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Infinity Blade 2 [$6.99] already has a ton of content to explore, but it’ll be offering even more fat loot and monsters this coming Thursday when Chair unleashes a new expansion dubbed Vault of Tears. It’s free and set to “delve further into the Infinity Blade story” via a brand new dungeon to dive. Expect to get around 50 new items to collect, level up, and utilize and expect to see a handful of new foes.

Interestingly, Chair is plugging in a few fresh mechanics to play around with. Of the most note, it’s adding a treasure map that marks treasure locations. Also, ClashMob is being expanded to allow anyone to participate in fights via Twitter or Facebook — no game required. Weird, right?

Again, Vault of Tears hits later this Thursday. These assets should hold you over until then, we’d hope.

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We all saw some sort of legal drama incoming, right? The creator of Dragon Shout [Free], a brilliant map app for Bethesda’s radical open world RPG The Elder Scrolls 5: Sykrim, has received a copyright infringement notice from ZeniMax Media. In an e-mail to us, Blalock says that Apple isn’t making him remove the app, as “ZeniMax didn’t specify what the app is specifically violating.” Blalock hasn’t received a C&D yet and notes that he’s e-mailed ZeniMax several times to try to clarify what the app is violating.

“I did my best to ensure the app was not violating anything,” creator Blalock tells TouchArcade. “I looked up US trademarks and copyrights for ‘Dragon Shout’ and at the time there wasn’t any. I had the map hand drawn. I intentionally didn’t use any graphics or wording that would possibly be owned by Bethesda. So, I’m still not sure what they say the app violates.”

And it’s hard to tell from what Blalock says he’s received so far. But, ZeniMax does its best to protect its brands. Earlier last year, the publisher squabbled with Mojang over the name “Scrolls.” This April, ZeniMax filed trademarks for the phrase “Fus Ro Dah,” Skyrim’s most Internet-popular dragon shout.

In much lighter news, Dragon Shout is now freer. In version 1.5 , the social add-on — which includes database searching, marker sharing and chat — is available free of charge.

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Late last week The New York Times published an op-ed debate titled, “Hip, or About to Break a Hip,” a discussion about whether 45 year-old skaters are “embarrassing and risky or inspiring and life-affirming?” Opinions ranged from “inspiring and life-affirming,” to “… do something productive: become an ultimate fighter, get your G.E.D., date an 18-year old.” Um, wow, guys.

Appropriate then is the release of Brisbane-based IV Motion’s Penny Time [$0.99 / Free ], which flies in the face of that rather unnecessary conversation. Shorn of the skating genre’s mechanical trappings, the game is allowed to focus on the sport’s anarchistic roots. Its reply, “Who gives a #$%*?”

Penny Time announces its care-free absurdity with a series of vignettes that see the player character using a Penny skateboard, crashed like a meteorite from the heavens, to freeze time and subsequently summon some spirit animals in the form of a pig, dodo and porpoise. Right. So, the player is off on his or her quest to skate through a series of time-frozen environments with the aid of the aforementioned Ghost Dodo.

Play is similar to rhythm runners like Tomena Sanner [ $1.99 ] and Bit.Trip Runner. The player proceeds left to right, clearing obstacles by swiping when rolling over a series of white (up), blue (left) and yellow (down) targets. Levels consist of three sections: a standard area where one acquires points based on timing of swipes, a multiplier section, and then a “cash-in” portion where the player is given the opportunity to bank their multiplied points, or take them on into the next area and risk bailing and losing the combo.

Touch controls are a little dodgy. There are a handful of times each run where I go flipping over a guardrail or a child or something because the game’s missed my inputs. This is sometimes exacerbated not only by how unforgiving the game can be (I’ve often hit my trick on the periphery of a target only to tumble into a sad pile), but by the minimalism of the flat, untextured 3D models. It borders on gorgeous abstraction in the vein of a Katamari Damacy, but the environments are so busy it’s often difficult to tell exactly what’s ahead. Case in point, during a particularly funny intro I held the iPhone up for my girlfriend, sitting behind me on the couch, who responded, “I can’t see… it just looks like a bunch of shapes.” Indeed.

