TouchArcade.ru

Do you like tacos? How about star fields, spaceships, and throwback games that trade polygons for pixels and full orchestras for beeps and bleeps that hearken back to the glory days of the Atari 2600? Developer Taco Graveyard serves up generous helpings of those elements and more (even the space tacos) in Omegapixel [ Free ], a fast and furious action game that throws in a fair bit of puzzle solving to keep you on your toes.

The first time you load a mission, Omegapixel might remind you a lot of Geometry Wars [ $0.99 ]. Using a virtual stick, you control a small space rig that zips around the cosmos and battles enemy ships. Unlike Geometry Wars, though, you barrel into enemies kamikaze-style instead of blasting them with lasers. While you’re floating like a butterfly and stinging like a battering ram with thrusters, enemies pour onto the screen in greater and greater numbers.

Enemy ships come in several varieties—some that make a beeline for you, others that converge on the pixel. On one stage, I flew around smashing into red ships that targeted the Omegapixel while blue pyramids followed my space vessel in tireless pursuit. Suddenly a vertical yellow line came sliding across the screen like a barcode scanner laser. If the line touched the pixel, I lost a life. Ignoring the red destroyers and blue pyramids for the moment, I flew to the far side of the yellow wall and tapped the lower right corner of the screen, which instantly swaps your location with the Omegapixel’s and vice versa. Teleporting put the pixel safely on the far side of the wall, but right in range of the red ships I’d let live to deal with the wall.

The key to victory lies in shielding the pixel from its enemies, while using it to shield you from yours. To get rid of the blue pyramids that zero in on my ship’s location, I had to lure them into the pixel’s fiery maw by either putting the pixel in between me and them, or waiting for them to draw close enough to touch before teleporting, which dumped the pixel right where I’d been drifting a second before. Easier said than done, especially with bouncers knocking the pixel every which way, red ships spiraling toward it, new purple walls that harmed me instead of the pixel sliding into view, and asteroids that, while harmless, distract you by stealing your attention away from real threats.

It’s stressful, but the kind of stress that leaves your senses crackling from adrenaline. Cobbling together a plan and pulling it off in a matter of moments never failed to invite a thrill of accomplishment. The game almost becomes more of a twitchy puzzler on later levels, forcing you to remain aware of the pixel’s location at all times and pull each enemy type from your memory log the moment it comes into view so you can react to the new threat appropriately.

As you play, you’ll collect credits you can use to deck out your ship: explosive teleports, extra armor plating, defense mechanisms for the Omegapixel, a line of energy that flares between you and the pixel when you teleport, incinerating anything it touches. You can earn credits the old-fashioned way by clearing Story and Arcade missions, picking up credit packs that randomly appear during play, or just drop real money on IAP credit packs and splurge on upgrades.

Like all games that control with virtual sticks, Omegapixel’s controls suffers from minor virtual-stick touchiness, but my fried reflexes cost me more missions than occasionally spot controls. Other than said spottiness and grating music (the sound effects are the right kind of bleepy retro, but the soundtrack, which you can disable, sounds like an 8-bit game that froze right in the middle of a high chord) Omegapixel is a ton of fun, and especially shouldn’t be missed at its current price of free.

TouchArcade Rating:

[source]

We’ve had our share of decent endless runners lately, and Defiant Development’s Ski Safari [ $0.99 ], looks to continue that trend. With adorable graphics, great controls, and a decent amount of content, hits all the right notes for the genre and should be checked out.

Ski Safari challenges you to last as long as you can against an impending avalanche while you race down an eternal slope. In order to accomplish this, you’ll need to build up your speed (and score multiplier) and keep it up as long as possible. You can gain speed by performing a wide variety of tricks or by picking up ‘vehicles’ that range from penguins and yetis to hawks to even a snowmobile. Of course, several types of obstacles (rocks, ski cabins, e.t.c.) stand in your way to slow you down. It’s an interesting system that plays out like a constant tug-of-war between you and the never-ending avalanche. In some ways, the speed system is a bit vaguer than other endless runners but I think it adds to the tension and enjoyment.

