TouchArcade.ru

If there’s one thing that can be said about Square Enix, it’s that they’re excellent at the whole production values thing. Chaos Rings II [$17.99/HD] is absolutely stunning. From the gorgeous musical score to the voice acting to the vibrant landscapes, there is a lot to savor in Square Enix’s latest turn-based RPG. However, that’s not really surprising. We are talking about Square Enix, after all. How often have they published a new game that does not make you whistle gently under your breath? The real question is, ‘Is Chaos Rings II more than a pretty face?’

The plot here works something like this: an apocalyptic force is threatening Earth with impending doom and there is only one person in the universe capable of stopping it. Can you guess who that is? Yup, that’s you. Sort of. In Chaos Rings II, you’ll play as Darwin, a rather effeminate-looking chap that had been unwittingly pushed into the role of the Nominator. As the Nominator, his job is to sacrifice the Pillars (a bunch of people that were forcibly drafted for the dubious honor), harvest their spiritual energies, complete something called the Rite of Resealing and seal away the Destroyer in order to save the world.

Here’s where it gets problematic for poor Darwin. To begin with, he wasn’t supposed to be the Nominator. Due to a freak turn of circumstances, he acquired the position after he unwittingly killed the original candidate. To make matters worst, he sort of murdered the poor bastard in front of the Pillars. Under normal circumstances, this probably wouldn’t have gone over so badly. After all, one predestined murderer is the same as the other, right? Obviously, that wasn’t the case here. You see, the Pillars in the Rite of Resealing are always composed of those who have some form of attachment to the Nominator. As you can imagine, this makes things a little bit awkward. Not only do you have to murder innocent people, you’ll have to murder some innocent folk that had ties to the dude you unintentionally axed.

(In spite of the religious undertones to the game, the eventual evolution of the plot will probably grab a smirk from any atheists in the audience.)

Intriguing as this all sounds, however, there’s a slight problem. While the Japanese voice acting is rather superb (my best friend, who is Japanese, assured me that the voice acting is also supported by decent lines), the localization is not. Technically speaking, there’s nothing wrong with it. There’s no rampant Engrish, no glaring grammatical errors, no spelling mistakes that may evoke a heartfelt palm to the face. Nonetheless, that doesn’t change the fact the English text feels … lackluster. The dialogue’s also anachronistic in places. Words like “gotta” and “c’mon” pop up from time to time to rattle your sense of immersion. As such, I can’t help but feel as though the full potential of the plot was never realized. Something had to have been lost in the translation. Still, it could have been much, much worse.

Gameplay-wise, those who have any experience with the original game or, JRPGs in general, will probably find themselves in familiar waters. For the most part, the game operates in a fairly linear fashion. You’ll be given a task and told to advance to a certain location. You must then make your way through an assortment of random encounters before achieving your goal. From there, you’ll have to go back to the central hub and begin the process anew. There isn’t much else to do. You get a certain amount of freedom in determining the sequencing of events but that’s pretty much it. There is no open world exploration. There are no mini games to engage in. What saves Chaos Rings II from being completely linear are the side quests that you eventually acquire from the corpulent, cat-like Piu Piu (he’s the only merchant available to you and your party) and and his scantily-clad cutouts.

A lot of your time will be spent moving through the exquisitely presented remnants of your world. Along the way, you’ll stumble across equipment, items and, of course, random encounters. You’ll also get to move through ’shortcuts’ in the world. Once you dive through a portal, you’ll find yourself in this odd little realm that would probably not look amiss in a cyberpunk setting somewhere. Here, you’ll also be called upon to partake in some incredibly light puzzle-solving. Each of the accompanying characters have a special ability that will allow the party to access a part of the world that cannot otherwise be reached. For example, Li Hua is capable of punching through barriers while Connor can shoot at distant targets. Needless to say, once you’ve sacrificed somebody (yup, you’re going to have to kill those people), you’ll lose permanent access to those unique skills.

While it doesn’t deviate too far from the standard formula (you’ll be able to attack, cast magic, defend yourself, occasionally escape from combat and utilize items amongst other things), combat in Chaos Rings II is actually rather entertaining. There are plenty of variables to juggle and even more to worry about. To begin with, you’re going to spend a lot of time deciding if you would rather have your characters acting separately or together. If you choose the ‘Pair’ option, you’ll have access to stronger attacks but will also open your party members up to damage that they would have not taken otherwise. Acting ’solo’, on the other hand, will provide you with more control but less of a punch.

It gets even more complex than that, of course. Technically speaking, combat in Chaos Rings II is turn-based but the reality is that things are also highly dependent on speed. This can be a serious problem if your opponent is armed with some truly devastating moves. If they have the opportunity to assault you before you can defend yourself, you can expect to see the ‘Game Over’ screen faster than you can enunciate your favorite obscenity. Additionally, there’s also a layer of ‘rock, paper, scissors’ that you will have to factor in. Depending on what forces are currently in play on the battle field, attacks and defenses may increase or decrease accordingly.

On top of that, there is also the Break Gauge and the Charge Gauge. The former was inherited from the original game. It’s a pretty nifty mechanic that monitors the flow of the battle. When it is marked even, neither parties will receive bonuses. However, when it sways in favor of you or your opponent, the Break Gauge will cause the beneficiaries to increase in potency. As for the Charge Gauge, it functions something like the Limit Break mechanic in the Final Fantasy games. Once it has filled up to a certain extent, you’ll gain access to your ‘Awake’ and ‘Advent’ powers. The latter will allow you to summon a massive being known as, well, an Advent that is associated with the Human Sophia (that thing you get after you’ve defeated the creature born from a dead Pillar) you currently have equipped.