That in mind, I’m not sure that it’s going to have much of a following among the leaderboard junkies. But, in addition to Game Center leaderboards, the game has a bevy of character and board customization options, along with the requisite Facebook and Twitter support, 84 achievements and a fantastic OST.

A rhythm game lives or dies by the quality of its tunes, and electronic artist and fellow Brisbanite Hunz has crafted a score among the best on the platform. A warm, varied slice of electronica, it’s up there with the Groove Coaster [ $2.99 ] and Beat Sneak Bandit [ $2.99 ] soundtracks, well worth the dollar the game costs. It’s a trump card that staves off mediocrity in what is otherwise an “okay” game, an intelligent pairing that propelled me along on my quest to count the black cats littering the next area. Note: this game has its share of black cats.

With a smart few stylistic choices, IV Motion have made a fine if sometimes frustrating little game, worth the low price of entry. Like the skateboard brand it advertises, it is “designed and built to look good, perform well, and exceed your expectations.” A little rougher around the edges maybe, but a ridiculous, ageless thing that can be enjoyed by anyone. And that’s okay.

TouchArcade Rating:

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In an age where game studios are talking to behavioral psychologists and hiring retention experts and monetization specialists in a rush to juice the most out of free-to-player gamers, there’s at least one studio developing free-to-play games that doesn’t care about metrics, compulsion loops, and user acquisition. Game business never informs game design at NimbleBit. Fun is first, the mechanics of free-to-play are secondary.

Pocket Planes is the next big thing from the two-man studio, and it’s philosophically linked with its other titles. Without shaking a virtual change cup in your face, Pocket Planes gives you a vibrant and customizable world and ownership over it as you ferry a fleet of planes from one airport to the next. Designers David and Ian Marsh believe that these components will be enough to organically drive the free-to-play aspect. No business trickery is required.

The Art Of Good Free-To-Play

“[Our] philosophy is to consider monetization as little as possible during the design of the game,” Ian tells TouchArcade. “The in-game currencies are balanced to be a natural part of the game without the option to even purchase more during design and beta,” he points out. “Adding IAP and deciding how much to charge is always one of the last things we do before launch. We take care to make sure that everything in the game is accessible and achievable without every purchasing IAP.”

Ian and David proved that this approach works with Tiny Tower. The game made money even though monetization aspects weren’t a focal point. The game also did well with critics, earning all sorts of amazing reviews and even a Game of the Year nod in 2011 from the editorial team at Apple. Millions of people played Tiny Tower, too.

Pocket Planes is still deeply in beta, but I’m as hopelessly … hooked on it as I was Tiny Tower. Every ten or so minutes I pick up my phone and plan more flights. When I’m not playing, I spend time thinking about new planes and creative ways to expand my cash and transport flow. Should I grind in my current selection of airports until I can buy New York’s airport? Or should I keep expanding with much smaller airports to broaden my empire, and slowly build up the necessary resources to acquire international hubs? What if I converted all my fleet to four-seat airplanes? How much could I earn then?

These are the questions running through my head, in part because the simulation aspect of the experience is so good. But I’m also just straight-up invested in the world that I’m creating, and I want to keep making it bigger and better. There are so many small, yet beautiful touches in Pocket Planes that drive my mania. I can name all my planes and customize each of my pilots. My passengers post their thoughts on an in-app Facebook client called “BitBook.” I can buy any airport that I can afford, and I can also upgrade it to make it bigger and better. I can build my planes and when I watch them fly, I can collect the game’s two currencies randomly floating in the air. Pocket Planes also knows when I’m flying. The day and night cycle is synced to the real world. When I receive a Push notification, my phone emits a soft airplane cabin ding.

These are the aspects that David and Ian believe drive users to spend. These are the things it spends all of its time developing. There is no conversation about loops or feedback. The duo spend their time making games with character, real progression, and meaningful stuff. Their games have a soul.

“I’m not sure if there is some kind of secret sauce, but we definitely focus a lot of time on adding lots of things to our simulation games that make them feel like a functional little world inside,” David tells us. “I think the stronger the feeling that there is a buzzing simulation going on inside the game, the more fun it is to influence it and use your actions to mould and direct it.”

