levels to play through, it comes to an end pretty quickly, but it’s a satisfying and challenging ride while it lasts. The pay model is also pretty accommodating, allowing you to download and play through the entire first level for free. The remaining 3 levels are accessible as well, but you can only play them for a brief minute – just long enough to get a taste. Each full level is then unlockable separately for 99¢ each, or $1.99 to unlock them all at once.

As a big fan of Cave’s shooters, I find it hard to really get into most of the other shooters on the App Store. They really did set the bar that high. But Shogun is a game that instantly drew me in with its visuals, and then backed it up with a ton of solid action. It even Universal and has iCade support, to truly complete the arcade experience. As a free download, there’s really no reason not to give Shogun a try for yourself.

TouchArcade Rating:

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I like to imagine there’s an Oberlin burnout somewhere who’s made a living getting bent on ayahuasca and pitching music-history based games to different companies. My hypothetical game designer, wide-eyed and euphoric, is responsible for games like Boom Boom Rocket, Eternal Sonata, Jazz: Trump’s Journey [$2.99], and now Frederic –Resurrection of Music [$1.99/HD/Lite], by Forever Entertainment S.A.

In the first scene, set in present-day Paris, Fryderyk Chopin climbs out of his grave, speaks with the Muses, and rap-battles a French DJ with dual-wield keyboards and a jetpack. After this, he rides a horse-and-carriage to Jamaica and gets high with a reggae artist named Rob. Amazing.

As he travels the world in his mystic carriage trying to unravel the circumstances of his undeath, Chopin runs through a series of musical duels with local artists. Mechanically, this translates into a rudimentary version of Piano Hero: notes travel on a track toward a touch-screen piano keys, and players are scored on their accuracy and combo streak.

The songs in Resurrection are modern remixes of Chopin’s most famous waltzes, nocturnes, études, and marzukas, re-imagined in the style of whichever locale our hero finds himself: country in Texas, Celtic dance in Ireland, chiptunes in Tokyo. I actually like most of the music — the Resurrection soundtrack is available for purchase on iTunes [$5.99] — but they all tend to suffer from repetitive melody and relatively simple arrangements. Still, the lighthearted pop remixes fit into the game’s absurdist aesthetic much better than an orchestral score would.

With only nine songs, Resurrection is relatively short, though some players might be able to extend its shelf-life by trying to improve their scores. But even on its hardest difficulty, at its most complex, Resurrection goes out of its way to indulge and empower the player, not defeat them with impossible challenges.

Like Climber Brothers [$0.99], the real joy of Resurrection is the one-to-one relationship between tactile input and feedback: tapping the screen of my iPad is more or less a reasonable facsimile of pressing down a physical key. This is a relatively simple pleasure, but Resurrection goes to great lengths to extend it by being overly-generous  in its design — players have a relatively large window to hit notes in, and it’s almost impossible to miss enough notes to fail a song. The goal here is to listen to the music and soak up the strange animations going on in the background.

Since failure — and, by extension, most of the game mechanics — is largely an illusion, Resurrection’s real hook is its insane premise and matching art direction. In both its art direction and treatment of ethnic stereotypes, Resurrection draws on the bande dessinée style of mid-80s Lucky Luke. The voice acting, too, is hard to place: British English re-routed through Forever Entertainment’s Polish roots.

But Resurrection’s essential Europeanness isn’t limited to animation and cut scenes, and this isn’t a game so much as it is a rewriting of Chopin’s cultural identity. During the Cadet Revolution in 1830 Chopin, the son of a Franco-Polish immigrant, fled Warsaw for Paris, never to return. Resurrection ultimately leads him back to a culturally reinvigorated Warsaw, but only after he uses his musical gifts to destroy the stereotyped, corporate shills that populate the rest of the world. Chopin is cast as the savior of music, but it’s odd that he uses modern remixes, not his traditional compositions, to further his cause.

By fudging its rhythm mechanics, Frederic — Resurrection of Music actually presents itself as more of an interactive cartoon than a game. But when viewed as such, Resurrection often comes off muddled and directionless and, even at the end of the game, it’s not clear why Chopin was resurrected, who he’s “saving” music from, or if he really succeeded.

