I haven’t been able to put Mini Metro down all week. The game, by New Zealand-based Dinosaur Polo Club, debuted on the desktop with promises of an iOS version ‘soon.’ It took about two years, but the wait was worth it. Touch Arcade is right on point with its assessment:
the iOS version [of Mini Metro] may well be the definitive version of one of the best indie puzzle games of recent years.
That’s high praise, but deserved. Mini Metro combines simple mechanics with elegant, minimalist artwork and challenging puzzles into a whole that transcends the sum of its parts.
What makes the iOS version of Mini Metro special is how you interact with it. The premise of the game is simple. You are in charge of building a transit system for your citizens. Mini Metro starts by tasking you with building London’s Tube from a few initial train stops that you connect with rail lines by dragging your finger between them. It’s the direct manipulation of the transit system – building parts up and tearing others down – that makes Mini Metro so engrossing.
iOS gaming is epitomized by games with short, simple interactions, which is why arcade and puzzle games dominate the platform. There’s nothing inherently wrong with that – it plays to the strengths of the iPhone where most iOS game are played. But the success of Apple’s smallest iOS device doesn’t have to be at the expense of its bigger cousin, the iPad. With lots of power under the hood, a big battery and a gorgeous screen, the iPad has a lot to offer as a gaming platform. Yet, games that take advantage of the iPad’s strengths feel few and far between.
Earlier this month, Klei Entertainment, the Canadian studio behind Don’t Starve, released Invisible, Inc., an iPad-only turn-based stealth and strategy game that demonstrates what’s possible on the iPad. Invisible isn’t a new title. The game debuted on the PC and Mac in 2015 and earlier this year on the PS4, but this is Invisible’s first appearance on a touch-based device.
Invisible is set in a future where the world is dominated by corporations. Your security team has been compromised and you have 72 hours to solve a variety of missions leading up to a counterstrike against your enemy. Each mission poses unique challenges and obstacles that require stealth and strategy. The missions are also necessary to collect gear you will need to make your final assault on your enemy’s base.
The turn-based nature of Invisible gives you time to consider the best way to get around guards, cameras, drones, and other obstacles, but at the same time, Invisible creates a sense of urgency. Each turn you take raises the alarm status in the facility you’ve infiltrated, which leads to further complications as you navigate your enemy’s defenses. Guards you take out don’t remain unconscious indefinitely either. Waste too many turns and guards start to come to and look for you. Add to that an ominous electronic soundtrack, and you’ve got a game with a nearly perfect level of intensity.
Invisible is a deep game that is worth playing multiple times. You can unlock ten different agents to take through the missions, which are procedurally generated, adding variety to each play-through. You will fail missions over and over, but Invisible gives you ‘rewinds’ to retry missions, learning the best way to navigate their threats. On top of that, there are five game modes, all of which adds up to hours of challenges that are never the same twice.
Klei’s experience with bringing desktop gaming to the iPad shows. Invisible feels perfectly natural as an iPad app. The choice to bring the game to iPad only for now was a smart one. The game benefits from the larger screen. Klei did the same with Don’t Starve, but eventually did bring that game to the iPhone too. I could see that happening here as well, but doing so would undoubtedly require significant effort to make the interface work on a smaller screen.
I would love to see more games of Invisible’s ambition and quality on the App Store. The success of a game like Invisible on iOS seems like a no-brainer. A high-quality game for $4.99 that would cost you $20 on another platform is a great bargain. Unfortunately, people have been conditioned to expect games on iOS that are free or maybe a dollar or two at most. That’s a problem for the future of gaming on iOS, but with releases of top-notch games like Invisible, Inc., I remain optimistic that there is still a place for premier games to carve out a place for themselves on iOS.
Zip Zap, by Philipp Stollenmayer, combines physics and timing in a unique and lighthearted puzzle game. The interaction with the game couldn’t be simpler. You tap to contract Erector Set-like pieces at their hinges and release to retract the hinge, which makes pieces creep, hop, jump, and swing across the playing area. That’s it. The game even helpfully reminds you that swiping doesn’t do anything.
Each of the over 100 levels requires you to maneuver one of the pieces or a ball into a specific spot. What makes Zip Zap work is the realistic physics and variety of ways tapping affects the interaction of the piece you control with the obstacles in the game environment. Precise timing plays a big role too, complicating each level and requiring close attention and concentration.
The difficulty of the levels ramps up gradually, but before long, the route to the goal is no longer obvious and requires experimentation. There is no score or penalty for retrying a failed level and no timers. You just swipe from the right to reset the pieces to their starting positions if you want to retry a level. As a result, Zip Zap is low-stress. Add to that an upbeat soundtrack, bright colors, and the playfulness of the game mechanics and you’ve got an excellent puzzle game that’s great when you need a break fro whatever you’re doing.