Of course, Ski Safari wouldn’t offer much in the replayability department if it only offered a simple race against inevitability. Thankfully, a decent objective/leveling system similar to the likes of Jetpack Joyride is always in play, offering nice distractions during the race. Completing sets of missions raises your rank and multiplier, allowing you to gain more points (and speed). While the mission system doesn’t necessarily bring anything new to the table, it’s still a welcome addition.

Like many endless runners, Ski Safari’s controls are a simple mixture of taps and holds. A quick tap will have your skier jump while holding down on the screen starts a backflip. Your backflip speed depends a lot on your velocity and vehicle, adding a bit to the strategy of whether or not to actually start a move. The control scheme definitely hits the mark for being accessible while offering just enough potential for strategy to keep you coming back.

You’ll notice that once you get the hang of the gameplay runs can take quite a bit of time (relatively speaking) before they get hard. However, I don’t really see this as an issue as there are plenty of objectives to complete while you’re skiing and the ever-increasing multiplier means that you’ll eventually be able to reach those higher scores faster.

I’m a fan of Ski Safari’s lighthearted and playful presentation. Everything from the initial runs while asleep in bed to the mischievous music and cartoony visuals just illicit an amusing feeling. This continues with the pun-filled trick names and animal/vehicle companions. Obviously competent gameplay is an important facet for endless runners, but having well executed presentation goes a long way towards keeping me coming back. Thankfully, Ski Safari succeeds in all those aspects.

There are a few minor issues that I think keep Ski Safari from elite status. I really would have liked to see some sort of in-game use for all the coins you collect in a run. Even if it only offered cosmetic changes, an in-game shop goes a long way towards replayability. For that matter, while Ski Safari does a great job with its randomly generated runs, I hope that scenery changes are in the works for future updates. I really love the vehicle system and hope to see more options as well.

Still, Ski Safari definitely deserves to be put into the upper echelon of endless runners. The great presentation, well-implemented control scheme and overall enjoyable gameplay simply lead to a game worth playing. If you’re looking for the next great (and cute) endless runner, look no further and check out Ski Safari.

TouchArcade Rating:

[source]

You see a form of this question in almost every high profile game’s review: why doesn’t this have iCloud support? Apple’s remote storage service is a tremendous offering that lets us resume any supported game from any connected Apple device. During our commutes, we can bang out a couple of minutes in Infinity Blade 2 on our iPhones. Later, at home, we can finish the section we were exploring on our iPads. When the service works, it’s awesome, but we don’t see a lot of games using it. It’s a surprise when one does.

We spent a few days asking a small pool of independent game developers why they aren’t incorporating iCloud in their latest games. What we discovered isn’t surprising: iCloud is always on a good studio’s radar, but the pitfalls of indie development keep it there. It’s too alien, and maybe even a little too wonky, for cash-strapped and low-bandwidth studios to take a chance on.

I’d Buy That For A Dollar

Time, cash, and bandwidth are the three most important resources to the production of any good game. If there’s not enough of one or the other, something goes bad. In the age of $.99 download these resources are even more precious. Their effects on the creation of games are exaggerated to the point where even experimentation on things like iCloud, no matter how easy it might be to implement, becomes a liability. Vlambeer says it couldn’t commit time and resources to iCloud with Super Crate Box because it didn’t have the time or cash to spare.

“We think iCloud is a great technology and we can totally see why Apple is pushing it,” Vlambeer’s Rami Ismail tells TouchArcade via e-mail. “The thing is that while from the user side it’s an easy thing to set up, as developers it’s a new thing that we have to consider, learn to use, and then apply.”

Super Crate Box is the first game Vlambeer has made for iPhone and iPad, so that put an unusual strain on the studio. By the time iCloud support could become an actual bit of functionality as opposed to just a desire, Vlambeer had decided its time would be better spent on tweaking the game’s controls.

Ismail tells us about another wrinkle: now that Super Crate Box is out in the wild and its users have multiple saves across devices, there’s a worry that throwing in iCloud at this point could cause something horrible to happen, like loss of progress or even high scores. It’s happened before with other games.

Zombieville 2, for example, launched and included the service when it was new. Creator Mika Mobile learned something in the process: iCloud has a hard time when both local data and cloud data are in the picture. If it pulls the wrong set, it could potentially corrupt a save.