Nevertheless, Resurrection is a bold product, unafraid to be campy, kitschy, and surreal, and presented as a labor of love from a team full of ideas. This game is larger than the sum of its parts and everyone I’ve showed it to has enjoyed basking in the art and music and in the fact that Frederic Chopin uses his second chance at life to smoke dope on the beach and learn the keytar.

TouchArcade Rating:

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It’s 2012, and I’ve had a few years to conjure a snappy explanation of what Eufloria is and how it rolls. I haven’t. So, before I even get into how much I dig it on iPad, I’ll let my main man Rudolf Kremers — one of the handful of dudes behind the original release — do the talking. In our latest “bonus” podcast, he cheekily broke it down like this:

“Eufloria is a game of space, conquest, and exploration based on themes of plant life and flowers rather than space marines and spaceships.”

That’s the thing about Eufloria: it’s an RTS that goes against the grain. It doesn’t have any big dudes in big armor smashing space orcs in the face with apartment-sized space maces. It also doesn’t subscribe to any particular feel or taste, or really, any action-y RTS conventions. It’s a minimalist strategy game that has some cool, laid-back creative touches, and it’s all wrapped up in a sensitive production overhead that conveys the game’s core design ideals and gentle pacing well.

This much has been proven in past iterations. And for the most part, what you’ve seen is what you’ll be getting Day Zero on iPad. Eufloria on iPad still looks gorgeous, it still runs as smooth as ever, and all the little technical touches on the movement, placement and execution phases of the game have made it over. But, on the other hand, I’m not seeing a major adjustment on anything anyone has complained about before — the balance appears to be still a little touch and go, and in some of the levels I’ve been playing, the pacing is brutally, brutally slow.

What the iPad port does bring, though, are new ways to interact more intimately with the experience. Pinch and zoom can be used liberally to explore every little nook and cranny of each level. Satisfying drag, hold, and swipe gestures take care of the rest. It’s all good stuff.

I asked Kremers after the show to explain what he was shooting for with this version’s controls. He said that the main idea was to strip “all barriers between playing the game and the device you play it on.” Mission accomplished as far as I’m concerned. This is appears to be as much of a lean-back experience as ever before, and delightfully so.

Here’s a breakdown for those of you just seeing Eufloria for the first time. This is a game about asteroids, trees, and tiny, winged seedlings. In almost every scenario, the goal is to take these seedlings to an asteroid, build a tree or two, and then usher even more seedlings on to other asteroids. The tech tree is simple: trees build seedlings and asteroids have one of three different effects on seedlings, either making them strong or fast or energetic. As trees age, they become more potent and harder to kill. Eventually you’ll see some variations on unit types as well as a defensive tree that’ll keep enemy seedlings off of your rock.

The strategy factors into the picture in a variety of ways. You can’t hit up an asteroid unless you have an asteroid connected to it. Also, most asteroids are inhabited, so you’ll need to kill the enemy seedlings and then destroy their trees, which are jacked into that asteroid’s core. Cracking the core boils and tearing down an impromptu space settlement boils down to a numbers game: basically, whoever has the larger wad of dudes wins. Much later in the game, you’ll be given very specific tasks, like say, defending or finding a path through a system.

On our show, Kremers explained where these ideas came from. Eufloria proper is based on a proof-of-concept called “Dyson,” which is named after a british physicist who theorized that you could explore space by growing mechanical trees on asteroids. It’s neat to see this crazy idea living on in a game.

The beauty of Eufloria is in its simplicity; it’s artfully stripped of graphical clutter and is fairly bare-boned on the UI and sound front. It’s also strikingly easy to play for a strategy game since most of the action happens on a macro-level: clicks, drags, and drops compose all you’ll need for galactic takeovers. This type of game feels great on iPad, and it seems like Team Eufloria and Tunatech pulled it off.

My time with the preview build, for reasons of avoiding anything other than modest scrutiny at this phase in its pre-release form, has been artificially shortened, so I don’t have a verdict for you. You’ll get that later at some point this month when the game sees a release across iOS at an unannounced price. We’re expecting more details to roll in shortly. Fingers crossed.

