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Are your time-management titles missing the hands-on charm of cooking sims, and your cooking sims missing too much restaurant management? If so, you’ll want to take a look at Order Up!! To Go [Free]. A combination between a time-management restaurant game and a touch-screen heavy cooking sim, Order Up is filled with great stuff: charming characters, varied locations, fun recipes and surprisingly decent voice acting, for starters.

Order Up!! was first released for Wii in 2008, and is due to come out soon for PS3 and 3DS at full retail price. I haven’t played the console version of the game, but it sounds as though To Go is essentially the same game. For the mobile outing, Supervillian Studios has added advertisements, removable with IAP, and taken away certain goals to encourage players to purchase currency. Aside from that, it looks like everything else is intact. Intact, and downright entertaining.

Just one catch: you’ve gotta like grinding. Every day you buy meals in preparation for your customers, and those you sell give you a small profit. That profit goes toward buying spices and special meals, cleaning your restaurants, unlocking new recipes and working your way into new locations. Eking out a living this way takes time, and nicer restaurants are pricey. Originally this was handled by letting players unlock new restaurants once they met certain goals. In this freemium version, you have to earn the cash – or buy it.

If you’re down with grinding, though, Order Up is great. It looks like Cooking Mama at a glance, and I’d be lying if I said there weren’t similarities. But Order Up goes deep, ending up with as much focus on the management elements than the chopping and stirring.

At the highest level, you’re responsible for caring for your restaurants. As I mentioned, this means, amongst other things, earning enough money to open them up and keep them running. Each day you pick out the menu based on a randomly selected special, a descending list of popularity and a daily customer total. Say you expect 14 customers in a day. 6 might order the special, 5 the most popular item, and 3 the second most popular. Or maybe 12 will order the special. You don’t have those numbers, so you have to balance buying enough stock to cover all your customers’ potential desires with your rather slim profit margin.

One you open up for the day the customers start to stream in. You send out your server to take their orders one table at a time, and she or he brings them back to you to cook up. Take too long and customers will start getting unhappy, which will cut into your profits. You’re given up to a handful of orders to handle at once, and you have to time your preparations to keep anything from getting cold, doing as much as you can at once to keep things moving but holding back some steps to send your orders back out piping hot.

Preparing food is very hands-on. To make a burger and fries, for example, you have to drop meat onto the grill, then gesture to flip it when it’s at the perfect temperature. You drag fries down into the oil and then up when they’re cooked. You pull the leaves off a head of lettuce by swiping, and chop a tomato by tapping at the moment its guidelines meet. As each part is finished you tap it onto the tray, and once everything is ready you hit a bell to send it off to the table. Each meal is ranked by how well you complete each of its steps, and your profits depend on that rank.

The game’s setting, Port Abello, has six restaurants currently, each with its own unique theme and a slew of recipes. You work your way through a greasy spoon to a Mexican joint, up to a slightly swankier Italian place, through Asian fusion and finally into fine dining. Each setting has thematic decor, recipes and servers, and each of those servers has several lines of dialog with which to compliment your work and butter up your customers.

Port Abello also has a few characters of its own that show up at your restaurants as special guests. They too have voiced dialog to express their spiciest seasoning desires. If you’ve purchased the right spices and figure out their hints in time to add the right one to their dish you’ll earn a hefty bonus, something every struggling restauranteur can appreciate.

Assuming you manage to keep on top of everything else, you can put your coins toward upgrading your kitchens. There are currently a few options available for faster food prep, but it looks like assistants and mini-games are en route as well. You’ll also want to keep your kitchens clean with regular payments to the cleaners. If you don’t, you’ll end up dealing with tedious mini-games like flicking away rat infestations or showing the health inspector that you can, in fact, wash lots of plates.

Other than its sheer grindiness, the only real problem with Order Up is that you’re going to be doing a heck of a lot of gesturing. Each recipe you pick up increases your daily customers, increasing the length and complexity of your day. By the time you’ve grilled your thousandth burger it starts to lose its charm, and days dragging on longer and longer doesn’t help. But that’s just a sign that it’s time to take a break. Give your wrist a rest, have some real food and come back refreshed and ready for another day at the grill. It’s hard to fault a game for having too much to do.

