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Ah. Werewolves. One of the three components in the holy Hollywood trinity of monsters. They ordinarily come in two flavors: loud, ravenous and incapable of anything but wanton violence… or dark-eyed eye candy. The transmogrification-happy lupine of MacGuffin’s Curse [$3.99 / Free ], however, is neither of those.

Indie development studio Brawsome has MacGuffin’s Curse billed as a ‘comedy puzzle-adventure’, an appropriate description if there ever was one. Operating from a top-down perspective, MacGuffin’s Curse is rife with all the switch-flipping, block-moving, barrier-removing goodness that is standard of the genre and the silliness of a Terry Pratchett novel. Here, you play as the charming Lucas MacGuffin, a red-haired thief who dwells in a considerable destitution with his young child and elderly mother. He has something to say about pretty much anything and everyone, a peculiarity that may either have you rolling your eyes within the first ten minutes or chuckling away in appreciation. Take your pick. Either is applicable.

The game opens with Lucas on his latest heist. In order to pay the rent, you’re going to have to retrieve a certain amulet from the extremely lightly-guarded depths of the local museum. As you might have guessed already, one thing leads to another and you eventually find yourself bound to the cursed jewelry and gifted with the ability to transform into a powerful, red-maned werewolf whenever you choose to. No, I don’t know how this really is a curse either.

This, of course, is one of the game’s primary gimmicks. Each of your two forms has a different set of abilities and limitations. As a human, you’re capable of doing delicate things like operating doors and squeezing through windows. As a werewolf, you’ll be able to manhandle safes, blocks, enormous battery packs and dig for buried treasure. Most, if not all, of the puzzles will require you to make use of your dual set of talents.

Speaking of the puzzles, let me reassure those who have played through the lite version of one thing: they do get harder. While the game’s collection of mind-benders don’t really deviate from the standard ‘push this block here, activate that switch there’ formula, there is enough variety in the mix to keep you playing (even if you have to do it in chunks). I’m especially fond of one of the earlier ‘boss’ battles. Instead of doing the standard werewolf act where you charge headlong into your enemies and rip their hearts out, MacGuffin’s Curse will have you maneuvering from room to room as you attempt to close the distance by circumnavigating your enemy’s attempt to stall you.

Though best played by those who enjoy the idea of a combat-free Zelda, MacGuffin’s Curse is still something I would recommend to those who don’t. Well, if you enjoy the whole comedic narrative thing, at any rate. It’s true that MacGuffin’s Curse tries just a little too hard (it doesn’t so much nudge you in the ribs as it does grind them into a paste with its hypothetical elbow) but it does have heart. You see it in the details – in the way the comments change depending on the kind of skin you’re wearing, in the over-the-top characters, in how the game lets you slowly build up a half-decent apartment for Lucas’s family and the details of the setting. There’s a fair amount of side quests for you to indulge in as well, something that helps flesh out the Neil Gaiman’s Neverwhere-esque undertones of the world that Brawsome constructed.

The only thing that I didn’t really like about McGuffin’s Curse is, perhaps, the controls. In order to move, you touch a finger on the screen and drag it in the direction you want Lucas to go. In order to push or pull blocks, you’ll have to use two fingers instead. Now, there’s nothing wrong with this and, for the most part, it works out decently well. Nonetheless, because of positioning, you sometimes find your fingertips blocking out vision, a phenomenon that makes me pine a little for a virtual d-pad.

Is MacGuffin’s Curse worth purchasing? Yes. Definitely. It may not extract the ‘Oh, god! This is ingenious!’ sort of reaction with its puzzles, but the relentless humor, intriguing setting, adequately-designed puzzles and faint Tim Burton vibe will make it a delicious addition to anyone’s collection of crate-puzzles.

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“Chariots of the Dogs,” [$4.99] the fourth episode in the Sam & Max Beyond Time and Space series is easily the best one so far. The Sam & Max series has always been tightly written and designed, but “Chariots” does two things remarkably well: it matches its narrative hook to its mechanics, and it ties the entire series together.

If nothing else, “Chariots” is remarkable for the way it brings almost all of the big questions from the first three episodes and ties them together: the Bosco and Stinky subplots are advanced, and previously off-screen bit roles come forward as major players in the series. This feels satisfying and rewarding for longtime devotees, and Sam & Max Beyond Time and Space’s episodic structure lends itself to weaving these disparate narrative threads together. Even the intro sequence feels tighter and more cinematic, suggesting a series that is maturing with each episode.

