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PlayGround States logo, as it appears on Facebook.

“It’s been an amazing experience,” Double Fine founder Tim Schafer told fans via a live stream that celebrated the closing moments of Double Fine Adventure’s success on Kickstarter. The project generated over three million dollars worth of donations in a month. Double Fine had asked for $400,000. It wasn’t just amazing. It was magical.

Not every studio sees this kind of outcome. Lead artist and the brains behind Playground State, Barry Collins, is walking us through what his studio looks like, and what has happened to his game, after his project failed to receive funding.

Playground State was founded two years ago by Barry and his brother Brad to explore and express the ideas that Barry has had floating around in his head since childhood. If you look closely at its web site, you’ll notice that there’s no physical address. It’s just a collective “willing people” across the globe coming together to build a series of sci-fi titles called Knights. A PC title called Knights: Spiral Islands was to be the first.

Spiral Island became a known project thanks to Kickstarter and a warm reception by PC enthusiast web site Rock, Paper, Shotgun, which featured it in an editorial in February 2011. Spiral Island is described as an episodic online action-adventure game in which you, as a knight in the game’s sci-fi universe, battle evil across the cosmos. Its hook, outside of its UDK visuals, is its lack of boundaries: in one mission, you’ll be hacking and shooting Vikings, in others space bees, mushroom zombies, robots, and large crabs.

Concept art of a playable Knight. You'll see other Knights in the upcoming preview game.

It has the look and feel of something incredible, especially if it were to be expanded as planned. Spiral Island was pitched to potential donors as game design in motion, as it would have seamlessly integrated new scenarios and enemies in a constant steam.

For whatever reason, it didn’t receive sufficient support. The Kickstarter effort ended with a thud later that April. Playground was looking for $10,000. A hair over $1,500 was pledged across 36 serial donators. One pledger, for example, has backed 48 other projects.

It’s easy to see this as a knockout shot, but to Barry, it’s just a glancing blow, and now the team is looking to iOS and its vast audience to continue.

“The lack of funds was frustrating, but it didn’t really kill our ambitions or desire to make this work,” Barry tells TouchArcade. In the ultimate show of confidence, the studio grew. It picked up an artist, a musician, a sound designer, and a couple of programmers following the failed attempt at funding.

That Playground is reacting in the exact opposite way you’d expect isn’t lost on Barry, and he explains that the reason is tied into how deeply his core team believes in what the studio is trying to accomplish.

“It’s our baby,” Barry tell us. “Amazingly, after maybe an hour or two of rambling with the various team members, they all irrevocably become hooked on the concept and what it has to offer, and slowly but surely begin to own it. Right now we have a team of guys all on the same page and all excited about the small steps as much as the bigger one that will come later — Knights as a whole.”

The crab monster we originally fell in love with, but now fewer polygons for mobile.

While the team grew, so did Knights. It’s now more than a game: it’s a series of mobile titles based in the same universe that spans multiple platforms and genres. Barry has an idea for several projects, some of which are in early stages of development. The most important is an Epic Citadel-like preview title, built specifically for iOS to show off what his team can do.

But even though the team is growing and excited about the games Barry wants to make, it has a horrible issue: it’s hemorrhaging programmers. It can’t keep one on staff, and this is putting a kink in the size and scope of the Knights games Barry wants to make. Barry says they’re in a spiral of simplification, as no one has the expertise to implement complex content into builds. The lack of a revenue stream is undoubtedly one of the culprits here. It’s also the reason why it’s bothering with a showcase project in the first place, and opening its doors for outsourcing work.

“This constant tug of war is what pushed us to our current goals of producing a very basic, free to download visual demo — a means of walking around a crazy environment full of eye candy and talking to basic scripted actors within the world. This will lay the ground work for follow-up episodes to come afterwords,” Barry tells us.

