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If you’re looking for something to do this Sunday, try this on for size: The Indie Game Music Bundle. It’s essentially the music-centric version of the various indie game bundles that have been ridiculously popular over the last couple years. Like those bundles, all of this music is DRM free, and you can name the price you want to pay. In addition, a portion of the proceeds are going to the American Cancer Society and Penny Arcade’s Child’s Play charity.

For as little as $1.00, you can get your hands on the soundtracks from Aquaria [$4.99], Sword & Sworcery [$4.99], Machinarium [$4.99] and two non-iOS games, Jamestown and To The Moon. If you contribute $10.00 or more (so, basically the cost of one of these albums normally) you get ten additional game soundtracks, with more bonus soundtracks potentially coming as more sales are made. Oh, and for $10.00+ contributions you also have the option of downloading the music in lossless FLAC.

This whole deal is pretty awesome, as not only are you getting some of the best indie game music the App Store has to offer, but you’re also potentially getting tons of bonus stuff and donating to two great charities in the process. It’s worth it alone for just the Sword & Sworcery album, but the rest of the music is great as well. So, seriously, head over to the Indie Game Music Bundle site if you’re at all interested. This deal is only going on for four more days, so don’t wait too long if you are.

Also, in a similar music-related PSA, if you like the Sworcery soundtrack, Jim Guthrie actually has a new album available which you can either download digitally or preorder it in vinyl. Additionally, if you’re really retro-oriented, the Sword & Sworcery soundtrack is also available on cassette if that’s your cup of tea. Or, if you’re a Spotify person like me, this whole album can be streamed to your heart’s content.

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End Night [$2.99] puts you in control of one of two survivors of an undead apocalypse. Not zombies, quite, but something horrifying. It’s a dark, claustrophobic game with a few roguelike elements. With limited ammo, health packs and sanity, you must head out into the abandoned town, breaking into houses, collecting samples of the infection and hoping to turn them into a serum that will let you rebuild the world of the living.

The view is top-down, with the camera pulled in just a little too close for comfort. The controls are slightly awkward – a left stick for walking, and buttons on the right for firing (not aiming—you can’t miss), inventory and interaction. You can’t interact while you’re moving. The music is ambient, and can’t be disabled, sounds are sparse. It’s clunky, not ideal, except that it serves to create a sense of unease. You can’t see or hear the creatures until they burst out of the dark toward you. You can’t grab a health pack without stopping and fending off the horde.

You start out armed with your choice of a pistol, shotgun or axe. The axe doesn’t rely on limited resources, but using it means standing toe to toe with the creatures. The shotgun is accurate and deadly, but its ammo is very hard to come by. The pistol has range and (sort of) plentiful ammo, but isn’t accurate enough to kill most creatures until they’re right up close. Still, I always take the pistol. You can’t risk ending up unarmed, and you can always find the others around town.

Death is permanent. If you get yourself killed, your mission is over and you must start again from the beginning. You earn points for everything you find, every creature you kill, every step in your quest that you complete. You can use those points to improve your stats, making your next life just a little easier.

Resources are very limited, and some are placed randomly: there will not always be a health pack in this medicine cabinet, or food in that fridge. The randomness, you’ll come to learn, is fairly limited – a disappointment, in my opinion. If you risk breaking into the police station, you’ll always find ammo and armor. If you make it to the grocer, there will always be food. One neighbor is always deeply religious. Another, thankfully, is fond of coffee. Buildings, sample locations and certain resources are shown on the readily-available map.

You’ll thank your deceased neighbors for hoarding, because every resource is precious. Ammo and health are obvious, but you also need to worry about your emotional state. Killing monsters that were once townspeople makes you remorseful (though try as I might, I never did die of remorse), something you can cure with bibles or booze. Those things make you tired, so you’ll need to find coffee. And should you get too spattered with the gore of creatures you’ve killed, you’ll need to wash. Every home has a bathtub, though you won’t always like what you’ll find in them.

