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.

I use the term loosely, by the way. My Little Monster isn't exactly what you would call a Tamagotchi, though the simplicity of the gameplay here is definitely on the same level. At the beginning of every in-game day, you'll be given the opportunity to decide whether you want to purchase new hats, upgrade one of your three skills or improve various statistics. This, in turn, is accomplished by spending the currency you earn from your daily fights.

Now, before you get excited about the idea of rumbling with other leviathans, combat here isn't all too fancy either. You have no direct control over the fights themselves. For the most part, your time will be spent tapping on various words on the screen, tapping on the ability you want to use, and a fair bit of waiting. Assuming you survive, you'll then have your score tallied and the whole cycle will begin anew.

Yes, I know. It's kind of underwhelming but that doesn't make it a bad game. In an odd way, it's actually one of the reasons that My Little Monster works so well. You can play it anywhere, any time. Because so little brainpower is needed to propel the game forward, it's ideal for meetings and long, uncomfortable road trips. Of course, things would be different were the presentation any less stellar.

Group Sound really did a brilliant job (granted, they could have gone with a better choice of fonts but that's me being nit-picky) with the delivery in My Little Monster. The nostalgia-inducing visuals, the silly cut-scenes, the menagerie of eccentric enemies, the offbeat dialogue, the ludicrous plot - they all go along together like Japanese curry on rice. I mean, really? Is it even possible to dislike that little green guy and his earnest quest to grow up and destroy the world? I thought so.

Though considerably shorter than I would have liked it to be, My Little Monster is a reasonable amount of bang for your buck. If 'virtual pet simulators' weren't a thing back when you were growing up, you might not quite enjoy it as much as some. But for the rest of you, this may be a pleasant trip down memory lane.

DvO (a.k.a. Dwarves vs. Orcs) plays very much like a classic castle defense title. Players send units down five battle lanes taking down the resistance until they reach the opposing castle (with the enemy doing the same to you, obviously). The side that takes down the opposing castle first wins the match. Littered throughout the lanes are crystal patches, which must be mined by your mining units and are used as the currency necessary to build supplemental units.

There are no special moves, upgradeable units, or even changing lanes; units will march down their path until they are either taken out or are attacking the opposing castle. I can see how this kind of simplicity in gameplay can appeal to some folks, but gamers that have experienced (and enjoy) other castle defense games with more modern approaches may feel a bit disappointed.

DvO’s primary strength lies in the wide variety of units you can play with. While you only start out with a handful of units, you unlock subsequent allies as you complete each story mission (you must then ‘buy’ the units using gold earned in matches before you can add them to your list). Once you get a large amount of units unlocked, the real strategic magic of DvO begins. Units include basic melee and ranged units, to mages of a wild variety of elements, to even conjurers that will summon other units onto the field. There are over 25 units available for use, and since you can only bring seven into any individual battle, players will really have to start paying attention to their units and build teams based on their play style.

While DvO’s gameplay variety obviously drives the title forward, its visuals and presentation take the game a few steps back. Graphics-wise, DvO lacks any retina display support, and it’s very apparent in everything from the blurry text to the units and environmental backgrounds. The art style seems to be built more for the iPad’s non-retina display – considering that the HD version is sold separately, I don’t know why they couldn’t have made that one retina compatible. While the blurry visuals aren’t bad enough to actually affect the gameplay, it’s still an eyesore.

Presentation-wise, DvO feels very bare bones. There’s no story (other than a cliché-riddled introduction), and there’s very little to even make you feel like you’re in a world. In addition, the few tutorial portions and even the in-game encyclopedia on the various units don’t really seem to do the game’s depth justice. One of the worst things a strategy game can do is not sufficiently explain the great system it’s built. Unfortunately, DvO seems to fall into that trap.

There are also a lot of silly UI bugs that just feel out of place. For example, tutorial screens pop up when you purchase new units that you unlocked in the previous battle. If you happen to die in the next battle and restart, the game will feed you a tutorial screen for a unit you haven’t unlocked yet (because you haven’t beaten that level). Does it really affect the gaming experience? Of course not, but these kinds of silly missteps hold the game back from being taken seriously.

Perhaps the biggest issue with DvO is simply that the game is too slow. Units plod along at a very sluggish pace, with only the special “fast” units seeming to move at an appropriate speed. Even early battles seem to drag on, and as you get further into the campaign and the likelihood of temporary stalemates rise, missions take forever. Even worse, there aren’t any ways to speed up the gameplay, meaning each map starts painstakingly slow as you’re initially collecting minerals. I’m all for giving folks the time necessary to make proper decisions in a strategy game, but the amount of waiting you will do in DvO is excessive.