Really, it’s hard to fault Order Up!! To Go for much at all. It’s virtually free, though it would probably be hard to live with the ads for long. It’s filled to the brim with a variety of tasks and locales. If not for the damage done to the game’s pace by its freemium elements it would be a nearly flawless casual restaurant management title. It’s a shame that the best way to monetize the game was to make it frustratingly slow, because that will undoubtedly turn away many potential players. Don’t make their mistake. Slow and steady wins the restaurant race, so take it easy and cook up something nice.

TouchArcade Rating:

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JRPGs are a tough sell these days on iOS. Typically ports making their way from other systems, most seem characterized by substandard touch control integration and shoddy English translations. Fantasy Chronicle [$2.99] thankfully only suffers significantly from one of those two issues. While the translation is certainly lacking, the core gameplay and controls make this RPG an enjoyable experience, assuming you’re into a lot of grinding.

Fantasy Chronicle follows the story of Light, a mysterious youth adopted by a small village who begins his training to join Holos Over, the hero guild charged with ridding the world of evil. During his adventure, Light encounters strife, grief, revenge and nearly every other RPG cliché under the sun. While the story isn’t going to win any awards, it does just enough to advance the narrative and keep you playing, which is more than I can say for some of the other games in the genre.

One area that Fantasy Chronicle does a great job with is its battle system depth. Players control a maximum of three main characters at any time, and each of those characters can employ the aid of a guardian beast – monsters that have their own stats and special moves and can share the damage incurred by the character they are attached to. In addition, you can also set various tactics for your guardian beasts which impact the amount of damage they share with their companion.

I also enjoyed the material/crafting system that Fantasy Chronicle employs. Every enemy you defeat has a chance to drop some kind of raw material that you can later use to create or upgrade your weapons and armor. Upgrade your equipment enough and you have an opportunity to convert it into a different item entirely (assuming you find the crafting book for the new item). Soon after the intro, you also meet an NPC that’ll automatically find certain material for you depending on what locations you tell him to search. It’s a neat little addition that lets you supplement your materials to make the crafting experience a little less monotonous.

Control-wise, while I don’t think Fantasy Chronicle does a particularly good job with its touch controls, the virtual D-Pad controls are very responsive. I particularly liked the optional control toggle that lets you quickly switch between touch and D-Pad controls whenever you wish (this is particularly useful because the D-Pad is huge and blocks a lot of screen space). It’s a feature I think more games could use.

Like many other JRPGs on iOS, Fantasy Chronicle suffers from a mismanaged English translation. Casual conversations between characters feel disjointed, and there’s a lot of story (and non-story) related dialogs that are borderline incomprehensible. It’s never a good sign when I get to a story section and I find myself trying to speed through simply because I don’t really care too much. Granted, I’ve seen plenty of games with a more horrid translation than Fantasy Chronicle, but considering its RPG roots I’m always a bit more critical of an element I consider essential.

The biggest issue I think Fantasy Chronicle contends with is eventual tedium. Each region that you explore has a town acting as the central hub with quests, with a few surrounding areas inhabited by baddies. Typically, you’ll enter the town, get a few quests with mundane objectives usually involving kill nearby enemies, and then you return for more quests. Do enough and you’ll unlock a story-based quest that expands on the narrative. Eventually, you’ll get to progress to a new region with the quest hub and you get to do it all over again.

Because of this type of mission structure, Fantasy Chronicle tends to feature a great deal of grinding with not a lot of story reward. You’re going to grind for mission objectives, resources for crafting, and for experience (although the last one not so much). Missions typically take you back to the same areas again, and when you’ve found yourself over leveled for those areas, the experience becomes an exercise in how fast you can push the attack button during battles.

There are undoubtedly some JRPG fans out there that embrace this style of play. Considering that Fantasy Chronicle gets a lot of the underlying gameplay and controls right, I’d actually recommend it to those types of gamers as a title worth checking out. However, if you’re looking for something a bit less formulaic or a game with more emphasis on story quality, Fantasy Chronicle may not be the RPG you’re looking for.

TouchArcade Rating:

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The world of Jazz: Trump’s Journey [$2.99] is a lush throwback to 1920’s New Orleans, brought to life with watercolor backdrops and great tunes. You take the stage in parades and theaters, prisons and sewers, all the way to the French Quarter as you run through the history of Trump’s success. You rise from a boy with dreams of making beautiful music to a man at the top of his game.