That Knights is blowing up, too, isn’t lost on Barry. He says this game has two goals: to nab exposure and be a launching board. Barry believes it’ll generate new ideas for future Knights games, and argues that the scope in this game is much more manageable than the one he put out there with Spiral Island.

This is how Playground wants to tackle on-screen FPS controls.

Another game is another iPhone and iPad-specific title called Knights: Arena. This is also a victim of the rotunda of programmers cycling through the studio. It’s an FPS that revolves solely around online play: team deathmatch, capture the flag, and so on. Barry, with a lengthy Internet sigh capping off what he tells us about Arena, says the studio’s goal is to establish a revenue stream as quickly as possible. It needs to hire at least one, dedicated programmer. “But that in itself is a Catch 22,” he says. “Need a programmer to make revenue, need revenue to get a programmer.”

Playground State’s ability to keep its legs churning in the mud seems unreal, but it’s a human reaction. With a teeth-gnashing kind of pride, Barry plans to continue marching on beyond his studio’s funding failure. He doesn’t just want to make games — he wants to see his dreams realized.

“I don’t quite know how we managed to grow in quality, strength, and numbers. Faith in Knights among the team is stronger than ever today, despite everything,” he tells us.

“Knights is one of many projects I dream of making. So this is the blood, sweat, tears part of paving the way to eventually being able to produce these with a real budget and fully paid team. This is it. This is what I love. It’s what I want to do for the rest of my life.”

That’s why Barry is up for using Kickstarter again. He has at least two in the works right now. One is for an extensive indie bundle that features developers in the Vancouver area. The other is for Knights: Arena or a single-player variant of that idea, which he wants to launch “at the same time that we launch the free demo, so people can see or play it and discover it that way.”

Barry talks about Knights: Spiral Island in his Kickstarter promo.

Spiral Island’s crowd-funding failure didn’t come without costs in terms of people and revenue. There were lessons learned, though. The first was scalability. “No need to come out of the gate with a massive universe to embark on hundreds of small stories in other universes. A single story is good enough, or if finances and or programming get in the way, as we are discovering, there are still options,” he tells us.

“We did not go into this expecting it to be quick and easy, and it has not been quick or easy either,” he says.

And let’s say these Kickstarters don’t pan out? Barry isn’t worried. “We will keep pushing along until we are earning revenue on our own, find the right investment deal or get the attention of a publisher that wants to work with us.”

“But no matter what, this project will see the light of day, and as a series of mobile games to start.”

Towards the end of our Barry conversation, we pressed “pause” so we could ask what makes him so idealistic. His vision for these Knights games still seems almost too ambitious considering the lack of funding. The risk of what will happen if these ideas die could be monumental to the studio’s future and Barry. These games are the realization of his dreams, after all.

Honu are a species you'll be able to talk to in a preview. Here's one in a warrior outfit.

“Knights in general is an extremely ambitious concept,” he says. “It started big and the scope of the games we want to tell based in this setting have been cut back for the sake of getting something to market sooner. “

“The concept of Knights being so grand just means we always have room to grow. We realize that we may only ever produce the Knights preview or only ever get as far as Knights: Arena because there’s a real possibility that Knights is lame and we are all crazy people working away on an idea nobody else likes. “

“For me this would just be a continuation of exactly what I have done for 11 years, which is to just hire myself out to whatever studio wants to pay me, and doing so in mass with others is old hat. The grind of tracking down clients and deadlines, milestones, massive delays in payment and so on… it’s all a part of the job. But, Knights, to me, is a way out of this, to finally get all the ideas my brother and I have been brewing up for decades. It’s time we produce things we want rather than the things that pay the bills.”

Barry says that he likes to focus on what could happen with some success. He could hire programmers, no more lost time on contract projects, and the people he’s surrounded by could be supported.

“I just really hope people want to play a game about the Knights — the ultimate saviors of all things, the definition of heroic. Not a bad bone in their bodies, watching them take on any bad guy we can dream up and throw at them, across all history in any universe and time. I really want to play that game.”