With that said, DvO still has a good core gameplay system that should appeal to most fans of castle defense. However, all the missteps in other game elements definitely hold this game back from having a greater appeal. At this point, I’d recommend DvO for hardcore fans of the genre looking for their next fix. Otherwise, you may want to pass.

At first blush, Terra Noctis [$.99] seems pretty derivative: the pits are inexplicably endless, the physics are rudimentary, and the enemies -- pumped in straight from the Mushroom Kingdom -- die if something lands on their heads. Even the narrative introduction seems particularly on the nose: Allen is a nightmare who isn't scary enough to pass his monster exams. Desperate, he sneaks out of school to find a way to get scarier. The idea is never revisited.

It's not long before Fire Fruit Forge starts to introduce new mechanics: shooting, power-ups, puzzles, three different types of currency, and a bat named Columbus who guides Allen to secret areas and sometimes, bafflingly, lets him ride around on his back. Unfortunately, these do little to dispel the first impression: some of the mechanics don't really affect the core platforming, and the ones that do are one-note concepts that don't add much.

There are three different collectible items that can be spent: blue fairies buy power-ups, red fairies unlock the next hub-world, and golden coins unlock bonus levels. It's kind of weird that a game about crushing goomba skulls involves so many ways to buy stuff.

I like the idea in theory -- collectibles have long been a staple of the genre, and Fire Fruit Forge are right to give Allen's monetized pixie dust mechanical value. Because these items are hidden throughout each non-linear level, players are ostensibly motivated to explore. This, in turn, introduces a risk-reward element to Terra Noctis' points system and OpenFeint leaderboards: player score is based both on speed and collection, and climbing the leaderboards depends on managing both.

There are problems with the system, though. The power-ups add very little to Terra Noctis, and using them never become a regular part of my strategy. This devalues the importance of the blue fairies, which in turn makes collecting them less gratifying. It disrupts the balance of the entire system. Similarly, the red fairies and coins are too easy to find, and the levels they unlock are too cheap: not once was my progress impeded by a lack of funds. In other words, not once was I motivated to explore Terra Noctis in a meaningful way.

The other supplemental mechanics, like shooting and flying, simply aren't creative enough to keep Terra Noctis moving forward. The first time I shot a bat to complete a puzzle was neat, but the shooting function hasn't changed since. These things are largely tangential to the running, jumping, and head-stomping, but adding extra mechanics isn't the same as using them effectively. It doesn't help that the environments and level design change very rarely, despite there being four different hub-worlds to explore. Visually and mechanically, Terra Noctis is a static place, and the entire experience can tend to feel same-y.

Despite the lack of variety, Terra Noctis is buoyed up by its visual design. You'll explore the same vague forest and cave designs over and over, but the backgrounds are a nice example of parallax scrolling, and the foreground has a lush, storybook feel to it. The animations are fluid and expressive -- I especially like that Columbus, the helper-bat, manages to seem anxious and excitable, even though he's basically just a set of eyes with wings. There's an undeniable charm and innocence that runs through every piece of this game.

You'll also hear the same four or five synthpop tracks during the course of the game, but the Herbie Hancock-esque score -- no, seriously -- is used judiciously to set the tone for each level.

It doesn't hurt that Terra Noctis is so fun to play. Even disengaged from the high-level design choices, jumping up and down and stomping purple goombas is a treat, thanks in no small part to the game's  controls: they're simply the most sensitive and responsive virtual buttons I've encountered to date. They aren't perfect, though, since the buttons are placed too closely to one another -- I often find myself going left when I mean to go right.

(The other systemic bugbear in Terra Noctis is hit detection: Allen's hitbox seems too big and he often finds himself stuck in a ledge or block. This might lead to a few unwarranted deaths, but the checkpoints are spaced evenly enough that it never becomes a huge issue.)

Still, the level design is generous enough to accommodate those lapses, and the most significant exploration is vertical, not horizontal.  Players sometimes get cut off from areas they mean to explore, but Terra Noctis is usually pretty good about expanding and bottlenecking appropriately. In all but a few exceptions, you can feel free to wander around, comfortable with the knowledge that you will eventually circle around toward the critical path.

Maybe it's a good thing that Terra Noctis' more ambitious designs fall through -- there's a lot of fluff that distracts from the core. As it stands, the game's fairy-tale premise evokes something akin to coming home for a long weekend. The game's strengths are found in the understated joy of jumping through space, of seeing some unreachable ledge or platform and guiding Allen to it. Terra Noctis, through its intuitive controls and design, provides simple pleasure. This is comfort gaming -- familiar, identifiable, and care-free. I'm ready to spend Martin Luther King Day in my pajamas, guiding Allen through the rest of his quest.  I'm pretty sure I know where he's heading.

