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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Super Meat Boy creators Team Meat have been critics of iOS devices as well as the App Store itself for quite some time now. If you want to get up to speed, the best place to start would be the Team Meat Blog where Tommy Refenes goes over his GDC rant session, including the Zits n’ Giggles pricing drama, and more. Tommy also mentioned, “I have no intentions on doing anything for iPhone or iPad ever…I hate the platforms and I hate the stores.” Well, per a recent interview with IndieGames.com, Team Meat has changed their tune to “The next game will probably be iPhone. Probably.”

…And that’s all we know about it currently. I really just hope that whatever their next title happens to be is actually a game and not another App Store troll like Zits n’ Giggles. There’s some serious talent at work in Team Meat, and I’m really excited to see what they can do with iOS devices.

Oh, and if you haven’t yet, consider this your official reminder to download Super Meat Boy. It’s available on the Mac, PC, and the digital download area of home consoles. Here’s the trailer:

[via PocketGamer]

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When prompted via Twitter by Xperia Play fan site XperiaGamer when we might see Reckless Racing 2, the sequel to 2010’s excellent top-down arcade racer Reckless Racing [99¢/Lite/HD], the game’s developer Polarbit responded that we can expect the game to hit next week on February 2nd.

We really liked the original Reckless Racing in our review, and the sequel looks to up the ante with a fleshed-out single-player campaign, longer tracks, and improved visuals over the already gorgeous first game. You can catch a glimpse of Reckless Racing 2 in the all-to-brief teaser video above, and we’ll have more of the game when it launches next week.

[Via PocketGamer]

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Smash Cops [$2.99] from Hutch reminds me of Need For Speed: Hot Pursuit, as the main objective is to take bad guys off the road by catching up with them and then ramming their vehicles until they catch fire and roll in slow-motion. Sounds good, right? In Smash Cops the police pursuit is set in an urban neighborhood more like Grand Theft Auto, so there’s heaps of intersections and front lawns to skid around.

The most distinctive feature of Smash Cops are the controls, which have become a talking point in our discussion thread. The default touch controls involve placing one finger behind your police car and using it to “push” your vehicle along, like a toy car, with acceleration being automatic. This “push” mechanism has received mixed feedback, with some absolutely loving it and others loathing it and preferring the alternate virtual joystick option. Personally, I enjoyed the new push controls, but found the virtual joystick jerky and awkward for steering.

While driving, tapping the screen anywhere causes your police vehicle to lunge forward in a ramming maneuver. Smacking into the side or front of a fleeing vehicle is the most effective and can lead to the criminal’s car smashing, rolling and possibly catching fire. There’s no warnings, issuing tickets or police diplomacy, you just smash into the criminals as hard as possible each time your RAM meter has fully recharged.

Smash Cops has 22 missions to unlock, with each mission worth six stars. The missions include pursuits, emergency response calls and driving challenges. Pursuits involve racing alone or working with other cops to take down a suspect’s vehicle, like multiple sports cars, stolen security trucks or an ATV, before the criminals escape across the state line. However, the other cops are actually more of a hinderance as they drive badly, swerve around, get in your way and appear to purposely take you out. Basically they’re more frustrating than the bad guys and civilian drivers themselves.

Responding to emergency dispatch calls involves following a series of markers to the crime-scene within a time limit, speeding around the neighborhood while dodging traffic and bad guys. But the driving challenges proved hardest, like staying between the traffic cones – which is when you realize how poor your driving is. If only the goal was to knock down as many cones as possible! Completing a challenge mission earns you a “Super-Cop” vehicle power-up for one mission, to “Drive faster. Hit harder. Last longer”.

The game tries to sell you “Super Cop” upgrades as an in-app purchase, with IAP messages in the game over screen, upgrade notification screen, in the tips and on the main menu screen. And when you restart the game, a red “buy all” button appears. This felt a little pushy, however the IAP is not necessary as you can unlock everything without too much grinding. And when you do replay missions, it’s often with a new vehicle so it’s still fun.

The graphics are excellent, with the game presented as if being filmed from an overhead police chopper for a live television feed. Check out the trailer below, for a taste of the sweet graphics used for the vehicles and city setting. Smash Cops scores high marks for being visually appealing.

You start out as a new police cadet, in a regular police car, but by completing levels and earning stars you can unlock four other vehicles like the speedy ‘Interceptor’ or the aggressive ‘Brutus’. Vehicle upgrades make it easier to replay levels for more stars, plus because the mission routes don’t appear to change, you can learn the route and identify short-cuts for better ramming opportunities. This helps you gain promotions up the five ranks to “Captain.”

Smash Cops is a great-looking police-pursuit game, with an innovative “push” control system that’s a refreshing variation from regular car racing controls. Opinions on the push controls are polarized, but if they click with you they actually offer a simple and fun way to control the game. It’s nice to see developers using touch controls in new and innovative ways, especially when it involves car chases, 360 degree burn-outs, ramming, and slow motion vehicle smashes.

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Bullet hell experts Cave have today announced their next forthcoming iOS shooter Dodonpachi Blissful Death. Known as Dodonpachi Dai Ou Jou in Japan, it’s the fourth game in the Donpachi series and was followed up with Dodonpachi Dai Fukkatsu several years later, which we know as Dodonpachi Resurrection [$7.99/Lite] here on the US App Store.

There aren’t any details just yet for Dodonpachi Blissful Death, but based on Cave’s previous iOS releases I think it’s pretty safe to assume a few things. It will likely include an arcade mode that stays faithful to the original release as well as a special Smartphone mode that has been retooled for touch screens and given some additional features.