Episodes one, two, and three were generally self-contained, but “Chariots” provides the most solid narrative link in the series thus far: it picks up the immediate aftermath of “Night of the Raving Dead” [$4.99]and ends on a cliffhanger that propels the story into episode five [$4.99]

The Sam & Max series has always been, at its heart, based on inventory items, but Beyond Time and Space seems dedicated to refining and twisting that formula as much as possible: “Moai Better Blues” [$4.99] used portals to great effect; the previously mentioned “Raving Dead” included several dialogue trees and ambient aural puzzles. Without spoiling anything, “Chariots of the Dogs” focuses on time travel.

Incidentally, the time travel mechanic was first introduced in episode one, “Ice Station Santa,” [$4.99] when Sam and Max have to appease the Ghosts of Christmases Past, Present and Future. (The Ghost of Christmas Future section actually foreshadows the end of “Chariots,” if you’re paying attention.)

The beauty of “Chariots” isn’t just that it’s an adventure game with a time-travel story; the time travel conceit shapes and informs every puzzle, becoming the tentpole mechanic in its own right. A lazier game would use time travel as a plot device and build a standard inventory game around it. “Chariots of the Dogs” focuses not just on matching certain items with certain solutions, but in exploring their effects through time. Like its predecessors, “Chariots” does a good job matching its story hooks with its mechanics, which makes each relatively short episode feel distinctive and full-featured.

The logic employed in “Chariots” is relatively straightforward: the Freelance Police can move forward in time to gather clues, which in turn allows them to travel backward in time to affect the future. There’s a nice gameplay loop there, and the game as a whole feels holistic and natural, each puzzle mechanic and story arc syncing perfectly.

It’s no surprise, then, that “Chariots” feels intuitive and fun throughout. Making its players feel smart has always been one of Sam & Max’s strong suits, but every episode until now has had puzzles that feel arbitrary or unfair. Generally speaking, the broad strokes of each puzzle or story arc are easy to grasp in “Chariots,” even if the step-by-step puzzle solution requires some tinkering and mental elasticity. For my money, this installment strikes the right balance of deductive reasoning and old-fashioned observation.

This is, I’m assuming, another of episodic game development’s bounties — after four games (not counting Sam & Max Save the World, the previous series of episodic Telltale games), it’s no surprise to find the writers and developers zeroing in on smart, intuitive puzzle design.

“Chariots of the Dogs”  is smoothly and tightly paced, and nothing feels misplaced or kludged together. It’s a charming, warm, and funny game, and it’s the best episode in an increasingly good series.

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If there’s anything that could completely wreck my plans and productivity, it would be a Super Crate Box [$1.99] RPG. I’d say a quick prayer of thanks to Vlambeer for not going forward with that idea, but it’s too late. FireFruitForge and Everplay Interactive have something against letting me work in peace, I guess, because Spellsword [$0.99] is that perfect storm of quick, one-more-try gameplay and RPG mechanics I can completely lose myself in.

Spellsword isn’t a clone of Super Crate Box (thankfully—Vlambeer really could use a break), but it has a similar starting point. It’s an arena game that’s designed around rapidly collecting weapon spawns to kill baddies. But where Super Crate Box focuses tightly on that mechanic to the exclusion of everything else, Spellsword takes a more expansive road. Along that road you’re going to find levelling, loot, and a lot of new ways to play.

As a result, it’s not quite as clean as Super Crate Box’s more minimalistic approach allows. It has a few problems, and things get sloppy from time to time. I’m not saying you shouldn’t play it, though. It’s crazy-fun, and you really shouldn’t miss out.

You start out as a quippy hero with a spellsword. It’s not worth much on its own, but it can be enhanced with cards that litter the arena. Each one powers up the sword in some way—with fire, ice or poison damage, for starters—and each one also sets off some sort of effect. The ice card sends out wheels of ice, the fire card launches fireballs, and the poison card poisons every enemy on screen. And that’s just the start.

So while you can certainly run around killing things with your sword, it’s dangerous. Better to collect every card you can, and lean on those one-time effects to do the killing for you. This is where the game feels most like Super Crate Box, dodging enemies to get to the next card and never stopping to rest. Still, the differences are pretty huge.

For one thing, enemies drop rupees. In fact, the whole game is pretty much built around the rupee economy. Play well to earn more rupees, which you can use to level up your cards, your sword, and even your rupee drop rate. You can also use them to buy gear that adds to those same skills. And before you ask, no—there isn’t any IAP.

