TouchArcade.ru

Zombie games are still a big deal and it continues to blow my mind that this is the case. What hasn’t been done in a zombie game? Think about it. We’ve shot zombies and we’ve cut zombies. We’ve set zombies on fire. We’ve run over zombies and cured zombies and beat zombies with baseball bats. We’ve even participated as part of the horde in games like Valve’s Left 4 Dead and Left 4 Dead 2. Over the last few years, there’s not much we haven’t done to or with zombies across multiple genres, including puzzle and even tower defense. This thought has crossed my mind several times: what can a brand new zombie game even offer outside of a slight twist on what we’ve done before?

And then Brainsss [$2.99] shambles along and shatters this idea in my head that zombie games are lame because there’s just nothing left to do in them that we haven’t done trillions of times in a billion different games. Brainsss offers something new in the space, and its core action is rich enough for me to give it a solid recommendation, despite cooling on this zombie … craze we’re still in.

Brainsss is a top-down strategy game where you control a horde of zombies on quests to assimilate people into your horde. In order to do this, you’ll need to treat the ever-growing horde like a fleet, splitting it up into pieces so you can trap victims spread across the game’s myriad of labyrinthine levels, which are often brimming with helpless survivors who are ready to bolt the second they see snarling beasts approaching. As you convert more people, you’ll be able to meaningfully split your horde into even more groups.

There are a few change of pace design elements that compliment the strategy. The “RAGE” meter in particular is hip. As you do damage, you’ll be able to enter into a berserk mode that ramps up your horde’s speed and intensity. On the other hand, the mission design is sharp, too. In one level, you might be stopping survivors from feeling to a helicopter. In others, you’re chomping on scientists who were incredibly fleet of foot before running into your horde. Another neat twist: Brainnsss also rocks NPCs that can harm your horde, like police officers and backyard pugilists that you have to disarm in specific ways.

Brainsss biggest problem is probably its habit of skewing casual. You’re not going to feel like you’re the smartest undead general ever while trapping dudes. The controls can be a bit spotty as well. To split your horde, you need to “paint” over part of it, and then point to a new location in the level. Grabbing a specific amount can be a hassle if your horde is bunched tightly. Otherwise, the point-and-paint controls are bliss: this is a game that feels like and operates like a game designed for iPad and iPhone.

If you’re still into zombie games, or just need to check another thing you’ve done with zombies off of your mental checklist, feel free to check this out. Brainnsss strategy and action feel pretty unique in a space that’s been done to undeath, and they probably really pop outside of this vacuum. I can dig it, at least.

TouchArcade Rating:

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The original Defender Chronicles [ $1.99 ] launched in the summer of 2009 and offered a unique take on tower defense with its vertically designed levels and inclusion of RPG elements. We thought it was great in our review and we even picked it as a top strategy game of 2009. Since that time Defender Chronicles developer Gimka has been hard at work on a sequel, and at long last the game is nearly upon us.

Gimka has recently posted some information about Defender Chronicles 2 in our forums, and based on some comments there from beta testers the sequel is even better than the original. It’s set to include 4 new heroes, 32 new abilities, 4 factions and 57 different units. There will also be a whole slew of new items and equipment to play around with, and the maps in Defender Chronicles 2 will be bigger and longer than in the previous game. Finally, it will be a Universal app with Retina Display support.

Click through the following screens provided by Gimka that introduce some of the characters in the game.

Unfortunately, one thing we don’t know about Defender Chronicles 2 just yet is a specific release date, but we’ve been assured that it’s coming relatively soon. Next week some additional information as well as a new trailer will be released, and we’ll be looking to get our hands on the game early to check it out. Keep your eyes peeled for more on Defender Chronicles 2 in the very near future.

[source]

It was in July of last year that SNK Playmore brought their classic fighting game franchise to iOS with The King of Fighters-i [ $4.99 ], and it was the only game that could really stand up to the then current standard for touch screen fighters Street Fighter IV [ $4.99 ], and in many ways it even exceeded it. Which series you prefer is largely a personal preference thing, but I always felt that The King of Fighters-i edged out Street Fighter IV in overall quality and playability.

The problem was that by the time The King of Fighters-i hit the App Store, the superior sequel to Street Fighter IV had already been out for a month. It was called Street Fighter IV Volt [ $6.99 ] and it came packing everything that made the original game so great plus additional characters, new features, and most importantly online multiplayer. The online matchmaking worked surprisingly well in Volt, and despite The King of Fighters-i being absolutely fantastic it was still just a single player- or Bluetooth multiplayer-only game, and online battling was the new hotness.

Now nearly a year later SNK Playmore is taking a page out of the Volt handbook with the just-released The King of Fighters-i 2012 [ $6.99 ]. This latest entry in the iOS KOF series contains everything from the first game that was great in addition to – much like the release of Volt – new characters, new features, and online WiFi multiplayer. Since basically everything from the first game is included in the 2012 edition, you might want to read our original review of KOF-i as well as the details of its extensive update to get the nitty gritty on the game.