Speaking of Sophias, those form another interesting component in the game. While Pillars are the only ones capable of bestowing the command of a monstrous critter upon you, you can also acquire Sophias from the game’s menagerie of enemies. Each ‘Monster’ Sophia will grant your characters certain atributes and skills. Once you’ve unlocked the right recipes, you’ll be able to acquire even more abilities by combining Sophias in a certain way, something that adds considerable depth to your character customization.

On a more shallow note, I’m going to take a moment to once again remark on the fact that Chaos Rings II looks pretty darn sweet. It is, by far, the prettiest game in the franchise yet. Compared to its predecessors, the resolution in Chaos Rings II is so much higher, the backgrounds more lavishly detailed. Even the characters themselves look more refined. That said, I’m really mostly in love with the little things in the game, things like cherry blossom petals suspended in the air and waterfalls trapped mid-motion.

As for the music, I’ve nothing but good things to say about it. I would buy the soundtrack if the Malaysian App Store would let me do so but I can’t so I’ll settle for assuring you that it’s something that would deserve a spot on most playlists unless, of course, you have an aversion towards soaring vocals and epic-sounding melodies.

In many ways, Chaos Rings II is the quintessential JRPG. You will spend a lot of time grinding. You will be gently but firmly led along the story’s path to its inevitable end. You will see all of the familiar JRPG tropes. However, that’s not necessarily a bad thing, but your decision in regards to whether or not you actually want to purchase the game is going to be dependent on this. For all of its flaws, Chaos Rings II has done more than ample justice to the formula. It’s refined, it’s meaty, and it’s definitely worth the high price of entry.

TouchArcade Rating:

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PlayGround States logo, as it appears on Facebook.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

TouchArcade Rating:

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Last year at E3, we got our first taste of F5 Games’ upcoming Pocket Heroes, and we were definitely intrigued by what we saw. Pocket Heroes looks to take a party-based adventure RPG and give it the asynchronous multiplayer treatment. In fact, it’s strictly online-only, with each player controlling a party member in the game and taking turns making moves asynchronously, with push notifications letting everybody know when it’s time for them to go.

It’s been described as Words With Friends meets turn-based RPG, and is probably best understood by watching the trailer below.

So, as you can see from that video, Pocket Heroes is a really cool idea. Since we first saw the game at E3 last June, F5 has been continuing to toil away at the project, and we got another chance to see where it was at during GDC last month. It had come a long way since E3, and actually looked very close to finished.

Earlier this week, the game’s publisher Ayopa Games posted the official game page for Pocket Heroes along with an official release date and pricing info. We can expect to get our hands on Pocket Heroes May 11th for the reasonable price of $1.99. Sweet! You can also see some brand spanking new promo art for the game and learn more about the different classes by visiting our forums, and we’ll definitely have more on Pocket Heroes as it nears its release next month.

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The third episode of Sam & Max Beyond Time and Space was originally released in 2008, on the cusp of the videogame industry’s zombie renaissance. Four years and three Dead Risings later the iOS port of “Night of the Raving Dead” [$4.99] may feel — to steal a quote from the game’s antagonist, the vampire Jurgen — “played, yo.” Still, Steve Purcell’s brand of silly humor gives “Raving Dead” life, even for those tired of zombies and vampires.

This season of episodic Sam & Max games comes into its own in “Raving Dead,” particularly if players have been keeping up since the first episode ”Ice Station Santa” : we can start to see how the central town and its inhabitants are changing over time. We now have access to Sybil’s shop, but Bosco’s Inconvenience has been shuttered since he went missing in the second episode, ”Moai Better Blues” ; Flint Paper takes a more active role in “Raving Dead,” and Sam and Max have all but stopped giving Stinky the benefit of the doubt in the mysterious death of her grandfather. This is one of the strengths of episodic gaming, and it’s nice to see Telltale Games’ writing come to fruition.

This type of self-referential writings has its limits, though. In-jokes that refer to players’ previous exploits feel natural to players keeping up with the series, but the second quarter of “Raving Dead” can be jarring for those who, like me, didn’t play Sam & Max Save the World. Not that “Raving Dead” is a literary giant, but there are a few levels of nuance in Sam and Max’ relationship with Jurgen that you’ll miss if you didn’t play the “Situation: Comedy” episode from that series, which isn’t currently available on the App Store. And this wouldn’t even be so bad if this plot point didn’t directly inform at least two of the puzzles in the first half of the game.

Nevertheless, “Raving Dead” features the strongest writing and characterization to date — I’ll never forget the way Jurgen hooks his thumbs into his nipple rings while he relaxes.

Whereas as “Ice Station Santa” and “Moai Better Blues” tend to meander along until a plot twist at the end, “Raving Dead” establishes Jurgen as the antagonist fairly early in the game, and most of the puzzles revolve around him. This gives Purcell room to stretch out and give the game a little more nuance, and I’d even argue that he re-imagines and modernizes the social commentary George Romero wrote into seminal zombie movies like Night of the Living Dead, from where this episode borrows its title. Sam & Max isn’t subtle stuff, by any means, but there are some threads of maturity to be found, not to mention that “Raving Dead” has a relatively bleak ending — I won’t spoil anything here, but it does seem heavy-handed for the series.

