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

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

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

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

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

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

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

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 .

Armed with a built-in audience, a new publishing deal with Konami, and a multi-tiered business model, Ash II: Shadows [$2.99 Silver Edition / $4.99 Gold Edition] should have been a sure thing for SRRN Games. The UI is cleaner, the sprites more detailed, and random encounters replaced with on-screen enemies – Konami cash put to good use. I have the lasting impression, though, that SRRN's business concerns have impacted – if  not downright dictated – some of its design choices.

The first – and so far, only – chunk of Shadows lasts about five hours, during which time players are exposed to enough world-building and character introductions to feel the full weight of the cliffhanger that introduces the inevitable second chapter. Creating a coherent narrative arc in a relatively confined – by JRPG standards – space means that Shadows employs rather brisk pacing, both narrative and systematic.

I haven't played the original Ash [99¢ / Lite], but I enjoy feeling like a newcomer to the world, and Shadows does a good job of dripfeeding players relevant information without getting too bogged down in exposition. The interpersonal relationships are full of sharp, punchy dialogue that achieves a great amount of characterization in very little time.

Indeed, Shadows puts a premium on action – Damien, a disgraced Aghausian rebel, and his ragtag band are constantly questing and exploring, and they spend very little time actually discussing their options or thinking rationally. It's nice to avoid hearing them labor every detail of exploring what they call "a magical fairy continent," but Shadows can feel ill-plotted and haphazard as a result of its breakneck pace.

The upside is that, by constantly offering something new to see and learn, Shadows' narrative elements can keep players hooked where its systems fall short. Like most things in Ash, the systems are relatively basic and cribbed from larger, more-established franchises. The basic components of the game are a paper-rock-scissors elemental system, a weapon proficiency meter, a queue that maps out the order of the turn-based combat, and skills which are gained by leveling up.

At its best, Shadows is a game about balancing power for precision. Players balance equipping their characters with weapons that carry a high proficiency with ones that come with elemental bonuses. Combat is an exercise in trying to manipulate the queue to your advantage, in trying to get as many turns as possible without letting the enemy in line – it's just too bad that all the best attacks come with heavy queue penalties.

These are basic RPG conceits, but there's potential here – they're common because they work really well. The problem, quite frankly, is that the game is too easy. This is ostensibly in response to the first game's difficulty, but because each battle ends so quickly, I never really have to make any tough choices or fully take advantage of the mechanics in place. When Shadows lets me one-shot my way through the first five hours, it leaves an entire combat system unused and unexplored. (There's also IAP to, god forbid, buy XP-boosting equipment.)

The larger point here is that Shadows' story works well with the game's episodic structure and the gameplay doesn't. As a five-hour mirco-RPG, Shadows provides a satisfying narrative arc. It's ok to take it slow if your game lasts 80 hours, but this one only lasts five –the systems feel underdeveloped and stunted. There's a disconnect in Damien's experience as a player-character and my experience as the man behind the scenes. On the bright side, though – there's no grinding necessary, which lets me get back to the story all the quicker, and there's nothing stopping SRRN from re-balancing the game before Chapter 2 is released.

That's the thing: there are still five more chapters to play. Ash II: Shadows comes in two packages, gold and silver. If you buy the gold version, all future content will be free. Silver buyers get the second chapter free and a discount on extra content.  There's also a "bronze" version in the works – the first chapter will be free, but subsequent content will have to be purchased. Since the rest of the game hasn't been priced yet, it's impossible to know how the silver and bronze packages will shake out.

This is a quandary: I like the story and want to see more of it, but I want the systems to get more engaging before plopping out more cash, especially because it's so easy to see that the fundamentals are already in place. Ash II: Shadows is an improved game over the original in many ways, but until some tweaks are made and we see how the rest of the episodes shake out it's hard to gauge if it's ultimately an overall better experience.