As for what’s improved in The King of Fighters-i 2012, for starters the roster has been significantly expanded from 20 playable characters to 32. Art of Fighting, Psycho Soldier, Kim and Ikari are the 4 new teams of 3 that make up the new additions. Also, there are 2 more characters – Nests-style Kyo and Classic Iori – available as DLC for $1.99 each. These are alternate versions of existing characters, and they’re certainly entirely optional purchases, but it will be interesting to see if more characters end up coming down the road and if they’ll be paid or as a part of free updates.

The single player part of the game includes everything that was in last year’s version: an arcade ladder in 3v3 team battles or 1v1 flavors, an endless survival mode, and an excellent training mode. The lengthy Challenge mode from the original game returns, with some new challenges thrown in for good measure. A brand new single player addition to KOF-i 2012 is a Time Attack mode. Here you must battle through 10 straight opponents as quickly as possible, with a Game Center leaderboard tracking your best overall time.

Time Attack is a nice addition to an already great single player offering in The King of Fighters-i 2012, but that’s not why we’re here. We came for the multiplayer. Naturally, the Bluetooth local multiplayer mode from the original game made its way into 2012, and remains a fine option for squaring off against a buddy in your same vicinity. However, the real draw in the new online WiFi multiplayer mode.

The online portion for KOF-i 2012 works about how you might expect if you’re familiar with Volt – that is, it’s pretty good but not great. Naturally there is a bit of lag at times, but nothing too earth-shattering. Finding a match can also take a long time but I imagine that will clear up a lot as more people get the game. When talking about real-time multiplayer on a mobile device like the iPhone, it’s hard to expect perfection. For what it is the online matchmaking in KOF-i 2012 is really fun for people who get tired of fighting against the CPU all the time. With the right expectations, it really is a killer feature of the new game.

So, with a large portion of The King of Fighters-i 2012 being nearly identical to last year’s release, whether or not you should buy this new edition will hinge on how important new characters and online play is to you. With a whopping 12 new fighters added to the roster, I think it’s worth upgrading just for that, and people in our forums are totally digging the new version too. Along with a decent online offering and KOF-i 12 is likely a worthy upgrade for fans of iOS fighters. One thing is for sure though, Street Fighter IV Volt now has some serious competition, and it looks like the future is pretty bright for fighting games on the App Store.

TouchArcade Rating:

[source]

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

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

I’d Buy That For A Dollar

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

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

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

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

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

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

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

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

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

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

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

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

End Of The Day

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

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

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

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

[source]

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

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

I’d Buy That For A Dollar

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

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

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

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

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

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

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

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

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

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

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

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

End Of The Day

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

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

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

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

[source]

Ah. Werewolves. One of the three components in the holy Hollywood trinity of monsters. They ordinarily come in two flavors: loud, ravenous and incapable of anything but wanton violence… or dark-eyed eye candy. The transmogrification-happy lupine of MacGuffin’s Curse [$3.99 / Free ], however, is neither of those.

Indie development studio Brawsome has MacGuffin’s Curse billed as a ‘comedy puzzle-adventure’, an appropriate description if there ever was one. Operating from a top-down perspective, MacGuffin’s Curse is rife with all the switch-flipping, block-moving, barrier-removing goodness that is standard of the genre and the silliness of a Terry Pratchett novel. Here, you play as the charming Lucas MacGuffin, a red-haired thief who dwells in a considerable destitution with his young child and elderly mother. He has something to say about pretty much anything and everyone, a peculiarity that may either have you rolling your eyes within the first ten minutes or chuckling away in appreciation. Take your pick. Either is applicable.

The game opens with Lucas on his latest heist. In order to pay the rent, you’re going to have to retrieve a certain amulet from the extremely lightly-guarded depths of the local museum. As you might have guessed already, one thing leads to another and you eventually find yourself bound to the cursed jewelry and gifted with the ability to transform into a powerful, red-maned werewolf whenever you choose to. No, I don’t know how this really is a curse either.

This, of course, is one of the game’s primary gimmicks. Each of your two forms has a different set of abilities and limitations. As a human, you’re capable of doing delicate things like operating doors and squeezing through windows. As a werewolf, you’ll be able to manhandle safes, blocks, enormous battery packs and dig for buried treasure. Most, if not all, of the puzzles will require you to make use of your dual set of talents.

Speaking of the puzzles, let me reassure those who have played through the lite version of one thing: they do get harder. While the game’s collection of mind-benders don’t really deviate from the standard ‘push this block here, activate that switch there’ formula, there is enough variety in the mix to keep you playing (even if you have to do it in chunks). I’m especially fond of one of the earlier ‘boss’ battles. Instead of doing the standard werewolf act where you charge headlong into your enemies and rip their hearts out, MacGuffin’s Curse will have you maneuvering from room to room as you attempt to close the distance by circumnavigating your enemy’s attempt to stall you.