Mission mode is another big difference. Each of the three current arenas come with 20 missions. These ask you to do a bunch of different things. You might need to survive some waves, kill some baddies or collect some cards. In exchange you’re given big payouts of rupees, new cards and the occasional piece of gear.

Endless mode is more familiar, with nonstop waves of baddies until you burn through all your hearts. There are three difficulty tiers of endless mode for each arena. In them you’ll grind rupees, and you’ll also find the leaderboard competition.

When it comes to the little things, Spellsword goes the distance. The look is great, very much like Terra Noctis [$0.99], FireFruitForge’s other big title. The sound is no slouch, but it doesn’t really stand out. Love it or hate it, the real flavor rests in the hero’s quips. There’s one for every mission, and nearly ever single one is a reference to a show, game, or movie. They run the gamut from modern and obvious to old and seriously obscure. Me, I find ‘em charming.

As I mentioned, there are also some problems. The controls aren’t great, and on iPad they’re worse. There’s already a fix incoming for that—along with adding new control types, it will let you reposition the iPad controls. There’s also some clumsiness in the arena design. It’s easy to get caught on edges, or mess up platforms. There are also ways to abuse positioning and let enemies wander off to their own deaths. These things aren’t remotely dealbreakers, but they can be irritating.

Overall, though, the game is outstanding. The RPG mechanics add a whole new layer of compulsion to an already inviting sort of game. It’s not easy to call it quits, especially when there’s one more level to earn, or one more piece of gear you can almost afford. Those things make it less of a pure skill game—you’ll need to put in a bit of a grind to cap out— but they also add a bit of strategy. There is real value in carefully choosing your gear and putting your rupees to good use when leveling.

With some elbow grease and a good once over, Spellsword could easily earn a permanent spot on my iPhone. It’s really that good. And Everplay Interactive seems dedicated to hitting those heights, if the developer’s comments in our discussion thread are anything to go by. I don’t see how you could possibly go wrong here. This a game that’s fun, full-featured and ridiculously cheap, with a developer that’s working hard to keep fixes and content coming. Looks like a winner from here.

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On April Fool’s Day, Team Meat teased that its upcoming Super Meat Boy game for iPhone and iPad game will use new art, new sound, and new mechanics. In other words, it’s not going to be a port of Super Meat Boy. Speaking with The Verge today, Team Meat revealed that it wants Meat Boy iOS to be twitch-based platformer like its big brother, but plans to tone down the memorization part of that original experience for the mobile crowd.

“[The original] Meat Boy was a twitch-based game about memorizing things,” said Edmund McMillen of Team Meat said. “[iOS] Meat Boy is the opposite. That’s the foundation of its design. But it’s also on a touch device, so there’s that as well. We want to make a twitch-based platformer that’s not about memorization.”

With a fuller picture of what this game is now in our minds, we’re imagining that this version of will have the spirit of the original Meat Boy, minus some of the pain. It sounds almost… enjoyable. We’re scared. Should we be scared?

[via The Verge]

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Behind the scenes, 5 Ants‘ astoundingly gorgeous point-and-click stealth and adventure hybrid continues to grow from what we saw at GDC this year. In a recent conversation with us, a rep from the new Barcelona-based studio revealed three new levels, each of which is zanier than the last. Below, you can view what we saw: a camp, a candy store, and a robot.

One paper these things definitely don’t go together and we’re thinking that’s kind of the point. 5 Ants is embracing and expanding on the charm and absurdity of Tiny Thief, and these things are starting to get expressed in more than just character and scenario design. We couldn’t be more pumped after viewing these, but there’s still a wait ahead of us. Tiny Thief isn’t scheduled to hit iPad until later this summer.

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I like to think that Robert Kirkman’s The Walking Dead is an exploration of character and violence more than it is some grim zombie fairy tale. Its cast is as beastly as its undead. Action is sudden, terrifying, and distressing. Decisions are made in bursts of lust and blood, greed and anger, brains and preservation. This miasma is revealing: we’re not good people. This makes for interesting reading, as you get to glimpse into what makes us forget who we want to be, and become what we actually are.

The first episode of Telltale’s The Walking Dead plays like a celebration of the comic and its themes. It adheres to the Kirkman’s vision, showcasing the series’ violence and grit, choice and character. You’ll make painful decisions, interact with broken people, and participate in some of the most brutal, real-world action that’s ever been shown in a video game. In under an hour of play with a Mac build of the title, I have become one of The Walking Dead’s characters: a liar and a monster in the face of danger.