End Night stands out for being truly chilling. As a shooter it’s somewhat clunky, visually it’s dark and repetitive. But there’s a feeling of dread that accompanies the tight view, the sudden sounds. The things you find in some of the homes will haunt you. It’s amazing how distant a house across the street feels when the undead are on your trail. While there’s no real story to speak of, the creators channeled some of the creepier elements of I am Legend to great effect. You’ll wonder whether you’re in the right even as you mow down creature after creature. Play in the dark if you can—if nothing else, it will make it much easier to see what’s going on.

Where End Night fails is in providing a reason to keep playing. The pretense toward randomness is promising, but once you’ve improved your stats and put together your final cure there’s really not much call to replay the game. You do unlock a more difficult Nightmare mode when you finish, but there’s nothing novel about the game by that point. Perhaps Game Center integration could improve this if it were added, but this is probably a one-and-done sort of game.

Still, for that one play through (and every failed attempt that leads up to it), the game is impressive. It does the wide genre of undead apocolypse games proud. And I’m all for compact experiences, especially emotionally evocative ones. Kicking through your neighbors’ doors, scavenging while the forces of undeath run at you, this is tense fun for the one or two hours it lasts. If that’s enough for you, then dive into the gore, ready to run. If you make it out alive, I’m sure our discussion thread would love to hear from you.

TouchArcade Rating:

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Last month Taito announced that they were bringing a port of Dariusburst – a recent entry in the classic Darius series of shooters that was released in arcades and on PSP in Japan – to iOS. While it’s a bit of a straggler behind the normal round of new weekly releases, Dariusburst SP [$10.99] is now available on the App Store.

Originally Dariusburst was a PSP game, and featured the familiar horizontal shooting and brutal difficulty that the Darius series was famous for, but with beautiful 3D visuals. It was then released in arcades about a year later as Dariusburst Another Chronicle, and came with additional features not found in the PSP game as well as a crazy double wide screen.

Dariusburst SP on iOS is mostly based on the PSP version, but with some nice iOS-specific enhancements. It features the entire PSP campaign, an additional playable ship named Assault as well as two boss battles from the arcade version, an SP Mode with remixed enemy patterns and boss encounters, and some brand new music. Plus, it’s crazy customizable, with several options for screen position and size, the ability to reposition the virtual buttons, options to adjust the amount of lives and continues, and 3 difficulty modes.

I’ve spent a good amount of time with Dariusburst SP already and I’m totally digging it. The controls are tight, and there’s a cool upgrade system as well as a burst special weapon which can be used to counteract enemy fire and boost up your scores. There’s four different ships (two unlockable) and a branching level progression that lets you choose which path to take à la OutRun or Taito’s own Bust-a-Move games.

But really, it’s all about the graphics. The graphics in Dariusburst SP are bananas. The frame rate is silky smooth, and the 3D backgrounds are whizzing by while moving in all sorts of directions. It makes you feel like you’re moving really fast, and enemies often appear from the foreground or background, adding a feeling of depth to the levels. Boss characters fill the screen with their size, and are intricately designed and equipped with heavy firepower. Everything is crisp and high resolution, and along with the buttery frame rate it makes for an especially attractive game.

We’re gonna spend some quality time learning the intricacies of Dariusburst SP, and will report back soon with a full review. My gut instinct so far though is that if you’re into shooters you won’t want to miss this. I know Taito has you nervous because they released RayForce for $11.99 last month. Personally, I totally love that game and didn’t mind dropping the coin, but I could see how a fairly straight port of a nearly 20 year old game with very little enhancements might not be something everybody wants to pay at the higher end of App Store pricing for.

However, this isn’t that. This is a full blown PSP game that was previously only available in Japan, with enhanced visuals and additional features for iOS. This is the sort of release that we shouldn’t mind paying the extra money for. You can find more player impressions in our forums as we get back to diving into the nitty gritty of Dariusburst SP.

