I'm glad I did. Though not what you would call 'your must-have game in the event of a zombie apocalypse', Baseball Superstars 2012 is still kinda awesome. Depending on how much you like your baseball, it might even be extremely awesome. There's a part of me that wants to be the cranky curmudgeon and witheringly observe that Baseball Superstars 2012 is, while a competent product, just a souped-up version of the one from the previous years, but I can't. The rest of me is too busy cultivating my digitized athletes.

Baseball Superstars 2012 is engaging in all the right ways. The core gameplay mechanics are incredibly easy to learn, but not so easy to master. As the batter, you'll basically have to ensure that your batting reticule is within the general vicinity of the ball before you smack it with all your virtual, training-augmented might. Here, you'll have the option of choosing between the usage of the D-PAD or the device's accelerometer; I personally recommend the latter. Things are even easier for the pitcher. To lob your balls, you swipe your finger across a grid-like area on the screen. Different pitches will naturally require a different set of motions.

Strangely enough, what makes Baseball Superstars 2012 work is the metaphorical packaging. For example, while the various modes are little more than different ways of approaching the aforementioned elements, there's still an ungodly amount of things to do. Want to be be a batter? Fire up 'My Batter' and enjoy a ten-year career. Prefer pitching instead? Load 'My Pitcher'. Would you rather micromanage a coterie of little athletes? 'My Team' will be your game mode of choice. The list goes on. You'll get to also dive into challenges, missions, engage in asynchronous multiplayer battle royales and fine-tune your little league of winners.

Visually speaking, Baseball Superstars 2012 is definitely the best-looking of the pack. The resolution is higher, the interface is cleaner and the sprites look like they were manufactured by a man-hwa artist. The writing, unfortunately, still leaves much to be desired. Aside from the overall aesthetics, one of the biggest changes here is the inclusion of the overworld. No longer will you be trapped in the stadium at large. Now, you'll be able to roam the somewhat scenic-looking town that rings in. In between matches, Baseball Superstars 2012 will allow you to do everything from engage in a fortune-telling session to helping out in a hospital to training in the park. Some of these activities will decrease or increase various statistics, others will add to your modest bank account.

Along the way, you'll also bump into an assortment of big-breasted characters, many of whom will engage you in peculiar conversations. To be honest, few of the encounters made any sense to me. What do aggressive female characters with a penchant for romance books have to do with baseball? While I appreciated the effort, this aspect of Baseball Superstars 2012 felt tacked on and a little awkward.

That aside, there's not much to dislike about Baseball Superstars 2012. Heck, even the IAPS are not constantly forced down your throat, something that is a rarity with this business model. Gamevil has done a fine job improving on each iteration. Baseball Superstars 2012 might not redefine mobile gaming but it'll certainly be a worthy addition to your collection of games.

As we pointed out in our preview, the big picture will look familiar to Battleheart [$2.99] fans. But it's the little details that get this recovering World of Warcraft addict's heart a-fluttering. There was a time when damage number spam, health bars and massively telegraphed attacks were my bread and butter, and boy do they come out in force here.

Before I get your hopes up, though, let me be clear. This isn't the next Battleheart, and it's not raiding in World of Warcraft. It's far, far simpler than either. If you're looking for a deeply strategic RTS-RPG, this might be a bit casual for your tastes, but it's a potent combo for those of us nursing fond memories of raiding.

Raid Leader lacks Battleheart's big list of classes, levels and loot. Instead it has bosses, and the three things any proper team needs to defeat them: a tank, a DPS class, and a healer (in the forms of the Knight, Hunter and Priest). Each of them has a bevy of skills to unlock and choose from, and choose you must, because each character can only bring two skills into battle. You might want to deal damage, snare and buff with one character, but you have to pare that down to the skills you really need. That's half the game's strategy right there.

The other half is the battles themselves. There are fifteen levels in total, with 2 arenas, 8 original bosses and a powered-up heroic version of all but the last. These have minions, lasers, death zones and many other familiar tricks, requiring priority targeting, clever positioning and quick reflexes. Lest you think I'm being irresponsible with my WoW comparisons, by the way, one of those bosses is nearly a one-to-one clone of Karsh Steelbender from the most recent expansion. Not that I mind. It just feels a little too much like coming home, if you know what I mean.

Your survival depends on two things: how well you've chosen and upgraded your skills, and how well you can pay attention and perform. It also helps to have a basic understanding of MMORPG-style battles. You'll have an easier time if you already know that the tank should keep the enemies' backs to his team, or when to toss a heal-over-time and switch targets. Admittedly, though, knowing too many tricks takes a little fun out of figuring out the right strategies for each fight, especially when kiting works so effectively.

Because of this, the game sometimes fails to straddle the line between too easy and too hard. Executing a strategy is often fairly simple, because the bosses never have more than three or four plainly timed and well-telegraphed abilities. You'll never have serious trouble figuring out how to handle an encounter when anything tricky is explained on screen.

You'll still run into plenty of difficulty, though. Two things will conspire to stop you no matter how well you can plan. The first is the somewhat-awkward touch controls. Like in Battleheart, you drag one hero to another to heal or attack, and drag your heroes around the screen to move them. Because those two actions are so similar, you may occasionally find the game mixing up your intent. Worse, though, is the way the controls sometimes lead to deaths-by-Notification-Center. Those probably can't be helped, but that doesn't keep them from being frustrating.

The second big roadblock is the enrage timer most bosses sport. This isn't a problem, it's a classic MMORPG mechanic. Three or four minutes into a fight, the boss becomes immensely more powerful. This isn't designed to kill you instantly, but it does keep you from flinging yourself at a boss for ages if you're not powerful enough to defeat it. In Raid Leader, you're not going to run down the clock because you haven't leveled enough or hit the right gear level. Instead, it's your skills that can fall behind.