The game you play over the course of that journey is a platformer, with all your standard platforming elements: running, jumping, collecting widgets, and so on. Trump’s music has the power to stop people in their tracks – literally freeze time – which opens the way for a few clever puzzles and challenges. But imprecise controls and terrible translation keep Jazz from reaching the heights it deserves.

The translation is the worst offense, completely mangling what may be a touching story or may be a heavy-handed lesson on racism. It’s hard to tell when it’s presented with phrases like this:

“To be honest. I got prepared to that, but even tough I didn’t lost my hope because I knew my music affected her.”

We can overlook a few misspellings or grammatical errors, but this translation is inexcusably bad. Oh, and the “daring parallel with the real story of Louis Armstrong,” as mentioned in the app description? Ignore that. It’s a cute story, but pretty banal, and beyond the setting, the jazz and the color of their skin, Trump and Satchmo don’t have much in common at all.

The controls aren’t nearly as bad as the grammar, but they need to be fine-tuned. They’re laid out with movement on the left side, action on the right, but movement is split up into two sections (back and forth, up and down) and action is laid out so you can’t really do more than one thing at a time. If you need to, say, climb a ladder and jump or push a box and freeze time, it’s a finger-twister. The game seems to delight in making you do those sorts of things from time to time. Throw in occasionally sketchy physics and strange inconsistencies in the properties of objects and you have yourself a recipe for serious frustration.

If those problems get fixed up, Jazz will be an absolute gem. Every bit of it is gorgeous. You can clamber over the menu and credits, laid out in an elegant theater. The levels, silent movie cut scenes, and animations look fantastic from start to finish. The game is accompanied by a lovely jazz soundtrack that gets better and better as you put your band together and move toward the climax. It’s all downright beautiful.

Aside from the frustratingly floaty controls (and the lack of consideration the level design gives them), the platforming is quite cool. The ability to freeze time opens up interesting possibilities for puzzles, allowing you to manipulation sections of your environment and the people around you. Objects that can be frozen are visually distinct from those that can’t, but that doesn’t make solutions immediately obvious.

For difficulty, I’d stick Jazz at a comfortable middle of the road. It stays too easy for just long enough to get worrisome, but things ramp up apace once they start moving. There are eleven long levels, broken up into several sections that are filled to checkpoints, so you’ll never have to replay much unless you want to go back for collectables. Within those tiny bits between checkpoints, however, there are occasionally big-time challenges. Usually these difficulty spikes come at a welcome moment, but every once in a while they’re phone-throwingly frustrating.

I can’t recommend Jazz: Trump’s Journey wholeheartedly. It sells itself as a game with a unique and engaging story, and that’s something it simply doesn’t have. Setting aside the translation, the message of the game is still iffy at best and you’ll only find parallels to Louis Armstrong if you squint really hard. But it is, for the most part, a solid, fun platformer. And can you argue with the looks, or the sound? Let’s settle on a cautious recommendation, with a side of hoping for a significant patch-up sooner than later. If you decide to take a look, swing by our discussion thread and let us know what you think.

TouchArcade Rating:

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It’s not that Snoticles [$0.99] is a bad game. Not at all – it’s a competent puzzler across the board. It’s just that I’ve grown to expect a lot from games published by Adult Swim. Right or wrong, they blew us all out of the water with Monsters Ate My Condo [$0.99] and Bring Me Sandwiches!! [$0.99] Both have a frenetic sort of madness underlying them, one that seemed like it might just be a trend. The come down since then has been harsh.

Taken on its own merits Snoticles is certainly a solid title, minus a few recent weeks of crash-happy downtime between updates. There are five worlds of physics puzzles to be solved with the excretions of Zit, Dread, Spark and Snot, the titular snoticles. Each has its own abilities that are put to the test in solving puzzles defined by (generally) static blobs that must be destroyed.

Each snoticle has a set number of shots to destroy the on-screen blots. You must carefully aim and fire, sometimes destroying obstacles before you destroy the blots themselves. It’s not completely unfamiliar. But there are no carefully constructed towers to topple, no slingshot to pull. Just the usual things – shooting, a selection of special abilities, a three-star rating system and the goal of complete destruction.

Zit’s shots are the default from which every other shot is drawn. His follow an arc afflicted by gravity and bounce off surfaces. If they hit an Alpha Blot, all other blots around it die. Spark launches fireballs that are unaffected by gravity and fly straight through almost anything in their path. Dread’s shots blow up everything around the first surface they hit. Snot’s particularly grotesque shots cling and can be dropped with an extra tap.