While most of Cave’s iOS releases follow this formula, they bucked that trend with their last release Bug Princess [$4.99/Lite], which was more or less just a direct port of the arcade version. This wasn’t exactly a bad thing, as the arcade game was (and is) amazingly fun, but I’ve grown to really like the special Smartphone modes that Cave puts so much thought into. Hopefully we’ll see this in Dodonpachi Blissful Death.

Beyond that, you can expect multiple ship types, weapon augmenters called Element Dolls, insane combo scoring, and hidden loops and bosses. So basically, tons of Cave shmup goodness. Really great news too, considering Cave has been contemplating focusing more on less hardcore, more social games. Glad to see them still bringing great titles to iOS.

As soon as we have more information on Dodonpachi Blissful Death’s arrival on the App Store, like pricing and release date, we’ll be sure to let you know. For now though, it’s probably safe to hit up our forums and start drooling.

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Video gaming icon and goat enthusiast Jeff Minter has just pushed out the latest offering from his development studio Llamasoft, called Caverns of Minos [$1.99], which has just gone live in the App Store. Caverns of Minos offers a similar brand of retro-inspired gameplay and psychedelic visuals, and, just in case you were worried, a hefty dose of minotaur rescuing.

Caverns of Minos is a mishmash of genres – part cave flyer similar to Lunar Lander, part rescue game sort of like Choplifter, and part vertical shmup like… well, about a million games since the dawn of time. Its biggest influence was an old Atari title called Caverns of Mars, which should be immediately apparent to those familiar with that game. Caverns of Minos boasts 4 different ships to pilot as well as 21 different caverns to explore and complete. You’re tasked with rescuing minotaurs as you explore each cavern looking for a special item which must then be delivered back to the mothership. Yep, this game has that great Jeff Minter craziness we all know and love.

Check out this developer gameplay video which shows Caverns of Minos being played on the iPad, and then about halfway through demonstrates its iCade compatibility:

Our resident retro expert and Minterologist Blake Patterson has already spent extensive time with Caverns of Minos, and the consensus seems to be that “the game is great.” We’ll be taking some time to write up a proper review beyond just those four words in the very near future, so definitely keep your eyes peeled for that. However, if you’re a fan of Llamasoft’s previous App Store offerings, or just a fan of retro-style arcade games in general, then it’s probably a pretty safe bet to just go ahead and pick up Caverns of Minos, and you can always head into our forums for even more on the game.

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Blogger and DIYer Paul Rickards wrote about an awesome discovery today: he figured out how to rig an NES controller, via USB, to his iPad. Even better, he made it work like an iCade does, which theoretically opens up the support of his homebrew controller to every iCade-enabled game out there. He hasn’t posted the code yet, but he did go over the story of how he made discovery and linked to some pretty important literature.

Like most of the world’s greatest inventions, this was the result of an accident. While playing in iMAME, Rickards accidentally pressed some keys on his homebrew Commodore 64 USB keyboard. The app then said it was enabling iCade mode. Cue the “A-ha!” moment.

From here, Rickards manufactured another USB keyboard utilizing Arduino, but instead of using a keyboard matrix, he used his NES gamepad. A couple of legos for casing and two jacks later, he had a working NES controller for his iPad. Sweet!

We’ve asked Rickards if he intends to do more controllers in the future because this is pretty exciting news. Think about it: someday, you might finally be able to play an iPad game with the Duke, the ultimate gaming controller.

Well … that is, if every game plays nice. Atari Greatest Hits [Free] collection and iMAME are the only games he’s tested so far.

[via biosrhythm]

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

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

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

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

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

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

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

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

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

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

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

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

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Here at year’s end, we recently posted our Best iOS Games: 2011 Buyer’s Guide to give the millions of new iOS users that were created yesterday a place to get started. Among the 5-star best on the list is the (universal) iOS port of Eric Chahi’s superb 1991 cinematic platform adventure Another World [App Store] (a.k.a. Out of this World). In our early review of the iOS version posted back in September, we called Another World an absolute App Store must have. Given our fondness for this title, it’s with no little interest that we recently discovered and digested Fabien Sanglard’s fascinating blog post “‘Another World’ Code Review.”

Within, Sanglard details the results of two weeks spent reading and reverse engineering the source code to Another World. He starts his post off with a brief introduction.

I was amazed to discover an elegant system based on a virtual machine interpreting bytecode in realtime and generating fullscreen vectorial cinematic in order to produce one of the best game of all time.

All this shipping on a 1.44MB floppy disk and running within 600KB of RAM: Not bad for 1991 ! As usual I cleaned up my notes, it may save a few hours to someone.

In explaining the internal structure of the system, Sanglard draws upon original author Eric Chahi’s own descriptions of how his virtual machine is structured, to augment his own analysis.

Sanglard’s post delves into the extremely technical, but does offer several illuminating videos that demonstrate what is happening as the game executes. It’s a look under the hood that helps explain how the title has been ported to so many different platforms over the years, including iOS, with relative ease.

I would encourage any readers intrigued by this analysis to have a look at Eric Chahi’s GDC 2011 presentation Classic Game Postmortem: Another World / Out of this World, hosted at the GDC Vault, as well as our own interview with Chahi, conducted just prior to the iOS version’s release. It’s also worth nothing that Another World isn’t Fabien Sanglard’s first in-depth code review; he has also gone spelunking within Quake 2, DOOM (both for DOS and iOS), Wolfiphone, and Quake, all of which are linked from his home page. Rather strong work.

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