Caylus

It's becoming a bit of a running joke that Big Daddy's Creations puts out great board game ports with shoddy (or no) multiplayer, and Caylus is no exception. You can't play over Game Center, you can't invite friends, and trying to play asynchronously will extend the game length to near-infinite. But if you're down with fighting AI or playing locally against friends, this is a must-buy for any board game fan.

Here's how a typical game of Caylus goes: there is a castle, there are buildings, there is a road. Each players has six workers, and takes turns each round placing them in the various buildings. The provost and bailiff (essentially progress markers) make their way down the road at the end of each round and each worker gets his due. Some buildings provide resources, others provide gold or change the turn order, and some let you trade your resources around.

The ultimate goal is to build up more favor from France's King Philip the Fair than any of your competition. The king is generous with favor in a 'you scratch my back, I'll scratch yours' sort of way. If you use your resources to help build up his castle, he'll bestow favor upon you - especially if you're the most productive builder of the round. If you collect resources, you can turn them in at the end of the game for more favor. Building monuments, shops and landmarks like churches will make you very popular, and sometimes you can ship off extra money or resources to earn a little extra mid-game. Though I wouldn't say Caylus is incredibly strategically deep, these methods of building up points give players a few different tactics to use to defeat their foes.

Going deeper, there are a number of rules and strategies that can affect your success in a big way. For example, each worker you place costs you money. Generally, the further along the road you place a worker, the better the reward. If the provost hasn't passed the building he's in, though, it won't be counted in the round's final tally. You can pay the provost to move him back toward the castle or further along the road - but so can everyone else. So sending a worker to a far out shop can be a massive risk, especially if you've already earmarked unearned resources to help build the castle at the round's end.

There are five different resources to manage and a huge list of buildings to erect. There are also a slew of conditional rules to keep track of. So here's where I applaud Big Daddy's Creations the most: Caylus's tutorial is outstanding. With the tutorial messages on through my first playthrough, I figured out maybe three quarters of the game. After one more match to polish up on the details I understood nearly everything. I'm still working on strategy, but such a thorough and straightforward introduction is pretty impressive for a game with Caylus's complexity.

I've run into one or two cases that weren't explained by anything in the rules, and it's possible they were bugs. A couple crash bugs have been found, as has a miscommunication with Apple about translations (the game is only available in English but lists several other languages in its App Store listing). Big Daddy's Creations has covered their plans to solve these problems in a blog post already, so I'm confident any other issues that crop up should be handled in a timely fashion.

Otherwise, the big sticking point is multiplayer. Caylus is universal, so you can play with friends on an iPad or pass-and-play on smaller devices. But online play should be a big part of the game, and playing with random unranked strangers that you can't chat with takes a lot of the fun out of it. Also, you really have to poke around the interface to quit a game once it's done, or to leave one for another part way. The interface is mostly extremely usable, but that's an unintuitive task. And there's a serious lack of stat tracking.

But for pure entertainment dollar by dollar, I'll take Caylus over most board games in the App Store. It's an obscenely good game, which makes its flaws all the more frustrating. If you also want to gripe about that, there's support to be found in our discussion thread. Me? I've said my piece, so now I can go back to playing. It will take more than awkward multiplayer to keep me from having this much fun.

Earlier this October, we brought you a first-word because it looked so darn impressive. Functionally, the game does more than look pretty -- it offers players "a hand-picked selection" of guns, has a ton of carnage, customization, and control schemes, and even gives current Combat Arms Online players free weapons in its combat shop with the redemption of a bonus code. Gotta love tie-ins.

Not familiar with Ascension? We got your back. Earlier this summer, we reviewed the game and, obviously, explored its fundamentals. Here's an excerpt:

The actual game of Ascension is a somewhat refreshing spin on fantasy-based card games in that instead of building a specific deck that you use in battles, you're building your deck on the fly from game to game. Players start the game with identical basic decks of ten cards consisting of two militia cards which provide the "power" resource and eight apprentice cards which provide the "rune" resource. Using power and runes you're able to interact with a common pool of cards to either acquire new cards for your deck or defeat monster cards. Most actions you do in the game award different amounts of victory points, and at the end of the game, the player with the most victory points wins.