The formula works, but it never gets all that interesting. Every level has more or less a single solution, and most of them are obvious. The only trick is to pull them off with the fewest shots possible. In practice this mostly winds up meaning you’ll retake the same shots in the same order and try not to miss. As the game progresses, more and more blots are shielded and can only be destroyed by one particular snoticle, which only serves to make the correct solution even more obvious.

There are elements that complicate matters – breakable surfaces, moving parts, tunnels and gravity wells and such. Only the last of those adds significant complexity, and that’s only really by making shots much harder to predict. It’s more frustrating than challenging.

There is satisfaction to be found stalking through the levels to hunt down every last blot, don’t get me wrong. It just doesn’t rise above a fairly straightforward premise. There’s an even-keeled wackiness there, but it just doesn’t have much on the outright insanity of some of Adult Swim’s other recent releases.

Here’s what it comes down to: Snoticles is a good game. It’s a fun physics puzzler that provides a mid-tier challenge. But there are so many similar games out there, and this one doesn’t do much at all to set itself apart. If the App Store hasn’t slaked your thirst for aimey-shooty physics games yet, you absolutely won’t go wrong with Snoticles. I just have to wonder if there’s anyone out there that still meets that description.

TouchArcade Rating:

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To steal a line from Jon Irwin, “The platforming genre, once dominant, has now been relegated to counterprogramming.” Which is to say that the two-dimensional platformer has overtaken, like kudzu, much of the niche and indie landscape that isn’t dominated by games that involve shooting things in the face. For mobile gaming, that idea is more or less maintained  if you swap face-shooting for physics-puzzling or colored-block-sliding. But that kind of reductive generalization doesn’t leave room for nuance, and nuance is exactly what you need to talk about Terra Noctis.

At first blush, Terra Noctis [$.99] seems pretty derivative: the pits are inexplicably endless, the physics are rudimentary, and the enemies — pumped in straight from the Mushroom Kingdom — die if something lands on their heads. Even the narrative introduction seems particularly on the nose: Allen is a nightmare who isn’t scary enough to pass his monster exams. Desperate, he sneaks out of school to find a way to get scarier. The idea is never revisited.

It’s not long before Fire Fruit Forge starts to introduce new mechanics: shooting, power-ups, puzzles, three different types of currency, and a bat named Columbus who guides Allen to secret areas and sometimes, bafflingly, lets him ride around on his back. Unfortunately, these do little to dispel the first impression: some of the mechanics don’t really affect the core platforming, and the ones that do are one-note concepts that don’t add much.

There are three different collectible items that can be spent: blue fairies buy power-ups, red fairies unlock the next hub-world, and golden coins unlock bonus levels. It’s kind of weird that a game about crushing goomba skulls involves so many ways to buy stuff.

I like the idea in theory — collectibles have long been a staple of the genre, and Fire Fruit Forge are right to give Allen’s monetized pixie dust mechanical value. Because these items are hidden throughout each non-linear level, players are ostensibly motivated to explore. This, in turn, introduces a risk-reward element to Terra Noctis‘ points system and OpenFeint leaderboards: player score is based both on speed and collection, and climbing the leaderboards depends on managing both.

There are problems with the system, though. The power-ups add very little to Terra Noctis, and using them never become a regular part of my strategy. This devalues the importance of the blue fairies, which in turn makes collecting them less gratifying. It disrupts the balance of the entire system. Similarly, the red fairies and coins are too easy to find, and the levels they unlock are too cheap: not once was my progress impeded by a lack of funds. In other words, not once was I motivated to explore Terra Noctis in a meaningful way.

The other supplemental mechanics, like shooting and flying, simply aren’t creative enough to keep Terra Noctis moving forward. The first time I shot a bat to complete a puzzle was neat, but the shooting function hasn’t changed since. These things are largely tangential to the running, jumping, and head-stomping, but adding extra mechanics isn’t the same as using them effectively. It doesn’t help that the environments and level design change very rarely, despite there being four different hub-worlds to explore. Visually and mechanically, Terra Noctis is a static place, and the entire experience can tend to feel same-y.

Despite the lack of variety, Terra Noctis is buoyed up by its visual design. You’ll explore the same vague forest and cave designs over and over, but the backgrounds are a nice example of parallax scrolling, and the foreground has a lush, storybook feel to it. The animations are fluid and expressive — I especially like that Columbus, the helper-bat, manages to seem anxious and excitable, even though he’s basically just a set of eyes with wings. There’s an undeniable charm and innocence that runs through every piece of this game.