All the screens in this write-up are from the PSN version of the game. I can’t tell a difference between the two in picture-form.

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It’s safe to say that cave flyers have been around the block a few times, and that a few of you might just be sick of ‘em. Hey, that’s fair—I know my enduring love of endless runners and cave flyers isn’t shared by everyone. But do me a favor: take a look at Blot’s [$0.99] trailer before writing it off. Yeah, it’s just another cave flyer, but goodness, it’s gorgeous.

We’ve seen the control scheme and basic design a thousand times before, and there’s nothing new about collecting coins for upgrades, cosmetic or otherwise. Blot won’t win many points for fundamental originality. But it’s a solid, fun cave flier that also happens to be beautiful, with an underlying sense of humor that’s sure to please.

Screenshots don’t do it justice — a big part of Blot’s appeal is how lovely its parallax backgrounds look in motion. Someone at Majestic Software has taken time to sketch out all manner of things — trees, candies, wastelands, ponies, helicopters wielding swords and morningstars, you name it—which the game then combines and recombines to build new backdrops each time you play.

This is part of a broader vision. Blot himself is an ink spatter, flying outwards from a pen. He dodges pencils and seeks out paint cans and smudges. The artistic theme isn’t carried through as far as it could be—art and coin collection don’t exactly go hand in hand—but it gets very, very close.

For controls you’re looking at something a lot like Jetpack Joyride [Free], to name one recent and popular example. The titular Blot is bigger and a bit floatier than Barry Steakfries and his jetpack, but it has the same inputs—tap to rise, let go to fall. The arc of its movement might take a bit of getting used to, but there are no drastic changes.

And what would a modern cave flyer be without a collection mechanic or two? Aside from coins, you’ll also seek out boost buddies. Blot grows as it absorbs these cute little dudes, making it easier to grab coins but harder to dodge obstacles. Once you pick up four, you get a big boost of speed and temporary invincibility. There are also colorful paint cans and smudges to be found that mess with speed, direction and magnetism.

The coins you collect can be exchanged for upgrades. The selection is pretty cool—stuff that makes paint effects or boosts last longer, alerts you to upcoming boost buddies, makes you magnetic or doubles your income. Since you can only pick one to equip, you’ll have to consider whether you’re grinding for coins, going the distance or working on a Game Center achievement that requires a bit of extra assistance.

The game takes any chance to serve up pop-culture references. Little things, mostly, like how the buddy detector is called the “pip-blot 2000,” and the unlockable costumes play off things like Star Trek and the Ace Attorney series. There are also achievements for flying past wild reference in the background sketches, although you’ll probably die if you take the time to look for them. Best of all, none of this feels as forced or out of place as memes so often do when they pop up in games.

Some of the foreground elements are a bit abrasive against the terribly sexy backgrounds, but everything else is awesome. There’s lovely (if brief) music to fly to, and Blot is stupidly charming for something with only a few frames of animation (that little scrunchy face…!). And while there isn’t a plot or a complicated mission system to keep you motivated, the high score grind is made valuable with coin rewards and a grading system. Practice makes perfect, but getting an A+ will take skill.

One little warning – you can purchase coins with cash. Don’t bother unless you’re out to support the developers or stockpile a huge supply of portals—you’ll just rob yourself of the fun of actually playing. The grind isn’t painful at all unless you need the highest end items right away. My only quibble is that the IAP coins come a bit cheap – a single $2.99 purchase can give you most of what you’d ever need, so grinding starts to look like a bad value proposition.

It’s hard to complain, though. While it fails to distinguish itself on mechanics, Blot blows most of its competition out of the water with style alone. It’s delightful, plain and simple, and when given the choice between equally solid games, I’ll take the one that delights me any day. Who wouldn’t want a little more joy in their games, right? So take a good long look at Blot, and let us know if you like what you see.

TouchArcade Rating:

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Ship management and pseudo line-drawing make an appearance in Kavcom Limited’s The Lighthouse HD [$4.99]. Offering a different take on the classic genre, The Lighthouse HD’s great visuals and variety offset some choice design decisions holding the game back from loftier heights.