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When Reckless Racing [$0.99 / HD] hit the scene back in October 2010, we praised it for the incredible top-down racing experience it offered. Now, the folks at Pixelbite Games are back again with Reckless Racing 2 [$4.99], the long awaited sequel to this arcade racer. Improving on nearly every facet of its predecessor, Reckless Racing 2 is hands-down one of the top arcade racers I’ve ever played and is well worth the price of admission.

From a presentation standpoint, Reckless Racing 2 makes some significant changes in comparison to its predecessor. Gone are the country themes present in the music and characters (although the latter still remains somewhat in the avatars and names of your AI opponents). In its place is a stylized, clean motif complete with fast-paced music reminiscent of 80s action movies (think Top Gun). Some folks may argue Reckless Racing 2 loses some of the ‘charm’ found in the original, but I think this is a great move that moves towards a more universal appeal.

Another area that receives an overhaul in Reckless Racing 2 is its core gameplay formula. A comprehensive career mode takes center stage in this sequel, complete with 18 different cars to purchase and a plethora of upgrades available for each individual vehicle. The career mode is actually pretty standard – players race through a variety of cups containing several courses. Money is awarded after each race, with a larger monetary bonus depending on your final position at the end of the cup.

Rather than forcing players to complete cups in a sequential fashion, Reckless Racing 2 employs a Performance Index (P.I.) restriction. The higher a P.I. rating is on a car, the ‘better’ it is stats-wise. Modify your car with new parts and its P.I. rating increases. Cups have a P.I. range that your car must fit into in order to play. While it is possible to upgrade your car so it can participate in progressively harder cups, eventually its P.I. max will be reached and you’ll have to buy a new car with a higher range in order to advance to more difficulty cups. It’s a disappointing restriction for folks that become attached to cars, but I thought it was an excellent way to balance upgrades and difficulty while nudging players towards trying new vehicles.

In addition to career mode, Reckless Racing 2 features an excellent challenge mode that supplies the player with a pre-determined car and track. Race against the A.I., place third or higher, and you advance to the next challenge. I found it a great distraction from career, as it allows you to quickly race while still having goals to work towards. Rounding out the modes are single race and wifi-enabled multiplayer. While online multiplayer was pretty fun, the lobby system was a bit rough around the edges (lots of players holding up games from actually starting). An auto-join with P.I. balancing would have been nice, as well as some improvement to the ‘ready’ system.

Racing mechanics also receive substantial changes in Reckless Racing 2, exchanging the ‘floaty’ and hectic feel of the original for a driving system that imbues much more control to the player. This is also reflective in the physics system which feels more suited towards a system requiring actual driving technique. The controls work well enough within this system, but not all control schemes are equal in this sequel. The new dynamic difficulty system, which raises and lowers the overall difficulty based on performance, is another addition that moves the game towards a semblance of realism (you can turn this off if it doesn’t work for you). In some ways, you can argue that these changes make Reckless Racing 2 a bit less, well, reckless. Despite this step away from its predecessor, I think the changes have created a game with more depth and challenge than the original. The upgrade system, for instance, allows you to customize your car to suit your driving style, somewhat preserving the original Reckless Racing style of play.

One of the areas Reckless Racing excelled in was its incredibly detailed visuals. Reckless Racing 2 ups the ante with an improved graphics system that just looks pretty damn amazing. Tracks are meticulously detailed and even effects like the dirt kicking up from your wheels on the off-road portions of the track are well done. Maneuvering my car around a curve with a giant gorge at the bottom or driving along an oceanfront watching the beautiful water effects are some of the nicest graphics I’ve seen on my iPhone 4S. Add in the fact that the game runs fast and smooth (at least on the latest hardware generation), and Reckless Racing 2 would give any game a run for its money in the visual department.