You’ll also hear the same four or five synthpop tracks during the course of the game, but the Herbie Hancock-esque score — no, seriously — is used judiciously to set the tone for each level.

It doesn’t hurt that Terra Noctis is so fun to play. Even disengaged from the high-level design choices, jumping up and down and stomping purple goombas is a treat, thanks in no small part to the game’s  controls: they’re simply the most sensitive and responsive virtual buttons I’ve encountered to date. They aren’t perfect, though, since the buttons are placed too closely to one another — I often find myself going left when I mean to go right.

(The other systemic bugbear in Terra Noctis is hit detection: Allen’s hitbox seems too big and he often finds himself stuck in a ledge or block. This might lead to a few unwarranted deaths, but the checkpoints are spaced evenly enough that it never becomes a huge issue.)

Still, the level design is generous enough to accommodate those lapses, and the most significant exploration is vertical, not horizontal.  Players sometimes get cut off from areas they mean to explore, but Terra Noctis is usually pretty good about expanding and bottlenecking appropriately. In all but a few exceptions, you can feel free to wander around, comfortable with the knowledge that you will eventually circle around toward the critical path.

Maybe it’s a good thing that Terra Noctis‘ more ambitious designs fall through — there’s a lot of fluff that distracts from the core. As it stands, the game’s fairy-tale premise evokes something akin to coming home for a long weekend. The game’s strengths are found in the understated joy of jumping through space, of seeing some unreachable ledge or platform and guiding Allen to it. Terra Noctis, through its intuitive controls and design, provides simple pleasure. This is comfort gaming — familiar, identifiable, and care-free. I’m ready to spend Martin Luther King Day in my pajamas, guiding Allen through the rest of his quest.  I’m pretty sure I know where he’s heading.

TouchArcade Rating:

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Breakout-style games can be tough to create. On one hand, their relative simplicity and timelessness offer gameplay that can be considered universally accessible. On the other hand, this simplicity challenges developers to incorporate new gameplay elements to avoid being classified as stale or boring. This is the exact problem with Transformoid [$0.99], the latest in a long line of Breakout clones. While the steampunk-inspired game does offer a different take on some standard elements, in the end there’s simply not enough to overcome what is otherwise a somewhat boring take on the genre.

As far as core gameplay is concerned, Transformoid stays very close to its roots. The game places you and your paddle at the bottom of the screen versus the blocks up top; there are no barriers or enemies looking to destroy your paddle or any other twists in the formula. In this regard, Transformoid doesn’t offer anything unique or innovated, although it does offer plenty of levels to play in, along with elements that seek to separate itself from the competition, particularly when it comes to physics manipulation.

Even though it’s a typical Breakout clone in most respects, Transformoid does incorporate a few interesting ideas in an attempt to differentiate itself. For example, one of the power-ups you can collect transforms your paddle into various shapes, each changing the way your paddle interacts with the ball. Some shapes make it easier to aim where you want the ball to go, while others make it a bit more erratic. Regardless, I thought it was a good idea and actually brought some variety to the game, assuming the physics were working as desired. I also liked the Steampunk motif that Transformoid uses, although I will admit that it’s becoming increasingly prevalent in more games. Still, the visuals are done well, and little touches like the backdrop subtly moving as you tilt your device back and forth add to the experience.

Another differentiator for Transformoid is the concept of wind, which can come in all different directions and can subtly change the direction of the ball. Unfortunately, wind is one of those gameplay elements that sounds good in theory but ends up being mostly annoying in practice. This is especially true when you’re at the end of a level and the wind is making it difficult to get your ball to travel anywhere, much less to that one spot in the corner with the last brick. Even worse, wind contributes to the fact that Transformoid is simply a very slow game – the ball moves slow, the paddles move at a set speed (on the slow side), and even power-ups that speed it up don’t do much. It’s not slow enough to be unplayable, but enough to be annoying.

Transformoid is also filled with lots of strange miscues that give the game a very rough appearance. There are a few typos across the menus that really stand out, for instance. In addition, there’s no scoring system to speak of or even Game Center support, meaning that there’s no external influence or motivation affecting replayability. Even little things like always resetting the map selection to the very beginning every time you play the game and not letting you cycle from the first level to the last quickly give the game an overall amateurish impression. Of course, none of these issues are game breaking, but they are significant detractors to the overall experience and do little to convince casual players to check it out.