“I agree with Dave completely,” Ian says. “The more detail and emotion you put into these little worlds the more immersed players become and the more they enjoy spending time with it.”

“I think the customization has a lot to do with it as well,” he continues. “That isn’t just a plane flying in the game, it is your plane that you named yourself and spent time finding the perfect paint job for. In Tiny Tower, it isn’t just a generic bakery, it’s Brad’s Bread with interior decoration of his choosing and hand picked employees that took work for him to recruit.”

David explains that Tiny Tower and the feedback blowing up NimbleBit’s inbox is actively informing the development of Pocket Planes. Users are lauding their game design ideals and are actually thanking David and Ian for making a fun game first.

“I think we definitely are trying to strike the same balance and attitude in all our future free-to-play games because it resonates with players and matches the type of games we prefer to play ourselves,” David says. “The other thing we have learned from Tiny Tower and also Pocket Frogs is that the more we can stimulate players imaginations the better. The kind of fan art and fan communities that have grown around those games is amazing and that is a target we are always aiming for.”

Pocket Planes is shaping up to be a tremendous game and my praise is coming at a time when more and more new free-to-play games continue to feel like skinner boxes instead of fun things to play with. Ian and David are doing important work here, proving that free-to-play doesn’t need to inform fundamental game design.

“Even without spending a dime, players become heavily invested in these worlds because of their character and charm — not some carefully crafted compulsion loop. That is what keeps them coming back,” Ian says.

Fun doesn’t need to cost a penny, and that’s what NimbleBit strives to make a reality with each release.

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If you rewind the App Store clocks to around a month and a half ago, there was absolutely nothing out there hotter than Draw Something [$1.99 / Free ]. OMGPOP went from some Flash portal social game company I’d never heard of to releasing a game that even the most extreme non-gamer type friends of mine were relentlessly harassing me to take my turn. Draw Something’s popularity was so explosive, that I wouldn’t be surprised if it’s mentioned in several GDC talks this year as other developers try to divine the secret sauce that caused the game to go so incredibly viral.

What almost instantly followed the success of Draw Something was $210m acquisition by Zynga, spawning all sorts of entirely too predictable Zynga hated across the internet. You’d think that the might of the Zynga empire backing the game would only cause its popularity to grow, but Develop did some digging into some figures published by AppData, who believe that Draw Something’s popularity is in a steady decline, already losing five million daily active users.

Even after this decline, I’m not sure you’ll find too many game developers out there that’d complain about retaining ten million daily active users. What about you guys? Are you still playing Draw Something? Did you delete it after the Zynga purchase? If you’re still playing it, do you notice as many of your friends still at it?

[Develop via VG24/7]

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I’m sure there are a lot of folks out there that took a quick glance at Millipede Creative’s Bullistic Unleashed [$0.99] and just kept moving. After all, the screenshots are filled with crude humor, the trailer a repository for irreverence, and there’s more lewd imagery and graphic violence than you can shake a stick at. However, if you look past all the window dressing, you’ll quickly discover that Bullistic Unleashed is an excellent game that combines several different genres successfully.

Bullistic puts you in the role of a bunch of cocky bulls that decide to demolish a shopping mall as well as all its inhabitants. You’ll accomplish this through 20 different levels, each with their own obstacles and layouts (including the now literal bull in a china shop). Cause enough damage in a level, and you’ll unlock the next. You’ll also unlock seven different bulls available for use by collecting hidden coins in each level. Each bull has their own special moves and physics attributes.

While it’s easy to describe Bullistic Unleashed as a simple physics-based title, it’s a bit more complicated than that.  Yes, you slingshot animals (bulls, in this case) across levels in an effort to cause as much havoc as possible. But, while similar games pit you against specific enemies, Bullistic wants you to simply cause as much damage as possible. Also, the game is littered with accelerators, elevators and barrels which have the potential to greatly extend the life of your bull after the initial shot. Also featured are bumpers and various obstacles that can put your bull out of play.