I’ve got to give kudos to Pixelbite – it’s pretty rare for a developer to take a chance and mix up the elements of a successful game in its sequel. However, in the case of Reckless Racing 2, that risk has paid off tremendously. The comprehensive career mode, wealth of maps, and tweaks to the arcade racing formula has made this game more enjoyable in the long term. Add in the amazing visuals and music, and there’s not much to dislike here. Folks have sounded off in our forums in regards to the significant changes to the core gameplay. Personally, if these changes result in an incredibly fun to play game, then what more can you ask for?

TouchArcade Rating:

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When I think about possible themes for tower defense games, a tale about space pirates attacking a futuristic Earth in search of highly sought after ‘Spice’ is probably the last thing I’d think of. Yet, that’s exactly the premise of Spice Invaders [Free], a new freemium title from Chillingo. While the game itself is a nice take on tower defense, the bulk of the conversation unfortunately turns to its freemium elements which distract greatly from the actual game.

As a tower defense game, Spice Invaders plays similarly to Fieldrunners [$2.99 / HD]. Players are charged with defending one (or more) bases in open-field maps. Enemies come in waves from a variety of different entrances, forcing you to build towers in such a way as to prevent them from taking out your base. Since the maps are open (with some featuring random barriers littered throughout the map), you can do this by surrounding your base, forcing the baddies into long paths made of towers, and so on.

The core gameplay isn’t particularly innovative, even the tower types are pretty standard (machine gun, missile, anti-air, e.t.c.). The game does have a pretty mean difficulty streak, since the AI adapts to tower placement and tries to find the path of least resistance to your base. The end result is a game providing a decent challenge for folks that aren’t used to complex tower defense strategy.

Where Spice Invaders differentiates itself is in its overall presentation and execution. The visuals are crisp and vivid and do an interesting job portraying a futuristic (and bleak) Earth. This is also reflected in a good level design, as Spice Invaders takes you through a tour of the various continents. The music is catchy and adequately sets the mood. Even the menus, in-game tutorial and story cutscenes are done well. In fact, based on the above I’d argue that Spice Invaders has all the core elements of a great tower defense game. That is, until you get to the pay wall.

Yes folks, after seven missions in South America (the first continent in the game), you are unceremoniously informed that in order to move to the next continent you must either reach level 20 or pay-up 42 spice. When I reached this point, I was barely level 13, so you can imagine my surprise at making the level cap that high. Also, since I was upgrading my towers on a regular basis (as I was taught), I had very little spice to try and get past the level cap using that method.

I understand the strategy of utilizing freemium as a revenue source, and as far as I’m concerned if it’s done right I’m all for it. I thought Spice Invaders did an adequate job balancing spice rewards with tower (and upgrade) unlocks. I even thought their idea of making costumes for your avatar cost tons of spice wasn’t a bad idea, as it was purely cosmetic and didn’t change the gameplay much. I was even fairly tolerant of the screen-filling ads that you’ll randomly get when starting levels.

But, putting a pay wall into the game after only seven levels forcing players to either grind out for a while on already completed maps or pay up in IAP to access enough space to pass is not a good idea and just seems to go too far.

Now, before we all get our pitchforks and chant about the downfall of freemium, there are a few things you should know. First, it costs only a dollar in IAP to purchase enough spice to pass this pay wall (if you shell out for the $2.99 pack the ads even go away). Furthermore, if you read  this review, you now know you can simply keep 42 spice in your inventory for when this first pay wall hits so you can continue right on playing (you’ll earn more than enough with just leveling).

Finally, while grinding to level 20 does take a decent amount of time, it’s not too hard to simply save up the spice you earn from redoing missions and leveling up to move on (that’s how I did it). If you’re willing to put a little effort into grinding, these sorts of barriers aren’t horrible.

However, in this instance it’s really the principle of the thing. Artificially restricting progress in this manner is not my preferred way of implementing freemium mechanics. It would have been far better to add more towers/upgrades/perks and expect players to eventually shell out spice purchases to explore those (the game does this as well). I have no problem with encouraging players to spend some cash on premium items that are not necessary for normal gameplay. The restrictions in Spice Invaders do not fit that example, especially since all these design choices are solely made to encourage folks to spend money (rather than designs that encourage fun).