One of my favorite games on SNES was Lemmings. Sticklings, by Austrian development house Djinnworks, is a clear evolution of the core elements of Lemmings, but with creative twists that make Sticklings an addictive casual puzzle game in its own right.
Stick figures emerge from a box at regular intervals. Your job is to maneuver them to a glowing portal. Each progressively harder level requires you to steer a certain number of stick figures into the portal before time runs out.
If you do nothing, stick figures will walk off the end of platforms, disappearing as they seemly melt into the background. To get the stick figures to their destination, each level has some combination of up to six tools that give your stick figures special abilities. You need to use abilities sparingly though, because Sticklings limits the number of each tool you get per level. Among other things, you can use stick figures as ‘blockers’ that reverse the course of figures that walk into them, for building staircases to clear obstacles, or for throwing bombs that blow up barriers.
Sticklings is striking. The first thing you’ll notice is the spare use of color. Each 3D puzzle is rendered almost entirely in grayscale and lit from above in a way that adds to the game’s dimensionality. Special segments of the platforms are in color as is the the box from which your stick figures emerge and the portal goal to which you steer them, but that’s about it. The effect gives the game a modern, abstract feeling that I like.
There are a couple things that bother me about Sticklings. The first is interstitial ads for Djinnworks’ other apps when you start the game and between levels. I don’t mind a link to other apps by a developer that I can choose to tap, but these appear full screen and require you to tap a tiny ‘x’ that doesn’t appear for a couple seconds, which is is too disruptive for my taste. I also don’t like that progress isn’t synced between devices, which is an all too common occurrence among iOS games.
That said, I like Sticklings for the Lemmings nostalgia factor, the visual aesthetic, and the challenging puzzles. A few of the games I’ve reviewed lately have been ones where you’ll want to set aside some time to play. Sticklings is perfect for killing time and boredom by playing a few levels here and there as time permits.
Paul Pixel - The Awakening by Xoron GmbH is a classic adventure game reimagined for touch. The game is set in a post-apocalyptic world where alien space zombies have overrun the Earth. I felt like a change of pace this week and when I saw Paul Pixel, the combination of retro game art and zombies caught my eye. By and large the game delivers with a fun story, great artwork, chiptunes, and wry sense of humor, though it is fairly short and not difficult.
The story opens with zombies emerging from a spaceship before cutting to Paul Pixel’s home where the game begins. The first order of business is to escape the zombie-infested city, but ultimately, Paul must save the world. The mechanics of Paul Pixel are simple - tap where you want Paul to walk, tap things you want him to interact with or pick up, and tap a hand icon in the corner of the game to access your inventory.
In classic adventure game style, all of the dialogue in Paul Pixel is text-based. The dialogue is kept relatively short in most cases, with a touch of humor that helps to keep the text from getting tedious. If you tap a character and get the same interaction a second time though, it would be nice if there was a way to skip through the text more quickly.
The colorful pixel art of Paul Pixel is the handiwork of artist Paul Veer and adds a lot to the experience of the game. Because the pace of the game is relaxed, I enjoyed sitting back to absorb the vibrant colors and surprising detail of each scene. The soundtrack to Paul Pixel is solid too. In a fitting touch, all of the music was composed on an original Commodore C64 SID.
Paul Pixel does a great job of capturing the vibe of old-school adventure games, but with updated artwork and gameplay designed for touch. The release notes are up front about the fact that the game will only take 2.5 - 3 hours to play. Paul Pixel is also not that difficult, which may make this game a non-starter for some, but I have found that on balance, the story, humor, artwork, and soundtrack more than make up for its shortcomings.
According to the developers a Mac and Apple TV version of Paul Pixel will likely be made too, with the Apple TV version bundled with the iOS game at no additional cost. I can’t wait to see Paul Pixel on tvOS. The vivid artwork and chiptunes feel like they would be great on a TV and the simple game mechanics should work well with the Siri Remote.
This week I’ve been playing a great-looking, tough puzzle game called Rubek from Xigma Games. As the name suggests, it’s a game involving colored cubes. Rubek is played from a three-quarters perspective, similar to Monument Valley. You guide a white cube along a path through each puzzle to the final goal by swiping on the screen to roll the cube.
The path you take is segmented into squares of different colors, including some with a small plus symbol in the center. Roll onto a colored square with a plus and the side of your cube the lands on that square changes to that color. This is where the game gets tough. You can roll any side of your cube across a dark grey square, but if you try to roll across a colored square along the path, the side of your cube that touches the square must match its color. The combination of color matching while accounting for where the six sides of your cube will land gets hard fast.
Your score is determined based on the number of moves necessary to complete the puzzle. At the end of each level you get a star rating based on how many moves it took you to finish the level. Rubek has over 75 levels in total, which add new mechanics as you progress like trigger blocks that modify the puzzle’s map when you roll over them, keeping the game fresh as you play through the levels.