With all these elements, Bullistic plays like a hybrid of Angry Birds, Peggle, and pinball. That may sound like a strange combination, but it works surprisingly well. While the initial physics and slingshot are obviously important (and can make or break a level), the additional level elements are always in play and add an element of chance that keeps you coming back even when a level seems impossible. There’s a certain amount of timing and precision that provides additional rewards to the patient gamer. Levels are also compact, making this an easy title to play on the go.

All of this leads to a game that is widely accessible while providing incentive to gamers that want to put forth more effort. Furthermore, it’s also simply a blast to play. The wanton destruction never gets old, and there’s a ton of different ways to complete levels (especially when you start unlocking the different bulls). Later levels also have a surprising amount of strategy, and finally hitting 100% destruction on a level is an extremely satisfying experience.

In addition to the well-executed gameplay, Bullistic also gets a lot of the supplemental elements done right. The retina visuals are clear and detailed (for better or worse), with very little slow down. There’s enough content to keep most gamers satisfied (although I would like to see more levels in a future update). Even the presentation is top notch, with amusing menus and IAP shops. One minor complaint is the game’s excessive pushing of social network features and IAP, although neither is required to succeed at the game.

Let’s talk about humor, because Bullistic Unleashed is one of the most hilarious games I’ve ever played. Relatedly, it’s also one of the dirtiest games I’ve encountered in the App Store. You slingshot the bulls across levels using, well, their balls. Also, there’s a lot of gratuitous violence and screen-filling blood splatters as your bulls massacre the mall inhabitants (launching your poor bull into a meat grinder is certainly a sight as well). Let’s not forget the cows either, as your bulls will immediately stop the destruction if they get anywhere near their bovine companions (I’ll leave you to figure out why).

However, it’s not all juvenile jokes. Bullistic has a lot of enjoyable wit, especially with the various descriptions of the different bulls, as well as the general story. There’s enough pun-play involved that you know that the developers attempted to strike a balance between wit and crude humor – but then decided to go all out on the latter at some point.

There’s no doubt that Bullistic Unleashed isn’t for everyone. The over-the-top violence and humor will simply not work for some people. However, I implore anyone on the fence to bite the bullet and check out this title. It strikes that hard sought balance of accessibility, appealability (again, for some more than others) and enjoyability with very little in terms of detraction, and it’s certainly one of the better physics-based titles that I’ve checked out.

TouchArcade Rating:

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If you pay attention to the world of iOS game music, you might already know Whitaker Trebella’s work. He has composed themes for games that include Super Stickman Golf [$0.99], Tilt to Live [$2.99] and Velocispider [$1.99]. But now he’s taken on the role of game developer. Trebella’s first game, Polymer, is due to hit the App Store soon, and we’ve had a chance to play with a recent build. It’s a strategic shape-creating game, in Trebella’s words, enhanced with a great soundtrack.

A polymer, in the parlance of the game, is a complete shape, one with no unfinished edges. You achieve this by sliding rows and columns back and forth to move pieces into place. A skilled player might be able to use every piece on the board, but each piece you move takes six or nine others with it. Larger creations become exponentially more difficult to make without disruption, but they’re oh so satisfying to reach for. It’s almost a shame to destroy them, but that’s where the points come in.

Like so many developers, Trebella came to iOS with no prior programming experience. But his time composing for big names of the indie scene convinced him that he needed to make a game of his own. A little study, a little elbow grease, and a year and a half later we (almost) have Polymer. But playing the game, you can see how much Trebella picked up in his time spent on the periphery of iOS development. It’s ridiculously savvy to the realities of both touch screen gaming and the iOS market, things most first-time developers struggle with.

It should come as no surprise that Trebella brought his musical talents to bear on Polymer. It isn’t a music game, but it can be quite musical. Each of the game’s three modes has its own soundtrack. You enhance that soundtrack while you play, destroying polymers that chime out musical tones. Each track is in a different key, and the sound effects, notes in the chromatic scale, are designed to fit within the key of the current track. In laymen’s terms, let’s just say the sound blends beautifully with the music.