In The Lighthouse HD, you take the role of an all-seeing lighthouse operator helping ships get across hazardous waters. Tap anywhere on the screen to shine a light on that area. If you shine the light near a ship, it’ll alter direction towards the direction of the light (and will then continue straight on its new path). The game plays somewhat similarly to line drawing games like Harbor Master [$1.99 / HD / Free], with the difference being that you can’t directly alter the course of your ships and instead must use the light to indirectly manage your shipping lanes (rather than drawing routes).

The goal of each mission is to accomplish various objectives (which include goals like getting ships from one point to another and leading fishing boats to giant schools) before losing all your ships. In addition, you’ll encounter barriers such as rolling fog, ship-seeking sharks, and giant krakens looking to trap your ship. As expected, a lot of multitasking, coordination, and precision are required to pass missions and hit the highest scores. Overall gameplay is executed well enough, although I would have liked an option to speed up the map when I’m working with slower boats (considering the game is on a timer, I could see why this wasn’t on the top of the list).

The areas that The Lighthouse HD does a really great job with are its visuals and presentation. The game succeeds in conveying a moody, dark atmosphere at the onset of each mission. Weather effects such as rain, lightning and fog add even more to the general feel of the game, although there were a few times when the various effects made it hard to see some of the baddies swimming underneath the water (call it part of the cruelty of the sea, I suppose). As you get towards the end of each mission, the sun begins to rise, the music starts swelling and the whole map gives off a sense of seeing a light at the end of the proverbial tunnel. I rarely see a game succeed at achieving a play on emotion, but The Lighthouse HD does a good job of getting there.

Unfortunately, there are several areas in The Lighthouse HD that feel rough around the edges. Specifically, the game is filled with a lot of frustrating gameplay nuances that just seem out of place. For example, there are no on-screen notifications when ships are about to come into play on the map. Considering that several levels charge you with taking ships from one end of the map to the other, with both entrances also posing as exists, it can be very frustrating when you get close to an exit and a ship appears out of nowhere and collides with your existing ship, making you lose both in the process.

Another example deals with actual gameplay mechanics. One of the items available to you to make guiding ships easier is buoys, which force nearby ships to divert course automatically. The problem is I could never get the buoys to work correctly – I’d place one in a certain location thinking ships would divert one way and they end up going another way. Considering there doesn’t appear to be a way to remove them once they’re placed. This ends up being a waste of resources and can make or break a level.

Another concern is in regards to content. The Lighthouse HD offers 30 total missions, making the game good on content for at least three or four hours (depending on whether you like collecting objective medals). However, I imagine that most gamers will clamor that the game could use more missions, particularly at its current price point. The developer has stated in the forums that additional levels are coming, and I hope they arrive sooner rather than later.

Despite these shortcomings, The Lighthouse HD should appeal to fans of vehicle management games and line-drawers. Its nuanced changes to the standard gameplay and overall visual presentation do a decent job of differentiating itself. Assuming you can get past the relative lack of content and occasional strange gameplay missteps, I’d recommend The Lighthouse HD .

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At last year’s Macworld, XMG Studio was showing off Cows vs Aliens [99¢], a game I thoroughly enjoyed when it came out and is still amongst my favorite games. This year, their big upcoming title will be a brand new licensed Ghostbusters game. It’s not really past the concept stage just yet, but the mock artwork and test animation videos I saw are looking pretty sweet.

Ghostbusters will have a heavy social component, as well as some augmented reality gameplay ideas. So, for example, you might wander into Starbucks and get alerted that there’s a ghost on the loose there, and you’ll need to find it using your device’s camera and wrestle it down into one of those fancy traps just like in the movies. Then, you can valiantly hold your device in the air and loudly declare “we came, we saw, we kicked its ass!!” as the entire cafe cheers you on. Or something like that, at least that’s how I’d imagine it going down.

Another upcoming project from XMG is a remake of their incredibly popular Drag Racer: Pro Tuner [Free] series. Drag Racer lets you get super involved with tricking out a vehicle with tons of customization options, from cosmetic stuff to performance improvements, and then you get to take your ride to the streets and compete against other players and their cars. The new version will feature completely redone visuals and a nice UI overhaul, which the team tells me is something they’ve wanted to do for a long time.