This episode is pretty clearly demarcated into two halves, the first of which is probably the most mechanically and thematically interesting of Sam & Max Beyond Time and Space to date. Unfortunately, that praise comes with a caveat: the first half of the game is murky in its goals, and you’ll likely stumble into the puzzle solutions instead of tactfully divining them. There are a few puzzles in particular that, even after having solved them, don’t seem to have much in-game logic behind them — brute force experimentation isn’t as satisfying as actual problem-solving.

The problem is that “Raving Dead” is narratively strict, often times depending on the player to trigger specific events to push the story forward. In older Sam & Max episodes, players generally had a handful of puzzles to solve at a time, giving them a reason to explore different areas, interact with different characters, and gradually amass the knowledge and items they need to move forward. “Raving Dead” is stingier with its progress, meaning that you’ll need to solve each puzzle in turn before you can move on.

The upshot is that the interplay between Sam, Max, and Jurgen is really neat once you figure it out. Dialogue hints have always been a big part of Sam & Max, but “Raving Dead” is almost impossible to figure out without taking the time to think about Jurgen’s character and motivations. (Again, having played “Situation: Comedy” helps.) Thankfully, the same general idea repeats itself a few times in a row — once you know what makes Jurgen tick and how his castle functions, the game starts to pick up steam in terms of narrative progress and player engagement.

The second half of “Raving Dead” is more straightforward and consists of traditional item management puzzles. The game does a good job of feeding players items, which keeps the game moving forward and pixel-hunting to a minimum. The final boss fight, too, is a return to form after some lackluster fisticuffs against Mr. Spatula in “Moai.”

“Raving Dead” ends on a somewhat dour note, but I can’t help be excited at the midpoint of Sam & Max Beyond Time and Space: different plot threads are coming together and the designers at Telltale consistently and effectively iterate on the mechanics and structure of the point-and-click adventure. “Raving Dead” is easily stronger than “Moai Better Blues” and more interesting than, if not executed as well as “Ice Station Santa.” Here’s hoping the last two episodes keep up the good work.

TouchArcade Rating:

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This is a promo image for Solipskier, which was used when Mikengreg revealed the game to people.

When a game developer creates an awesome game, we expect its next release to be just as good. This works both ways. Greg Wohlwend and Michael Boxleiter of Mikengreg fame have told me what it feels like to have to work on something new with the expectation of past success in the background. It isn’t just noise — it’s having an effect on the development on its new title, Gasketball. From ideas to coding, the shadow of the success of an arcade skiing game called Solipskier [$.99] looms. It makes decisions harder. It ramps up the scope and quality. It’s making the stakes higher at a time when the studio is looking to do something totally different.

We discussed two kinds of pressure: external and internal. Mike and Greg said that they don’t feel any external heat as they build Gasketball. Solipskier got into a lot of hands, but that hasn’t given the studio the kind ravenous base that other great independent developers, like Team Meat of Super Meat Boy fame, enjoy. There aren’t throngs of people  expecting mastery in the follow-up from Mikengreg, in other words, so the bar feels low.

The pressure comes from inside, they expressed. Solipskier’s sales were the best Mikengreg has ever experienced, and the studio desperately wants Gasketball to outperform it in revenue, quality, and audience. Success is mutating their goals, as if the magic of Solipskier could ever be repeated.

“We really want our next game to seem like a step up, which is not actually very different from our early development days, every game we’ve made has been more interesting, more polished and more successful than the last,” Mike told us in an e-mail exchange. “The difference, now, is that we are trying to succeed in terms of a million players willing to pay us, which sets the quality bar dauntingly high for a two-man outfit.”

Gasketball's logo and the placeholder image for the game's web site.

Greg keeps asking himself if it’s even possible to have another Solipskier, and that seems like a fair question to ask. Its development, from idea to prototyping to final release, happened in brilliant flashes of creativity. Gasketball, on the other hand, hasn’t had that sort of conceptual magic. The conceit took longer to come along, and the studio had to throw out a lot of stuff in order to find this game.

“We had to resolve to getting down in the muck and doing the hard work of prototyping, testing, and scrapping everything for yet another prototype that felt like it had promise,” Greg told us. “For a game to really strike all the chords for us it has to be pretty specific.” Solipkier was initially designed as a Flash game. A lot of its systems and mechanics are designed around that platform. Gasketball is a departure, so it took longer to design as the studio learned new tricks.

The idea for Solipskier came from a brainstorming session that revolved around parallax scrolling. Speed and parallax seemed to gel well, so Mike and Greg started prototyping. In a blog post, the duo described the idea for the landscape painting component came as a watershed, “oh my god” moment. With wide-eyes, they went to work. In the end, the Mikengreg created an exhilarating skiing game unlike any other. Instead of focusing on tricks, jumps, and speed, Solipskier leverages style and the emotion that bursts from your chest when you feel like your acceleration is spiraling out of control.

Version ".01" of Solipskier

This wasn’t the duo’s first rodeo. Solipskier was created first and foremost as a flash game, just like Mike’s other titles as a part of Intuition Games. It was, however, the first game of either developer to grab major mainstream appeal. Mike tells me that he realized that this was a truly special project after publishers had entered into a bidding war for the game. An iOS version wasn’t in the picture at the time, but the reality of Flash development changed the tone of the porting conversation going forward.

“We were always looking for the next step out of the Flash world and into a more sustainable market that allowed for us to make larger, more fully formed games,” Greg told us. “The Flash market is great and gave us a way to become better developers while getting paid for it; however, it wasn’t a sustainable business.”

Mike and Greg were working “crazy hours,” and fretting over paychecks when they developed for Flash. Living by the seats of their pants did have its moments. “It was exciting in some ways for sure, but it couldn’t last,” Greg said. “We were lucky to have such success with Solipskier, as it’s allowing us to fully commit to iOS and downloadable titles in future.”