Polymer’s three modes give you a lot to play with. One lets you race for the highest score you can hit in two minutes, and it’s polar opposite is a mode that requires you make the best single polymer you can in any length of time. The third ratchets up the tension in a sort of survival situation: you must destroy ticking time bombs by incorporating them into polymers. They come faster and faster until you eventually explode. The game also has a nifty unlockable system that introduces you to each element of the game piece by piece.

We don’t have a release date quite yet, but Polymer has been submitted to Apple for approval so it’s just a matter of time. Stay tuned—we’ll take a closer look on release and give you our final verdict. An educated guess in the meantime: it looks like Polymer is destined to eat a lot of the hours of thoughtful gamers.

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“I’ve kind of been the driving force behind this.” Chris Ewington describes what board games mean to him in passionate bursts. “It’s who I am. It’s what I do. It’s what I was meant to do.” Chris is the head honcho at Codito Development, an outfit that specializes in securing licensing and then reproducing tabletop games on iPad under the banner of Sage Games. Chris’ experience with porting the tabletop experience stretches long before iPad came into our lives. He used to make “homegrown” computer versions of his favorites to share with friends and family.

In a lot of ways, he’s the perfect guy to be doing this. His studio has the talent, and he has an astounding amount of reverence for the art form and what it does differently in today’s modern gaming landscape, which is dominated by stupid games like Angry Birds.

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“There’s a lot to be said I think in terms of entertainment value for things like Angry Birds and those huge hits out there where you can go play for 10 seconds and get some fun out of that, but with board games there’s a little more thought involved,” he tells us on this week’s bonus episode of the TouchArcade Show.

“They offer a lot of the other great things that some of those hit titles have, and particularly these euro board games have really great theming. You can kind of get into the world of the game if you will. They also have the replayability and fun factor — there isn’t just one way to win this game,” he says, picturing a title. “If I play it again, even with the same people, it’s going to be a completely different experience.”

Before iPad was even announced, Chris was thinking about iPad. He and his pals had been talking about playing board games on something just a little bit bigger than an iPhone or iPod Touch. He describes the announcement of iPad as an “Apple Saves The Day” kind of moment, as it gave him a legitimate outlet to take his passion and put it into a series of digital products. The list of official ports since is long: Chris has had a hand in Puerto Rico, Ra, Medici, and most recently, Tigris & Euphrates.

In a weird twist, the growth of the App Store has given Chris a calling. The majority of App Store consumers are casual-leaning, so they aren’t familiar with titles like Puerto Rico [$7.99] or Tigris & Euphrates [$4.99]. Chris says its his studio’s mission to get people to play these kinds of games, to show them that games can offer so much more than cheap thrills.

“…it’s part of our mission to open some eyes and introduce people to the joys of it. You can sit down and play a game like Puerto Rico or Tigris and you don’t know what’s going to happen. You have a rough idea how to play the game, but you don’t know what the interactions are going to be.” Chris says that the fact that most board games don’t have a single win condition is one of the most interesting things about them. The high-level strategy, complex theming, and even proximity are several of his other favorite aspects on his personal list.

His goal is lofty, but Chris is still grounded. He realizes that the world of gaming has moved on from tabletop. Much more visceral games like Pong, Mario, and Call of Duty have been re-defining what games are. It’s a new landscape, new audience, new world. But the things he most celebrates about board games are what he thinks will keep people around.

It’s also why he’ll continue doing what he’s doing.

“Board games are a natural fit for my interests and personality. I think more in 2D than 3D. And so, it’s not just … experiencing this big 3D world and trying to blast people. It’s more cerebral than that. It lets you focus more on the interactions between the players and the strategies of the game,” he tells us.

Le Havre

Chris is putting his 2D brain to good use with the studio’s next project, Le Havre. This title will mark the first time Codito Development will ever use a board game’s original art in a port. Chris believes this will add to its appeal for older fans, as it’ll be a much more authentic-looking experience than normal. That said, Codito will do the same thing it always does with its borderline masterful board game ports: honor the design and only streamline the mechanical parts of the experience.

