Word game addicts, say goodbye to your family, friends, and productivity: Spelltower is back and better than ever. The newly launched Spelltower+ from Zach Gage and Jack Schlesinger takes the original game, modernizes it for the latest iPhone and iPad screen sizes, adds lots of new game modes, and packs several other key feature enhancements. Whether you’re a longtime Spelltower fan, or the game missed your radar entirely in its glory days, Spelltower+ deserves your attention.
Posts tagged with "games"
Apple Arcade launched with a flurry of fantastic games. Not long after the first wave of titles hit the service, Czech studio Amanita Design turned heads with the unexpected release of Pilgrims, a traditional adventure game that borrows interaction elements from card-based games. The studio’s quirky, signature art style and sound design come together in a short but delightful game that encourages exploration and experimentation.
Amanita has been making iOS games since the earliest days of the App Store. It’s probably best known for Machinarium, which was released in 2009, but it has released a string of artful games that are fan favorites, including CHUCHEL, Samorost 3, and Botanicula.
Pilgrims dropped on Apple Arcade in October and is available on iOS, iPadOS, tvOS, and the Mac. I’ve played the game on all four platforms and found that it’s best experienced on the iPad, followed closely by the Mac.
The reasons Pilgrims succeeds so well on the iPad are threefold. First, the game is beautifully illustrated in a hand-drawn style that is reminiscent of a children’s storybook, which a big Retina iPad screen helps bring to life. Second, the iPad’s superior sound system makes it a great way to enjoy the game’s soundtrack, even without headphones. Finally, as I’ll explain in more detail below, Pilgrims relies on a card-based approach to gameplay that lends itself to touch, making direct interaction with the game’s cards and collectibles a natural fit.
The iPhone benefits from the same intimate interaction as the iPad, but the experience is diminished by the smaller screen and the iPhone’s inferior speakers when played without headphones. Pilgrims benefits from the even bigger screens of a Mac and TV, where I found that interacting with the game with a trackpad or mouse felt closer to the iPad’s touch experience than using the Apple TV’s Siri Remote or a game controller.
The premise of Pilgrims is simple: you start the game as a traveler who wakes up in his tent. You navigate around a map to various locations by tapping or clicking on them. Along the way, you collect items, interact with other characters, and solve puzzles. As you pass certain milestones, you’re joined by other pilgrims on your travels as you progress to the conclusion of the story.
The characters you befriend and the items you collect are represented by cards at the bottom of the screen. As you travel from point to point, your objectives will be clear: the thief wants potatoes, and the restaurant owner wants wine, for example. To obtain those items and unlock later stages of the game, you need to visit other locations on the map and through trial and error, collect items, trade for others, and interact with characters to advance the story.
Interactions are initiated by dragging cards into each scene and then watching how the story unfolds. The scenes are handled with an excellent sense of humor and whimsy that encourages you to experiment. In turn, that lends itself to a leisurely pace and provides a richer experience than doing the minimum necessary to reach the end of the game would suggest. It also makes Pilgrims a fun game to revisit because, although the environment may be familiar, testing different interactions with the characters you meet along the way makes repeat plays fun.
It’s the combination of storytelling and card-based play that makes Pilgrims such a perfect match with the iPad. Playing on a big Mac screen with a good set of speakers is a close second, but sitting back in a comfortable chair and exploring Pilgrims’ world from an iPad can’t be beaten. If you missed this release, which trailed the Apple Arcade launch by a few weeks, be sure to check it out now.
Pilgrims is available as part of Apple Arcade on iPhone, iPad, Apple TV, and Mac.
When it comes to mobile games, all a new title has to do to draw me in is show a Candy Crush-style grid of objects. There’s something about the simple mechanic of making connections on a grid that’s hard for me to resist. Most of the time, though, I find that while such games can easily grab my interest, many will quickly lose it when I actually start playing. It’s usually just standard match three games that keep my attention, so when I first tried out Grindstone, I didn’t think it would be for me.