When a Kickstarter fails, it’s not necessarily a catalyst for disaster. Barry is idealistic, and maybe too ambitious, but he’s not a quitter. He’ll keep creating. The success of Double Fine was magical, but the intensity of at least one man who didn’t win big is special, too.

While Barry’s story stands on its own, we are covering something larger here. This is part one of a two-part series of articles. In the next, we’ll introduce you to three more studios who haven’t had the greatest experience on Kickstarter. We’ll also discuss why we don’t normally cover games on the service and why we’re not certain of the long-term viability of crowd-funding sources like Kickstarter.

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Into the whole Chthulu mythos but not that interested in obscenely lengthy, difficult board games? Then this is the perfect time to hop in to Elder Sign: Omens [$3.99 / HD]. The dice game made its original transition to iOS with only one Ancient One, Azazoth. As we mentioned in our review, Azazoth has a habit of devouring the lives and sanity of every team of investigators you bring in until you happen on a great team and some good luck.

This week’s long-awaited update brings in two new Ancient Ones. The rather unimpressive-sounding Yig is included, and Cthulhu is available as an in-app purchase. Yig gives players a better starting point. He’s much less malevolent than Azazoth, both easier to seal away and quicker to wake. He also brings with him a few monsters and adventures that are a little less likely to leave your investigators inconsolable, mindless wrecks, or, you know, dead.

For those already adept at putting down Azazoth, you might want to do it again: you’ll unlock a new investigator that should add a little more variety to your playthroughs. Then you can grab the Call of Cthulhu campaign for a much bigger challenge.

The new campaign takes you back through the museum, but this time with a new goal: discovering the intent of some mysterious intruders (they probably want to raise Cthulhu, just sayin’). Once you do that, it’s off to the Pacific Rim to search for the lost city of R’lyeh and prevent the rising of Cthulhu. You do this by collecting extra investigation tokens, so you’ll have to balance succeeding at adventures and hoarding your tokens.

There are 30 new adventures to be had in the Call of Cthulhu campaign, each more horrifying than the last, no doubt. There are also four new investigators that you can use in any of the campaigns, and a fifth that’s unlocked when you complete Cthulhu. That’s a lot of new ways to play, whether it’s solo or pass-and-play with friends. And as usual, this update brings with it all sorts of fixes and tweaks that should smooth out the cultist-hunting experience, like skippable scene transitions and lowered memory requirements.

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So, what’s Chair Entertainment been up to, you wonder? Well, at least part of the studio has been busy designing and implementing Infinity Blade 2’s [$6.99] long-awaited, and awesome-sounding, ClashMobs feature. IGN Wireless just posted a short hands-on piece that details its functionality and otherwise shows off the new-look element.

From what we’re gathering, the early promise of ClashMob has been realized: in it, you and thousands of others take turns beating the crap out of one really big monster in an epic attempt to gather exclusive loot. The challenges come in the form of skirmishes, and seem like they’ll have a mini-game sort of feel to them. One type skirmish has you doing the most damage to a monster that you possibly can within 30 seconds, for example.

IGN details some of its social hooks:

The more connected friends you have participating in ClashMobs, the better benefits you’ll be eligible for. Bonuses like additional combat time, bonus victory cash and extra ClashMob attempts will be awarded to players with more MyMob members.

ClashMobs are due out as part of a larger update next week. Expect new equipment, new monsters, a new gem interface, and “a gem forge” feature. Check out IGN for more info because, man, this sounds like the greatest thing ever.

[via IGN]

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Hello Games’ Joe Danger will be making his debut on mobile in the near future, and it won’t be a port of the Xbox Live Arcade or PSN version of the title. In an interview with Gamasutra, Hello co-founder Sean Murray noted that the upcoming iOS and Android takes on the title will be very platform specific, written from the ground-up for iPhone.