Within the first two months, the iOS version of Solipskier made a little over $70,000, while the sponsored Flash version generated $15,000. On Metacritic, it’s sitting at a 79 average across five positive reviews. Greg tells us that this success “changed the scope” of what it could do with its next game. The duo continued to pay themselves the same amount of money, but Solipskier gave them consistency and the ability to screw up.

Version "0.5." Can you spot the differences!?

“Since Solipskier, we’ve made six or so fairly polished prototypes and scrapped all of them,” Greg tells us. “We could have taken any one of those further but we’d rather call it a failure early and often than find ourselves with a less than stellar finished game that never found that magic we always look for.”

Solipskier’s success and design are weighing heavily on Mike’s mind as he executes concepts on Gasketball. He second guesses a lot and he’s finding it hard to accept praise from friends. “We’ve always seen the flaws in our work first and foremost, but even worse on this project I see things that aren’t there.” Mike elaborated: “My brain is constantly convinced that there are more features I need to discover before the game will be good, but they’re always just out of reach or vision. Every time I implement an idea and it doesn’t make the game instantly better I feel a crush of defeat. I feel a bit like I’m going crazy.”

They’re not alone in this, though.

The Other Guys

Other studios go through the similar issues. Some deliver greatness quickly. After Chair Entertainment released a brilliant Meteroid-style game called Shadow Complex on XBLA, it was able to stoke a similar sort of fanfare and praise with the launch of Infinity Blade. After Simogo released Bumpy Road, it followed it up with an equally charming rhythm and stealth game called Beat Sneak Bandit.

Some studios deliver late. Mobigame released its puzzle game Edge a couple of years ago to insane levels of acclaim and drama. The app was pulled because of a bogus trademark violation just as it was hitting critical mass, and the studio had to fight for the game to get back onto the App Store. Its follow-up, Cross Fingers, released 11 months after Edge. Mobigame’s David Papazian tells us that Cross Fingers is picking up steam. Edge has since been re-released.

Edge on MacOS

“We were very happy with this second game because it is really innovative and completely unique on the App Store. While I am writing, I can see that Cross Fingers is 5th in the Top Free in the US App Store with more than 8 million downloads. However, the game works a lot better now than it did at the start, because we evolved with the market. We added more levels and in-app purchases. Also, the fans are not the same as Edge fans, a lot of women and men from any ages love Cross Fingers, when Edge is more for gamers.”

Papazian says Edge, and its awards, gave his studio legs. The popularity led him to meeting a lot of people, and gave him a good “in” when introducing his work to press. His studio’s pressure was internal, too.

“But you have some pressure, you must do it again and you polish the new game as much as you can, maybe too much. Luckily we did it again, but we did not receive any awards and Apple never featured Cross Fingers on the US store. We had to fight for this success, by updating the game until it finally worked.”

Tiger Styles grabbed a lot of attention with its puzzle game Spider: The Secret of Bryce Manor. While working on the follow-up, a Metroid-style game called Waking Mars, Tiger Styles’ David Kalina said he felt a subconscious kind of pressure to one-up Spider. It’s a similar feeling that Mike and Greg feel as they create Gasketball. “When you make a game that gets game of the year nods,” Kalina told us, “there is definitely this feeling that EVERY game needs to live up to that standard, which is sort of an impossible bar to try and meet every time out.”

Waking Mars is more about exploration than anything else.

The development of Spider had a sense of urgency to it. He needed the game to succeed so his studio could exist. With Waking Mars, Kalina said that urgency was replaced with the desire to blow everything up in its second game, which again, is something Mikengreg is similarly struggling with. “When you start approaching game development that way, the cost of everything goes up, and the more you spend, the more risky it is to fail,” he admitted.

Waking Mars, in the end, will keep his studio alive. However, Kalina said he wouldn’t pour so much time and so many resources into Tiger Style’s next game. Kalina wants to be able to fail and experiment and do bold things.

“I’d like to release two or three games in the next year and have them all be surprising in some way, and if they don’t happen to set the world on fire, we can be cool with that because we’re at least trying to push in new directions,” Kalina told us. “The worst thing we could do now is to say ‘we have to do something just like Spider or Waking Mars BUT BIGGER…’ If we go down that path, you may never hear from us again!”

On Gasketball

Gasketball has a chance to be stellar. It’s a basketball game that has its users matching their opponents’ last shots. It’s like a digital version of HORSE, except rendered on a fantastical 2D plane that lets you freely move the hoop and shot placement around. It also has special balls and barriers that you can set up to make your shot more Byzantine and advanced. There’s a plan in place to continually update the game as it lives on the App Store.

Surprisingly, nothing mechanically in Solipskier informed Gasketball’s creative direction, Mike and Greg said. In fact, Greg argued that there wasn’t one to begin with. He said Mike came up with the idea for a playful and fun basketball game that was “a bit more skill-based than just a slingshot or pre-mapped trajectory control scheme” game. Moving in a new direction entirely, Gasketball eschews the stark contrasts of Solipskier in favor of a more playful and fun art direction.

Mike walking people through their first look at Gasketball.

Our expectations got the best of us when we first saw Gasketball. It’s just not the game you envision this studio doing at first glance. Solipkier was speedy and sharp, and it had a very specific and awesome rhythm, tone, and style. You’d figure the next game from this studio would incorporate some of these elements. This game is exceedingly friendlier in look and behavior. It’s also more thoughtful and maybe even a shade or two less impressive from a conceptual standpoint.