Grindstone is an Apple Arcade title from Capy and the creative team behind the excellent Superbrothers: Sword & Sworcery EP. It features a familiar grid of objects – in this case monsters to defeat – but rather than rearranging matching monsters in a Candy Crush fashion, you’re tasked with tracing a line from one matching monster to another, determining the order in which you’ll slay them and potentially earn rewards. Monsters have to be adjacent to each other for you to string them together, so essentially you’re completing a connect the dots puzzle each turn with as many monsters destroyed as possible.
NABOKI, a brand new puzzle game by Maciej Targoni, is a masterpiece of mobile game design. Targoni is the developer of klocki, which I previously reviewed, and several other games that feature a similar minimalist aesthetic that I love.
I started NABOKI for the first time on a recent early-morning flight to California. I couldn’t have picked a better game to make my uncomfortable surroundings melt into the background.
The game has no tutorial and virtually no UI. Instead, NABOKI relies on exploration and the player’s curiosity to propel it forward. Coupled with a soothing nature-inspired soundtrack, NABOKI creates a calming environment of thoughtful concentration that’s a great way to relax.
NABOKI opens with a single white cube with rounded edges and a red arrow-like character on one side. Swiping on the screen spins the cube in three dimensions. Tapping on the cube provided immediate audio feedback, playing one tone when I tapped a blank side of the cube and another when I tapped the side with the arrow, causing the cube to launch itself offscreen.
The early levels of the game introduce the basic concept of tapping the arrow side of cubes to clear them from the screen and rotating the puzzle to consider your options from all angles, as you would a Rubik’s cube. As the puzzles become more complex, featuring blocks of several contiguous cubes, you need to clear pieces in a particular order to clear a path for others, and often to expose the arrows you need to reach before they can be cleared.
After several more levels, NABOKI begins to introduce different behaviors to cubes. There are circles that rotate cubes, switches that shift cubes and blocks of cubes, unclearable blocks, and blocks with patterns that have to be matched to clear them, for instance. Each puzzle builds on the new types of blocks introduced, combining them in clever ways that amp up the difficulty gradually in a way that isn’t frustrating.
Each type of cube also provides different audio feedback, which I enjoy, but I’d like to see haptic feedback added to interactions. NABOKI is the kind of game that I’m far more likely to play on my iPhone, and I think haptic feedback would draw players into the game’s world even more quickly and deeply.
NABOKI should be played with headphones because the soundtrack is a fantastic synthesis of instrumentation and sounds from nature. The soundtrack reminds me a little of the Brain.fm music. It’s a wonderful complement to a puzzle game like NABOKI, that creates a relaxed, contemplative environment in which it’s easy to lose yourself.
The single dot in the top-left corner reveals navigation buttons to replay solved puzzles and a button to turn the soundtrack on and off. There’s no scoring, leaderboards, or other competitive aspect of NABOKI. It’s just you against the puzzles.
Crammed into a narrow seat with a tray that was too small to use my iPad Pro, and with no WiFi, NABOKI was the perfect way to pass a big chunk of my weekend flight. A few levels are also a great way to unwind after a long day. I highly recommend NABOKI to anyone who’s a fan of puzzle games.
How can I best describe Sayonara Wild Hearts? It’s an on-rails music-driven game, but that feels like an inadequate description. Yes it’s a game, but combining the gameplay with Sayonara Wild Hearts’ blend of immersive levels, gorgeous visuals, and incredible soundtrack, it feels more fitting to call it an experience.
Sayonara Wild Hearts was an Apple Arcade launch title, one of the few demoed on-stage at Apple’s September event. And as one of Arcade’s premiere titles, it’s a brilliant representation of what Apple’s new service represents: off-the-walls originality. Arcade aims to fund and promote a variety of creative titles, freeing developers from the restraints commonly associated with the App Store’s In-App Purchase-dominated gaming fare. Sayonara Wild Hearts offers an experience that’s so unique and, dare I say, trippy, that it clearly represents its makers’ unfiltered vision.