You’ll play through a vehicle named Lee, a loosely defined character with a mysterious history and an innocence about him. The opening takes place right before the world goes to hell. Lee is in the back of a police car, handcuffed, talking to the officer driving when, suddenly, the officer strikes a walker with his vehicle. The crash is a stomach-churning, and the action after is intense. Lee survives, but finds himself in a world where the dead shamble and the living sprint.

Lee goes on to meet a few characters, including a little girl who becomes something of a companion. As you progress, you’ll make choices that each character will “remember,” perhaps coloring the events in later episodes as you jump in and out of alliances with others, react calmly or violently, or lie. Thus far, I don’t have a great sense of how anything that I’m saying or doing will play out, and that’s perhaps The Walking Dead’s biggest upcoming challenge: these choices need to feel meaningful one way or another.

Mechanically, the game controls like a cross between Jurassic Park and Heavy Rain: you manually move Lee in very specific environments, searching for items and clues that will inevitably lead you to the next story point. The Walking Dead doesn’t rely on puzzles as a bridge. Instead, it leverages Lee’s confusion and desire: you find things for people or for Lee. Action segments challenge you to react fast, as you line up reticules or tap buttons to complete QTEs. The dialogue system, on the other hand, presents multiple flavors of response and a timer forces you to make snap judgements and decisions.

I appreciate the intensity of the writing. The Walking Dead invites you to explore a grim and violent world spotted with people who actually feel like people and react in extreme ways under the pressure of survival. Being able to lie to cover things up or get an “in” with a group of better equipped survivors, or save one person over another are the game’s strongest points of narrative design. I’ve been swaying between unnerved or moved as I progress, and this emotional connection is what appeals to me the most about the game as a whole.

We don’t know how the iPad (or iPhone) version of The Walking Dead will control, though the expectation is that it’ll work similarly to how Jurassic Park did with its basic and functional touch, tap, and swipe controls. We’re also not so sure when we’ll see this episode on our devices of choice. Rumor has it that the iOS versions have been delayed beyond its planned May launch. We’re checking on that.

Regardless, you’ll want to keep up with its progress. Provided Telltale will continue is trend of launching really, actually good ports of its games on iOS post-Jurassic Park, this is something I feel like could be required play material.

All of the assets in this article are from the PC, Mac, Xbox Live Arcade, or PSN version of the game. If it means anything to you, we played the Mac version with medium settings and it still looked fantastic. We expect this level of quality, at least, on the new iPad.

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Keep crossing your fingers: an iPad or a handset version of Botanicula is still in the cards, Czech developer Amanita Design has told TouchArcade. But before it can go forward with this version, it needs to go back. “We are still fully focused on the PC and Mac version of Botanicula,” representative said. “First, we need to fix all of the bugs and update the game on all channels, and then we’ll start to port the game on tablets.” The updates are basically ready, we’re told, so work should begin soon.

We last heard about a possible port of the gorgeous new adventure game in October 2011, well before its release on other platforms. At the time, Amanita said it needed to be able to experiment before it could take an iPad or iPhone port seriously. That phase of the development appears to be just beginning.

“I’m sure there will be many technological challenges and we’ll have to adjust also the design at some places so the experience on the tablets is perfect, but we are definitely excited about this version because I believe tablets are ideal devices for this kind of game,” we’re told.

If you have a Mac or PC, definitely give Botanicula a spin. It’s a beautiful game with a well-realized world and a delicious premise. We’re thinking it has the potential to be the Next Big Thing on iOS, so here’s to some relatively smooth sailing as Amanita begins work on this version.

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One of the absolute finest games available on the App Store is 11 Bit Studios’ Anomaly Warzone Earth [ $1.99 ]. Don’t believe me? Well check out our glowing 5 star review of the game from when it launched on iPad last August, and then consider that we chose it as our runner up for Game of the Year 2011. It’s not just us, either, as Anomaly has received critical praise across the gaming universe as well as plenty of award consideration, including winning a prestigious Apple Design Award for the Mac version.

So yeah, Anomaly Warzone Earth is good. And today it gets even better, as 11 Bit has just released the latest update for the game which adds high resolution Retina Display support for the new iPad. Anomaly was a gorgeous game to begin with, and it held up pretty well even on the new iPad anyway, but the difference this update makes is quite dramatic. All the text and UI elements are razor sharp and the in-game visuals are as crisp as they’ve ever been, practically popping right off the screen.