It really is a shame, because other than the freemium issues Spice Invaders is a really great addition to the tower defense genre. While the gameplay didn’t offer anything particularly new, the artwork, music, and all around presentation and gameplay implementation were well done. I just really wish there was a way for players to just pay one hard fee that would get rid of all pay walls and basically treat the game as a normal paid title. Unfortunately, that’s not the way freemium typically works.

If you’re in the mood to explore a new, tough TD game and you don’t mind the freemium grind (or shelling out cash), then check out Spice Invaders. If not, well, I already know what you’re going to be doing.

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I avoided the movie Snakes on a Plane because the premise of reptiles causing an aerial ruckus seemed a little lame. So my expectations were equally low for Gorilla Gondola [$1.99], a game about a silverback gorilla who’s riding on the roof of a moving gondola. But fortunately it turns out this debut iOS release from UK developers Electric Pixel Factory is pretty entertaining.

The word “Gondola” has a few different meanings. To clarify, this gorilla is not riding on a flat-bottomed boat in Italy or an open railway freight wagon (that would be ridiculous). It’s actually  standing on top of a ski-gondola on a cable, which moves along automatically. By swiping up or down with your finger, the Gorilla jumps or stomps. The further and faster you swipe, the stronger it’s movements, causing the ski-lift to rise and fall.

Why jump and stomp? Because it helps him reach yummy bananas and power-ups like banana magnets or rising helium balloons. It also helps you use the gondola to squash “agitated birds” (which resemble certain fat Angry Birds) or to bounce the ape and gondola over or under approaching obstacles. The ski-lift doesn’t explode after a crash, instead it gets snagged and you’re given an opportunity to quickly tap the screen to destroy the blocking obstacle. If the snagged ski-lift moves off the left of the screen then you lose a life.

If the bananas or mines are slightly to the left or right, you can tilt your device to swing the gondola. As it sways, the gorilla totters, but don’t worry he never falls off. I’m not generally a fan of games that involve simultaneous tilting and swiping, but it felt appropriate – although your hands might tire after a long session of tilting, swiping and tapping.

The eight levels start with a tutorial and include the ‘Crystal Caves’ which feature stalagmites and giant mushrooms to avoid, the underwater ‘Reef’ and a gondola in space. Each level is dynamically generated, so the layout is different each ride. There’s also a variety of soundtracks, including one with distinctive lyrics in a deep voice: “Go-Go Gogo Gorilla! Do it! Oh yeah!!!“

Gorilla Gondola uses an interesting approach to unlocking levels by requiring a set of objectives to be satisfied. For example, collect X bananas, clear X gates and clear X obstacles without crashing. Some of these objectives can be earned across multiple games, and it tracks your progress as you go. This approach to unlocking levels is slower than many other games, but also  makes unlocking a level feel more rewarding. Especially the “Factory” level which has eight objectives to satisfy before it unlocks, including reaching certain scores on earlier levels.

Timing your jumps right is a skill which improves with practice, as the screens become increasingly full of explosive monkey-mines, fans to activate with a tap, bonus gates for the gorilla or gondola to pass through, and lasers. The levels are quite long and contain roughly  5 sections, so it can feel frustrating when the screen abruptly becomes cluttered with mines and causes multiple deaths in quick succession, sending you right back to the start to try again. Personally, I’d rather finish the entire Gondola ride each time and receive a lower score.

The Game Center scores are based on obstacles passed, bananas collected, the number of enemies and gates, and your overall awesomeness. How do they measure awesomeness? Dean from Electric Pixel Factory explains:  “If you collect all banana’s, clear all gates, kill all birds and clear obstacles with maximum risk (i.e – closest possible distance) then you will be 100% awesome. Missing bananas and ramming obstacles will gradually chip away at your awesomeness.”