Last March, I sat down with Eli Hodapp at Blue Bottle Coffee in San Francisco. We were in town for the annual Game Developers Conference (GDC). For me, it was strange to be back in the environs of the Moscone Center for something other than WWDC. I felt a little like a fish out of water, and I sensed Hodapp did too, though for a very different reason.
You see, Hodapp had just announced that he was leaving as Editor-in-Chief of TouchArcade, after a decade of helping build it into one of the premier websites that covers iOS games. As a reader, I was sorry to see him go, but I was also eager to chat with Hodapp because what brought us together was the buzz surrounding the reason he left: GameClub.
Hodapp and I are both from the Chicago area, but we’d never met before GDC. What led me to contact him was a column he’d written for gameindustry.biz about preserving the legacy of iOS games that had disappeared from the App Store, a topic that we’ve covered many times on MacStories and elsewhere in the past.
In the gameindustry.biz story, Hodapp explained why he left TouchArcade:
I’ve been incredibly vocal about preserving our digital history over the years, and it’s distressing to think how many great, historically important (and simply fun!) games have been lost. That reality is my prime motivation in stepping down from TouchArcade: to raise awareness of this problem.
Hodapp had joined GameClub as its VP of Business Development shortly before GDC to help build the library of 70 classic iOS games that are launching with the service today.
Over coffee, Hodapp and I discussed the state of gaming on iOS, game preservation, and, of course, GameClub. It was still very early days, but Hodapp articulated a clear vision of how classic iOS games could be resurrected in an economically viable way. As we chatted, Hodapp outlined the very thing GameClub is launching today: a service designed to reintroduce dozens of games to a new generation of iOS gamers without ads, manipulative In-App Purchases, or other gimmicks. The business model hadn’t been locked down yet, but if all the business and technical hurdles could be cleared, a subscription service was likely.
Shortly thereafter, GameClub launched a beta program to test games that it had already updated to work on modern iOS hardware and software. I joined immediately. I enjoyed playing some old favorites throughout the summer, and watching as the ranks of GameClub’s beta testers grew on Discord.
As I checked in periodically over the summer, it was clear that something about GameClub had struck a chord. For some gamers, it was the fatigue built up over many years from the constant barrage of ads and In-App Purchases. For others, it was the delight and nostalgia of rediscovering the first games they’d played on iOS. Even in those early days, it was clear that GameClub had tapped into something special by releasing a steady stream of classics and building a community of people that cared about them.
Now, after over seven months and many more beta-tested games, GameClub has launched, and I love it. Not only is the service brimming with many of my all-time favorite iOS games, but the GameClub app itself is a terrific way to discover new games and keep track of favorites. There’s a lot going on with GameClub, so let’s dig in.
Do you like fantasy-themed games? How about Zach Gage’s work – Flipflop Solitaire, Really Bad Chess, Typeshift, SpellTower, etc.? Would a mobile game brought to life by the art of Adventure Time creator Pendleton Ward be of interest to you? If the answer to any of these questions is yes, then Card of Darkness should be one of the first games you download from Apple Arcade.
If you answered no to all three questions, you should probably play Card of Darkness anyways.
Card of Darkness is a roguelike game where each stage contains a grid of stacked cards, with each stack holding a random mix of monsters to defeat, weapons to equip, and potions and treasure to find. There are also magic spell scrolls that help you more easily navigate what can be a treacherous quest to get from the start of the grid to its end. You don’t have to clear every card stack to complete a level, but you do need to forge an open path to the finish line, and every stack you take even a single card from will need to be finished. As you clear each card stack, more stacks further into the grid will be revealed, slowly reducing the amount of cards that stand between you and the end of the grid.