The three classes each get eight or nine skills to play with. These include a healthy mix of class-appropriate heals, attacks, buffs, debuffs and so on. You can pay out the coins you earn from defeating bosses to upgrade them up to four times each. If you're a better player than I am you might be able to get by with nothing more than the coins you earn from each boss. I rather doubt it, though. It gets seriously tough to pump out enough damage to beat the enrage even when you're doing well. If you hit a wall and decide you need more coins, you have two options: grind or pay.

It's kind of a lame choice. Grinding is actually fun in Raid Leader, but it's hard to turn down the comparatively massive number of coins you can get by putting down an extra dollar or two. If you do, you can earn a decent rate in two arenas fighting waves of minions, or you can replay completed boss fights. You can earn Game Center achievements and leaderboard rank for beating bosses quickly, so this isn't a bad way to go.

I just wish there was more of everything. I want a reason to pull out more skills and level them higher. I'd dread putting hours into WoW at this point, but the few brief hours I put into Raid Leader left me craving a lot more. That's not a bad thing, assuming there's more to come. While we're talking updates, Red Zebra, could you work out the spelling errors and put some clothes on the poor Hunter? She's literally fighting in a bikini. Not even a chainmail bikini, just a few flimsy scraps of nothing.

Raid Leader isn't perfect, and it's not perfectly original. That said, it sure is fun. Any recovering raider will find plenty of great nods and familiar concepts, and anyone who's wondered why folks make such a fuss about raiding will get a low-impact introduction. Drop by our discussion thread to let us know what you think, and point out how much you want more levels while you're there. For me. Because even though I can quit any time, I really don't want to quite yet.

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?

So, it was really kind of a given that I was going to be thrilled to see The Lost City [99¢], which at a glance seemed to be aimed like a notched arrow at the heart of the Myst-era adventure game lover. Of course, anyone who was with me on the long ride through the adventure clones that Myst spawned knows that there were a handful of decent ones, but mostly many, many bad ones.

I'm quite pleased to report that this is not the case with The Lost City. Far from it, in fact. While the storyline behind the game is not quite as fleshed out as that of Atrus and his wayward sons, Fire Maple Games really nailed it in terms of atmosphere. But even more importantly, they got it right with the puzzles – and added a few extra things that Myst itself could have really benefitted from back in the day.

Navigating your way through The Lost City is as simple and pleasant as can be: the touch of a fingertip navigates you through the hidden city your grandmother promised you really did exist (apparently, she wasn't kidding). Your inventory is neatly tucked into a small briefcase in the bottom left corner of the screen, and touching it pops up a small row of all the items you've collected. Items for what? For solving puzzles, of course!

But The Lost City doesn't do that inane thing where you have to figure out the item that makes the least sense to use, cram it into another item and then use it to magically unlock some door that had no keyhole in the first place. No, these puzzles actually make sense, which as anyone who ever played a Kemco adventure game back in the NES days can tell you, was rarely the case.

Speaking of things that adventure games should have thought of a long time ago, another welcome one here is the map. Each scene of the game you encounter is represented by a numbered panel if you hit up the map screen, which you can move around with your fingertip so you can get an overview of the entire area.

You also have a journal which logs important notes you'll need for future puzzles, and it just so happens to contain (gasp!) a hint guide, so if you get stuck you can consult it. I know, it's not proper hardcore. And I don't care, because the days I spent crying and pulling at my hair in front of my computer because I couldn't solve that one puzzle were so bad that I don't mind one bit that this game doesn't want me to go mad with frustration.

One little touch about The Lost City I really adored was the addition of puzzles affected by seasons. You will encounter stone angel statues which you can place a heart item into to change the seasons, which affects which puzzles you have access to solve. This fit in beautifully with the overall coziness of the game, and it simply brought a smile to my face.

In the end, I found myself trying to slow down and simply enjoy being in the game's atmosphere. I really didn't want the game to end, and I suppose that's the best compliment I can give anything I play. If you've ever loved an adventure game of the Myst persuasion, then you're going to love The Lost City. But not because it's a clone, or even a really good clone. This one's got a magic that's all its own.

Fly With Me

Each time you tap the screen to flap your wings, your flap-meter decreases slightly. Once that meter is depleted, you'll literally fall out of the sky with an amusing animation as you splat into the ground. So, you quickly learn to be more conservative with your flaps, and glide whenever possible. NOT flapping is a key part of this game. Your flap-meter must also be replenished by eating bees, otherwise you won't have enough flaps to reach the end.

At the top of the screen is a progress bar. This shows your position within the level, but also marks the location of three stars so you know when to watch out for them. These stars are used to unlock chapters. There's also one golden gear to collect per level. One you've found 45 golden gears a more powerful metallic robot bird is unlocked, or you can just buy it right away as an in-app purchase.

There's three chapters to play (fields, trees and tropical), offering 45 levels in total. You can play using four different birds, but first they'll need to be unlocked. There's also three challenge modes (one per chapter) which are unlocked once you gain enough stars. The challenge levels involve trying to fly as far as possible, and your score in that mode is measured in distance (meters).

Each level contains good winds to ride and bad brown air to avoid. These bad winds might do a loop-the-loop or carry you through an underground tunnel, which is interesting to watch but you can't control the bird while being blown along. While bee's are good to eat, the sick bugs should be avoided. As should predators, including big dangling bird-eating spiders, hungry fish and carnivorous plants.

Fly with Me has two disappointing features. First off, the frequent adverts for the games IAP offerings feel intrusive. After a couple of attempts at the same level, a full screen message appeared asking if I wanted to buy a robot bird (no thanks). Slightly later it asked if I was interested in paying to unlock all levels (Err, no thanks). Perhaps I want to purchase the easier kids mode? (No. Thank. You.) Then it starts over, trying to sell the IAP previously declined.