This sort of problem has branching consequences. If Vlambeer has to fix a broken Super Crate Box, that’s a month spent on a finished game when it could be working on something else, draining resources that it just doesn’t have. Ismail breaks down how close to the edge Vlambeer was when it started on Super Crate Box and explains why this informed its decision to not include iCloud.

“Like with basically everything in life, money is a consideration when making games,” Ismail said. “Consider the following: Super Crate Box had five people working on it — the two at us at Vlambeer and two guys at Halfbot. Since we felt the people that made the original art and music deserved a bonus for their work on the original, we decided to pay them out a little holiday money as well.”

“We pay ourselves far below minimum wages because we hardly have any real-life costs at this point. However, the Halfbot guys both have families to support. Multiply the costs of two families and two students by the amount of months it took us to make the game. Then add a few thousand dollars for art and music — AND then add the Apple developer license, iPads, iCades and all other stuff we used to test the game on… the costs simply start adding up and up.” Ismail estimates that Super Crate Box on iOS cost his studio around $15,000.

“The shorter a project is and the fewer people work on it, the lower your costs are and the easier it is to create risky projects. This is essentially why a lot of indie studios remain small — we want to make games we love to make and honestly, if we could avoid all business and just do that without any worries, we’d be doing that. However, there’s always the economic realities, so we have to consider all that as well. In the end, we love making games, but we want to be able to keep making games.”

“During development, at some point, you run out of time or money — whatever you want to call it. If things went well, that’s a point at which most improvements you could make to the core game make barely have any noticeable effect. With Super Crate Box, we chose to spend a lot of time on such tiny improvements, especially to the controls. Burning through spare money from our release of Serious Sam: The Random Encounter, we just kept going until the gameplay in Super Crate Box iOS was the best we could make it.”

“That turned out to be six months later. Basically we found ourselves running out of everything. At that point, we considered adding iCloud, but obviously that was too late to do that. If we wanted to do that, we’d end up figuring out how to add it, where to add it to the code, how to make sure we don’t damage player save games or even delete some save games — basically, it’d add an additional month to development.”

Ismael said at this point Vlambeer had two options: it could either gamble by adding content and support that might or might not work or require additional resources, or it could release a good game. “When we have to choose, we always go with releasing a fun and solid game. We’ll usually pick a few technologies that we feel would benefit the game most, so in Super Crate Box’s case that was Game Center, OpenFeint and iCade support.” Vlambeer says it’ll always pick the latter when it comes down to quality versus any form of external support.

End Of The Day

Other studios that we talked to for this story, including Simogo and Uppercut games, told us that their latest projects didn’t launch with iCloud support because of similar reasons. Vlambeer isn’t the only studio on the App Store deciding to hold out on iCloud support in an effort to stay nimble and put out the best game that it possibly can within a sustainable timeframe.

It’s also obvious to us that iCloud and the implementation of it needs to be easier, and the service itself needs to be more reliable. Almost every studio we talked to had some trepidations or a horror story to share. Browse our message board, and you’ll find even more from users receiving the bad end of an iCloud problem.

That’s not to say iCloud isn’t awesome. It is. Games that use it, like Infinity Blade 2, are better for the implementation. iCloud could also be used for stuff beyond saves, so there’s promise of what’s to come. We simply want to see more of it.

Studios like Vlambeer and most others know that you take gaming as seriously as they do, so iCloud support isn’t ever going to just get thrown into the mix. Solid implementation takes time and money to pull off, though, and these are finite resources. Studios may want to roll in the support, but until they can afford to do it, iCloud will continue to be a staple of the cutting room floor.

[source]

You see a form of this question in almost every high profile game’s review: why doesn’t this have iCloud support? Apple’s remote storage service is a tremendous offering that lets us resume any supported game from any connected Apple device. During our commutes, we can bang out a couple of minutes in Infinity Blade 2 on our iPhones. Later, at home, we can finish the section we were exploring on our iPads. When the service works, it’s awesome, but we don’t see a lot of games using it. It’s a surprise when one does.

We spent a few days asking a small pool of independent game developers why they aren’t incorporating iCloud in their latest games. What we discovered isn’t surprising: iCloud is always on a good studio’s radar, but the pitfalls of indie development keep it there. It’s too alien, and maybe even a little too wonky, for cash-strapped and low-bandwidth studios to take a chance on.