Breakout

As far as core gameplay is concerned, Transformoid stays very close to its roots. The game places you and your paddle at the bottom of the screen versus the blocks up top; there are no barriers or enemies looking to destroy your paddle or any other twists in the formula. In this regard, Transformoid doesn’t offer anything unique or innovated, although it does offer plenty of levels to play in, along with elements that seek to separate itself from the competition, particularly when it comes to physics manipulation.

Even though it’s a typical Breakout clone in most respects, Transformoid does incorporate a few interesting ideas in an attempt to differentiate itself. For example, one of the power-ups you can collect transforms your paddle into various shapes, each changing the way your paddle interacts with the ball. Some shapes make it easier to aim where you want the ball to go, while others make it a bit more erratic. Regardless, I thought it was a good idea and actually brought some variety to the game, assuming the physics were working as desired. I also liked the Steampunk motif that Transformoid uses, although I will admit that it’s becoming increasingly prevalent in more games. Still, the visuals are done well, and little touches like the backdrop subtly moving as you tilt your device back and forth add to the experience.

Another differentiator for Transformoid is the concept of wind, which can come in all different directions and can subtly change the direction of the ball. Unfortunately, wind is one of those gameplay elements that sounds good in theory but ends up being mostly annoying in practice. This is especially true when you’re at the end of a level and the wind is making it difficult to get your ball to travel anywhere, much less to that one spot in the corner with the last brick. Even worse, wind contributes to the fact that Transformoid is simply a very slow game – the ball moves slow, the paddles move at a set speed (on the slow side), and even power-ups that speed it up don’t do much. It’s not slow enough to be unplayable, but enough to be annoying.

Transformoid is also filled with lots of strange miscues that give the game a very rough appearance. There are a few typos across the menus that really stand out, for instance. In addition, there’s no scoring system to speak of or even Game Center support, meaning that there’s no external influence or motivation affecting replayability. Even little things like always resetting the map selection to the very beginning every time you play the game and not letting you cycle from the first level to the last quickly give the game an overall amateurish impression. Of course, none of these issues are game breaking, but they are significant detractors to the overall experience and do little to convince casual players to check it out.

You’d have to be a diehard fan of Breakout-styled games in order to check out Transformoid. The lack of any sort of progression system or leaderboard support means that you’re simply playing the game for the love of the genre. If you happen to fit this description, then Transformoid, with its somewhat interesting visuals and power-up ideas may be worth checking out at its current price. However, for anyone else, the inherent slow pace of the gameplay and uneven overall presentation mean that you should probably look elsewhere.

I'll not hold that against the game. My failings aren't its failings, though it has several of its own. But man, if you like Snake, there are 100 levels here that will light up all the same bits of your brain, and four modes on top of that to boot.

Although every mode in Aetherium II plays with direction, there are three very different ways to play. You've got the main mode (and by far the best), Avoid the Edges, three different Maze modes and First Person, which is quirkier than it is successful.

Avoid the Edges is, um, pretty much what it sounds like. The edges are death - they can't be touched. So you slip around each level avoiding walls and picking up stars, easy enough. But you can only turn left or right, and those directions are always relative while the controls are not. It gets pretty dicey as the passages get more complicated, the corridors get narrower and doors start closing in your face. And that's before you start controlling two or three ships at once. It's not all reflexes - later levels are positively puzzling.

The similarly puzzling Maze modes could be great fun, but instead they miss that target completely. Edges are fine, and you can navigate in any direction. The trick is to reach the end, and reach it quickly. The levels get downright huge, but are always contained to a single screen. It's good, but could be better - the controls are a bona fide pain in the butt.

Traveling in all four directions using the edges of the screen is fine, but Aetherium II seems to lack any support for multitouch. So if you want to play with two hands, you'll need to make certain to lift one finger before putting down another or you'll careen right into a wall. Not cool, and hopefully fixable. It makes earning full marks for time pretty unlikely.

Otherwise the maze modes could be great. There are three varieties. Classic is as standard a maze as you could find. Tunnels mixes it up with passageways and shortcuts. Doors gives you a series of switches to puzzle through. All good fun.

First Person mode will test your memory and direction sense. Enjoy wandering through a maze of twisty little passages, all alike? You'll love this. You know the exit of the maze is directly across from where you begin, but not how to get there. If you can manage to keep from getting completely lost, this will be fun. It's not for me - every level feels like getting lost in the same neon closet - but I can see how enjoyable it could be to build up a map in your mind as you wander each level.

So that's 200 levels that are mostly great fun, but the trappings that surround them are a little clunky. As I said, the controls are dodgy, and aside from that the menus are awkward and the sound design is pretty terrible unless you're really into beeping. But more importantly, how do you feel about motivational tricks - achievements, locked levels, and the like? Because you won't find any of that here. There are leaderboards to climb and stars to collect, but it's a game built for casual poking around and not dedicated play.