You gotta love it when a sharp game sees the injection of a bunch of new content -- and for a fair price. This expansion is $2.99, so grab it when you can.

Those types of puzzles make their appearances here, but so does a lot of solid gameplay. Kaptain Brawe opens up with an intro to the title character, a big goofy dude who somehow managed to get hired as a space officer despite the fact he's clearly not the brightest bulb in the room. Already, we have a recipe for some laughs -- that's what adventure game fans are used to. You'll start out solo, but eventually meet new characters like Row Boat (a robot of few words) and Luna (a bit of a mystery all around) who you can swap between at different points in the game, offering a bit of new perspective.

What starts out as a basic exploration of a ship on a deserted island segways into Brawe stumbling headfirst into a complex conspiracy that will send him across the galaxy searching for answers. It's a proper adventure game story, and it never failed to entertain. The humor of the game is pretty spot-on, although I felt it fell a little short from time to time (but in that cheesy way that all adventure games seem to touch on at one time or another.)

Speaking of genre tropes, one thing that Kaptain Brawe also has nailed when it comes to adventure game homage is the difficulty level of the puzzle solving. While there are options here (Casual and Hardcore), some of the solutions to puzzles are so downright ridiculous that it reminded me of playing Myst back in the day. A hint system proves helpful if you get really stuck (Lord knows we never had THOSE back in the day), but there are times when it won't reveal missing something very small and you will just kind of be sitting there without a clue on how to proceed. In other words, get ready touse your noggin in the most creative of ways.

The interface and controls are pretty basic -- an icon rests in each corner of the screen, and all movement is produced by the touch of a fingertip. It makes the game easy to get lost in, but the visuals also take a hand in that, and they do a grand job. The game has a sweeping cartoon feel, but the style is very distinct and memorable. 2D backgrounds and 3D characters work together nicely, and there's a lot of locations to explore, all of them rendered in loving detail. I personally loved the world of Kaptain Brawe, as it offered a tone and setting that you can mostly only find in Telltale Games titles these days.

While Kaptain Brawe may not be the perfect intro to the genre due to its difficulty levels, it does offer an excellent story and clever writing that ought to draw longtime fans of adventure games into its clutches quickly. There's no denying the retro appeal, but overall this is a solid title even by today's standards. If you like the taste offered by the initial free download, you can unlock the full game via IAP, which will set you back $4.99 on iPhone and $6.99 on iPad. If you ever passed time on a game like Leisure Suit Larry or Space Quest, you will adore Kaptain Brawe and all of his fumbling attempts at saving the galaxy.

Mad Dog McCree has not aged well, and I'm not so sure it was ever a very good game to begin with. With a certain part of the video game spectrum always striving for the most realistic visuals possible, and the introduction of disc-based storage in gaming which started becoming prevalent in the late 80s and early 90s, mankind embarked on one of its most hideous inventions of all time – full-motion video games. What could be more real than actual real-life video footage?! It was THE FUTURE.

Unfortunately, the biggest drawback to full-motion video is that it's extremely linear. Rather than an artificial world which you built from the ground up and could manipulate in an infinite amount of ways, you had to plan ahead for what could happen and then produce those results on film, limiting the level of variety in the game. As such, games like Mad Dog McCree allowed very little player interaction or variation.

My 9 year old me didn't care about these things, though. All I knew is that I could point a big plastic revolver at cowboy outlaws on a massive screen and they would react to me shooting them. Crazy stuff. That also brings up one major point of contention with the iOS version of Mad Dog McCree – there's no light gun. This sort of takes away a huge part of the appeal of a game like this, however, I actually found the tap-to-shoot mechanic on the touch screen to work just fine and I didn't end up feeling like I was missing out by not having a gun peripheral.