Secondly, the game reports back to EA, sending them data about game statistics, settings, incident or event data and feature preferences. I have no problem with this "usage sharing" functionality, except that it's enabled by default. If players don't check the "Info" screen, they may not realize their device is sending out data. I turned this setting off on principle.

Despite these drawbacks, Fly With Me is a solid title that's more challenging than it looks. The limited flapping mechanic sets it apart from the many similar simplistic arcade games on the App Store, and it's a good value for a dollar - assuming they don't eventually talk you into additional in-app purchases.

I would be ashamed if this was a cheap rip-off stemming from some copycat's attempt to cash in on a popular indie title somewhere but Ghost Trick: Phantom Detective isn't that sort of game. If you had to liken it to a gender-unspecific trophy spouse, Ghost Trick: Phantom Detective would be a 6'2" Scandinavian model with a degree in rocket science and a part-time job as a professional comedian. You won't be ashamed to be caught with this one.

The only problem here is that not everyone likes a talker. Ghost Trick: Phantom Detective's only real flaw (which is also, paradoxically enough, its strongest quality) is the fact that it is extremely heavy on the narrative. More than half of your time in the game will be spent reading. Sorry guys. Ghost Trick: Phantom Detective doesn't come with a voice pack either. If you're the sort who thinks that actions are louder than words, Ghost Trick: Phantom Detective is probably not for you. (I still recommend giving it a whirl, though.) As for everyone else, why are you still here? Get the game already!

What? No? Fine. I see those raised eyebrows and I'll raise you with a more thorough explanation. Ghost Trick: Phantom Detective is the long-anticipated port of an adventure game Capcom developed for the Nintendo DS. The titular character in this eccentric little delight is, as you might have guessed already, sort of dead. Sissel is also sort of awesome for an amnesiac red-suited ghost with a bad haircut.

Unlike most of the recently deceased, he has to navigate between the Land of the Living and the Ghost World. Sissel can also traverse telephone lines, perform minor feats of telekinesis, communicate with certain living beings (we'll get to that in a bit), and go back four minutes in time to avert untimely deaths. (Sadly, that's only applicable for everyone but himself.)

Incidentally, you'll find yourself using that last power a fair bit. The supporting cast is somewhat uniquely skilled at dying repeatedly. At least, one of them is.

Meet Lynne. She's a somewhat bombastic little redhead of a detective, the sole witness to your murder and – according to the helpful desk lamp (yes, a literal desk lamp) you meet in the introductory sequence – the key to deciphering the circumstances behind your posthumous condition. Needless to say, you will spend a lot of time rescuing her only to watch her barrel headlong into yet another humorous tragedy.

Along the way, you will also meet the rest of the highly memorable crew. From an unbelievably adorable if loud-mouthed Pomeranian (To quote our very own Mr. Nicholson, "Just wait until you meet the dog, man!") to a shotgun-wielding assassin (His name is Nearsighted Jeego. He never misses his target if they're in range.) to a slow-witted prison guard who dances when distressed, every entity you encounter in Ghost Trick: Phantom Detective is, uh, unique, to say the least. The development team definitely went all the way with the character design here.

(For those of you curious about how well Ghost Trick: Phantom Detective survived the transition to the iOS, I'm happy to say it looks pixel-perfect. While I've never played the original, I've seen the videos and if the videos are any indication of how things were, well, Capcom did you proud.)

Humor-wise, Ghost Trick: Phantom Detective is about as off-kilter as the menagerie that populates it. Facepalm-inducing moments are in abundance. The actual plotline, on the other hand, is deeper than what the initial twenty minutes might implicate. How so? I can't tell you. Games like Ghost Trick: Phantom Detective are kinda like Fight Club. You don't talk about Fight Club. You don't talk about games like this either. At least, not in the context of the plotline, the actual dialogue and whatnot. Not unless you want to peel away some of the magic. The only thing you're getting out of me on this front is the assurance that when the bleaker moments of the game hit, they will hit hard.

Of course, a good story's not much without decent gameplay. Though marketed as an adventure game, Ghost Trick: Phantom Detective feels more like a puzzler sequestered away in a visual novel. When you're not otherwise thumbing through conversations, you'll be in what the game calls 'Trick Time'.

To make this a little easier to understand, we're going to use an example here. Let's say you're inside a flag and you have to make your way across the room to get something. In order to accomplish this, you're going to have press the 'Ghost' button, switch to the Ghost World, and then draw a line from the flag to, say, a pitcher of water. Sissel will then do the rest. Interacting with objects is just as easy. For example, if you're inside a candle and the words 'burn brighter' are present on your side bar, all you need to do is switch to the Land of the Living and hit the 'Trick' button. Once again, Sissel will take it from there.

The puzzles themselves are a lot more complex and likely to leave you going, 'Wait. So, how am I supposed to use two suits of armor, a set of curtains, a globe and a framed-up sword?'. To complicate matters even further, there is often a time limit associated with these puzzles. Luckily for you (and everyone else in the predicament), Sissel can rewind time as many times as he likes, something that makes Ghost Trick: Phantom Detective nicely balanced between the realms of 'forgiving' and 'why would you do this to me?'.

While we're on the topic, here's my only other infinitesimally tiny issue with the game. It's too linear. I know, I know. This isn't some sprawling, open-world sandbox of an action-RPG. However, they've done such a superb job at developing the environments that I kind of want to spend some time away from the main storyline. Ahem. If you haven't guessed it already, I think Ghost Trick: Phantom Detective is the bee's knees and with the first two chapters available for free you should definitely give it a shot. Following that, you shouldn't have too difficult a time parting with the cash to unlock the rest of the game.