Here’s what Murray had to say about his studio’s approach to controls, iOS in general, and what this new Joe Danger will bring to the table:

I think games that people love on the iPhone have something in common, their controls are made for the device. Swiping in Temple Run, slashing fruit in Fruit Ninja or pulling back a catapult in Angry Birds are controls that are best on a touchscreen. I hate the virtual d-Pad, it never feels right to me. It feels like something that only exists to make porting games easier.

Joe Danger is a game with a lot of depth to the controls. We want to make very much an arcade game on your mobile. You swipe the screen to make Joe wheelie, you nudge him in the air to affect his gravity, you can flick a barrier out of the way, or wrestle with the shark in the shark tank. You have such control that levels that would be impossible on console are much easier on the touchscreen.

Murray expressed that Hello isn’t one percent locked-on to what it’s doing right now. In fact, it’s using the playable build that it’s bringing to PAX East to gather feedback and assess if this is something it still wants to pursue.

We’ll definitely be keeping our all-seeing eye on this, so buckle up.

[via Gamasutra, Thanks Chris!]

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Well, this was unexpected. A day or so after launching a restaurant simulation game on Android, the simulation gurus at Kairosoft stealth-released Epic Astro Story [$3.99] across the iPhone and iPod Touch. From the look, it appears as if it’s melding the action-y soccer part of Pocket League Story with the city-building of its other recent releases, Oh Edo Town and Venture Town. The key exceptions being that it’s dripping with sci-fi buildings and homes, and the action-y part are actual battles with cutesy aliens.

We’re giving it a spin right now and will definitely deliver you something a little more specific in the near future. If you’re a Kairosoft fan, however, this appears to be the change of pace game you’ve been craving since the company began releasing its city building games on the App Store. Fingers crossed for awesome!

[Thanks, WakeBoardMan10!]

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Alright so I just screamed like a teenage girl in the front row of a New Kids on the Block concert. This morning Wizards of the Coast announced that a new installment of their Duels of the Planeswalkers series of Magic: The Gathering games was coming. Granted, this isn’t much of a surprise since Duels has historically been incredibly popular, so much so that quite a few people (myself included) directly attribute the game to the resurgence in interest in the physical Magic: The Gathering card game. What is surprising is that among the announced platforms, Wizards also dropped the bomb that the game will be coming to the iPad.

Details beyond that are basically non-existent, but it’s safe to assume that Duels of the Planeswalkers 2013 will play just like its predecessors, except with the inclusion of new cards from this year’s sets. I’m stoked as hell, not only because I’ve been playing M:TG basically my entire life, but because I think there’s lots of interesting things that can be done on the iPad with the IP. For instance, a Magic Online client for the iPad?

Just take my money Wizards, take it all.

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How refreshing it is to play a game with a down-to-earth plot? Even the most grounded of games usually bear their fair share of swords and sorcery or bombastic battles. Super Lemonade Factory [$1.99] goes a different route, telling a simple story from one particular moment in time. Lisolet and Andre are newly married in the days after World War II. Andre is set to take up his father’s lemonade factory, but first he and Lisolet must tour the premises, meeting the workers and learning about the challenges they face.

It might sound a little dry, but the tale accompanies a clever platformer designed to play on the strengths and weaknesses of its stars. Andre is blessed with physical strength and can break through boxes that bar the couple’s path. Lisolet is agile; she can double jump and reach places Andre can’t, often giving him a foot up with a crate from a higher perch. Isn’t it lovely to see a marriage with partners that complement each other so well?

The journey through the factory is surprisingly perilous—you’d think it had been designed as a deathtrap. Often, either Andre or Lisolet will need rescuing right from the start. You’ll have to direct the other across a pit of spikes, perhaps, over floating platforms and around the surprisingly deadly people of the factory. Once one has saved the other, they can travel together—Andre is happy to give Lisolet a piggyback so you needn’t cover the same ground twice. From there it’s usually a hop, skip and a jump to the level’s exit.