I’d Buy That For A Dollar

Time, cash, and bandwidth are the three most important resources to the production of any good game. If there’s not enough of one or the other, something goes bad. In the age of $.99 download these resources are even more precious. Their effects on the creation of games are exaggerated to the point where even experimentation on things like iCloud, no matter how easy it might be to implement, becomes a liability. Vlambeer says it couldn’t commit time and resources to iCloud with Super Crate Box because it didn’t have the time or cash to spare.

“We think iCloud is a great technology and we can totally see why Apple is pushing it,” Vlambeer’s Rami Ismail tells TouchArcade via e-mail. “The thing is that while from the user side it’s an easy thing to set up, as developers it’s a new thing that we have to consider, learn to use, and then apply.”

Super Crate Box is the first game Vlambeer has made for iPhone and iPad, so that put an unusual strain on the studio. By the time iCloud support could become an actual bit of functionality as opposed to just a desire, Vlambeer had decided its time would be better spent on tweaking the game’s controls.

Ismail tells us about another wrinkle: now that Super Crate Box is out in the wild and its users have multiple saves across devices, there’s a worry that throwing in iCloud at this point could cause something horrible to happen, like loss of progress or even high scores. It’s happened before with other games.

Zombieville 2, for example, launched and included the service when it was new. Creator Mika Mobile learned something in the process: iCloud has a hard time when both local data and cloud data are in the picture. If it pulls the wrong set, it could potentially corrupt a save. Bummer.

This sort of problem has branching consequences. If Vlambeer has to fix a broken Super Crate Box, that’s a month spent on a finished game when it could be working on something else, draining resources that it just doesn’t have. Ismail breaks down how close to the edge Vlambeer was when it started on Super Crate Box and explains why this informed its decision to not include iCloud.

“Like with basically everything in life, money is a consideration when making games,” Ismail said. “Consider the following: Super Crate Box had five people working on it — the two at us at Vlambeer and two guys at Halfbot. Since we felt the people that made the original art and music deserved a bonus for their work on the original, we decided to pay them out a little holiday money as well.”

“We pay ourselves far below minimum wages because we hardly have any real-life costs at this point. However, the Halfbot guys both have families to support. Multiply the costs of two families and two students by the amount of months it took us to make the game. Then add a few thousand dollars for art and music — AND then add the Apple developer license, iPads, iCades and all other stuff we used to test the game on… the costs simply start adding up and up.” Ismail estimates that Super Crate Box on iOS cost his studio around $15,000.

“The shorter a project is and the fewer people work on it, the lower your costs are and the easier it is to create risky projects. This is essentially why a lot of indie studios remain small — we want to make games we love to make and honestly, if we could avoid all business and just do that without any worries, we’d be doing that. However, there’s always the economic realities, so we have to consider all that as well. In the end, we love making games, but we want to be able to keep making games.”

“During development, at some point, you run out of time or money — whatever you want to call it. If things went well, that’s a point at which most improvements you could make to the core game make barely have any noticeable effect. With Super Crate Box, we chose to spend a lot of time on such tiny improvements, especially to the controls. Burning through spare money from our release of Serious Sam: The Random Encounter, we just kept going until the gameplay in Super Crate Box iOS was the best we could make it.”

“That turned out to be six months later. Basically we found ourselves running out of everything. At that point, we considered adding iCloud, but obviously that was too late to do that. If we wanted to do that, we’d end up figuring out how to add it, where to add it to the code, how to make sure we don’t damage player save games or even delete some save games — basically, it’d add an additional month to development.”

Ismael said at this point Vlambeer had two options: it could either gamble by adding content and support that might or might not work or require additional resources, or it could release a good game. “When we have to choose, we always go with releasing a fun and solid game. We’ll usually pick a few technologies that we feel would benefit the game most, so in Super Crate Box’s case that was Game Center, OpenFeint and iCade support.” Vlambeer says it’ll always pick the latter when it comes down to quality versus any form of external support.

End Of The Day

Other studios that we talked to for this story, including Simogo and Uppercut games, told us that their latest projects didn’t launch with iCloud support because of similar reasons. Vlambeer isn’t the only studio on the App Store deciding to hold out on iCloud support in an effort to stay nimble and put out the best game that it possibly can within a sustainable timeframe.