That certainly isn’t the case with The Hacker [99¢], though, a story-driven faux hacking game from developer Angry Bugs. When I fire it up, my iPhone is transformed into a Glider OS-equipped computer that becomes my gateway into an international tour de hacking which leads me to uncover a devious plot involving my former employer. It’s far from the first game to let you take on the glorified role of a top level hacker, but it executes the idea incredibly well and offers a fantastic level of immersion with a fairly compelling story.

The Hacker starts with you trying to log into the Glider Operating System on your computer, an OS you helped develop as an employee of Glider Corp. You’re notified on the screen that several things failed to install properly, but you finally boot to the desktop. When you try to connect to the ‘net, you’re denied, and then contacted via email by someone who claims to be a former coworker. He is one of a handful of developers, including yourself, who worked on Glider OS and were unceremoniously fired shortly before it was set to launch.

He informs you that he’s discovered a trojan in the Glider OS and suspects that Glider Corp is up to something shady, and since you have experience with the software he recruits you to join him and several other ex-employees in hacking into Glider Corp’s system and getting to the bottom of things. From there you’ll go on to experience several twists and turns as you dig in and discover just what Glider Corp is up to.

The coolest thing about The Hacker is that it hardly ever breaks character in terms of presentation. It tries to simulate a computer you might find from the late 80s with a green monochrome screen and very basic graphics, and it does it very well. There’s rarely a time when navigating through the game that you don’t feel like you’re actually operating a computer (minus the fact that everything is touch enabled, of course). This level of detail is very cool for people who remember when computers looked like that, but a younger generation might not appreciate such a low-fidelity presentation.

The Glider Corp system is spread across 8 servers around the globe, and the way you “hack” in into each one is by completing various types of mini-games. These are mostly just logic puzzles disguised as computer-y things.

For example, one type has you moving little nanomachine bugs onto trigger pads placed on a circuit board in order to “open the ports” into a server. The catch is that all the bugs move at the same time, and you’ll need to use objects on the board to get each one into the proper position to have them all be on their respective pads at the same time. A couple of the hacking games use similar mechanics to the classic Pipe Dream, like creating a path out of sections that will lead power to a set of dead nodes. Outside of the server mini-games, another bit of hacking lies in “decrypting” emails by completing a slightly altered version of a lights out game.

The mini-games aren’t necessarily anything groundbreaking, but they are really fun and can be quite challenging. It makes you feel like you’re doing real work by putting your brain to use and then being rewarded with an unlocked server and a new part of the story. I won’t spoil too much, but there is definitely more beyond the 8th server including some very cool secrets and surprises.

If you finish the initial 8 servers and still want more you can choose from 3 new areas to buy as in-app purchases for 99¢ each. These 3 areas each have 5 new servers to hack into, and completing each area will lead to some periphery story bits and additional secrets. There’s also Game Center achievements and leaderboards for every area as well as an overall leaderboard.

Doing pretty much any kind of hacking will earn you experience, which acts as an in-game currency. You can pay a bit of XP to pass a mini-game if it’s giving you trouble, or buy an assortment of sweet backgrounds for your virtual desktop that feature ASCII artwork. These definitely bring a nostalgic tear to my eye. But the coolest thing you can spend XP on is unlocking arcade games from the G.A.M.E. portal on your desktop. These playable games include takes on familiar genres like snake, brick breakers, shmups, cave flyers, and dodging games. There’s even a hidden platformer game in there too (but you’ll need to find it yourself).

There aren't too many things that I didn't like about The Hacker, but there were a couple of issues that stuck out. There are a ton of spelling mistakes throughout the game, which on the one hand feels a bit sloppy but on the other sort of fits perfectly with a game based around communicating with people over the internet. Our grammar has certainly suffered since the rise of the internet age.

The other problem I encountered was an inconsistent difficulty. The mini-games appropriately get more complex as the game progresses, but at several points no matter where I was in the campaign I ran into puzzles that stumped me for a frustrating amount of time. Then, after finally figuring out the solution, the very next puzzle or two I would beat in a matter of seconds. It could be that’s just how my own particular brain handled certain challenges, but to me the difficulty curve felt kind of choppy.

While at its core The Hacker isn’t much more than a collection of mini-games, the fantastic presentation and little details really pull you in. The story might be a bit cliché, but the way it’s gradually revealed to you as you access each new server compels you to keep hacking away to learn what happens next. Plus, the mini-games and accompanying arcade games are really pretty fun on their own, and can be played over again as many times as you want just for kicks or to earn some extra XP.

Above all else though, The Hacker does a great job at making you feel like a bad ass international hacker, which is what it should really all be about anyway.

As a tower defense game, Spice Invaders plays similarly to Fieldrunners [$2.99 / HD]. Players are charged with defending one (or more) bases in open-field maps. Enemies come in waves from a variety of different entrances, forcing you to build towers in such a way as to prevent them from taking out your base. Since the maps are open (with some featuring random barriers littered throughout the map), you can do this by surrounding your base, forcing the baddies into long paths made of towers, and so on.

The core gameplay isn’t particularly innovative, even the tower types are pretty standard (machine gun, missile, anti-air, e.t.c.). The game does have a pretty mean difficulty streak, since the AI adapts to tower placement and tries to find the path of least resistance to your base. The end result is a game providing a decent challenge for folks that aren't used to complex tower defense strategy.

Where Spice Invaders differentiates itself is in its overall presentation and execution. The visuals are crisp and vivid and do an interesting job portraying a futuristic (and bleak) Earth. This is also reflected in a good level design, as Spice Invaders takes you through a tour of the various continents. The music is catchy and adequately sets the mood. Even the menus, in-game tutorial and story cutscenes are done well. In fact, based on the above I’d argue that Spice Invaders has all the core elements of a great tower defense game. That is, until you get to the pay wall.