A detour may be necessary on the way. Though it seems like the sort of thing aimed at completionists, you’ll want to collect each level’s bottle cap. These are occasionally well hidden and usually hard to reach, but behind them sits half the game’s content. Collect all the caps in a given area and you’ll unlock the hardcore version of that area, where platforms are smaller and faster and spikes are everywhere. Brushing against a spike is deadly, and Andre and Lisolet only have two lives to work with if you can’t find any bags of sugar to replenish them.

Controlling the couple is simple, with on-screen controls for walking, jumping and dashing. These are responsive and rarely get in the way, but they suffer the usual flaw of being a little too easily mis-tapped. You can swap between Andre and Lisolet with a horizontal swipe; a vertical swipe puts Lisolet on Andre’s back.

Lisolet is blessed with one more ability: a way with words. She can speak with any of the factory’s denizens. The foreman, the chef – these workers open up about their hopes and dreams, both for the company and for themselves. A food inspector waxes poetic on the need for cleanliness, and a General blusters about the misfortune that could befall a company that chose not to meet military requests for supplies.

These bits of flavor are woven into the metagame: Game Center achievements are awarded for speaking with all employees, and your progress is marked on the level select screen. But more than that, the dialogue is rather charming. The foreman is a burgeoning Bolshevik who loves to muse on the meaning of labor; Andre will share stories from his past. Much of it hits a bit heavy-handed, but it’s always a pleasant diversion—you’ll also find the occasional pop-culture reference if you’re paying attention.

In the end, the gameplay suffers for its simplicity. The most puzzling levels aren’t more complicated than pushing a couple boxes in the right order before jumping, and there are only so many spikes one can add to a level before it gets silly. If there’s more to be done with the formula, though, we may yet see it done. The developers offer a system for level creation and plan to add the best of the user-created content to the game. On top of 72 already entertaining levels, that sounds pretty good.

And hey, if you haven’t noticed, Super Lemonade Factory is a looker. If you’re into pixel art, you won’t be disappointed—both the style and the animation are fantastic. On top of that the chiptune soundtrack is pretty great, if a tad overly-aggressive for the content.

So while the game isn’t flawless, it’s still an easy recommendation. There are kinks to be worked out, but they don’t detract much from the good stuff: a solid, fun puzzle platformer with great ideas and outstanding presentation. And, frankly, how often do we get to play a game with such a delightfully low-key premise? For that, Super Lemonade Factory most certainly deserves a look. Still, it’s unlikely to push platformer fans, so know that going in. You might not find a challenge, but you’ll find a lot of charm.

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We’ve had our share of great arcade racers on iOS lately and CitiRacing [$0.99] looked to continue that trend. With good locales and solid foundational gameplay, it seemed to be on the right track, too. Unfortunately, missteps in terms of replayability, redundancy and a lack of online multiplayer hold this game back from shifting into a higher gear.

The first thing you’ll notice when you get into a race in CitiRacing is its distinctly urban environments. More importantly, the game does a decent job of making you feel like you’re racing on city streets. Tracks range from downtown streets (complete with parked cars to avoid and skyscrapers that occasionally block your view) to freeway overpasses to even a farmers’ market. CitiRacing isn’t strictly a metropolitan affair either, as some stages also take you to beach towns and snowy suburbia.

Another solid aspect about CitiRacing is the gameplay itself. Races play out somewhat similar to Reckless Racing 2 (to toss out a recent racing game), but with a greater emphasis on drifting. I also enjoyed the physics – vehicles can (and will) flip, roll and barrel out of control if you’re not paying attention. Control-wise, CitiRacing only has one control scheme. I personally had no problem with it, but it would have been nice to have a few more options.

You’ll be racing through these maps via a standard ‘Championship’ cup single-player mode. Each cup has a variety of stages that has racers earning points based on finishing position. Do well and you unlock extra vehicles and the next set of tracks. A single race mode also allows you to replay any map that you’ve unlocked.