You’d have to be a diehard fan of Breakout-styled games in order to check out Transformoid. The lack of any sort of progression system or leaderboard support means that you’re simply playing the game for the love of the genre. If you happen to fit this description, then Transformoid, with its somewhat interesting visuals and power-up ideas may be worth checking out at its current price. However, for anyone else, the inherent slow pace of the gameplay and uneven overall presentation mean that you should probably look elsewhere.

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Surprise! Infinity Blade has made a lot of money. The other afternoon, Epic Games announced that, overall, the franchise has earned $30 million since the debut of the original Infinity Blade [$5.99] in December 2010. An astounding $5 million of that comes from the earnings of Infinity Blade 2 [$6.99], which released November 30th, 2011. A month or so ago.

Here’s some boilerplate for your eyeholes:

“The success of the Infinity Blade franchise is testament to our talented team who is devoted to making games we want to play, all while using Unreal Engine technology to redefine what is expected from games on iOS devices,” Epic Games President Dr. Michael Capps says in a statement. “We have so much more in store for players, and will continue to make great content for Apple’s evolving platforms.”

The thing to take away from this isn’t exactly “wow, that’s a lot of money.” Nah, it’s that big-budget, AAA-quality releases on the App Store can make money. Not everything needs to be $.99 and require a razor-thin development budget to see ridiculous returns. Also, there’s a significant audience out there who wants to play great, deep games with superb visuals — and for us, that’s the most heartening news.

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What makes iPad and iPhone cool is that they offer games the Xbox 360s and PSPs of the world straight-up can’t — they allow us to directly interact with games. Touch is an endlessly interesting way to play, and we see some of the most creative games in this space as a whole as a result of this control style.

Some studios, however, aren’t willing to rethink design and offer virtual buttons to compensate for the lack of a physical controller. There’s a lot of these kinds of guys out there, actually, which is probably why we’re seeing a mini-boom in the 3rd party controller market.

The hottest device right now is 60beat’s GamePad. Unlike many other controllers, it requires no technical voodoo. You simply just plug the male end of its luxuriously lengthy cord into your headphone jack, pick the controller in an in-game menu, and then get to work. It’s really that simple; I haven’t had a problem yet.

Big is the first thought that hit me when I picked it up, and it turned out that it was a hair too large for me. Remember the “Duke” Xbox controller? The GamePad is much smaller, but the issues it has because of its size are pretty similar. Both are inarguably useable devices, but they’re not the best designed out there.

To get more specific: this thing has huge wings that, to use comfortably, require me to ride up on the neck of the thick plastic and push my outer palms more towards my chest than I’m accustomed to when using a controller. It’s a weird angle — it’s like you’re squeezing, as opposed to relaxing.

A few minutes of play is a valid cure for the initial awkwardness, but the grip I have to use with this thing makes its ten buttons — four shoulders, four face, and two of those useless analog stick shoe-ins — harder to reach than I’d like. I’m also not able to get my hands comfortably perfectly square with the sticks, which is putting some english on my movements.

Speaking of buttons, I’m digging the feedback. There’s some meatiness to each and some ideal springiness to the shoulder buttons. The d-pad feels good, too, though I’m sure a purist could find something up with it.

The important thing is that, straight-up, the GamePad works. The response times seem just fine, everything is reasonably reachable, and it adds that real, meaningful layer of tactile feedback to the games. You’ll lose game audio unless you connect a pair of headphones to the splitter the device ships with, but this is a forgivable offense considering the technology at use here.

Also, it makes the games that use it currently — Bugdom 2 and Aftermath — much, much better.

In Bugdom, for example, the GamePad eliminates all the dirty UI elements and allows you to play much like you would any other 3D platforming game. It fleshes out the nuance of specific points of design. Like, for example, the hovering mechanic. Also, it gives you significantly more control over the character, which makes touch jumps easier.

The latter applies to Aftermath. With the GamePad, it’s much easier to move and do the things you want to do. Interestingly, the guys behind Aftermath tied camera controls to the face buttons, which caters to its run-and-gun, corridor style of play.

The GamePad might be bulkier than I’d like, but it gets the job done. The bonus here is that it obviously has an ability to make gameplay more potent. Developers will need to work with 60beat in order to get this controller in their games, though, so the future is as up in the air as our recommendation. If you start seeing a bunch of titles with compatibility, this might be something to spring on.