I've gotta say, there are great ideas here. Aetherium II is just full of them. But they don't cohere into any kind of immersive experience. If you want to test your sense of direction, it's a fantastic game to mess around with. But to commit to? It's not quite there.

Ivanovich Games has already assured us there is an update coming in that adds 25,000 words players have submitted. That leaves a question, though - why were at least 25,000 words left out in the first place? Worse, how is it that the game accepts every common curse and racial slur I tried, a smattering of proper nouns, and at least a few non-English words in their place? The dictionary is the backbone of any word game, and this one is more than a little fractured. Let's hope the update fixes it, because aside from that one glaring issue there's a lot to like in Letris 2.

The game is split into two sections, each one unlockable with a separate in-app purchase of $0.99 after you try a few levels. On one side is Letris, a game that doesn't have as much to do with Tetris as it sounds like it might. On the other side are two puzzle modes, Acronymus and WordMatrix.

In Letris mode, letters continuously fall from the top of the screen into tidy rows at the bottom. You can tap letters to form words with any of them - only in the highest difficulty mode do you need to use letters that connect. Each level of Letris gives you a goal to reach. Collect that many letters in the words you make and you move on to the next. Longer words give better scores, clearing the screen is worth a bonus and you'll fail if the screen fills up.

Though this mode is time-sensitive, it's also pretty mellow to start. Once you unlock the paid content for Letris mode, you can keep progressing to higher and higher levels with higher and higher scores to reach, but the levels, as they are loosely defined, are never the same twice.

Acronymus is more of a classic puzzle mode. You're given a set selection of letters that you need to use up completely. There's always a solution planned, and you can use hints (that you can also purchase) if you get yourself stuck trying to find it. WordMatrix is an extension of the same idea - a full screen of letters that you need to use more and more of each level, until eventually you're forced to come up with a collection of words that use up every single letter on screen.

Because these modes aren't timed, you can play around freely to try to come up with outrageously long or obscure words. It's fun, and pleasantly relaxed - when the dictionary cooperates, of course.

There are a couple oddities aside from the word selection, though. For one, it doesn't seem to be possible to unlock the premium content until you work through the free levels of at least one mode per pack. This means that even if you're sure you want to buy the game, you'll need to sit through ads for a while before you can disable them with the purchase of either IAP pack. For another, it's surprisingly easy to abandon a game without your score being saved - the ability to resign is hidden beneath the hint button, and using the obvious home button instead will abandon your game and leave your score off the Game Center leaderboards.

Neither of these things is enough to ruin an experience which is, at the very least, worth trying with a mind to buy. I'd try it out after the update before pulling the trigger, though. Unless you take great delight in playing a few forbidden four-letter words, the updated dictionary should be worth the wait. In the meantime, our discussion thread is a good place to get a bit wordy.

Walkabout Journeys

It's love at first sight, too, with its striking visual style and a solid central conceit. A little bit Lemmings, a little bit And Yet It Moves, Walkabout Journeys gives you a handful of Burton-esque characters to shepherd, characters that will die tragically given the slightest neglect. Rotating the world around them, you have to ensure they stay alive and stay together as they slip back and forth across each level. It's almost wonderful.

For a short jaunt, Walkabout Journeys is a delight. I adore the nameless characters - the tall one, the tiny one, the one with the umbrella and all - the cheerful music and the colorful backdrops. The gameplay is no slouch, either. It's quite fun to rotate the game world to and fro, tilting the little fellows just far enough forward to clear the next obstacle, or back just a touch so they don't smack into something deadly. You can even choose your flavor of controls - slider, tilt or a dragging rotation. The last of those is, by far, the best.

There's a sing-song, storybook quality to the whole experience, brought together with charming bits of doggerel on each loading screen. You march the characters through the season in a world scattered with names like "The Pumpkin Promenade" and "Persephone's Fall." Almost, almost worth it alone.

But not quite. Though the game grows more difficult over the course of its 16 levels, its formula never really grows. You may encounter a few tricky gates, or clever platformy sections, but what works in the first level will work in the 16th. Similarly, the music and aesthetic never much change or grow. What's terribly sweet for the first few levels grows cloying without variety.

What results is a game that feels under-developed. The sixteen levels go by in a flash, and the addition of four with Christmas themes doesn't much help. More length would only be a band-aid fix, highlighting the lack of variety, and an unfortunate opacity in the scoring mechanism. The more survivors the better, true, but what marks a high score beyond that? Players can't play faster as the camera moves at a steady pace. There's nothing to collect, no clever techniques to pull off or secrets to find. So why have a star system and a high score system at all?