As for how well the rest of the game translates, the port itself is very good. The video sequences look good enough, though obviously lightyears away from the high definition visuals we're all accustomed to nowadays. Aside from the natural old-school look of a 20+ year old title, the menus and interface in the iOS version are really quite ugly. They look especially jagged and blurry on Retina Display devices, and could use a high resolution upgrade. It's a pretty minor thing, but it sticks out.

Gameplay comes in an original Arcade mode and a new, easier Casual mode. Truthfully, both of them are stupid hard. Mad Dog McCree requires lightning quick reaction times and good memorization of how the levels play out in order to be successful. Enemies can be hard to see in the environment, so tremendous amounts of trial-and-error are necessary to learn the ins and outs of each level. In the iOS version, it's easy to skip cutscenes and retry sections quickly, and the ability to quit and continue where you left off makes actually completing the game a more realistic endeavor (not to mention, at $1 a pop in the arcades if memory serves me correctly, a whole lot cheaper).

Mad Dog McCree is the product of a FMV era that was light on gameplay and heavy on the "omg look the graphics are actual people!", but it's definitely earned its spot in gaming history. The iOS port is really pretty good, and whether or not you should pick it up will ultimately come down to if you actually enjoyed the original game or if you just remember it through the rose-colored glasses of a 9 year old, like me. Strangely, as shallow and frustrating as the game is, I find myself going back to it over and over again. For some reason I really want to see it through, most likely because I never would have been able to as a kid in the arcade.

I don't think it's as fun as other iOS laserdisc ports like Road Blaster [$4.99/HD] and Cobra Command [$6.99], but Mad Dog McCree does a solid job at translating the gunslinging action of the arcade original to the touchscreen of iOS. If you're a fan of the source material, then you should be pretty satisfied with this port.

There's six different mountains to conquer, including 36 different multiple-branching down-hill runs. The first slope is 'Glacier' which has six runs and you can unlock the other peaks - like Mt. Payne and Angel Peak - by winning medal points (3 points for gold, 2 for silver or 1 point for bronze). You can choose which valley to enter and each route contains different gates, with blue for time bonuses and red for a score multiplier, so it's worth exploring.

After choosing to be male or female, you start with $1000 and can earn money in the game, which is handy for buying tricks, such as the ability to tilt the device for air-control. There's a decent assortment of tricks available, such as flips, rolls and tail grabs. Doing tricks earns time bonuses and points as you fly down the mountain towards the finish.

When you leave the ground, six new buttons conveniently appear on-screen for performing tricks.  You can press one button for a simple trick, two buttons for a trickier trick or hold and slide your finger to extend the move, for the trickiest of tricks. Two landing buttons appear when you're about to hit the snow and these can be pressed to level-out the board for a safe landing, or to stop a spin, roll or flip.  These trick buttons only appear when needed and then disappear to keep the screen uncluttered, so you have a clear view of the terrain.

The main navigational controls are rather unusual. A two-thumbed split steering-wheel is used to turn left or right. For example, to turn left sharply:  The left thumb moves down, while the right right thumb moves up simultaneously like using a virtual steering wheel of sorts. This control scheme wasn't immediately intuitive to me, however, I persevered and after five minutes I was carving the snow quite happily. So, potentially be prepared for a little practice time at the start.

Some highlights of the game include finding massive jumps on the side of the course or jumping off a cliff, onto a small snow-coated plateau, then immediately off a ramp for some big air. There's also caves and a deep rocky ravine to jump across, with a turning landing required on the other side. These "hell yeah" moments really add to the experience and make this game a lot of fun.

You can spend your game money on a variety of snowboards, for improved performance. There's six decks, ranging from the entry-level "basix" up to the "pro board". Each board has different attributes for air-time, air-control, acrobatics, speed and toughness. Plus, there's over 20 skins to buy: Perhaps you want a zombie ape on your deck, a tiger shark or a stylish green cyclops.