Finally, if there are any teenagers in your life, then they might get a kick out of the just released Totally Amp’d! [Free]. XMG has enlisted some actual established actors to create 10 episodes to play through, which let you do things like create your own music videos, record your own songs, and come up with your very own fashion designs for characters in the game. The production values are through the roof in Totally Amp’d!, and you can check out the first episode for free with the remaining episodes available as a $4.99 in-app purchase.

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Brad Nicholson said it best in our preview of Dungeon Crawlers [$1.99]: “It’s the video game equivalent of a mullet, reserved and business-like, yet fun-loving and goofy.” I’d add “A little bit awkward in any situation,” for both the mullet and the game. It’s a quirky strategy RPG that invests heavily in tropes of old, glorifies the Ghostbusters, and isn’t quite ready for prime-time.

Don’t get me wrong; fans of traditional SRPGs will find a lot to love if they give Dungeon Crawlers a chance. It’s a funny, charming, and mostly well-crafted game. You’ll run into a few glaring omissions, and you might have trouble with the game’s high memory footprint, but rest assured that Ayopa Games and Drowning Monkeys plan to address all of that soon. No matter how much I enjoy myself, though, I keep coming back to the same problem: Dungeon Crawlers is just way too ponderous.

The mix of dungeon crawling and strategic combat works well. Basically, you poke around a dungeon floor by floor, fighting baddies, finding secrets, and occasionally solving puzzles. The game slips into turn-based combat mode the moment you enter an area with enemies. A movement grid is laid out on the floor. Enemies take their turns, one by one, and then the heroes take theirs. It’s a good formula, but every bit of it is too slow.

Enemy turns take too long, and can’t really be sped up. Every movement and attack feels a bit slower than it should, and everything has to happen in turn. Sometimes it feels like no one has any idea how to land a hit. In combat that already feels too slow, a whole round spent with weapons missing harmlessly (or landing glancing blows, a common problem) is dull, dull, dull. It would shorten the game, but combat would be a lot more fun if the developers cut out the weak hits, lowered everyone’s miss rates and let you fast-forward through enemy turns.

If only they could apply that sort of trimming to the rest of the experience. For example, you start with only three of your four heroes: Payter, Aegon and Roy (if you’re thinking Ghostbusters already, those should sound familiar), and each gets just one ability initially. For the first few levels combat is mindless. Payter walks up to an enemy and slashes it. Aegon casts Magic Missile from further back. Roy heals whoever is wounded. Rinse. Repeat. It’s a fine way to start, but the game takes far too long to start filling your arsenal with new friends and abilities.

It’s a shame, because I doubt many mobile gamers are going to wait the hour or two it takes for things to start getting interesting. Try to be the exception, because it’s worth it. Even though Dungeon Crawlers has a limited roster of characters, its encounters get both challenging and strategic. Much of the strategy is in learning to carefully position your party members. Payter, for instance, eventually learns to stun the enemies that surround him. Predicting where the enemies will move, you can put him in just the right place to get surrounded. Then you can line up Aegon to hit the grouped up baddies with an AOE, and keep Failston blocking the way back to Roy. Mana isn’t a consideration, but action limits are, so healing is a once-per-turn affair. If a character falls, they’re out of the game until the next floor.

Failing isn’t a a huge deal, since you can always restart from the beginning of a level or an encounter. But that decision really hurts when encounters start lasting for half an hour or longer. You should be able to offset this by using the coins you collect to buy potions in a tight spot, but you can’t. A shop is coming, as are IAP coins for the poor adventurer with a wealthy player. The game can already be completed without the store, though, so the IAP will be optional in the extreme.

Unless, that is, you try to plow straight through. Dungeon Crawler’s loot system rewards the explorer. You won’t find much if you just stomp around killing enemies and opening chests, and your equipment will quickly fall out of date. If, on the other hand, you manage to find the levers that hide secrets in nearly every level, you’ll be at the tip-top of your game. The game could use a balance tweak or two to keep less-curious players geared enough to fight, though. The loot is all pre-determined, and it really hurts your chances if you miss a few secrets.