This is exacerbated by the lack of achievements or leaderboards. There's a bit of artificiality to extending a game with achievements, but they're also a challenge to developers to expand a game's horizons. Walkabout Journeys doesn't feel intentionally minimalistic, so why not throw in some additional objectives and give players a reason to replay and improve? Instead it feels more than a bit unfinished.

Ultimately, Walkabout Journeys never arrives at its full potential, but as it sweetly proclaims at each of our deaths, "this place is nice too." It is for a time, and that's almost enough. It's a lovely little lark, so if you enjoy the screenshots it's certainly worth a go. Just don't expect more than a stroll.

Like a lot of other war-themed shooters, Frontline Commando places you in the role of a soldier stranded in the middle of a battle zone with the goal of single-handedly taking down all the enemy forces out to get you. You’ll complete this daunting task through various missions with objectives that include Elimination (kill all the baddies), Survival (kill all the baddies until time runs out) and Rescue (kill everyone but the civilians).

Successful missions reward ‘war cash’ that can be used to buy some of the available weapons. An experience system also serves as a barrier to picking up stronger weapons until you earn the requisite amount of experience by playing missions. The story is nonexistent and the general presentation doesn’t offer anything new, but at least it doesn’t detract from the experience.

One area that Frontline Commando excels is its graphics engine. Environments look great on the latest iOS hardware, and the game plays smooth and at a fast framerate. Your character’s model also looks decent, although the enemy ones not so much (they shouldn’t last very long on the screen anyways). It’s not the best looking game we’ve seen on iOS, but Frontline still does a great job showcasing its visuals and graphical effects.

Another good point is its control system, which doesn’t impose unnecessary constraints on the player and actually offers enough precision and smoothness to execute headshots with ease. It may seem like a simple point, but so many shooters botch up the aiming system that it’s worth mentioning when done correctly.

As a cover shooter, Frontline Commando drastically limits what you can actually do in each mission, thus restricting the overall gameplay. As one can imagine, staying under cover is the key to survival as you poke out and take potshots at the opposing forces. Typically, each environment will have several cover points you can run to, with one of them also doubling as the ammo station. Stay under cover in the same place long enough, and the enemy will actually chip away at your cover point, forcing you to either relocate or begin taking damage from errant shots.

It’s important to note that you don’t actually have direct control over your character – your sole control choices are moving from cover point to cover point (with pre-done animations), moving in/out of cover, and aiming your weapon. Folks looking for an actual third person shooter with free movement are not going to find that here. Still, Frontline Commando manages to implement its own gameplay with little hiccup.

Freemium comes into play in Frontline Commando with the standard dual-currency model of progression. In addition to the war bucks mentioned above, there is also gold, which is the premium currency and can be purchased using IAP (and consequently converted to war bucks if needed). Like Gun Bros, there are a wide variety of weapons, armor, and items that can be purchased either with war bucks or with gold.

As is the standard with these types of games, you’ll quickly discover that the best weapons are those that can only be exclusively purchased with gold (and will cost more than you’ll ever earn without IAP to boot). Sure, there are tons of weapons that can purchased with war bucks, but there will always be something better that’ll require some cash. Combine this with the occasional hard mission, and you’ll find yourself wanting to pick up some of those premium weapons just to scrape by. This is certainly not a new issue with the freemium model, but I feel compelled to mention it whenever it’s encountered.

The main problem I have with Frontline Commando is that, when all is said and done, there’s not enough variety to keep me coming back. The different locales you eventually unlock are nice, and the different weapons provide some small changes in strategy, but the core gameplay is still the same and hardly changes.

In addition, the freemium elements make it unnecessarily hard to pick up new weapons (which are your only hope for some variability). If the game progressed using a normal non-freemium pace, then I think Frontline Commando would work a bit better from a gameplay perspective. However, with the grind currently the way it is, the lack of variety really seems to stand out.

In the end, your likelihood of having a great time with Frontline Commando is directly proportional to your opinion of freemium elements in action games. There’s nothing inherently wrong with Frontline; it’s just that games based on free-to-play economies tend to become long and drawn out (if you don’t pay), which tends to introduce the issues I mentioned above.

Regardless, if you don’t mind the grind and are willing to put forth lots of time (or money) to progress, then Frontline Commando is a good game to check out. However, if you have an issue with freemium or you’re looking for a game with a bit more variety, then I’d recommend giving it a pass.

Stay Alive has you piloting a starship through a perpetual asteroid field littered with enemy ships taking pot shots at you. In addition to avoiding all these hazards for as long as possible, your goal is also to pick up as many floating orbs as possible, which are currency for the upgrade store. Also littered throughout the playing field are power-ups that range from more ammo to a temporary laser weapon that lets you destroy everything in sight. OpenFeint leaderboard support (Game Center is not supported currently) keeps track of total kills across all games, as well as the longest distance traveled during one run. As is the case with most endless games, the primary goal is to beat your (and your friends) leaderboard scores.