Your runs are scored based on tricks performed and time taken. SummitX connects to the Com2uS gameHub, but pleasingly, it also supports Game Center for leader-boards and 15 achievements and games are automatically saved to iCloud. The music is great, featuring over 20 licensed rock soundtracks, which play in a slow-motion effect when you're aerial. Alternatively, you can pump your own iTunes playlist. There are in-app purchases (IAP) available, to unlock features, however so far it hasn't felt intrusive or necessary which is good as Com2uS have been criticized for heavy-handed IAP in the past.

SummitX Snowboarding only has one game mode and I haven't seen any other boarders to race, however, this is a cool looking and sounding snowboarding game, with peaks, runs, boards, skins and tricks to unlock, plus a variety of routes down each run, which ensures there's plenty of replay value. Unfortunately, after downloading their update v1.01 and installing it on both devices, I lost my medal points and progress, which has dented my otherwise positive impression. If you're downloading the game for the first time, this obviously won't be an issue for you.

Rivals of Catan is a card game adaptation of Catan proper built for two players. In brief, it's all about expanding principalities and scoring points for various things in a fairly rapid-fire fashion -- players roll dice for bonuses and draw cards each round, some of which activate a special event or allow general improvements. You can read more about it here, if this is tickling you in any special way.

And by the way, that Cities & Knights expansion is still coming to Catan. A beta test is planned to start at the beginning of the year, and DSM hopes to release at some point around February or even March. Cross-platform multiplayer is also still scheduled to hit at some point after this update, FYI.

In between two of those releases, CAVE decided to branch out into something different, and brought out an iOS exclusive game called Mushihimesama Bug Panic. It was a departure from their typical offerings as it was a dual-stick action game, but it retained the frantic nature of their bullet hell games extremely well and was equally adored amongst critics and fans.

Now we have CAVE’s latest release, which kind of brings things full circle. Mushihimesama is a vertical shmup released in Japanese arcades back in 2004. It’s seen a sequel with Mushihimesama Futari, and a spinoff title called Puzzle! Mushihimetama. Bug Panic on iOS is actually based in the Mushihimesama universe, featuring the same female main character and insect-based enemies. Now the original Mushihimesama title is available on the App Store as Bug Princess [$4.99].

Typically with CAVE’s iOS ports, there will be the full original arcade version of the game along with an enhanced Smartphone Mode which contains additional things like scoring tweaks, different enemies or ships, and alternate ways to play the game. Bug Princess bucks this trend and doesn’t have a reworked Smartphone Mode, but the original game had three different modes anyway so there are still different ways to play through the game. The three modes in Bug Princess are Original, Maniac, and Ultra. Sadly, the special Arranged mode from the PlayStation 2 port didn’t make it to the iOS version.

Gameplay across each of the 3 modes is similar. You can pick from 3 different ships to play as, each offering a different firing style. One sends a concentrated spray of bullets in a straight stream, one fires less powerful shots but in an incredibly wide stream, and the third ship fires both straight ahead and diagonally at the same time giving a balance between shot coverage and power. You’ll play through 5 stages absolutely filled to the brim with enemies and bullets flying everywhere, along with crazy mid and end of level boss fights. In every mode, you can choose to play straight through the 5 stages in a single run, or choose each level individually to play through score attack style.

Along the way, you’ll be able to collect upgrades for your main firepower, increasing the strength and quantity of your shots. There are bombs which will clear a huge area of the screen, and you can also pick up a little squad of support ships to fly along with you and add some firepower. You can choose two different formations for this support squad, a wide spread or concentrated in a narrow spray.

Scoring in Original mode is fairly straightforward. Shoot every enemy you see, collect the gems they leave behind, and have them tallied up at the end of a level to determine final score. Maniac and Ultra modes, however, add a wrinkle to this formula. In those modes a counter in the upper corner increases with every shot that connects with an enemy, and decreases when no enemies are being shot. Whenever you kill an enemy, whatever the number that the counter is at is added to your score as a bonus. So if you’re at the 2000 mark on your counter, ever enemy you kill gives you an additional 2000 points, each.