It’s also obvious to us that iCloud and the implementation of it needs to be easier, and the service itself needs to be more reliable. Almost every studio we talked to had some trepidations or a horror story to share. Browse our message board, and you’ll find even more from users receiving the bad end of an iCloud problem.

That’s not to say iCloud isn’t awesome. It is. Games that use it, like Infinity Blade 2, are better for the implementation. iCloud could also be used for stuff beyond saves, so there’s promise of what’s to come. We simply want to see more of it.

Studios like Vlambeer and most others know that you take gaming as seriously as they do, so iCloud support isn’t ever going to just get thrown into the mix. Solid implementation takes time and money to pull off, though, and these are finite resources. Studios may want to roll in the support, but until they can afford to do it, iCloud will continue to be a staple of the cutting room floor.

[source]

We just learned this week that one of the pioneering forces of both the freemium pay model as well as real-time online multiplayer, Eliminate, will be closing up shop later this month. Well according to RockBandAide.com right on the heels of that news it looks as if EA Mobile will be giving the same treatment to the original Rock Band [ $4.99 ] iOS game, which we thought was pretty good when it launched towards the end of 2009.

The original Rock Band was usurped by the superior sequel Rock Band Reloaded [$4.99 / $9.99 (HD)] in December of 2010, so it’s not totally surprising that EA would want to focus on the newer version. However, for a game that many people have likely spent a good chunk of cash on by buying new songs through IAP, not to mention that it launched at $9.99 to begin with, it seems sort of crazy that EA would flat out make the game inoperable.

At the very least you would think that EA would be able to just leave the original Rock Band alone, so those who bought it and paid for IAP songs can continue to at least use it even if future updates aren’t in the cards. Perhaps there’s a reason for this, like a licensing issue with the music, but at any rate if you’re still a fan of the first Rock Band on iOS you’ll have until May 31st to continue enjoying it.

Servers being shut down and dropping support for games isn’t a new phenomenon, but in the increasingly more digital age of video games you’ll just have to keep in mind that the experience might be finite unlike physical copies of games which will last for eternity as long as you have the hardware to play it.

Note: I’m leaving the links for both Rock Band games in case you already own the original and want to re-download it for safe keeping, but obviously it won’t work after the end of the month. If you want a Rock Band game for iOS go with Rock Band Reloaded (for the time being, anyway).

[Via RockBandAide.com]

[source]

One of my favorite things about the App Store is this massive surge of indie development that has brought us, well, more fantastic games than I could even begin to list. If you haven’t heard of it yet, Indie Game: The Movie is currently in the process of sweeping various film award festivals. While it doesn’t specifically pertain to iOS development, what I’ve seen so far seems to perfectly capture the spirit of the whole indie game developer movement that’s taken the App Store by storm.

Check out the trailer:

Another thing that’s awesome about this whole project is that it features a soundtrack by Jim Guthrie, the same mastermind behind the music of Sword & Sworcery [ $4.99 ]. It seems we’ve got a ton of Guthrie fans around here (ourselves included), so here’s a quick heads up: The soundtrack the Indie Game: The Movie is now up for pre-order on Band Camp. You get four tracks right away, with the rest coming on the official release on May 15th. It’s even available on vinyl as a double LP, if that’s your kind of thing.

[source]

These days, endless runners need to go above and beyond in some aspect if they hope to rise above the competition and get some attention. Enter Escape from Age of Monsters [$0.99 / HD] an endless runner from Massive Joe Studios. Featuring a beautiful and unique art style, Escape certainly has our attention as a game worth checking out.

Escape puts you in the role of Gizzard, a man in possession of a mysterious pair of gloves who is to survive the monster invasion. With orphans in tow, you’ll guide Gizzard through buildings punching down walls and monsters, all while collecting floating items offering points, coins and a variety of power-ups (slowdown, speedup, e.t.c.). Miss a punch, and the monsters will take the orphans before eventually taking you down and ending the game. As expected, the longer you stay alive, the faster the obstacles come at you, until you eventually succumb to the monsters.