Of course, while Anomaly Warzone Earth really sings on the iPad, it can also be played just as well on the smaller screens of the iPhone and iPod touch. The original iPad version became Universal late last year, and to celebrate the new update it is currently on sale for just $1.99. If iPads aren’t your thing, the iPhone/iPod touch only version is also on sale for 99¢ [Link]. Basically what I’m getting at is that no matter how you do it, you must experience Anomaly one way or the other, and with the new update and sale now is a fantastic time to dive in.

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Even though The Heist’s [$.99] puzzle design is sharp enough to stand up alongside some of the better puzzle games on the App Store, its post-game rewards are still what makes waves. If you play and beat all of The Heist’s puzzles, you’ll be given codes for actual Steam titles, which have generally been worth more than the app itself. It’s a neat idea, and now its offerings have been expanded. Starting now, Puzzle Agent and World of Goo can be won by completing the game.

Developer tap tap tap’s math wizards say these two prizes, alongside a third game called Eets, total up to $25 worth of gaming goodness. The Heist is currently sitting at $.99, which makes this entire package something of a, uh, decent value.

A word of caution: World of Goo is only being award to the first 25,000 users who make it to 100 percent completion. Play fast!

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Tentacle Wars HD [ $2.99 (HD)], the new title from FDG Entertainment, is a port of the online Flash game of the same name by Lumarama. It’s a fast-paced iPad strategy game that reminds me a lot of Galcon [$1.99 / Free ], another iOS strategy game from 2008. In fact, I’d go as far as to say it’s “Galcon with tentacles” …along with superior graphics, ambient music and better sound effects.

Playing Tentacle Wars is like being a general overlooking a battlefield. Although in this case the battlefield exists inside the body of an alien life-form. The battles are between antibodies, spores, pulsars and embryos. Each cell can use DNA energy tentacles to attack each other. If your green antibody cells can turn all the other cells green, you’ve cured the zone. Once you clear all the zones, you’ve saved the alien life-form.

To launch an attack, you swipe a line from your green cell to any other cell in range. The more powerful your cell (as indicated by a number inside it), the further it’s tentacles can extend. You can target a red cell (enemy) to engage in battle, target a neutral grey cell to claim it, or target one of your own cells to transfer energy to where it’s needed.

The battles are based on a simple premise: The more powerful cell(s) always win, every time. So if your cell has a weaker strength it will slowly be drained until it’s defeated. But, if you attack the same opponent with tentacles from another cell simultaneously, you can defeat it, because your two cells are collectively more powerful. So, as in real war, choosing your targets carefully (but quickly) is important.

Once your tentacle has latched on to another cell, you can either remain connected to slowly drain it or swipe across your tentacle to cut it. Interestingly, it makes a difference where you sever your tentacle. So, if you slice it right in the middle, half the resources return to the attacking cell and the other half do a rapid attack-burst (ie: a 50-50 split). Whereas, if you cut your tentacle right at one end, all the resources in the tentacle will quickly retreat or attack, depending which end you slice.

To add variation, there’s impenetrable barriers within some levels, purple cells with superior intelligence to overcome, and limits for how powerful a single cell can become within each level. Each cell type also has a limit to the number of tentacles it can extend at one. These factors, plus some interesting level designs, encourage you to modify your strategies to suit each level.

The single player campaign (2 worlds, 40 levels total) is entertaining and satisfying, but far too short. By the time you’re settling in, the single player campaign is over. Additional levels are promised – but randomly-generated levels would be better. Lastly, the campaigns are rather anti-climatic once you complete each world, as nothing really happens, except a small note in the corner of the iPad screen confirming a Game Center achievement.

Multiplayer mode offers two-player online action via a random match-up or by challenging a friend, via Game Center. Choose an arena and color, then engage in a microscopic war ….and in my case, get totally owned by superior players. The online play worked flawlessly once started, but it was often unable or slow to complete a random match-up. That isn’t ideal since the single player mode is completed so quickly, but isn’t a problem if you’re playing friends online.

Tentacle Wars blends strategic gameplay with arcade-style swipes and cuts to create a fast-paced strategy game that’s ideally suited for touch screens. The game is similar to Galcon, but has enough innovation to feel fresh and new. Yet, it needs more levels and online players, otherwise the fun feels as if it’s over too quickly. According to our discussion thread, an iPhone/iPod touch version is expected around May or June.

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