Needless to say, this tiny facet can drastically change how you approach the game, and adds lots of strategy to getting high scores. If you’re mindful of the need to always be shooting something, you can get that counter up into the tens of thousands or more, especially with some of the larger bullet sponge enemies and bosses. This added score complexity makes Maniac and Ultra the more interesting modes to play, but they are also significantly more difficult than Original mode.

Speaking of difficulty, you can choose from 4 of them in Bug Princess. It’s a trip to see just how different they are from each other too, in terms of the amount of bullets onscreen and the complexity of bullet patterns. Novice is an easy trip for any casual gamer who merely wants to be able to play through the game without much fuss. But crank the difficulty up to Hell, which is basically exact to the arcade original, and you will be crying for momma before the halfway point of the first level. The 3 modes and various difficulty options really help cater the game to a wide audience, and even if you’re not a bullet hell pro (which I’m not!) then there is still plenty to enjoy.

There were a couple of things about Bug Princess that I didn’t enjoy, though. First off, the game uses both Game Center and OpenFeint for achievements and leaderboards which is great, but they plaster that awful OpenFeint game feed onto the title screen. Admittedly that’s not a problem with the game itself, but the feed is distracting and ugly, slow to load, and cheapens an otherwise top-notch presentation. At least give me the option to turn that bad boy off, please. My other issue with the game is that the load times in general are a bit long, which isn’t a great feature for a mobile title.

Aside from those small quibbles, Bug Princess offers yet another stellar entry in CAVE’s series of iOS shooters. It’s probably the most straight forward and least complex out of them all, which makes it a great starting point for bullet hell newbies, but it does have its share of depth for those looking to master its strategies. And like all CAVE shooters, the touch controls are fantastic, the visuals are striking, and the action is non-stop. Plus, Bug Princess is the first from CAVE to be Universal, and while I prefer playing on the iPhone, it plays pretty nice on the iPad too. At its current price of $4.99, Bug Princess should be a no brainer for your next bullet hell fix.

English Country Tune

Here's what I can say with some certainty. Increpare's English Country Tune has made the transition from desktop to mobile boldly and without compromise. It's a game that will stump even the most experienced puzzle gamer at times, and it's absolutely inflexible about easing you past those difficult points. It's not a game for the easily stymied, but it will do an outstanding job of challenging puzzle experts.

It begins simply enough. You control a flat panel that can flip itself over and over on the surfaces of blocks. You control the panel with swipes in all directions. You must push a ball, the Larva, into a particular space. Not so bad, right?

Then you learn that the Larva is effected by gravity, and that gravity is determined by the position from which you push it. Knock it down from above and you might send it flying down, but hit it from the side and it may move along that plane with you. Then the Larva levels twist themselves into knots, leaving you to follow along with your understanding of the mechanic as things go completely off the rails.

Completing one section will branch off a new path. This one teaches you about Whales. Whales need to be free, and can be pushed off the level. But you can only push them by running into beams of light that shine from each of their sides, so you often have to find a way to run parallel. Then the Whales also find themselves brought into three dimensions and things get kind of weird from there.

And so it goes. Each time you may think you have a handle on a mechanic, you're introduced to a new one. You'll paint blocks, then learn you have to do so in 3D. You'll find yourself punching holes in your panel to squeeze past obstacles. Occasionally things will get extremely strange, pushing the boundaries of every bit of game design you've seen so far.

Throughout this process, you're lead level by level through a series of branching paths that sometimes come to a sudden end and sometimes pull back in on themselves. This may leave you with punishingly challenging choke points and no way past but through. There is no level skip, no walkthroughs, no assistance. But on the brighter side, there are no timers, no move limits, no one watching you and tracking your performance. You can play and experiment, try everything you can think of to find your way through. It's refreshing to be so unconstrained.