Yes folks, after seven missions in South America (the first continent in the game), you are unceremoniously informed that in order to move to the next continent you must either reach level 20 or pay-up 42 spice. When I reached this point, I was barely level 13, so you can imagine my surprise at making the level cap that high. Also, since I was upgrading my towers on a regular basis (as I was taught), I had very little spice to try and get past the level cap using that method.

I understand the strategy of utilizing freemium as a revenue source, and as far as I’m concerned if it’s done right I’m all for it. I thought Spice Invaders did an adequate job balancing spice rewards with tower (and upgrade) unlocks. I even thought their idea of making costumes for your avatar cost tons of spice wasn't a bad idea, as it was purely cosmetic and didn’t change the gameplay much. I was even fairly tolerant of the screen-filling ads that you’ll randomly get when starting levels.

But, putting a pay wall into the game after only seven levels forcing players to either grind out for a while on already completed maps or pay up in IAP to access enough space to pass is not a good idea and just seems to go too far.

Now, before we all get our pitchforks and chant about the downfall of freemium, there are a few things you should know. First, it costs only a dollar in IAP to purchase enough spice to pass this pay wall (if you shell out for the $2.99 pack the ads even go away). Furthermore, if you read  this review, you now know you can simply keep 42 spice in your inventory for when this first pay wall hits so you can continue right on playing (you’ll earn more than enough with just leveling).

Finally, while grinding to level 20 does take a decent amount of time, it’s not too hard to simply save up the spice you earn from redoing missions and leveling up to move on (that’s how I did it). If you’re willing to put a little effort into grinding, these sorts of barriers aren’t horrible.

However, in this instance it’s really the principle of the thing. Artificially restricting progress in this manner is not my preferred way of implementing freemium mechanics. It would have been far better to add more towers/upgrades/perks and expect players to eventually shell out spice purchases to explore those (the game does this as well). I have no problem with encouraging players to spend some cash on premium items that are not necessary for normal gameplay. The restrictions in Spice Invaders do not fit that example, especially since all these design choices are solely made to encourage folks to spend money (rather than designs that encourage fun).

It really is a shame, because other than the freemium issues Spice Invaders is a really great addition to the tower defense genre. While the gameplay didn’t offer anything particularly new, the artwork, music, and all around presentation and gameplay implementation were well done. I just really wish there was a way for players to just pay one hard fee that would get rid of all pay walls and basically treat the game as a normal paid title. Unfortunately, that’s not the way freemium typically works.

If you’re in the mood to explore a new, tough TD game and you don’t mind the freemium grind (or shelling out cash), then check out Spice Invaders. If not, well, I already know what you’re going to be doing.

The word "Gondola" has a few different meanings. To clarify, this gorilla is not riding on a flat-bottomed boat in Italy or an open railway freight wagon (that would be ridiculous). It's actually  standing on top of a ski-gondola on a cable, which moves along automatically. By swiping up or down with your finger, the Gorilla jumps or stomps. The further and faster you swipe, the stronger it's movements, causing the ski-lift to rise and fall.

Why jump and stomp? Because it helps him reach yummy bananas and power-ups like banana magnets or rising helium balloons. It also helps you use the gondola to squash "agitated birds" (which resemble certain fat Angry Birds) or to bounce the ape and gondola over or under approaching obstacles. The ski-lift doesn't explode after a crash, instead it gets snagged and you're given an opportunity to quickly tap the screen to destroy the blocking obstacle. If the snagged ski-lift moves off the left of the screen then you lose a life.

If the bananas or mines are slightly to the left or right, you can tilt your device to swing the gondola. As it sways, the gorilla totters, but don't worry he never falls off. I'm not generally a fan of games that involve simultaneous tilting and swiping, but it felt appropriate - although your hands might tire after a long session of tilting, swiping and tapping.

The eight levels start with a tutorial and include the 'Crystal Caves' which feature stalagmites and giant mushrooms to avoid, the underwater 'Reef' and a gondola in space. Each level is dynamically generated, so the layout is different each ride. There's also a variety of soundtracks, including one with distinctive lyrics in a deep voice: "Go-Go Gogo Gorilla! Do it! Oh yeah!!!"

Gorilla Gondola uses an interesting approach to unlocking levels by requiring a set of objectives to be satisfied. For example, collect X bananas, clear X gates and clear X obstacles without crashing. Some of these objectives can be earned across multiple games, and it tracks your progress as you go. This approach to unlocking levels is slower than many other games, but also  makes unlocking a level feel more rewarding. Especially the "Factory" level which has eight objectives to satisfy before it unlocks, including reaching certain scores on earlier levels.

Timing your jumps right is a skill which improves with practice, as the screens become increasingly full of explosive monkey-mines, fans to activate with a tap, bonus gates for the gorilla or gondola to pass through, and lasers. The levels are quite long and contain roughly  5 sections, so it can feel frustrating when the screen abruptly becomes cluttered with mines and causes multiple deaths in quick succession, sending you right back to the start to try again. Personally, I'd rather finish the entire Gondola ride each time and receive a lower score.

The Game Center scores are based on obstacles passed, bananas collected, the number of enemies and gates, and your overall awesomeness. How do they measure awesomeness? Dean from Electric Pixel Factory explains:  "If you collect all banana's, clear all gates, kill all birds and clear obstacles with maximum risk (i.e - closest possible distance) then you will be 100% awesome. Missing bananas and ramming obstacles will gradually chip away at your awesomeness."

Gorilla Gondola is a quality release, with responsive controls, good graphics and energetic music. The gameplay feels fresh and there's definitely skill involved with bouncing the gondola through the tight spots. The way multiple objectives are used to unlock levels feels well-balanced and is rewarding, providing an incentive to keep that fearless Gorilla jumping and stomping.