Gorilla Gondola is a quality release, with responsive controls, good graphics and energetic music. The gameplay feels fresh and there’s definitely skill involved with bouncing the gondola through the tight spots. The way multiple objectives are used to unlock levels feels well-balanced and is rewarding, providing an incentive to keep that fearless Gorilla jumping and stomping.

TouchArcade Rating:

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I like to imagine there’s an Oberlin burnout somewhere who’s made a living getting bent on ayahuasca and pitching music-history based games to different companies. My hypothetical game designer, wide-eyed and euphoric, is responsible for games like Boom Boom Rocket, Eternal Sonata, Jazz: Trump’s Journey [$2.99], and now Frederic –Resurrection of Music [$1.99/HD/Lite], by Forever Entertainment S.A.

In the first scene, set in present-day Paris, Fryderyk Chopin climbs out of his grave, speaks with the Muses, and rap-battles a French DJ with dual-wield keyboards and a jetpack. After this, he rides a horse-and-carriage to Jamaica and gets high with a reggae artist named Rob. Amazing.

As he travels the world in his mystic carriage trying to unravel the circumstances of his undeath, Chopin runs through a series of musical duels with local artists. Mechanically, this translates into a rudimentary version of Piano Hero: notes travel on a track toward a touch-screen piano keys, and players are scored on their accuracy and combo streak.

The songs in Resurrection are modern remixes of Chopin’s most famous waltzes, nocturnes, études, and marzukas, re-imagined in the style of whichever locale our hero finds himself: country in Texas, Celtic dance in Ireland, chiptunes in Tokyo. I actually like most of the music — the Resurrection soundtrack is available for purchase on iTunes [$5.99] — but they all tend to suffer from repetitive melody and relatively simple arrangements. Still, the lighthearted pop remixes fit into the game’s absurdist aesthetic much better than an orchestral score would.

With only nine songs, Resurrection is relatively short, though some players might be able to extend its shelf-life by trying to improve their scores. But even on its hardest difficulty, at its most complex, Resurrection goes out of its way to indulge and empower the player, not defeat them with impossible challenges.

Like Climber Brothers [$0.99], the real joy of Resurrection is the one-to-one relationship between tactile input and feedback: tapping the screen of my iPad is more or less a reasonable facsimile of pressing down a physical key. This is a relatively simple pleasure, but Resurrection goes to great lengths to extend it by being overly-generous  in its design — players have a relatively large window to hit notes in, and it’s almost impossible to miss enough notes to fail a song. The goal here is to listen to the music and soak up the strange animations going on in the background.

Since failure — and, by extension, most of the game mechanics — is largely an illusion, Resurrection’s real hook is its insane premise and matching art direction. In both its art direction and treatment of ethnic stereotypes, Resurrection draws on the bande dessinée style of mid-80s Lucky Luke. The voice acting, too, is hard to place: British English re-routed through Forever Entertainment’s Polish roots.

But Resurrection’s essential Europeanness isn’t limited to animation and cut scenes, and this isn’t a game so much as it is a rewriting of Chopin’s cultural identity. During the Cadet Revolution in 1830 Chopin, the son of a Franco-Polish immigrant, fled Warsaw for Paris, never to return. Resurrection ultimately leads him back to a culturally reinvigorated Warsaw, but only after he uses his musical gifts to destroy the stereotyped, corporate shills that populate the rest of the world. Chopin is cast as the savior of music, but it’s odd that he uses modern remixes, not his traditional compositions, to further his cause.

By fudging its rhythm mechanics, Frederic — Resurrection of Music actually presents itself as more of an interactive cartoon than a game. But when viewed as such, Resurrection often comes off muddled and directionless and, even at the end of the game, it’s not clear why Chopin was resurrected, who he’s “saving” music from, or if he really succeeded.

Nevertheless, Resurrection is a bold product, unafraid to be campy, kitschy, and surreal, and presented as a labor of love from a team full of ideas. This game is larger than the sum of its parts and everyone I’ve showed it to has enjoyed basking in the art and music and in the fact that Frederic Chopin uses his second chance at life to smoke dope on the beach and learn the keytar.