Even with all the frustrations and issues, I really dig Dungeon Crawlers. If you’re a sucker for references, this game plays with a ton of them – from the blatant and encompassing Ghostbusters theme to jokes about things the younger crowd might still understand. That’s on top of an engaging adventure tale that does its best to keep you interested in slogging through fight after fight. The characters, the music, the level design and environments – all great. You get the idea: the game would be fantastic if only it were pared down, cleaned up and sent out much more streamlined.

Until then, a cautious recommendation will have to do. If you’re looking for an old-school strategic romp through some very traditional dungeons, you’re in the right place. But these aren’t play sessions you can cram into five minute smoke breaks. Dungeon Crawlers is built to last – for better or worse, you’ll get hours out of it. If you’re a sit-back-and-be-patient sort, you’ll be just fine.

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They say that bad luck comes in threes, and that definitely seems to be the trend in last week’s news cycle. First Zynga ripped off Tiny Tower [Free], then Glu fired up their copy machines, and then some similar although unrelated drama hit the land of Triple Town [Free]. Gamasutra is all over this recent story, but I’ll provide a quick rundown-

Spry Fox’s Triple Town hit the App Store a couple weeks ago and it was clear that we loved it in our review. It’s even sort of an interesting take on the free to play model, as you can download and play the game for free and play for a limited number of turns. You can buy more turns with in-game coins which you can earn (and buy with real money) or just download the unlimited turns unlock for (currently) $3.99. If you don’t play much, or get bored easily, you might not ever need to buy anything… But once you get to the point where you need unlimited turns, chances are you’ve gotten way more than four bucks of entertainment out of the game anyway. I like that.

Anyway, according to the Spry Fox blog, they’ve filed a copyright infringement suit in federal court against 6Waves LOLAPPS due to Yeti Town [Free] which actually beat Triple Town to release by nearly a month. It’s the same sad story we hear way too often on the App Store in that Yeti Town relentlessly copies absolutely every aspect of Triple Town.

Per Spry Fox:

Yeti Town, as launched by 6waves, was a nearly perfect copy of Triple Town. We’re not just talking about the game’s basic mechanics here. We’re talking about tons of little details, from the language in the tutorial, to many of our UI elements, to the quantities and prices of every single item in the store (how exactly did 6waves “independently” decide to price 200 turns for 950 coins, or 4 wildcards for 1500 coins each? That’s quite a coincidence!)

This exact copying is also one of the things that really amused me about all of these Tiny Tower clones which all featured 5 categories of skills, 5 people per apartment, 3 people to a floor, 3 products per floor, 5 elevator upgrades, and other exact copies of core game mechanics. Unfortunately, you can’t copyright a game idea, which is why companies like Gameloft are able to do what they do. Yeti Town is different through, as allegedly Spry Fox was in intense negotiations with 6Waves to publish Triple Town on the App Store which abruptly ended when Yeti Town was released.

As part of this, 6Waves had closed beta access months before Triple Town went public and had been “pumping [Spry Fox] for private information” which included design ideas, Facebook launches, as well as revenue and retention figures. This sort of elevates the Yeti Town clone to an entirely different level of shadiness, at least in my eyes.

If you want to read the full text of the lawsuit, you can here. Now, let’s all go back to making our own original games, eh?

[via Gamasutra]

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There’s a lot of value, to me, in something I can confidently call “a happy little game.” Niko [Free] fits the bill, with a cute little dude at its center named Niko who is bound and determined to save the lives of his friends who just so happen to have been doomed to exile in some unknown world that lies beneath the forest.

We’ve heard all varieties of the backstory before, and surely this is just another of those, but you can’t deny that developer Sulake knows what they’re doing. After all, they’re behind the Habbo Hotel world, and the ten million monthly visitors there is nothing to shake a stick at.