Less refreshing is English Country Tune's camera. It is essentially uncontrollable, following along behind you as you go. You can use two fingers to pan around, but it snaps back into position immediately. This occasionally leaves you with no way to see your panel, or whatever you're trying to interact with.

This is the unfortunate kind of frustration, the kind that can't be alleviated with perseverance and eventually success -- you can't succeed over an occasionally uncooperative camera. It's bad enough that I was left in a particularly challenging level staring at the bottom of the construction while I moved around on top. When the camera finally moved, it did so dizzyingly. While this sort of thing occurred rarely, it was crippling on those occasions.

On a related note, another quibble: in a game where levels can be long and extremely complex, positioning the reset button immediately adjacent to the undo button is cruel.

Otherwise, English Country Tune is rare treat: a puzzle game filled with variety, but trusting in its players enough to get out of their way. The visuals and music are subtly stylistic -- the game looks and sounds fantastic, but not so striking as to distract. The interface is uncluttered. Nothing judges your performance, but no one will help you either. This is puzzling at its purest, and it's sure to challenge anyone willing to step up.

Originally released in 2001 as a Playstation 2 exclusive, Grand Theft Auto III featured a full 3D game engine for the first time in the game series. At least for me, this transformed a silly and entirely too controversial set of video games into a living and breathing universe. It's debatable how well the game has aged in ten years, but in 2001, after the initial cut scene rolls and you're driving through the beginnings of Liberty City, there was no way your jaw wasn't on the floor.

This magic is alive and well in the iOS port of Grand Theft Auto III. There have been a number of open world crime games, most notably Rockstar's own Grand Theft Auto: Chinatown Wars and Gameloft's highly "inspired" Gangstar games released on the App Store but neither game holds a candle to the original GTA3 The level of immersion that's possible in the full 3D Liberty City, especially as you become familiar with the cast of characters you'll spend your time taking missions from, feels downright incredible. In games like this, that very same level of immersion is what has kept me sucked in for potentially hundreds of hours, as when you feel like you're actually playing your part in a virtual world, your role in it becomes that much more compelling.

Gameplay in GTA3 is typical of other open world crime games, which would make sense since Rockstar essentially wrote the book on the subject. Your time in Liberty City will be spent doing whatever is asked of you by various gangsters, drug lords, and other unsavories. Often times you'll be doing jobs for multiple people, and between missions will have the choice of which story line you want to continue, and which you'll revisit later.

Alternatively, you can immediately abandon the storyline of the game and instead focus on side missions (such as stealing a taxi and ferrying passengers around the city), looking for secret (and some not so secret) ramps to get ridiculous amount of air off of, or really, anything else you feel like doing. I've always been partial for stocking up on weapons, and seeing just how long I can survive from the police.

I think I've provided a sufficient recap of what GTA3 is for the half a dozen people out there who somehow haven't played it, so the real question is, how does it translate to iOS devices?

I'm happy to say that the game plays surprisingly well. I've found myself preferring the large screen of the iPad 2, but GTA3 is just as much fun on the iPhone. If you think back to actually playing the game on the PS2 (or other console ports), you'll remember that nearly every button on the controller did something. Sadly, the only way GTA3 can work on iOS devices is by replicating all of these functions as virtual buttons.

This results in buttons galore. On foot you'll have a virtual joystick for running around, along with individual virtual buttons for running, jumping, attacking, stealing cars, changing the camera angle, and pausing. Inside of a car, the virtual joystick changes to a set of buttons to steer, along with buttons for the gas, brakes, hand brake, shooting, honking the horn, starting secondary missions (such as the previously mentioned taxi missions), and getting out of the car. Moving the camera involves dragging your finger around in the middle, and viewing the minimap as well as changing weapons involve hitting the top corners of the screen.