From a presentation standpoint, Stay Alive is rather typical. The visuals are simplistic and lack the nostalgic personality that most games are looking to achieve with this art style. The same goes for its music, which has an 8-bit MIDI feel but isn’t as catchy as I’d like, especially considering that you’ll be hearing it time and time again with each run. There’s nothing particularly wrong with Stay Alive’s presentation; it’s just nothing out of the ordinary.

One area that Stay Alive succeeds in is with its controls. While decidedly simple (a quick swipe on the left side of the screen moves your ship up and down, while touching on the right side shoots your weapon in the direction you tapped), I thought the controls were very smooth and definitely responsive enough for the amount of close-knit navigating that this game requires. One minor complaint is with the location of your ship’s information (shields, ammo count, etc.), as it’s located right next to screen space for steering your ship and easily becomes partially concealed with your hands.

While endless shooters tend to reward players with cosmetic upgrades or items that provide limited gameplay advantages, Stay Alive’s reward system is a bit more significant and lasting. At the end of each run, players will have the opportunity to enter an in-game shop to spend those hard-earned orbs on ship upgrades. Upgrades range from increasing the inherent strength of your hull and shields to increasing the amount of starting ammunition and armor. These upgrades are permanent and allow your future runs to last just a bit longer.

While I’m a fan of the upgrade system and I think it improves replayability, it’s important to note that having a permanent upgrade system drastically changes the dynamic of Stay Alive in comparison to other endless shooters. Some of the appeal of other games in this genre is the fact that, when all is said and done, each player is competing on a somewhat level playing field, and the only main differentiators are skill and luck. While both of those variables still factor in Stay Alive, upgrades play a far more important role in the long run. In other words, you’ll going to have to play for quite a bit to get the upgrades needed to make a dent in the leaderboards.

There are a lot of gamers that may be inherently turned off by this change to the endless shooters formula, especially since it effectively turns leaderboard chasing into a grind. In that respect, Stay Alive does lose a lot of its appeal with fans of the core genre and may be passed over. On the other hand, folks that may not be the best at endless games might appreciate this change, as more playtime means more orbs and the greater chance of being able to easily go further in a run. Regardless, if being first on the leaderboard isn’t the end-all of your enjoyment, then Stay Alive does offer enough in terms of fast-paced gameplay and replayability to warrant checking out.

Billed as bringing the “8-bit hockey experience” to iOS, Ice Rage plays less like a hockey game and more of something akin to Pong. Games are played 2 vs 2 (one goalie and one attacker) on a very small rink. There’s also very little strategy involved; if your player has the puck you take shots at the opposing goal, and if you don’t have it, you smack the opposing attacker until you get it back. The controls also share Ice Rage’s simplicity: a virtual joystick and a button that doubles as the offense/defense action are the only buttons you have.

Ice Rage does offer three different difficulties, with the hardest also giving you control of your goalie (which is not the easiest task considering that your joystick will control both your players simultaneously). Also featured are a variety of characters including John Gore of Minigore fame and Enviro-Bear (who needs no introduction). A brand new update has already hit for Ice Rage, which adds the Bike Baron as a playable character as well. While some of the characters do have hidden stats such as being harder hitters, as far as gameplay is concerned Ice Rage is about as basic as they come.

While the gameplay may lead to some lackluster single player games, it’s actually well suited for multiplayer and becomes the biggest highlight of Ice Rage. Multiplayer adds another set of controls and sets them opposite of each other table-top style. On an iPhone or iPod touch, the whole experience is a bit cramped, but on an iPad it’s actually well-done. The controls are easy enough to pick up and play, and the time period (all games are 1:45 long with no customization) is short enough for spontaneous games with local friends. There’s just something about frenetic gameplay combined with a human opponent that brings out the fun in simple arcade games and Ice Rage is no exception.

Once you get past the initial appeal of playing hockey with the likes of John Gore or Enviro-Bear, you’ll quickly find that Ice Rage doesn’t have much of anything else up its sleeve. There are no achievements, career mode, or really anything other than quick-play with the three difficulty options. Multiplayer is nice, but single-player really doesn’t have anything to offer after the first few playthroughs. I understand that the developers were looking to create a classic arcade hockey title, but even features as simple as a leaderboard or ‘tournament’ mode would have gone a long way towards increasing replay ability.