For folks that played Legendary Wars, Monster Wars will feel very familiar. The majority of campaign missions still feature the same castle defense-style gameplay where you collect resources, build units, defend your own castle from the opposition while simultaneously moving forward attack units to take out the opposing fortress.

The campaign also brings back the side-scrolling ‘hack n’ slash’ levels from the previous game (for better or worse). Each successful mission rewards players with coins to spend on unit upgrades, with an occasional soulstone (premium currency that you can also purchase using IAP). Most importantly, the deep character customization also returns, giving gamers a ton of incentive to play the game as much as possible simply to level up your character stats.

Despite these similarities, Monster Wars does tweak some of the gameplay by adding new variations on the types of missions we’ve seen in the past. For example, there are a lot more escort quests that have you guarding a ‘Named’ ally or a catapult as you make your way towards the enemy castle. In the case of the catapult, you have to actually use it to take down supplemental castle defenses before you can even damage it. The side scrolling levels have also seen some additions, with endless runner and other objective-based missions being thrown into the mix. In general, these tweaks don’t really do much to change the core gameplay, but considering how well done it is, I don’t care too much.

While Monster Wars improves upon its predecessor in a variety of different ways, I think the aspect that folks will appreciate the most is the sheer amount of content available. The campaign is huge and takes an investment to complete. If you want to take a break from the main story, the game features several endless modes which put you right into the action for as long as you want. The fact that you earn gems and soulstones, which can be used to improve your units within the campaign, is a nice (and necessary) touch. Finally, once you’ve conquered everything you think Monster Wars has to offer, additional difficulties are ready to challenge you all over again.

Another great way Monster Wars differentiates itself is with the all-new cast of monsters that you command in your army. There are over 15 new creatures, from the lowly Skelly to the awesome Lich, with each offering different attacks, special moves, and stats to improve upon. Each of the base units also allow you to upgrade its tier, giving the unit new stats, a new look, and even occasionally new specials.

There is a ton of variety in Monster Wars, and considering you can only take a certain number of units into battle, there are a lot of different ways to plan and play. I was a little disappointed in the fact that ‘tier-upgrades,’ (along with the ability to unlock some units) required as many soulstones as they do. Considering Monster Wars doesn’t pass out soulstones as much as I would want, players will either have to shell out some cash or grind a bit in the endless levels in order to earn enough stones to see everything.

From a controls standpoint, Monster Wars does a decent job. Buttons at the top of the screen let you quickly set attack and retreat orders as well as set simple formations. I did find it particularly tough to specifically select units during the heat of battle as your characters all tend to bunch up while attacking. However, I can’t really think of a better way of implementing something within the confines of castle defense.

Monster Wars also continues the excellent overall presentation started with Legendary Wars. A great soundtrack sets the overall tone of the game while retina-quality visuals paint a vivid picture throughout the course of your adventures. The story, a tongue-in-cheek narrative telling the Legendary (pun intended) tale from the monsters’ perspective, feels a bit trite at times, but still does a good job keeping the player engaged. There were a few strange UI issues, like certain screen buttons not registering taps (almost as if the tap window was smaller than the actual buttons), but nothing detracting from the gameplay too much.

I imagine some folks may complain that Monster Wars feels too much like its precursor without much of a change to the core gameplay. I say, why mess with a good thing? While the game does feel like a re-skin at times, Monster Wars still does a great job taking the classic gameplay from Legendary and transplanting it in a new setting. Add in all the new content combined with the deep character customization and there’s no reason you shouldn’t be checking out Monster Wars.

Tweet Land was intriguing due to its unique real-time usage of tweets drawn from Twitter that would trigger elements into the game. It reaches out into the vast ocean of Twitter and utilizes special keywords from real tweets to create things in the game. It's a fantastic idea in theory, and Why Ideas did pull it off on a functional level just as they had promised. However, despite being really innovative, Tweet Land doesn't hold up as well in the gameplay department, and there were a couple of unintended side effects of using live tweets that left a sour taste in my mouth.

First, let's talk about the kind of gameplay that's in Tweet Land. You control a car heading down the highway (Route 140 no less) and you must make it to the finish line while dodging tweet-driven hazards and other traffic on the road. You can veer into the other cars from the side to knock them off the road and score some points, and ramming multiple cars off the road at once will multiply the points you earn. If you hit cars from behind or run into road hazards, you lose a bit of life, which is represented by the visual damage on your car.

I really like Tweet Land's retro style, and there is a lot of humor and personality in its pixel art visuals (though it's kind of blurry on my iPhone 4S). But things start to fall apart when you actually start playing. The controls are very slippery, and it's hard to be precise when trying to properly ram other cars or avoid hitting hazards. With practice you can get used to it, but it's still really annoying when you're trying to quickly react to something and the controls don't afford you the kind of finesse that you need to get it done.

I think when you have games that are built on top of a very simple core gameplay concept, you have to get all the little details right. That's why games like Jetpack Joyride or Angry Birds are often imitated but rarely duplicated. as they get the feel of the controls and the movement in the game so right. If you're going to be doing the same action over and over again, you want that action to be fun. While Tweet Land has its share of fun moments, something about it just feels off, like it's missing something but I can't pinpoint what.

The game is broken into two environments with 12 levels each, with a spot for a third environment that's said to be coming soon. With each new level, new tweet-driven elements are introduced and added to the current ones, so as you keep going the variety of things that can happen increases quite a bit. An example of a hazard would be if someone tweets the word "meteor" then a meteor will fly in from off screen and you'll have to use the position of its shadow in order to avoid being crushed. There are helpful things that can be triggered in the game too, like health packs or a temporary spread shot for your vehicle.