The first thing you’ll notice about Escape from Age of Monsters is its gorgeous visuals. The hand-drawn animated style is quite unique and simply looks stunning. Everything from the characters themselves to the backdrops to even the menus has an air of being meticulously detailed, and gives off the feeling that you’re playing in an animated cartoon. Amazingly, this feeling is amplified on the new iPad, as the retina-visuals on the large screen look quite fantastic. This sentiment is also carried over with the game’s music, which boasts a great metal soundtrack that fits the theme and sets the mood appropriately. This all leads to a very enjoyable playing experience, as Escape simply nails its presentation.

Gizzard’s gloves are the key to Escape’s gameplay. One glove is colored red while the other is blue. Tapping on the right side of the screen will launch a red punch while tapping on the left side launches the blue. Relatedly, every barrier and baddie you encounter will be colored red or blue. Thus, the game becomes an exercise in tapping the appropriate side of the screen that corresponds with the obstacle in front of you.

In addition to the simple survival objective, Escape features a mission system that tasks you with various objectives and rewards items that permanently increase the base score multiplier upon completion. This continues a recent trend in endless titles that provide score-enhancing awards vice older titles that tried to mostly preserve leaderboard parity regardless of how much you played. One minor complaint is the lack of iCloud support for your progress, although that is somewhat expected considering iPad and iPhone versions are separate. Regardless, it’s a good incentive program that encourages gamers to play for more than just leaderboard chasing (even if the rewards are simply to make said chasing easier).

While the controls are simple enough for an endless runner, there are a few miscues that prevent it from being flawless. For example, each successful punch has the opportunity to award double points, with three consecutive ‘perfect’ punches putting you in ‘Turbo Mode,’ where the score multiplayer jumps up even further and you get a temporary extra life (until the mode breaks).

However, the timing for the perfect punches seems a bit off. While continual practice alleviates this problem somewhat, you never seem to fully grasp the timing window. Another issue revolves around the swiping mechanism needed to collect the various items and power-ups littered on the level. I had multiple occasions where I’d swipe at the item several times and the collection wouldn’t register. Considering how hectic Escape gets in later buildings, this can get frustrating when you’re trying to balance item collection and wall breaking.

Despite the above issues, Escape from Age of Monsters is still a great endless runner. I’d argue that it warrants consideration simply from its visuals. Luckily, you won’t have to make that decision as Escape also offers a balanced gameplay experience to accompany those visuals. With that in mind, you’d be hard-pressed to pass up on this endless runner.

TouchArcade Rating:

[source]

Most puzzle games would have you believe that fun only lies under a pile of rigid rules. That doesn’t seem quite right, when kids have the most fun playing without any rules at all. Whitaker Trebella’s Polymer [ ] isn’t child’s play, but it only demands one thing: a shape can’t have unfinished edges, or it’s not a shape. Everything else is fair game, and that sure feels freeing.

To create shapes in Polymer, you slide rows of pieces back and forth, columns up and down. When you’ve found a stopping point and slid your last piece into place, tapping the shape destroys it. With that, poof, your hard work is gone. In its place you’ll find a fresh canvas and a big pile of points to soothe you.

Polymer’s first mode serves as a good introduction. Called “Two Minutes,” it gives you that much time to create anything you like. A hundred tiny shapes in a row, cascading into ever multiplying combos? Sure. A few carefully crafted behemoths? Go ahead. Quality generally scores over quantity, but your masterpiece won’t be worth much if you can’t finish it in time.

“One Polymer” mode does what you might expect: it gives you as long as you need to create the ultimate shape. Each piece that you manage to add to it rockets your final score to new heights, but there comes a moment when your shape is so large and complex that every move you make will damage the surrounding structure. The most important skill you can learn here is how best to delay that moment.

“Bombs,” the third and final mode, adds, well, bombs to the mix. These are pieces with timers and four unfinished edges. Working them into a shape doubles its score, but the game ends if a single timer runs down to zero. More and more bombs are introduced as the game progresses. Here you need to know your limitations—how complex of a shape can you make within each time limit?

You’ll begin playing Polymer with only the first mode and two kinds of pieces, a rounded corner piece with two free edges and another that caps ends. Reaching a certain accumulated score unlocks the next piece, and then the next mode. It’s a good system, ensuring that you fully understand how to play with what you have before things get more complicated.

Unfortunately, this same system might prove frustrating for some players. Since the scoring scales on a steep curve, players who can’t pull off large shapes will find themselves pecking away at unlocks for much longer than necessary. There are two ways out of that hole: improve, or pay your way out. Each unlockable can be bought if you don’t have the patience to earn it. It’s a little too easy to see this as a push to make extra purchases.