Seeing as how the game has already been updated, it's not hard to imagine that it may include more robust single-player features in the future. Along with Bike Baron as a character, the new update made some minor tweaks to the gameplay, including an upgraded goalie AI and the ability to play as either the red or blue team. It will be interesting to see how the solid foundation of Ice Rage gets expanded over the long haul.

In the end, Ice Rage really is a game about tempered expectations. If you go into it expecting any kind of depth, prepare to be disappointed, as that’s not the intent of this title. However, if you go into it knowing that it’s a simple arcade hockey game, you should have a good time, particularly with its multiplayer.

At its core, Tank Riders is a somewhat simplistic, top-down 3D tank driving game. Players run through approximately 25 colorful levels (with five additional tutorial levels) with the goal of either getting to the other end of the map or collecting items to advance to the next mission. At the completion of each level, players are scored via a number of categories (such as health and speed) and are ranked via a 3-star system.

Along the way are enemy tanks equipped with one of several weapons along with destructible walls that occasionally hide coins (which boost your score) or hearts (which recover your health). Most levels also feature barriers that require a switch to either be stepped on or shot at in order to proceed. If the core gameplay seems basic, that’s because it is; there is very little in terms of actual innovation. However, it’s important to note that what Tank Riders does offer is implemented pretty well, which can be a challenge in itself.

The controls in Tank Riders are one of the more frustrating aspects of the game. The primary control method has movement done via a virtual joystick on one side of the screen. Attacking, meanwhile, is done by touching whatever direction you want to aim around the tank. The core problem with aiming in this mode is that the tank is always centered in the middle of the screen, meaning that if you’re trying to attack on the side with your movement stick, you have to either stop moving and use that hand, or use your opposite fingers and work around your other hand (which is presumably controlling movement at the same time).

Thankfully, Tank Riders does offer an alternative ‘dual-stick’ mode, but you lose a lot of accuracy and speed when using this control option. Considering that some of the later missions require a lot of simultaneous shooting and dodging, the shortfalls in both control options are disappointing.

In addition to the short single-player campaign, Tank Riders also features multiplayer. Normally, I’d expect multiplayer in a tank game to be pretty fun, but unfortunately there are a few flaws in Tank Riders. For one, multiplayer requires registration in yet another online service, and there’s currently no support for Game Center. Even worse, it’s nearly impossible to find a match currently, much less a match with more than one opponent (which really isn’t all that much fun).

To add insult to injury, each match I tried had a certain amount of lag and hit detection issues, which made the matches even more unsatisfying. In addition, there doesn’t appear to be an option for local Wi-Fi matches, which would have been a decent alternative for players looking to play something.

If multiplayer was working properly, Tank Riders probably would have been a game worth checking out. The controls, while annoying, were workable, and the different types of weapons offered some variety in taking out opponents. Unfortunately, without multiplayer, all you’re left with is the too-short single player campaign which can be completed in a few hours and simply doesn’t have enough content to carry the whole game. If Polarbit were to perhaps expand on the single player, Tank Riders might be worth the price of admission. Unfortunately, as it currently stands, you may want to pass on this ride.

Gameplay-wise American Settler generally plays like most other freemium town builders. Players chop trees for wood and grow crops for food with the intent of building houses and businesses to make cash. You then use that cash to build bigger and better businesses to make more coin, and so on. Each action rewards you with experience for leveling up, which subsequently unlock better things to build. Folks familiar with freemium building games should feel right at home. In addition, the visuals in American Settler are quite colorful and look very similar to those found in the recent iOS remake of the original Oregon Trail. In other words, if you were able to accept the cartoony graphics of the remake, you’ll be fine with American Settler.

Where Gameloft somewhat deviates from the norm is with the sheer amount of things you can do simultaneously from the start. Being in the frontier, a lot of time will be spent clearing your plot of land and chopping down trees, which both earn experience among other items. Also, a lot of businesses will require base commodities (such as food) before they can eventually spit out gold. In addition, American Settler features a decent amount of crafting, with advanced items requiring simpler items (that can be made at the same workshop) and so on. I thought Gameloft did a decent job of the wide variety of items you could make, particularly with the interplay of items that could be used as prerequisite ingredients.

Gameplay and graphics are all well and good, but when it comes to freemium games, the most important question is in regards to how much can a person play before they have to wait or pay. Like most freemium games, American Settler has the usual assortment of timers that players will have to deal with in order to grow crops or craft items. Accompanying the timers is the usual ‘premium’ currency that can thwart said timers (and is conveniently offered as IAP). It’s a standard system that offers very little surprise.