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It’s safe to say that cave flyers have been around the block a few times, and that a few of you might just be sick of ‘em. Hey, that’s fair—I know my enduring love of endless runners and cave flyers isn’t shared by everyone. But do me a favor: take a look at Blot’s [$0.99] trailer before writing it off. Yeah, it’s just another cave flyer, but goodness, it’s gorgeous.

We’ve seen the control scheme and basic design a thousand times before, and there’s nothing new about collecting coins for upgrades, cosmetic or otherwise. Blot won’t win many points for fundamental originality. But it’s a solid, fun cave flier that also happens to be beautiful, with an underlying sense of humor that’s sure to please.

Screenshots don’t do it justice — a big part of Blot’s appeal is how lovely its parallax backgrounds look in motion. Someone at Majestic Software has taken time to sketch out all manner of things — trees, candies, wastelands, ponies, helicopters wielding swords and morningstars, you name it—which the game then combines and recombines to build new backdrops each time you play.

This is part of a broader vision. Blot himself is an ink spatter, flying outwards from a pen. He dodges pencils and seeks out paint cans and smudges. The artistic theme isn’t carried through as far as it could be—art and coin collection don’t exactly go hand in hand—but it gets very, very close.

For controls you’re looking at something a lot like Jetpack Joyride [Free], to name one recent and popular example. The titular Blot is bigger and a bit floatier than Barry Steakfries and his jetpack, but it has the same inputs—tap to rise, let go to fall. The arc of its movement might take a bit of getting used to, but there are no drastic changes.

And what would a modern cave flyer be without a collection mechanic or two? Aside from coins, you’ll also seek out boost buddies. Blot grows as it absorbs these cute little dudes, making it easier to grab coins but harder to dodge obstacles. Once you pick up four, you get a big boost of speed and temporary invincibility. There are also colorful paint cans and smudges to be found that mess with speed, direction and magnetism.

The coins you collect can be exchanged for upgrades. The selection is pretty cool—stuff that makes paint effects or boosts last longer, alerts you to upcoming boost buddies, makes you magnetic or doubles your income. Since you can only pick one to equip, you’ll have to consider whether you’re grinding for coins, going the distance or working on a Game Center achievement that requires a bit of extra assistance.

The game takes any chance to serve up pop-culture references. Little things, mostly, like how the buddy detector is called the “pip-blot 2000,” and the unlockable costumes play off things like Star Trek and the Ace Attorney series. There are also achievements for flying past wild reference in the background sketches, although you’ll probably die if you take the time to look for them. Best of all, none of this feels as forced or out of place as memes so often do when they pop up in games.

Some of the foreground elements are a bit abrasive against the terribly sexy backgrounds, but everything else is awesome. There’s lovely (if brief) music to fly to, and Blot is stupidly charming for something with only a few frames of animation (that little scrunchy face…!). And while there isn’t a plot or a complicated mission system to keep you motivated, the high score grind is made valuable with coin rewards and a grading system. Practice makes perfect, but getting an A+ will take skill.

One little warning – you can purchase coins with cash. Don’t bother unless you’re out to support the developers or stockpile a huge supply of portals—you’ll just rob yourself of the fun of actually playing. The grind isn’t painful at all unless you need the highest end items right away. My only quibble is that the IAP coins come a bit cheap – a single $2.99 purchase can give you most of what you’d ever need, so grinding starts to look like a bad value proposition.

It’s hard to complain, though. While it fails to distinguish itself on mechanics, Blot blows most of its competition out of the water with style alone. It’s delightful, plain and simple, and when given the choice between equally solid games, I’ll take the one that delights me any day. Who wouldn’t want a little more joy in their games, right? So take a good long look at Blot, and let us know if you like what you see.