Better to put your wallet away, though. The game is more fun when you have something to work toward aside from achievements and leaderboards, and playing without pushing yourself won’t get you far. Not only that: it’s entirely possible to get ridiculously high scores without the unlockable pieces. At the highest tier of play, you’re probably going to need them. Before then, though, they can actually get in the way, making the board too complicated for beginners. If you find yourself in over your head, you can toggle the more complex pieces off for as long as you need.

As mentioned in our preview, music plays a big part in the Polymer experience. The mood of each mode is enhanced by its soundtrack, cheery, studious and tense in turn. The tones created when you destroy a shape are equally fitting. This is one of those games you’ll want to play with the sound on.

The visuals are somewhat less appealing, at least at first. The look is clean and minimalistic, but when the pieces are all strung together they start to look a little sausage-like. It’s not the most pleasant association. I forgot all about that slight distaste after making a few complex shapes. I’ve saved pictures of a few of my successes for later, and been tempted to tweet more than one. If waiting to acclimate to the look doesn’t work for you, try one of the unlockable color schemes. Some are quite striking.

The thing that keeps me coming back isn’t color or music, though. It’s not even the selection of game modes. The game draws me in because it lets me be creative. It’s freeing to play a puzzle game that lets the player decide when a piece is finished. It’s great to have the choice to create something pretty, or huge, or sophisticated. Polymer cuts away all but the most necessary of rules, and the game is all the better for that. Take a look, and share your best creations in our forum thread.

TouchArcade Rating:

[source]

On paper, Radiant Defense [Free] doesn’t stack up when compared to other tower defense titles. It shouldn’t be as good as it is. I mean, it only has ten levels, and its free-to-play model gives you just a handful of towers to work with unless you want to pay more. But Hexage is full of surprises, and this free tower defense game is certainly one of them. It might not work on paper, but it sure works in practice.

All too often, freemium titles either lock all the fun behind a paywall or let you skip right over the gameplay if you put down your money. Radiant Defense does neither. I can’t say for sure that you can get through all ten levels without making a purchase. I couldn’t, because Radiant Defense is crazy hard. Buying any (or all) of the four optional tower packs gives you more room to strategize, but it just barely makes the game easier. Paid or free, you’re going to have to get your hands dirty.

Radiant Defense offers a mix between static path defense and the ability to create complex mazes. Players are often handed a few loose modules between waves. These can be used to build walls. Sometimes this is advantageous—drawing enemies out along long, winding paths is a good way to make sure they die well before reaching their goal. Other times it’s suicidal. Some enemies regenerate, so luring them away from your carefully crafted kill zone just means they’ll continue on, fresh and ready for more.

The tower selection adapts to any situation the game throws at you. You start out with the ability to build or research ballistic weapons for pure damage, energy weapons to take out shields, and the other usual suspects—towers that slow or weaken the enemies, and powerful area-of-effect towers. The purchasable packs add variety, with mines and blades to bar passage, weapons of mass destruction, and a few things that are just plain odd. Each has its own cost and drawbacks, though, making for a decently balanced experience no matter how many (or few) packs you own.

That balance falls on the side of intensely challenging throughout. Radiant Defense is unforgiving, with brutally long levels (making up for their limited selection) and increasingly aggressive waves. The game never lets up—every time you think you might have a handle on all the tricks you’ll need, it throws even more enemies at you in even more aggressive combinations. It can be aggravating, but it makes winning all the sweeter.

Not every part of the challenge is as sweet, unfortunately. The worst bit is dealing with frustrating tower AI. Towers will happily shoot the first thing that crosses their paths, blithely ignoring targets that are about to hit the goal. This behavior is consistent, so you can plan for it. It might even be intentional—it certainly gives players a reason not to use tight corridors to their advantage each and every time. But as difficulty goes, this isn’t the fun sort. It can leave you floundering moments after you’re sure you have everything under control.

There are concessions to this frustration, though. Each wave can be restarted as many times as you need without penalty, so you’re free to experiment with the best possible moves you can make with the resources you have. Anything you do before beginning the wave will stick, though, and while you can sell back unused towers at cost, upgrades can’t really be reversed. Your strategy may hinge on what seems like a simple decision: whether to spend your cash in the lull between waves or save it for the madness in the midst of combat. The latter is easier to revert but much harder to pull off.