Championship mode works well enough, but it’s somewhat barebones. There’s no cash/upgrade system like other similar racers. While each vehicle handles differently, there’s no stat line that actually shows the differences. Also, CitiRacing is extremely easy; most players will easily take the gold on the normal difficulty (’easy’ difficulty is pretty much a joke), with only some challenge on hard mode. All these translate into a game that doesn’t have as much replayability as it should.

Continuing this trend are the tracks themselves. While CitiRacing boasts 45 different tracks in its description, it’s not that simple. In reality, there are 15 different tracks, each with three different orientations (with one of those three taking place in a night setting). Each orientation changes both the camera angles as well as starting positions. Most maps do a good job making each orientation feel different, but it’s still obvious that you’re playing the same map several times.

Visually, CitiRacing’s graphics mostly get the job done. There’s nothing particularly fancy about overhead cartoony visuals but it works well with the overall game. There are a few hiccups, such as the occasional inability to discern between changes in elevation (which can cause your car to lose control if you aren’t paying attention), but overall there’s not much in terms of gameplay detraction. The same goes for the game’s framerate, which runs at a smooth clip with little slowdown.

In addition to its single player offerings, CitiRacing also has local multiplayer via Bluetooth or WiFi. Up to six players can participate in a match (either single races or Championship) and you can substitute CPU drivers for any open spots. Despite some lag and an errant disconnect, I found local multiplayer to be entertaining. However, the lack of an actual internet multiplayer feature will most likely prevent a lot of folks from even checking out this mode.

CitiRacing feels like a game perpetually on the edge of being great. This theme seems to permeate most aspects of the game, from the multiplayer to the tracks and beyond. As it is, I still had an enjoyable time with CitiRacing and would recommend it for racing fans simply because of the locales and core gameplay. However, folks looking for the next racing masterpiece will end up looking elsewhere.

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After suffering a bite from the clone bug back in January 2011 from Capcom’s MaXplosion, everyone was curious if developer Twisted Pixel would layeth the smack down by officially porting their critically acclaimed XBLA platformer ‘Splosion Man to the App Store. The team seemed pretty soured on the idea after the whole MaXplosion thing, and they had their hands full with a sequel to ‘Splosion Man set to hit XBLA that summer. Fans of exploding iOS platformers collectively shed a tear.

That sequel, Ms. Splosion Man, did hit Microsoft’s downloadable game service in July of last year to much critical acclaim much like the first title. However, with that project out of the way, Twisted Pixel could focus more on what kind of options might lie ahead for their franchise. As they’ve just announced today via the awesome trailer below, Ms. Splosion Man is indeed heading to the App Store along with a version for Steam, Games for Windows Live, and Windows Phone 7.

What we know about these upcoming versions of Ms. Splosion Man is that the PC versions will be more or less direct ports with some additional features, but the iOS version “will be a unique experience built specifically for those devices with familiar content but all new features, objectives and gameplay modes” according to the developers. They note that they’re keen on taking full advantage of the iOS hardware and are already planning plenty of post-launch support in the form of updates with new content.

More details on pricing and a specific release date for Ms. Splosion Man will be coming soon, but the release window is slated for summertime. If you’re lucky enough to be at PAX East this week, then a playable iPad version of the game will be on hand for you to check out for yourself.

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In tomorrow’s update for SpellTower [$1.99], creator Zach Gage is giving fans a lot of reasons to stick with his beautiful word game. On top of adding new iPad support, night colors, tweaks, and various fixes, Gage is finally implementing a bluetooth battle mode, which looks as great as it sounds. We’ve got video of it just below, in fact.

If you’ve somehow missed out on SpellTower, now’s a good of time as ever to take the plunge. It’s a remarkable word game with a ton of clever puzzle games and its designed with elegance in mind. It ended up being one of our Game of the Year contenders, as it was easily the standout word game of 2011. Give it a look.

UPDATE: Sometimes things don’t go as planned, unfortunately. Some approval process stuff is holding back the update. The new release date is April 12th.

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