So far, the most common path to releasing a Mac Catalyst app on the Mac App Store has been to adapt and release an existing iPadOS app as a first-time Mac app. However, that’s not the only route to the Mac App Store. Apple allows developers to use Mac Catalyst in a variety of ways, as Steve Troughton-Smith has demonstrated with HCC Solitaire, a Mac-only game built using Mac Catalyst. He and Brian Mueller, the creator of CARROT Weather, have also used Mac Catalyst to release new versions of Mac apps that were previously built with AppKit.
As Troughton-Smith’s HCC Solitaire confirms, developers are not required to have an iPad app on the App Store to release an app on the Mac App Store using Mac Catalyst.
HCC Solitaire! An exploration of Catalyst, for Science™; this is a Catalyst app that exists only for Mac and has no corresponding iOS app. It also happens to be the kind of cute, ultra-simple, ad-free Solitaire game I want to play — maybe you too? https://t.co/8jdiADkGZr pic.twitter.com/dQQjWCsUDR
— Steve Troughton-Smith (@stroughtonsmith) October 14, 2019
The game is an implementation of classic solitaire that’s just $0.99 and displays no ads. Perhaps most interesting from a developer standpoint, though, is that you won’t find HCC Solitaire if you search for an iOS or iPadOS version on the App Store. Troughton-Smith built the game using UIKit and the tools provided as part of Mac Catalyst without also creating an iPadOS version.
Mac Catalyst apps can also be swapped in for existing Mac apps. That’s what Brian Mueller did with CARROT Weather, which was launched the day macOS Catalina was released as version 4.13 of his existing AppKit app. Troughton-Smith took the same approach with SameGame, a color-matching game in which you earn points by eliminating contiguous blocks that are the same color, releasing version 2.2 shortly after Catalina’s release.
I don’t expect either of these approaches to become the main way that Mac Catalyst apps are released, but I’m glad to see that it’s possible. Most developers will be bringing an iPadOS app to the Mac for the first time, but business models, developer backgrounds, the APIs used in an app, and many other variables play a role in the decision of whether to use Mac Catalyst. It’s encouraging to see Apple take a flexible approach and allow developers to experiment because that makes Mac Catalyst useful to more of them. However, as I noted in my Catalina review and elsewhere, that flexibility needs to be coupled with bug fixes, documentation, and rapid evolution of Mac Catalyst for it to become a viable option for a wider audience of developers.
Patrick Klepek writes for VICE about the 14-year-old developer, Spruce Campbell, whose game Operator 41 was part of the Apple Arcade launch:
“When I saw the Apple Arcade announcement in March I dropped everything and decided to build a whole new game for Arcade,” [Campbell] told VICE via email. “I thought that the games that really fit Apple Arcade will probably be designed for it from the ground up, so I came up with a stealth game that would work on all the Arcade platforms.”
Campbell has quite a personal story. As Klepek notes, the young developer taught himself to code starting at the age of 8, and when he was 12 he designed a game, CyberPNK, that netted him a BAFTA award. He also received a scholarship to attend WWDC this June, which is where he was able to personally pitch Operator 41 to Apple for Arcade inclusion. Campbell says following that pitch:
“I went back to the dorms, and over the next week I was accepted onto the service,” he said. “I’d say that was the luckiest moment of production—so many stars had to align for me to be accepted onto the service and everything went so well.”
Klepek’s concluding words put into perfect context what this story means for the potential of Arcade’s future.
Operator 41 doesn’t have many reviews. It didn’t get a big marketing push, and wasn’t on Apple’s big stage…But what’s remarkable is that Operator 41 exists at all, and shows Apple having a willingness to give people a shot. Apple Arcade isn’t a place where, like the App Store, anything can get published. There is a curation element. Campbell wasn’t signed because he made a hit that Apple thinks will bring new people into Apple Arcade. In this case, Apple decided it was worth including a game by a mostly unknown 14-year-old designer.
Arcade’s launch has been fantastic, and with the near-certainty of more stories like Campbell’s moving forward, the service’s future looks bright.