That sort of decision-making drives the strategy of Radiant Defense. It’s rarely just a matter of this tower or that tower. Instead you’re balancing upgrades, positioning, and pathing, all while you decide if you should meet the current threat with force or save up for an unknown future.

If you’re comfortable with difficult games, Radiant Defense is easily worth the download. It’s a nice little package—decent art and music wrapped around generally excellent gameplay—and the price is more than right. It’s refreshing to find a game that respects your intelligence, money, and time. All the better that it’s good fun, too. Take a look, and stop by our discussion thread to share your thoughts.

TouchArcade Rating:

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Chillingo’s penchant for publishing dual-stick shooters returns with the release of Lock ‘n’ Load [ $0.99 ], a content-rich title developed by GameLab that hits all the right notes for the genre. While a lot of that content is initially locked away a bit tighter than I’d like, the gameplay, visual-style and presentation make up for that setback, leading to a game well worth checking out for the dual-stick shooter crowd.

Lock ‘n’ Load puts you in the role of a hockey-mask wearing protagonist taking on an evil magic-wielding girl whose minions trampled his garden bed. As you can imagine, the tone of the game is very tongue-in-cheek and does a great job making fun of itself. While the story obviously takes a backseat to the gameplay, I still enjoyed it more than most other dual-stick shooters, including the twist at the completion of the main campaign. Still, what’s more important is content, and Lock ‘n’ Load certainly has a lot of enemies to throw at you.

You’ll be taking on those hordes of minions with your choice of three weapons (you’ll have to unlock two of them) through mostly standard DSS gameplay. I say mostly because Lock ‘n’ Load does a great job spicing up the gameplay with good plot pacing and a variety of mini games. You’ll do collection quests, first-person carnival shooting – even a Space Invaders-inspired stint. Of course, there’s also a ton of opportunities to simply mow down the mobs. A second, harder difficulty is also available, along with a second unlockable campaign (and challenge missions) that focuses more on gameplay than story.

Visually, Lock ‘n’ Load looks impressive with a wide variety of backdrops and character models. I was particularly impressed with the assortment of environments used across the campaign, each with their own graphical effects. In addition, the game runs at a good frame rate and looked exceptionally nice on my iPhone 4S. Relatedly, I thought Lock ‘n’ Load did a great job with its auditory aspects, with the music setting the mood appropriately and decent voiceovers accompanying the story cutscenes and combat. It did get a little annoying hearing your character repeat the same catchphrases over and over but in general I thought the voiceovers did much more good than harm.

One of my few complaints about Lock ‘n’ Load is the way it handles unlocks with its in-game currency. Every upgrade and unlockable requires cash, which can be randomly dropped by enemies while playing the campaign or purchased en masse via IAP. As is becoming custom, while you can earn a decent amount of cash through a campaign run it won’t be nearly enough to unlock all the content.

Unfortunately, I think the amount of cash dropped in-game should definitely be adjusted. I ran through the entire campaign (with several restarts on some missions) and didn’t even earn nearly enough cash to unlock the first tier of upgrades. When you include all the challenge levels, skins, and second story mode, players will end up having to rerun through completed levels many times before they can earn enough cash to unlock everything.

On top of all that, unlocks don’t appear to transfer between iOS devices (unless you have the all-encompassing ‘premium pass’) meaning that simply spending a few bucks on cash to unlock extras isn’t going to cut it if you want to play on multiple devices. Also worth mentioning is a crash bug that’s affected some users. An update with a fix is already submitted, and in the meantime if this is affecting you turning on Airplane mode should work as a temporary fix.

Even if you have an adverse reaction to IAP, Lock ‘n’ Load still offers a decent amount of content with more that can be eventually unlocked (even if it takes a long time). When you combine that with the excellent visual style and content diversity, Lock ‘n’ Load becomes a highly recommended game. While we’ve had our share of good dual stick shooters, it’s rare to find one as well-rounded and content-rich (even if you have to unlock a lot of it). Gamers remotely interested in dual stick shooters owe it to themselves to check out this title.

TouchArcade Rating:

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