However, Gameloft has taken timers one step further with the ‘Energy’ system. Similar to Let’s Golf 3, energy is required to do nearly anything in American Settler. While actions can randomly reward additional energy (thus giving you essentially a free act) you will eventually run out, and you will have to either wait, or use your premium currency to instantly restore your energy. While I’m certainly not a fan of additional timers, the truth is energy doesn’t really affect the game much outside the first few hours, as the gameplay will inevitably devolve into waiting decent amount of time for items or crops to be ready (and your energy will most likely have recovered by then).

Where I do have a problem, however, is with the randomized events that occasionally occur which threaten the timers of your businesses or crops unless you shell out some premium currency. It’s as if multiple timers and IAP were no longer enough and the developers had to throw in yet another method to try and coax IAP out of the common gamer. Sure, these events hide behind the general theme of Oregon Trail (bandit attacks and natural disasters, for example), but it still amounts to an uncouth business practice.

In the end, despite the colorful visuals and deeper gameplay, American Settler is still a freemium game. There are undoubtedly gamers out there that will simply turn their nose up and not bother simply because of that classification. However, for those that enjoy this type of genre, American Settler can offer enough actual content and gameplay to make it a freemium title worth pursuing. I just really wish that ideas like the random potentially timer resetting events and the energy ‘gameplay’ mechanic didn’t make the choice harder than it already had to be.

Functionality-wise, Wild Defense will be rather cut and dry for tower defense aficionados. Your objective is a simple one: protect your fortress from the enemy waves. To accomplish this, you'll have to drag and drop your units onto strategic locations in the map, all the while trying to maintain a proper composition of troops to ensure that you can deal with the various enemy types. In addition, you'll also have to do things like purchase weapons for your army, work with bombs, cast spells, defeat bosses and occasionally play the Wild Defense equivalent of Russian Roulette.

I'm especially fond of the last, by the way. Though still essentially the same tower defense game, there's also a random element of luck: you'll only be able to use whatever the RNG has selected for you be it a tamer (she's a rather scantily dressed chick with a whip, one capable of lowering defenses with every blow she renders) or extra currency. It's a small twist but it provides a refreshing touch.

That said, Wild Defense isn't quite the sure-fire formulaic success that it should have been. Though it has a lot going for it, Wild Defense is also plagued with small flaws: the jagged difficulty curve, the pause button that sends you to a menu instead of halting the action so you can adequately plan your next move, and bare bones plot (a crying shame given that the setting is all kinds of awesome) are but some of them.

All these would have been forgivable, however, if it wasn't for the fact the interface is painfully clumsy. In theory, the whole drag and drop thing should have worked fine. In practice, it's a lot less effective. For one, it's impossible to tell the range of a unit prior to setting it down and by then, it's a little too late. This, in turn, wouldn't be so bad if things could be sold for a decent value. You can see how it all adds up.

Don't get me wrong. Wild Defense isn't bad, per say. The flaws I've mentioned? You could probably fix them with a patch. If anything, Wild Defense is actually pretty decent. Nonetheless, those who are looking to dip their toes into the genre should probably try their luck with another title.

Snappy Dragons [99¢/Lite/HD/Lite HD] is an Angry Birds clone, through and through. But I have to clarify, because at this point in the post-Angry Birds landscape, there are many different categories of clones, so it's essential to explain what exactly you're getting into. Well, aside from throwing stuff at other stuff.

Snappy Dragons has a very simple premise, just like the game it's inspired by: Evil wizards have kidnapped adorable baby dragons, and it's up to you to save them. To do so, you'll need to progress through a series of levels (80 in total across four different worlds) that present the basic challenge of taking out the wizards and saving the baby dragons. Luckily, you have a handful of fireballs at your disposal, so that helps your quest considerably. You also get to choose which dragon you play out of four, which has pretty much no effect on the actual game but hey, you look cool.

As you progress through the levels, new challenges will be introduced such as dragon cages which you can destroy for extra points. Controls are responsive when it comes to aiming your fireballs and trying to nail the perfect arc, and its still fun to make your way through the levels. It all feels familiar, which is probably because the formula is shamelessly copied from Angry Birds, but if you crave more of that gameplay, you will certainly enjoy making your way through Snappy Dragons.

There are also bonus levels sprinkled throughout the game too, which help to break up the level-by-level formula and let you go on a wizard-killing rampage. It's strangely satisfying to never run out of fireballs, as they are limited in all the regular gameplay levels.

The game has a cheery feel and the art style is perky, with wide eyed dragon babies blinking innocently while they wait for you to save their lives. It's nothing that you'll rave to your friends about, but you will likely enjoy it in that way that a familiar thing can be rewarding (kind of like my shaming and horrible addiction to all Zuma games). It also has built in Facebook and Twitter support, so while you may not need to rave about how unique Snappy Dragons is, you can at least brag about your high scores to your friends. And since bragging seems to be a golden quality among most gamers, it's sure to please those of you who enjoy doing so.