Chris explains what Le Havre is all about. ”It’s largely a card-based game where, rather than having little squares or pieces, it’s based on cards you collect. Those cards represent different buildings you can use in the game. Again, the theming, is really what makes these games stand out above other board games and other games in some cases,” he tells us.

“It’s got this really cool feel of being in the harbor and you’re trying to develop your interests and amass the most amount of wealth at the end of the game. And to crush all of your opponents.”

Le Havre is a fairly recent creation. Publisher Lookout Games released the title in German and Australian English in October 2008. Board Game Geek has a scary breakdown of how it works, but we advise that you not look. The upcoming iPad version, as with all of Codito’s awesome ports, will focus on cleaning up the experience and putting the rules in the background.

“Our challenge is to take care of as much of the mechanics as we can and support the game experience without taking away from it. Let’s get all the other crap out of the way so you guys can just have fun playing the game and have fun with the theme and figuring out how to kick your friends ass without having to remember all the rules and picking up all the pieces and sort them out,” Chris says.

Chris has a lot more to say on this week’s show, so give it a listen. We do podcasts with interesting folks in the iOS space at least twice a month. We’ll be back later this week with another regular episode of the TouchArcade Show.

Oh, and as a special-special bonus to our podcast listeners, Codito is offering up three of its games for $1.99. Here’s some links:

• Reiner Knizia’s Ra [$1.99]
• Tikal [$1.99]
• Reiner Knizia’s Tigris & Euphrates [$1.99]

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Crescent Moon is publishing its first racing game later this May. It’s called Slingshot Racing, and as its name implies, the core action loosely revolves around slinging your cars around tracks. Its twists are in its hooks, literally. Each car is equipped with a grappling hook, so you’ll actually be flicking cars’ hooks on pieces of the environment as you race. The steampunk-stylized visuals help to explain this weirdness away.

Slingshot is being developed by Snowbolt Interactive, which is a collective of ex-Frontier guys who helped with titles like Lost Winds and Kinectimals. We expect to be impressed with this one considering those chops.

We’ll be hearing a lot more about this in the future, so stay tuned. Also, check out these screens. This thing is a looker.

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Let’s face it, kids: If you are going to become a giant, fire-breathing monster and take over a city by way of stomping on it, you want to do it right. In style. So if I play a videogame that puts me in the role of said monster, I have one rule — I want to have fun. Glorious, building stomping, people eating fun.

That’s why the original Rampage was such a bounding success. When I saw screens of Monster Takedown [$0.99], I thought I was looking at the same kind of thing. You get to be a big octopus or monster with too many eyeballs or whatever and fend off flying helicopters and incoming bombs. The art looked crisp and cute, and I thought if the gameplay hit the mark, we could have a winner on our hands here. Could. Maybe.

Unfortunately, I can’t report that, because Monster Takedown is pretty boring despite its good looks (and oh, haven’t we all fallen for that formula a few times).  It goes with a very pared down approach, which goes something like this: pick a monster out of five, find yourself splayed over a city doing basically nothing, and wait with a glazed look while helicopters and bombs fly in to attack you. You can’t even move, which really takes the fun out of being eighty feet tall with giant eyeballs stalks.

Seriously though, the lack of movement wouldn’t have bugged me that much had there been something more exciting going on. The helicopters and other flying stuff can be taken out with the touch of a finger, and that can get more complex as you go, although it’s nothing to complain to your friends about.

But the killer is when a nuke flies in from above, which you are supposed to be able to swipe away. I say supposed because no matter how much I swiped or in how many directions, I had trouble getting the game to be responsive when it came to this. It did happen a few times (try a quick left to right swipe), but considering that if that bomb touches your monster, you instantly die — well, let’s just say this little snag took quite a bit of the fun out of things.

You do start each level with one Slow power and one Bomb power, and you can guess what they do by their names. And that’s about all I have to tell you. Oh, except you can post your scores to Facebook and Twitter as well as the Game Center leaderboards, but I’m guessing you already figured that out.

Monster Takedown is completely mediocre, but I think what hurts here is that the look is so cute and you can really see they could have done a lot more with just a little bit of effort. Ah well, there’s always next time. For now, save your dollar, or put it towards a better game.

TouchArcade Rating:

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