TouchArcade Rating:

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Ship management and pseudo line-drawing make an appearance in Kavcom Limited’s The Lighthouse HD [$4.99]. Offering a different take on the classic genre, The Lighthouse HD’s great visuals and variety offset some choice design decisions holding the game back from loftier heights.

In The Lighthouse HD, you take the role of an all-seeing lighthouse operator helping ships get across hazardous waters. Tap anywhere on the screen to shine a light on that area. If you shine the light near a ship, it’ll alter direction towards the direction of the light (and will then continue straight on its new path). The game plays somewhat similarly to line drawing games like Harbor Master [$1.99 / HD / Free], with the difference being that you can’t directly alter the course of your ships and instead must use the light to indirectly manage your shipping lanes (rather than drawing routes).

The goal of each mission is to accomplish various objectives (which include goals like getting ships from one point to another and leading fishing boats to giant schools) before losing all your ships. In addition, you’ll encounter barriers such as rolling fog, ship-seeking sharks, and giant krakens looking to trap your ship. As expected, a lot of multitasking, coordination, and precision are required to pass missions and hit the highest scores. Overall gameplay is executed well enough, although I would have liked an option to speed up the map when I’m working with slower boats (considering the game is on a timer, I could see why this wasn’t on the top of the list).

The areas that The Lighthouse HD does a really great job with are its visuals and presentation. The game succeeds in conveying a moody, dark atmosphere at the onset of each mission. Weather effects such as rain, lightning and fog add even more to the general feel of the game, although there were a few times when the various effects made it hard to see some of the baddies swimming underneath the water (call it part of the cruelty of the sea, I suppose). As you get towards the end of each mission, the sun begins to rise, the music starts swelling and the whole map gives off a sense of seeing a light at the end of the proverbial tunnel. I rarely see a game succeed at achieving a play on emotion, but The Lighthouse HD does a good job of getting there.

Unfortunately, there are several areas in The Lighthouse HD that feel rough around the edges. Specifically, the game is filled with a lot of frustrating gameplay nuances that just seem out of place. For example, there are no on-screen notifications when ships are about to come into play on the map. Considering that several levels charge you with taking ships from one end of the map to the other, with both entrances also posing as exists, it can be very frustrating when you get close to an exit and a ship appears out of nowhere and collides with your existing ship, making you lose both in the process.

Another example deals with actual gameplay mechanics. One of the items available to you to make guiding ships easier is buoys, which force nearby ships to divert course automatically. The problem is I could never get the buoys to work correctly – I’d place one in a certain location thinking ships would divert one way and they end up going another way. Considering there doesn’t appear to be a way to remove them once they’re placed. This ends up being a waste of resources and can make or break a level.

Another concern is in regards to content. The Lighthouse HD offers 30 total missions, making the game good on content for at least three or four hours (depending on whether you like collecting objective medals). However, I imagine that most gamers will clamor that the game could use more missions, particularly at its current price point. The developer has stated in the forums that additional levels are coming, and I hope they arrive sooner rather than later.

Despite these shortcomings, The Lighthouse HD should appeal to fans of vehicle management games and line-drawers. Its nuanced changes to the standard gameplay and overall visual presentation do a decent job of differentiating itself. Assuming you can get past the relative lack of content and occasional strange gameplay missteps, I’d recommend The Lighthouse HD .

TouchArcade Rating:

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An official, totally real spin-off of a PC Steam release that goes by the name of Tobe’s Vertical Adventure will be available on the App Store this month. As we write this, the folks over at Secret Base are hard at work on Tobe & Friends Hookshot Escape, a vertical and endless platformer that stars everyone’s favorite super weapon, the hookshot.

We’re told that Tobe & Friends will stroke arcade desires, as well as provide a ton of differentiated play in its space. A total of four unique characters that offer unique hook, er, shotting abilities, as well as four different worlds and 20 pieces of equipment dot the game’s landscape. In a blog post, Secret Base notes that there’s more to the game like, say, “power ups, monsters, themes and chirpy musics” and more will be revealed later. Catch your first look in the trailer below:

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