One problem with the progression in Tweet Land is that it gets rather hard rather quickly, and if you get stuck on a level there's no moving forward until you beat it. This got pretty frustrating since many of the times that I died it felt like it wasn't actually my fault. When elements are brought in from Twitter, they are accompanied by a label with the Twitter handle of whoever tweeted that keyword. This is neat, but leads to an incredibly cluttered and distracting screen, especially when there are multiple things happening at once. Coupled with the floaty controls and the speed at which things are zooming by, and the odds are stacked against you.

Arrows indicate where things will be coming in from off screen, but they're hard to notice amongst the busyness on the screen and often aren't very helpful. Add in the fact that there's usually a ton of traffic on the road with you, and making it to the finish line intact can require a healthy dose of luck just as much as skill. The levels tend to be a bit longish, and nothing is worse than seeing your cheap demise when you're within a stone's throw of the finish. The more I failed a level over and over, the less I felt compelled to go back and conquer it.

However, my biggest issue with Tweet Land is something that I didn't really expect: the tweets that the game draws from can be much too somber for what is supposed to be a fun and lighthearted game. For example, if someone tweets about a "car crash" then cars will zoom in from offscreen and wreck into some of the other traffic on the road. When your run ends, you have the option of looking at a list of all the tweets that were used to bring things into the game.

To my horror, I found that in this particular instance "car crash" was pulled from a huge retweet campaign trying to raise money for a girl who had lost her parents in a car crash in Florida. I know Tweet Land has no way of telling the difference, but I couldn't help but feel crass for playing a game that was fueled by somebody else's tragedy. With some of the other keywords used in the game – like tsunami, terrorist, and death – I have no doubt that encountering a downer situation like that will occur often.

While I do still think the idea behind Tweet Land is incredibly clever, I just find the game too fundamentally flawed to be enjoyable. Don't get me wrong, I want to like it and I did find myself having fun with the game at times, but those fun times are quickly diminished when you realize your game is possibly being powered by the tragic tweets of strangers. Beyond that, the gameplay is too average to warrant dealing with cheap deaths and an unpredictable difficulty.

With some tweaks to the controls and interface, and perhaps some sort of filter for what kind of keywords are utilized, then Tweet Land could end up being something pretty special. It feels like it's just a couple notches off of being something great, and I hope it gets there someday. As it is now, though, it's hard to recommend the game except to those who might be curious to check out its novel use of Twitter or are prepared to deal with its shortcomings.

You know how we raved about Jetpack Joyride's mission system, its hefty in-game store full of customizables, and other single-user consumable perks? Well, Off The Leash does an incredible job of utilizing incredibly similar underlying systems to keep you playing game after game while feeling entirely new and fresh. In fact, in light of the recent NimbleBit cloning drama in the past week, it's seems particularly important to tip our hats at games like Off The Leash that utilize these mechanics that work so well, but only as part of building an entirely new game experience.

In Off The Leash you initially control a single dog. It almost has a Mega Jump [Free] feel to it in that coins are everywhere, and you tilt your device to move your dog around to collect them. There's also food to eat, and various power-ups to snag.

The premise of the game has you running from the police, as apparently dogs have been banned. This lends itself to my favorite gameplay mechanic, the dog rescue system. Since the cops are out in force to catch you (and presumably, all other dogs), you've got to snag every other dog you come across and recruit them into your coin collecting food devouring feral dog pack.

As you collect more dogs, you run in what could be best described as a massive canine swarm. Your dog friends you've picked up form behind you in a almost bird-like flying V formation which greatly increases the amount of coins and food you can pick up since any dog running into any coin or food product counts towards your total.

It's not that easy enough, as there's obstacles which make you lose dogs as the errant corners of your formation bumps into them. Thankfully, touching the screen makes your dogs form up in a line, but doing so greatly decreases your speed, which is really counterproductive since the game ends when your dog pack fails to make it through a checkpoint before you run out of time- Sort of like an old school racing game.

Like most of these games, you quickly find yourself in a rhythm of tilting tilting and tapping and the whole game melts away into this crazy dog pack management experience as you're trying to go as quickly as possible without losing any of your puppy pals. There's power-ups you can collect too such as your standard speed boost, time extension, a familiar coin magnet, and my favorite: DOUBLE DOGS. Collecting this power-up instantly doubles the dogs in your pack, which can result in a silly amount of dogs on screen.

Just like Jetpack Joyride, Off The Leash is totally free to download and play, with no ads or other restrictions as far as I can tell. Instead, it's monetized through selling coins that are then used to buy cosmetic upgrades, better power-ups, and golden whistles which basically act like extra lives to keep playing if you fail to make it through a checkpoint. There's also a similar permanent double coins add-on for 99¢, which seems to be a good place to start if you like playing the game since you can just earn coins for everything you'd want to unlock anyway.

I'm really sort of shocked by how much I find myself enjoying this game. The difficulty curve seems great, Jetpack Joyride already proved that this payment model works, and I love how they take the foundation that worked so well for Halfbrick but created what feels (and, really, is) an entirely new game around it. For the low, low price of free, you really shouldn't miss Off The Leash.

It was interesting that Int13 was departing from their typical augmented reality based games, like ARDefender [Free], and trying their hand at an established and nuanced genre like arcade-style manic shoot ‘em ups, especially with veteran shmup developer Cave basically cornering the market with their stable of high-quality ports. However, Int13 has surprised me with just how right they got Shogun, and while it might fail to totally impress the more discerning bullet hell enthusiast, fans of shmups in general will find a lot of action and fun brimming from the game.

The very first thing that pops out at you about Shogun are its graphics. The environments are done up in 3D and give off a great feeling of depth as you’re scrolling by in your ship. It’s also Retina Display ready, meaning it’s razor sharp. Enemies are your standard alien-type of spacecrafts, and there are some rather interestingly designed mid-boss and end-boss fights that will give you a run for your money in terms of challenge. On the whole, gameplay in Shogun doesn’t divert too far from your typical bullet-hell shooter formula, but it executes the components of that formula extremely well.