Rubek’s settings let you turn off sounds and include a color-blind option that lets you adjust the color scheme used in the game. I’ve spent the last couple of months trying lots of different kinds of iOS games and found some great ones, but it’s nice to get back to a puzzle game, which is one of my favorite genres of all. Rubek is the sort of game you can play for 5 minutes or an hour depending on how much time you have, which I always appreciate, and it’s challenging without being frustrating. If you enjoy multidimensional puzzle games, Rubek is worth a try.
In Nightgate, by Semidome, you navigate a glowing sphere through a grid of 3D geometric shapes guided by another sphere. This is where I suspect some people might stop me and ask ‘Didn’t you review this game last week?’ No, but I wouldn’t blame you if you mistook Nightgate for Gemini at first glance. There are some superficial similarities, but the two games are very distinct.
Nightgate is a follow up to Semidome’s Last Voyage, which was among Apple’s Best of 2015. The game features 50 levels of puzzles. The goal of each puzzle is roughly the same – guide your sphere through a maze of obstacles by dragging your finger anywhere on the screen to move over specific spots identified by dots surrounded by a circle. After you have flown over each node your companion sphere takes you to the next stage of the game.
Some games are as much about art and the experience they create as they are about gameplay. Monument Valley comes to mind for instance. Gemini – A Journey of Two Stars is a beautiful new game from Echostone Games that falls into the same category and succeeds by being simultaneously stunning and engrossing.
As you start Gemini, two stars have fallen from the sky. You play as the larger star. There are no instructions or tutorials, just subtle visual hints about what you are supposed to do. Tapping the left and right sides of the screen guides your star in those directions.
As you approach the smaller star, the two interact and begin to rise. Get too far away from the smaller star and both start to fall from the sky. This makes for an interesting tension as you try to stay close to the smaller star, which can have a mind of its own, while also completing the game’s tasks.
As you rise through a gorgeous abstract landscape, the sky darkens. If it gets too dark, your stars will fall. To avoid that you need to light beacons by steering your star over them. Lighting up the sky has the added advantage of revealing more of your surroundings. The stunning artwork of Gemini is paired with an equally impressive and soothing soundtrack that sets the tone for the game.
As you lose yourself in Gemini, the game is more about the interaction of the stars than anything else. The dance between the stars and making sure you bring the little star along become the focus. This is a very different game, but the feeling of a connection with the small star that Gemini created as I played reminded me a lot of playing Journey last Summer on my PS4.
Gemini is relatively short. The six stages of the game should take most people no more than 1-2 hours to complete. If you evaluate games by the numbers of levels per dollar you spend, you may be disappointed with Gemini, but as a piece of interactive art, I suspect many people, myself included, will return to Gemini over and over just to enjoy the visuals and soundtrack.
Gemini is available on the App Store at an introductory price of $2.99.
Legend of the Skyfish by Crescent Moon Games is an action-puzzle game that evokes Nintendo’s Zelda franchise, but has its own unique twist that will reel you in. Legend revolves around the tale of the Skyfish, an evil creature from deep below the ocean’s surface that was awoken by the greed of fishermen. Skyfish took over the surface world and enslaved its people. You play as a girl who was saved by the Moonwhale and is in search of her little brother.
As the protagonist of the story, your main tool and weapon is a fishing pole. Whether it’s navigating the map, avoiding barriers, or defeating enemies, you can accomplish it all with your fishing pole. Fend off the attacks of mutant sea-people that roam the surface world by swinging your pole like a sword. Jump from island to island or move objects by casting your fishing line to hook special points on the map. Catch enemies and pull them into spikes and other obstacles with your fishing pole as an alternative to hand-to-hand combat. More than any other element, the creative uses to which you can put your fishing pole set Legend apart from other games.
Legend eases you into the game with several fairly easy levels in the first of three worlds, but does a nice job of getting progressively more difficult and imaginative with its puzzles. You move around the island world by dragging your finger in the direction you want to go. There are also two game pads. The first swings your pole like a sword. The second game pad casts a line from the fishing pole. By tapping the pad and shifting your finger, you aim the pole. Raising your finger launches your fishing line.
One thing that is sorely lacking from Legend is progress syncing. The game is available on iPhone, iPad, and the Apple TV, but there is no way to pick up where you left off across devices. I played on my iPad more than my iPhone, but both worked equally well. Touch is well-suited to aiming the fishing line. I played a few levels on the Apple TV too. Legend’s world looks gorgeous on a big screen, but I liked using the touch interface on iOS devices better than the Siri Remote’s tiny touch surface.
Legend has two things that help it transcend Zelda copy-cat status. The first is the clever fishing pole gameplay, which is unique and thoughtfully implemented. The second is enemies’ vulnerability to the game’s environment. Both aspects of Legend add a depth and novelty to navigating the colorful water-world and to combat that keeps the game fresh and fun throughout.