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In the crowded genre of endless games, developers need to do more than ever to distinguish themselves. Some attempt to do it via heightened visuals and presentation while others do it by modifying core gameplay elements to try and differentiate themselves from the pack. Stay Alive [$0.99] falls more in the latter category, with the endless arcade shooter making some changes to what is otherwise a standard leaderboard oriented endless game. While these changes are interesting (and possibly controversial), Stay Alive doesn’t particularly separate itself from the pack as much as it may like.

Stay Alive has you piloting a starship through a perpetual asteroid field littered with enemy ships taking pot shots at you. In addition to avoiding all these hazards for as long as possible, your goal is also to pick up as many floating orbs as possible, which are currency for the upgrade store. Also littered throughout the playing field are power-ups that range from more ammo to a temporary laser weapon that lets you destroy everything in sight. OpenFeint leaderboard support (Game Center is not supported currently) keeps track of total kills across all games, as well as the longest distance traveled during one run. As is the case with most endless games, the primary goal is to beat your (and your friends) leaderboard scores.

From a presentation standpoint, Stay Alive is rather typical. The visuals are simplistic and lack the nostalgic personality that most games are looking to achieve with this art style. The same goes for its music, which has an 8-bit MIDI feel but isn’t as catchy as I’d like, especially considering that you’ll be hearing it time and time again with each run. There’s nothing particularly wrong with Stay Alive’s presentation; it’s just nothing out of the ordinary.

One area that Stay Alive succeeds in is with its controls. While decidedly simple (a quick swipe on the left side of the screen moves your ship up and down, while touching on the right side shoots your weapon in the direction you tapped), I thought the controls were very smooth and definitely responsive enough for the amount of close-knit navigating that this game requires. One minor complaint is with the location of your ship’s information (shields, ammo count, etc.), as it’s located right next to screen space for steering your ship and easily becomes partially concealed with your hands.

While endless shooters tend to reward players with cosmetic upgrades or items that provide limited gameplay advantages, Stay Alive’s reward system is a bit more significant and lasting. At the end of each run, players will have the opportunity to enter an in-game shop to spend those hard-earned orbs on ship upgrades. Upgrades range from increasing the inherent strength of your hull and shields to increasing the amount of starting ammunition and armor. These upgrades are permanent and allow your future runs to last just a bit longer.

While I’m a fan of the upgrade system and I think it improves replayability, it’s important to note that having a permanent upgrade system drastically changes the dynamic of Stay Alive in comparison to other endless shooters. Some of the appeal of other games in this genre is the fact that, when all is said and done, each player is competing on a somewhat level playing field, and the only main differentiators are skill and luck. While both of those variables still factor in Stay Alive, upgrades play a far more important role in the long run. In other words, you’ll going to have to play for quite a bit to get the upgrades needed to make a dent in the leaderboards.

There are a lot of gamers that may be inherently turned off by this change to the endless shooters formula, especially since it effectively turns leaderboard chasing into a grind. In that respect, Stay Alive does lose a lot of its appeal with fans of the core genre and may be passed over. On the other hand, folks that may not be the best at endless games might appreciate this change, as more playtime means more orbs and the greater chance of being able to easily go further in a run. Regardless, if being first on the leaderboard isn’t the end-all of your enjoyment, then Stay Alive does offer enough in terms of fast-paced gameplay and replayability to warrant checking out.

TouchArcade Rating:

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Here’s a small shout-out for our American iPad-owning but not iCade-owning audience: Bed Bath & Beyond, which seems like a strange place to buy an iCade to begin with, is apparently liquidating their inventory at $49.99 a pop. You can head on over to their site and order one, or check to see if any stores have them in stock locally. In the Chicago area, it seems like almost every nearby location has them, but your milage will vary.

We’ve already extensively reviewed the iCade in the past, and maintain a pretty awesome list of iCade-supported games to check out as well. If you were lucky enough to snag iMAME before it disappeared, consider that iMAME comes with full iCade support, making it pretty awesome. (Alternatively, you could always jailbreak and install imame4all if you missed iMAME.)

It doesn’t seem like Bed Bath & Beyond ships outside of the USA, so our friends from abroad lose out on this deal. You likely have universal healthcare though, so I’d still argue you’re winning overall even without $50 iCades.

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