However, Shogun does show some more innovative signs in a couple of areas. One is the method in which you change your weapons. Your ship comes with 3 weapon types: spread shot, laser, and homing. Whenever you lift your finger off the screen, the game slows down bullet-time style and a small menu pops up above your ship that lets you choose from the 3 weapon types, as well as trigger a screen-clearing EMP or choose to add small wingman ships for added firepower. It’s nice that the action slows down to allow you to concentrate on what weapon you need to pick, but you can still take damage in this mode so you’ll still need to stay alert.

The other thing in Shogun that I found very interesting is the system for filling and using your shield meter. You have the ability to scrape bullets that pass you by, which basically means getting your ship extremely close to them without actually getting hit. With each consecutive bullet you scrape, you build a multiplier, and this adds to your shield meter above which can go past the 100% full mark. Every time you fill up your life meter completely, it fills one of the 6 reserve tanks above the meter.

Now, these reserve tanks can be used for various things, like setting off the aforementioned EMP blast or adding one or more sets of the satellite helper ships to your own ship (which VASTLY increases your firepower, I might add). Also, when you do get hit by enemy fire, the game will automatically clear the screen of bullets and shield you for a brief moment while giving you a refilled meter, but it will cost you one of your reserves.

The scraping and usage of reserve tanks aren't totally new ideas in the shmup world, but they're done well and add a ton of strategy to how you go about being the most effective in Shogun. It’s in your benefit to scrape as much as possible and always strive to keep your reserves well stocked for particularly challenging sections and boss battles. But, you can’t concentrate too hard on just scraping, as inevitably that will lead you to take damage if you aren’t paying enough attention to killing the enemies as well.

While the graphics are gorgeous and the underlying mechanics are sound, about the only thing I don’t like about Shogun is that it’s pretty short. Featuring just 4 levels to play through, it comes to an end pretty quickly, but it’s a satisfying and challenging ride while it lasts. The pay model is also pretty accommodating, allowing you to download and play through the entire first level for free. The remaining 3 levels are accessible as well, but you can only play them for a brief minute – just long enough to get a taste. Each full level is then unlockable separately for 99¢ each, or $1.99 to unlock them all at once.

As a big fan of Cave’s shooters, I find it hard to really get into most of the other shooters on the App Store. They really did set the bar that high. But Shogun is a game that instantly drew me in with its visuals, and then backed it up with a ton of solid action. It even Universal and has iCade support, to truly complete the arcade experience. As a free download, there’s really no reason not to give Shogun a try for yourself.

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.

We've seen the control scheme and basic design a thousand times before, and there's nothing new about collecting coins for upgrades, cosmetic or otherwise. Blot won't win many points for fundamental originality. But it's a solid, fun cave flier that also happens to be beautiful, with an underlying sense of humor that's sure to please.

Screenshots don't do it justice — a big part of Blot's appeal is how lovely its parallax backgrounds look in motion. Someone at Majestic Software has taken time to sketch out all manner of things — trees, candies, wastelands, ponies, helicopters wielding swords and morningstars, you name it—which the game then combines and recombines to build new backdrops each time you play.

This is part of a broader vision. Blot himself is an ink spatter, flying outwards from a pen. He dodges pencils and seeks out paint cans and smudges. The artistic theme isn't carried through as far as it could be—art and coin collection don't exactly go hand in hand—but it gets very, very close.

For controls you're looking at something a lot like Jetpack Joyride [Free], to name one recent and popular example. The titular Blot is bigger and a bit floatier than Barry Steakfries and his jetpack, but it has the same inputs—tap to rise, let go to fall. The arc of its movement might take a bit of getting used to, but there are no drastic changes.

And what would a modern cave flyer be without a collection mechanic or two? Aside from coins, you'll also seek out boost buddies. Blot grows as it absorbs these cute little dudes, making it easier to grab coins but harder to dodge obstacles. Once you pick up four, you get a big boost of speed and temporary invincibility. There are also colorful paint cans and smudges to be found that mess with speed, direction and magnetism.

The coins you collect can be exchanged for upgrades. The selection is pretty cool—stuff that makes paint effects or boosts last longer, alerts you to upcoming boost buddies, makes you magnetic or doubles your income. Since you can only pick one to equip, you'll have to consider whether you're grinding for coins, going the distance or working on a Game Center achievement that requires a bit of extra assistance.

The game takes any chance to serve up pop-culture references. Little things, mostly, like how the buddy detector is called the "pip-blot 2000," and the unlockable costumes play off things like Star Trek and the Ace Attorney series. There are also achievements for flying past wild reference in the background sketches, although you'll probably die if you take the time to look for them. Best of all, none of this feels as forced or out of place as memes so often do when they pop up in games.

Some of the foreground elements are a bit abrasive against the terribly sexy backgrounds, but everything else is awesome. There's lovely (if brief) music to fly to, and Blot is stupidly charming for something with only a few frames of animation (that little scrunchy face…!). And while there isn't a plot or a complicated mission system to keep you motivated, the high score grind is made valuable with coin rewards and a grading system. Practice makes perfect, but getting an A+ will take skill.

One little warning - you can purchase coins with cash. Don't bother unless you're out to support the developers or stockpile a huge supply of portals—you'll just rob yourself of the fun of actually playing. The grind isn't painful at all unless you need the highest end items right away. My only quibble is that the IAP coins come a bit cheap - a single $2.99 purchase can give you most of what you'd ever need, so grinding starts to look like a bad value proposition.

It's hard to complain, though. While it fails to distinguish itself on mechanics, Blot blows most of its competition out of the water with style alone. It's delightful, plain and simple, and when given the choice between equally solid games, I'll take the one that delights me any day. Who wouldn't want a little more joy in their games, right? So take a good long look at Blot, and let us know if you like what you see.