These controls are workable, and are easy enough to manage while doing simple missions or just tooling around Liberty City. Unfortunately, things get crazy as soon as you get involved in actual combat. GTA3 uses a zany lock on system for shooting, and it seems like more often than not when you get into an actual firefight you're fighting the camera, the lock on system, and your character's diminishing health supply more than you're fighting the enemies themselves. Things get better as you get more accustomed to the virtual controls, but it never feels like you have the same precision as you would with an actual controller.

Still, it's Grand Theft Auto III on your iPhone (or iPad), and given both the overall quality and depth of the actual gameplay content of GTA3, it's really easy to get over the clunky controls. The performance is great on recent iOS devices, although pop-in on the game's horizon can be pretty noticeable if you let it get to you-- Looking at videos from the PS2 version of the game, it seems like this pop-in was mostly hidden by the relative low-resolution of the game. The retina display, however, makes it really clear.

Picking up GTA3 seems like a no-brainer, especially at the launch price of $4.99. Regardless of the less than ideal control scheme, you'll get five dollars worth of entertainment out of this game, even if all you do is drive around Liberty City listening to the fantastic in-game radio stations. (My favorite is the talk station.) As you become more accustomed with the splattering of virtual buttons all over the screen, you'll find hours upon hours of content to plow through.

Having played GTA3 to completion many times in the past, I'm incredibly happy to be able to take it anywhere with me on my phone of all things.

Containment: The Zombie Puzzler

Each type of human unit has a different advantage and a different weapon for taking out zombies. If you surround zombies with cops, you can earn a sniper-shot, whereas soldiers earn grenades. Containing some zombies using punks can earn a molotov to throw, while the female scientists can help you obtain a zombie resistant suit.  Three slots are available for storing these life-saving items.

Containment consists of two different game modes – campaign and survival. In campaign mode, the story is told via short messages super-imposed on the urban landscape during cut-scenes, which take place during the course of the game's 100+ stages. You're playing on the dimly lit streets, roof-tops, drive-in theaters and playgrounds of Franklin County, which are all viewed from a top down perspective. The background and character graphics look great, with zombies and characters moving around and calling out for help.

In survival mode, each round is rated based on zombies killed, time taken and number of survivors remaining. The player's score is shown after each round is cleared of zombies, but for some reason, the final score wasn't displayed when I finally died, which was a bit anti-climatic after surviving multiple rounds; so I stuck to campaign mode. According to the achievements, there's 20 city blocks to travel through in survival mode.

The control options include touch or tap for switching the positions of any two human characters, even if they're not adjacent. And the three weapons slots are activated by swiping them down into the play area to choose a zombie target. If you take too long to play, the undead will attack those nearby, creating more zombies because ... that's what zombies do. When there's more zombies, they're harder to surround and contain, so you have to play effectively before you reach the tipping-point of no return.

Another element is touching items in the background to trigger events. For example, touching a trash-can may reveal a weapon to pick-up (perhaps a lightning strike or a napalm strike from a passing plane). However, the trash could just release another zombie. Touching a sign on the side of a building may cause it to fall, squashing those below. Tapping a vehicle may cause it to explode, while other cars drive into the gameplay area itself, running over zombies and humans. These interactions with the background elements can also alter your journey through the levels, as the campaign has branching pathways.

When you kill some zombies, they disappear and all the characters in the playing area shuffle downwards to fill the gaps. A "cascade bonus" is awarded when one zombie execution leads straight to a second zombie killing, due to the humans and zombies dropping down into the gaps. Combos can also be scored by surrounding two groups of zombies at the same time. Game Center leaderboards are provided for 'Total Zombie Kills' and 'Town Hall survival', plus 24 achievements.

Containment: The Zombie Puzzler shakes the dust off matching-style games, using soulless corpses, terrified humans and boss fights to bring this great-looking action puzzler to life.

Check out the forum thread where impressions have been rolling all evening, and stay tuned tomorrow for our full look into the world of Grand Theft Auto III!