So how have they applied their expertise to Niko? Well, it’s a game with a very simple approach, which seems to be a highly successful formula for other winners in the genre. So if you’re into that whole Aves with an anger problem thing, you might like this. Niko is an easy guy to control – you have a set of arrows on the bottom of your screen to move him back and forth and a button with his face to make him jump slingshot style (pull it back, see a trajectory appear, and fire away).

That’s it. Nothing fancy. Your job is to navigate a series of 30 levels, the first six of which are free to play. You’ll need to pony up $1.99 in order to gain access to the other 24, should you be so inclined.

Level design in Niko actually reminded me directly of retro Sonic titles like Sonic the Hedgehog 2, where you often find yourself flying at exhilarating speed picking up dozens of rings at a time, only to risk the danger of bumping into a beastie you didn’t see and losing them all. Niko opts not to include the painful part of this formula, merely letting you use bouncy pads and moving platforms in the air to propel yourself through its worlds.

There are enemies, but they don’t really make as much as an appearance until you get a bit further along. It feels like a proper platformer, and while the levels hold challenge, they never feel frustrating to complete, which is one of my gripes with a lot of portable platformers and puzzlers today.

Each level you play gives you the opportunity for multiple ratings, of course, with a total of three stars to earn based on performance and golden disks that are harder to find. A unique addition to replay value is also offered in the form of rewards that can be taken over to Habbo and used there. Badges, trophies, and a special surprise if you rescue all if Niko’s friends are all there for the grabbing, so that ought to come in handy if you are already a Habbo member (or are considering becoming one).

Well-made, clever and fun, Niko is definitely a platformer that’s worth your attention. If you explore the first six levels for free, and if you find you’re hooked, it’s pretty cheap to score the rest. Then you can slingshot, jump and fly through the air to your heart’s delight.

TouchArcade Rating:

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Back in October 2011, we saw a preview of the arcade-puzzler Hank Hazard [99¢] from Red Rocket Games and Chillingo. Well, a few months have passed, but it’s finally out. And after punching, dropping, rolling and blowing up Hank the bucktooth hamster for a couple of hours, I realized I was enjoying myself.

Hank is a brave rodent, who dreams of being the worlds first “stunt-hamster”. He’s sealed inside a transparent hamster-ball which must maneuver through each level, collecting three stars before crashing into the finish target. It’s part “physics game” and part “puzzler”, as you need to determine a safe way through each level.

There’s no joystick, buttons or tilting as you don’t control Hank’s movements directly. Instead, you interact with the surrounding items to make him move. For instance, tapping certain platforms makes them disappear, so if Hank was sitting on that platform, he would fall and roll down a ramp. Or perhaps there’s a weight on the platform, which then falls on a see-saw and catapults the daredevil hamster upwards to an awaiting star.

There’s spring-loaded boxing gloves, reversible escalators and “hamster-safe bombs”, which are just a few of the ways to move the otherwise stationary hamster. But, avoid the fire-pits and electrical fields, or you’ll be one charred little critter.

The first chapter is named “The Early Years” but you can also unlock the “Bigger and Better” and “Fairly Badass” chapters by earning stars (making 75 levels in total). A further 18 bonus levels can be unlocked by reaching special golden stars or gifting the game. And there’s even a small mini-game hidden away in the credits page, which earns you one of the 23 achievements.

A three-star rating and score is awarded for each level, with high-scores stored via Game Center and Crystal. A separate leaderboard is provided for each chapter, plus an overall leaderboard for total score. To improve your scores, you can gain a “nuts” bonus by collecting all three stars while  also satisfying a specific objective for the level, such as:  “Finish the level traveling at greater than 32 mph”, reach a certain height, finish within a certain time, or finish within a limited number of moves. This adds some extra challenge and replay-value.

The level designs are varied and interesting, and ramp up in difficulty as you’d expect with the last chapter requiring more thought than the fairly easy first levels. The difficulty increases because there’s more game elements placed on the screen to navigate through.

Whenever I start to tire of Chillingo’s constantly expanding range of casual physics-based games, they have a tendency to release another cute and enjoyable game. Somehow they always manage to lure another dollar from my wallet. But frankly, who can resist a few hours entertainment for a single dollar, when it features puzzles, a wide-eyed hamster, and bombs.

TouchArcade Rating:

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