The stakes are just higher now. But there’s also another reason this project is especially different for the studio. Like with Mobigames and Cross Fingers, Mikengreg see Gasketball as an opportunity to grab an entirely new audience.

“We’re both getting older and want to do more with our lives than spend a hundred hours a week in a dark office,” Mike tells us. “When you start working independently you tend to hold your breath and accept sacrifices to your happiness in the short term for long term gains and we’ve yet to really succeed in a way that really gives us the security to let go and look to the future.  It can get very nerve wracking to think that you only have one shot at releasing each game, and every time you fail to reach your goals you get one step closer to having to quit trying.”

It’s a strange world right now for Mikengreg, as the studio struggles with the success of Solipskier and thinks about a studio-wide transition. But it’s confident about Gasketball and its eventual quality. We are are, too. We’ve seen the game in action, watched the videos, and have even fiddled with a build. The title threw us off at first, sure, but now that we’re comfortable with the fact that Mikengreg are switching focus, we’ve been able to move past our expectations. It’s figuring out a way to do that, too.

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Let’s wind the clocks back to 2009, as really, to appreciate what Angry Birds has become, I think we need to go back and appreciate what Angry Birds was. The App Store was a crazy place. The “gold rush” was still in full effect. Publishers like Chillingo were trying to stake as large of a claim as possible in this brave new world brought about by the impulse-powered instant gratification of downloading a 99¢ game and the exploding popularity of the iPhone.

Chillingo was incredibly successful in pooling together a library of games we called “AAA titles” at the time. iDracula [ $2.99 ] may look incredibly archaic by today’s standards, but back then, it was among the cream of the crop. In late May, Chillingo spun off a new brand called Clickgamer.com, which per the original press release was intended to “carry casual games and software applications in the Apple App Store. This new brand will fully complement Chillingo’s existing catalogue of AAA innovative titles.”

Clickgamer.com’s aisle in the App Store was (and still is) an odd assortment of ultra-casual games and apps ranging from the SAT Vocabulary Builder [ $1.99 ] to sliding block puzzle games like Pic n’ Mix [ $0.99 ]. Reading between the lines of Chillingo’s own distinction between the AAA Chillingo and Clickgamer.com brands, it wasn’t difficult to see why Angry Birds [ $0.99 ] was relegated to the non-AAA Clickgamer.com brand when it launched, as the late-2009 1.0 version of the game really wasn’t anything that special. Or, as we mention in our original review which almost seems laughable now:

When you see a game with a name as nondescript as Angry Birds, it’s pretty hard to get excited. Even after playing through the first few levels, I was enjoying this game, but failing to see the real appeal.

The original release had a barebones array of birds, 63 levels, no leaderboards, no achievements, and no, really… anything else. Angry Birds wouldn’t even strike it big until months later in early 2010, when Chillingo announced that the game had been downloaded over half a million times. Whether that sales surge was a result of Chillingo’s marketing prowess or creative consulting as a publisher or the product of Rovio’s hard work seems to be a matter of perspective, and the answer to that question depends more on who you ask. Regardless, Angry Birds has yet to let go of a position on the top ten iTunes sales charts.

The Angry Birds kingdom expanded into the Angry Birds empire with the self-published release of both Angry Birds Seasons [ $0.99 ] and Angry Birds Rio [ $0.99 ] over the next couple of years. Since then, Rovio has grown further yet, and now days it’s difficult to find a platform that doesn’t have Angry Birds on it as the brand has made its way to the browser, smart TV’s, and even feature phones being sold in emerging markets. Think about that. People in African countries rocking series 40 Nokia phones have Angry Birds.

Despite Rovio’s unprecedented levels of success, recently it has been hard to dispute the argument that the Angry Birds formula might be getting a little stale. I’ve always been excited to play through the levels added in new updates, but for a while now I’ve felt like I’m just going through the motions of figuring out the weak points in the pig defenses, launching a bird, collecting my three stars, and moving on. This lead to the inevitable question of what could Rovio do in a sequel to not only revitalize the brand to players who have grown bored, but also provide a big enough twist on gameplay to make it worth having a fourth installment in the series?

It turns out the answer was to head to space.

Angry Birds Space [$0.99 / $2.99 (HD)] is close enough to the rest of the Angry Birds family that anyone even vaguely familiar with the games will be able to hop right in. It features the same premise of flinging birds in a big slingshot into dastardly egg-stealing pigs, but this time, your shots are assisted by a dotted line coming off the front of the slingshot to make the aiming process a little more transparent. The boss battles from Rio even make an appearance.

It comes packed with the familiar family of birds, with some minor modifications. All of the birds got a cosmetic upgrade, with snazzy looking space outfits. More importantly, some of their functionality has changed. For instance, the new version of the yellow bird doesn’t just dash forward. Instead, tapping on the screen sends it homing in on that specific location, even allowing for complete trajectory changes in flight. The force exerted by the bomb bird seems to focus more on pushing things rather than destroying them, and a new freezing bird turns anything inside of its blast radius into ice, allowing for easy cleanup with blue birds.

The magic of Angry Birds Space comes from the physics tricks Rovio is able to pull off by leaning on the gravitational fields of the various planetoids that make up many of the levels. Birds shot into space fly straight as an arrow, as obviously, there isn’t any gravity to make them do anything differently. Gravity fields are indicated by faint blue halos, and completing each level (particularly with three stars) involves the intelligent mastery of both zero gravity as well as the (potentially) multiple gravitational pulls of the different planetoids that the pigs have set their forts up on.