Though best played by those who enjoy the idea of a combat-free Zelda, MacGuffin’s Curse is still something I would recommend to those who don’t. Well, if you enjoy the whole comedic narrative thing, at any rate. It’s true that MacGuffin’s Curse tries just a little too hard (it doesn’t so much nudge you in the ribs as it does grind them into a paste with its hypothetical elbow) but it does have heart. You see it in the details – in the way the comments change depending on the kind of skin you’re wearing, in the over-the-top characters, in how the game lets you slowly build up a half-decent apartment for Lucas’s family and the details of the setting. There’s a fair amount of side quests for you to indulge in as well, something that helps flesh out the Neil Gaiman’s Neverwhere-esque undertones of the world that Brawsome constructed.

The only thing that I didn’t really like about McGuffin’s Curse is, perhaps, the controls. In order to move, you touch a finger on the screen and drag it in the direction you want Lucas to go. In order to push or pull blocks, you’ll have to use two fingers instead. Now, there’s nothing wrong with this and, for the most part, it works out decently well. Nonetheless, because of positioning, you sometimes find your fingertips blocking out vision, a phenomenon that makes me pine a little for a virtual d-pad.

Is MacGuffin’s Curse worth purchasing? Yes. Definitely. It may not extract the ‘Oh, god! This is ingenious!’ sort of reaction with its puzzles, but the relentless humor, intriguing setting, adequately-designed puzzles and faint Tim Burton vibe will make it a delicious addition to anyone’s collection of crate-puzzles.

TouchArcade Rating:

[source]

A couple of weeks back we told you about Galcon [$1.99 / Free ] creator Phil Hassey’s latest project titled Dynamite Jack. You play as a captured Space Marine who is forced to work in a dangerous place known as Anathema Mines. Of course, being a bad ass you decide that working for “the man” against your will just isn’t for you, so you set out to escape from the depths of the mine.

In a recent blog post, Phil noted that a fellow developer suggested that the deaths in Dynamite Jack lacked a certain impact. So drawing inspiration from the awesome death sequences for Roget Wilco from the classic Space Quest series, Dynamite Jack now features plenty of awesome ways to die, as you can see in this new video.

Since death comes often during the course of playing Dynamite Jack, there will be an option to turn off the death animations if they grow tiresome, but they’ll be on by default. Part of the leaderboard tracking will include how many times you bite the dust as well. Dynamite Jack is scheduled for release on Mac and PC May 10th, and will be coming to the iPad within a couple of months after, hopefully around July 1st if all goes according to plan.

[source]

A couple of months back, Tiger Style Games released Waking Mars [ $2.99 ], the follow-up to our 2009 Game of the Year Spider: The Secret of Bryce Manor [$0.99 / $0.99 (HD)], and we thought it was an incredibly unique and enjoyable experience in our review. About a month ago, Waking Mars was updated for the new iPad’s Retina Display, and we noted that the visual improvement really had a big impact on a game that is so much about creating a moody atmosphere.

But wow, as good as we thought the game looked after that last update it turned out to be just a partial Retina update and just a taste of what was to come. Today Tiger Style has released another new update which adds full Retina Display support for Waking Mars in addition to a set of new jetpack types for your character to zip around Martian caves with. Check out this screen from the new iPad, which Tiger Style has cropped in close in order to show off how much detail you can see.

In a blog post detailing this latest update, which is called the May Day Update by the way, Tiger Style notes that the iPad’s beefy hardware generates the 3.1 million onscreen pixels at 60 frames per second, and that all of their artwork had been drawn at an incredibly large scale to begin with so adding support for the new iPad resolution wasn’t terribly difficult. Screens don’t really do it justice though, you have to see Waking Mars running on a new iPad in person to fully appreciate just how gorgeous it is.

In addition to the update for Waking Mars, Tiger Style has also updated the iPad version of Spider with partial Retina Display support. Only select assets have been upgraded, but Spider is still one of the most beautiful games around. Also, all 3 of Tiger Style’s games are currently on sale for a limited time. Waking Mars is down to $2.99 from $4.99 in its first ever sale, and both the iPhone and iPad versions of Spider are just 99¢ each. Finally, you can grab the excellent soundtrack to Waking Mars for just a buck on its Bandcamp page, down from $5.

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This just in: people like Angry Birds. In a new blog post on developer Rovio’s site, the studio announces that its latest Angry Birds jam, Angry Birds Space [$.99 / HD], has hit 50 million downloads within 35 days. Rovio says that this is the “fastest growing mobile game yet,” and it is shattering all of the studio’s previous records. No-one could have predicted this. No-one.

In all seriousness, though, Space is easily the best entry in the franchise so far, so we’re guessing the download numbers are only going to get crazier as the game receives more support down the line. And speaking of that actually, Rovio teased something interesting in the post: a new “bigger” thing is on the way.

[source]