This varying gravity system allows for some incredibly elaborate level design, including puzzle elements that would never have been possible with the “traditional” gravity model of previous Angry Birds titles. One early level that exhibits this in a particularly clever way involves the introduction of the bomb bird. Players are faced with a bunch of pigs hanging out and being smug on a gravity-rich planetoid.

There isn’t a clear shot to be had between the slingshot and the pigs themselves, as there are all sorts of asteroids littering the top half of the screen. Completing the level actually requires delicate use of the bomb birds to gently push the asteroids down into the gravity field, at which point they come smashing down on the pigs. Other levels involve shooting your birds to catch the rim of a gravity field, placing them in an orbit of sorts to slingshot around to hit an otherwise unreachable target.

The truly interesting thing that I’ve found is that this gravity mechanic has allowed for some incredibly creative ways to complete levels. The comparison may be a bit of a stretch, but in Scribblenauts Remix [ $0.99 ] the way to truly have fun in that game was to come up with the most absurd and imaginative solution to each puzzle. Sure, nearly every level can be solved by equipping yourself with some wings and a gun, but there’s just a certain sense of satisfaction to be had when you figured out how to somehow work Cthulhu into your solution. Similarly, while most levels in Angry Birds Space often have a fairly clear-cut solution, I’ve been having way more fun coming up with the most convoluted flight paths for my birds, with personal bonus points awarded for as many orbits as possible before expertly slamming whatever bird I fired into a pig.

Some other changes have been made to Angry Birds Space, namely, the addition of a new in-app purchase system. In previous games, the Mighty Eagle is a one time 99¢ purchase which allows you to skip one level every hour. The Mighty Eagle also adds an entirely new (although not necessarily immediately apparent) game mode where you can go back to previously completed levels and fire off the Mighty Eagle shooting for destroying everything on screen.

Unfortunately, now not only is the Mighty Eagle a consumable item, but it also doesn’t automatically skip a level. When you fire out the sardine can, the Mighty Eagle can totally miss, leaving whatever smug pigs are left on screen laughing at your failure. Additional Mighty Eagles are awarded in small quantities by just playing the game. Alternatively, 20 Mighty Eagle shots can be purchased for 99¢, with additional packs of Mighty Eagles ranging all the way up to 980 for $19.99.

Out the gate, Angry Birds Space comes loaded with two level packs: “Pig Bang” which serves as more of a tutorial for the new space-centric physics and “Cold Cuts” which introduces the new freezing bird. A third (very difficult) level pack entitled “Danger Zone” is available via a 99¢ unlock, and if you even find yourself vaguely enjoying the two included packs, the third one is basically required.

This raises the question of what is going to come of the future of Angry Birds updates, as the tea leaves of this IAP-unlocked level pack can be read in numerous ways. Angry Birds has been known by its seemingly never-ending stream of free content via updates, and I find it to be a little hard to believe that Rovio would put a stop to that with Angry Birds Space. My gut is telling me that future updates might follow a path of offering up a free pack and an optional ultra-difficult paid pack like “Danger Zone” for hardcore players… But, we’ll have to wait for the first update to land to know for sure.

If you’re playing on a new iPad, you’ll be happy to know that the HD variety of Angry Birds Space comes with crisp Retina Display-friendly graphics. Neither the HD or standard versions are universal, so, having the optimal Angry Birds Space experience requires some App Store double dipping if you want to play on both your iPhone and iPad. Sadly, there still doesn’t seem to be any way to sync progress between versions of the game, so, in that regard, there isn’t much point in buying it twice anyway.

Angry Birds is the unlikely candidate with meager beginnings that somehow managed to redefine both mobile gaming and the levels of financial success that are possible in the mobile space. The brand is known worldwide, and the series is enjoyed by everyone from hardcore gamers, to celebrities and athletes, to my own father who couldn’t possibly be more of a non-gamer. Angry Birds is the Super Mario Brothers of mobile devices, and Angry Birds Space is so successful in redefining the Angry Birds formula that everyone should give it a try.

TouchArcade Rating:

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Alright, I’ll come clean. When I saw OMGPOP’s Draw Something [99¢ / Free] glued to the #1 positions on both the free and paid charts I assumed it was yet another flavor of the week flash in the pan freemium game. Then I tried it, and wow is this game good. I’m not quite sure how they did it, but Draw Something is a perfect witch’s brew of Facebook integration, word scrambling, and asynchronous two-player Pictionary.

It works a little something like this- You start a game with someone (I’ve found games with people you actually know via Facebook seem to be the most fun.) and are given the choice of three words of varying difficulty. You choose one, do your best to draw it, and hit submit. Your friend gets a push alert, sees your drawing, and is given a array of scrambled letters to spell the word with. If they guess correctly you’re awarded between one and three coins, they take their turn, and the process repeats.

The free to play mechanic is actually sort of neat, as you can play the free version for eternity with ads and a limited set of colors to draw with. Alternatively, you can spring for the 99¢ ad-free version. The coins you earn are used to either buy bombs which nuke some of the letter tiles which don’t go to the word you’re supposed to guess or buy more colors to paint with. Sure, you can just do your drawings in the few colors that everyone gets, but to really tweak out your illustrations you need at least a few more paint sets.

The rub of the coin system is that actually earning enough coins by playing to buy bombs and unlock paint sets takes forever, which means you basically have to buy them unless you’re way more patient than I am. But, at the end of the day, I’m having a really hard time getting that worked up over the IAP as the game is worth every penny worth of the $4.99 bucket of coins I bought to unlock a bunch of paint (and the 99¢ I dropped to get the ad-free version).

Recently, the game was updated with additional words, and complete support for the Retina Display of the new iPad. In fact, my original intention of this post was just a quick news article on that fact, but I just can’t help but gush all over this game. Everyone I know is playing it, and recently taking my turns in Draw Something is both among the last things I do before I go to bed and the first things I do when I wake up every day.

So, I’m tagging this as a review, giving Draw Something five stars, and telling you again: Download this game.

TouchArcade Rating:

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Flight Control Rocket [$.99] is beautiful. The art is pyrotechnic: the groovy colors are sharp and detailed, betraying no fuzz, gloom, or jagged edges on the new iPad. Even the menus have flair. Created intricately to reflect the swinging sci-fi themes that the rest of the game is so gleefully entrenched in, they’re a pleasure to plumb. The on-screen antics feel just as good, as Firemint has iterated on the core design in really fresh ways. But, it’s a shame that all of this is wrapped in the stench of corporate influence. Some of the most interesting additions to the core play model are rendered meaningless courtesy clumsily handled free-to-play functionality.

The sci-fi influence, outside of the slicker and more vibrant visual appeal, is just a fun contrivance to push the series’ usual conceit: take a ship, plot a course, and then repeat until the screen is so full of ships, that it becomes impossible to not avoid a mid-space collision. New features include a fascinating variety of ships with abilities, all of which refreshingly change up the pacing. There’s 15 new ships in total, including a snake-like series of ships that coils as you move it, a ship that splits into two, and even a new drop-ship type that spits out smaller ships into the playing area.

The new ships also feel like stopgaps, designed specifically to keep you from developing a rhythm or from zoning out. Flight Control is usually just an effort in concentration; but with these, it is becoming a much more viable strategy game. There’s enough content on a micro-level now to warrant focus, forethought, and tactics.

To its credit, the action stays manageable despite the varying seeds, sizes, and the abilities of certain ship classes. In part, this is because the action feels a hair or two slower, but there’s also a new health component that allows for a couple of hiccups along the way, whereas the previous game just ended after one collision. It also doesn’t hurt that this series remains a breeze to play: tap and trace, that’s it.

A not-so-clever IAP system sours all of the good vibes these parts of the experience can offer. As you play across the game’s two modes, endless and a time-based survival mode, you’ll earn pieces of optionally purchasable in-game gold. You can use this, in turn, to buy robitic avatars that grant specific bonuses during play. The starter robot randomly ratchets up the score of a landed ship, for example, while others bump up gold earned or grant you extra lives. These sound neat in theory, and they would be totally fun adds if (a) they weren’t saddled by egregious IAP loops, and (b) weren’t laughably expensive.

In order to use a robot more than three or so times, you need to spend in-game gold on the batteries to power them. IAP loops consistently strike me as beyond tacky, and in this situation, they’re rigged in the game’s favor. Also, my mental math says it’ll take me at least a dozen hours to obtain one of the top-tier robots without spending any dough, which is especially silly considering this game costs real money to begin with. It’s sad. The robots idea is a casualty of a crazy business model that is too aggressive, too Facebook-y to take seriously. It’s a big, black eye instead.

Minus the free-to-play shenanigans, Flight Control Rocket is easily the best entry in the series so far, as it sports a lot of fresh and fun ideas, as well as a groovy new theme that Firemint fleshes out splendidly throughout. It’s also one of the best looking new iPad games. But, the free-to-play components do exist, and they keep the experience from feeling like a cohesive whole. This game is split into parts, as a result, and the bad has a habit of putting a damper on the good.

TouchArcade Rating:

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Out at GDC 2012 I sat down with publisher Ayopa Games and, in the time of an hour, ran through seven different titles in a sort of marathon session. It was a lot to take in, but there are some real stand-outs here.

Some are new, some are updates. Let’s have a look.

MacGuffin’s Curse

Created by Brawsome and Green Stripe Snake, MacGuffin’s Curse is a game that falls under the category of Werewolf Comedy Puzzle Adventures. It is the tale of out-of-work magician and (hence) not-so-cunning thief Lucas MacGuffin who attempts to rob a museum to pay the rent, and finds himself bound to a magical amulet with the power to turn him into a werewolf (and back again).

The game consists of 150 different rooms across 11 different environments, such as junkyards, parks, mansions, museums, etc. Each room is its own grid-based puzzle that must be solved using Lucas in either human or werewolf form — or both (walking into a beam of moonlight triggers the transformation). In addition to the 150 core puzzles are around 100 secondary features / quests that serve to add variety and keep Lucas especially busy at all times. In the end, the ultimate goal is just to get the cursed amulet off of poor Lucas.

In a nice touch that retro gamers will enjoy, the soundtrack is available in chiptune format, sampled from a real SID-based C64, and can be accessed via an in-game home computer setup.

MacGuffin’s Curse won the Best Writing award at the 2012 Freeplay Independent Games Festival and will be available on April 19th as a universal iOS app as well as on Mac and PC.

Escape from Age of Monsters

In the fall of last year, Massive Joe released Age of Monsters, as sort of ultimate rock-paper-scissors game, to high praise. The studio’s upcoming Escape from Age of Monsters is a follow-up title in the form of a side-scrolling, endless run-and-jumper. The game sets you, poor Gizzard, and a group of orphans on the run from a horde of hideous creatures from all corners of the multiverse. You must tun through crumbling buildings, punch through walls with your magic gloves (and perfect timing, if you have it), jump from building to building, collect bonuses and power-ups, and battle bosses. With any misstep, the monster get closer and snatch up an orphan. Once all the orphans are gone, the next mistake is your neck.

As mentioned, there are walls to smash. There are also fireballs to whack, and both of these actions are color-specific; one glove is red, one glove is blue, and the right glove must be used at the right moment. The whole thing has something of a rhythm component to it, and in some sense Guitar Hero is brought to mind. The music in the game is provided by the Okai Sisters (nee The Binges).

Escape from Age of Monsters will be released as a universal app towards the end of April, with price as yet undetermined.

Pocket Heroes

At last year’s E3, our own Eli took a look at F5 Games’ Pocket Heroes and said “whoa, now that’s really cool.” And he was a hardcore D&D player. After checking out the title, here eight months later, I can tell you things have only gotten better.

Pocket Heroes is basically “Quest With Friends,” a Words With Friends-style RPG. It’s multiplayer-only and allows up to four players to share an asynchronous adventure within a push-powered fantasy world laden with steampunk detailing. There are 20 different types of enemies (spiders, skeletons, ogres, etc.), six character classes (human paladin, dwarven mechie, elf rogue, and the like) with more to come in the future, and 10 different character levels. The whole thing has a pixellated, retro look to it (it takes place in the world of Altair, after all…) and is arranged something like the early Zelda titles.

Pocket Heroes is set to arrive at the end of April and is being discussed in our forums.

Patchwork Battles

Coming this summer from Patchwork Games is a rather unique RPG strategy title known as Patchwork Battles. The game puts you in control of “mimics,” which are on-screen characters made of a patchwork of various materials — cloth, tinfoil, and leather. You, the player, take the role of a young man that is part of a family of Animators, magicians able to breathe life into the inanimate mimics. After finding an ancient tome in his attic, he reads through the story of his forefathers and begins reenacting the battles of past ages with his mimics.

Within the game, there are eight classes of four characters, in all, rendered of different physical material. Each mimic consists of a heart or core, along with five surrounding body parts. Parts can be exchanged between characters to push their abilities in a certain direction. Each part can also be imbued with spells to enhance capabilities.

The version I saw demonstrated was obviously in the early stages of development, but what’s there so far is intriguing. Patchwork Battles will release as a universal iOS app, and eventually make its way to Android, Mac, and PC.

Mailmen

From Sandstorm Interactive comes the iPad-only stealth puzzle game Mailman [App Store], which challenges you to get the mail delivered on time in the face of adversity. And, in Mailmen, adversity comes in the form of neighborhoods full of vicious, roving dogs — the mailman’s bane.

The game sets three mailmen, Johnny, Charlie, and Dave — each with their own special abilities — to pick up mail, deliver it to various marked destinations, and get back to the base without being torn to shreds by the aforementioned dogs. Why are the dogs in this town so vicious? It’s to do with the enraged, psychotic ex-mailman Newman (get it?), who controls the dogs in a bid to make life near impossible for the poor letter carriers.

In order to succeed, teamwork must be used to combine the various abilities of the three mailmen in question, in order to overcome the carnivorous canines. Dogs can be tied up, deceived with fire-hydrant costumes, and left puzzled by a quick up-the-tree getaway. A sort of achievement system that’s really more of a “collectibles” arrangement rewards skillful play and a benevolent hint pigeon can be called upon to aid when things seems hopeless.

Mailmen launched a few days back as a universal app and is available at an introductory price of $0.99.

W.E.L.D.E.R.

Back in November, we reviewed word-creation puzzler W.E.L.D.E.R. [App Store] from Highline Games and were impressed. W.E.L.D.E.R. (Word Examination Laboratory for Dynamic Extraction and Reassessment) is a game that can perhaps most easily be described as Scrabble meets Tetris. The game features an 8×8 grid which is full of letter tiles. The idea is to form words with four or more letters, by moving letter tiles around in various ways. The “Basic Swap” involves tapping any two neighboring letters (horizontally, vertically or diagonally adjoining) so they swap positions. The words must be written from left-to-right or top-to-bottom, much like a crossword puzzle. There’s no time limits, although a certain number of words must be formed to complete each level. When you form a word, the involved letter tiles disappear and any letters above cascade down to fill the gap, including new, off-screen letters.

Britt Meyers of Highline demonstrated an update to the game that recently landed, adding Gigawatt tiles for super scoring, new optional in-app purchasable items, overall balancing tweaks, an Undo button (iPad only), and various other improvements.

W.E.L.D.E.R. has known the distinction of iPhone Game of the Week and was the top selling iPad paid game, near its release.

Dungeon Crawlers

Early this year, Drowning Monkey released their aptly titled dungeon crawler Dungeon Crawlers [App Store]. The game is a visually well-done strategy role playing game that’s filled with witty humor, such as numerous Ghostbusters references (the main characters are Roy, Aegon, and Payter…) and the like.

Your band roams through the game’s various chapters and levels, encountering characters of all sorts, doing turn-based combat, amassing fortune, and leveling up. We reviewed Dungeon Crawlers shortly after its release, and really liked it, but felt that things moved along a bit too slowly for many players. The turn-based battle sequences tend to drag on in a fashion that may lead to frustration.

Drowning Monkey has recently released a v1.1 update to the game that brings a new chapter with three new levels, making for 5 chapters and 15 levels in all. A major addition is an in-game store where gold found in the dungeons, gained in battle, or purchased through IAP can be used to buy weapons, armor, and power-ups. The store offers over 250 items, in all. Additionally, a new “Select Level” option has been added so that players can easily go back and re-play a level with ease.

A v1.2 update that will bring online leader boards and an Arena Mode is already in development.

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