For anyone who appreciates the usefulness of Swiss Army knives, the IN1 multi-tool case for the iPhone 5/5s aims to be the first phone case that does much of the same. The case, which is made with a soft touch polycarbonate, contains eight real world tools that can be used at a moment's notice.
Another notable feature is that it slides on the phone before it is secured in place with a small snap-on cap. Like many cases, the top, bottom, and sides are left mostly exposed. But then again, Taktik is still the answer for anyone looking for the most in durability. IN1 has other uses too.
The tools tucked inside the IN1 iPhone case.
There are eight tools tucked inside this beautifully designed case. And, according to the manufacturer, all the tools were selected to help people perform everyday tasks while remaining TSA compliant.
There are two precision screwdrivers, flat and Phillips, for tightening the smallest loose screws. The sizes were obviously included to work on eyeglasses, but there may be other tiny uses for them too.
There are two ball points, one red and one blue, which gives you the ability to quickly write down a note when there isn't anything else available. While the downside is a lack of black ink and no clear outlet for replacing them when they run dry, it's unlikely anyone will pen a novel with them.
The nail file is one of the most useful additions, especially because nail files are one of those things that you never need unless it's inconvenient to find one. It's one of the most useful inclusions all around.
The pair of scissors and tweezers are reminiscent of the smallest army knife accompaniments. For anyone who has ever owned the keychain version (before the TSA began to confiscate them), they seem more handy than they really are. Sure, they can sometimes get the job done, but use tends to make the tweezers too springy and the scissors slightly off center.
Sometimes the case feels more stylish than functional.
The case also includes a plastic toothpick that accompanies some small knives. It's one of those items nobody is really keen on until they really need it. Like many of the tools included, it makes for more of a stash as opposed to a functional everyday tool kit.
It also includes a kickstand, giving everyone a convenient way to stand their phone up to view a video or catch small screen updates while typing away at a desktop. It's one of the better additions. It feels like one of the most useful items because it was built specifically for the phone.
In fact, as much as I like the IN1, I wish more additions were built in. A stylus sure would have been welcome as would any other phone-useful device. Maybe some future designers will cook up an antenna booster, solar cell, or emergency battery fuel instead.
The base comes in white, black, and clear. The tool caps come in white, black, yellow, orange, green, blue, and violet. Another positive in its favor is that the entire case adds less than two ounces to the total carry weight. The designer is currently working on a model for Galaxy phones.
IN1 iPhone Case Takes A Positive Turn At 3.8 On The Liquid Hip Richter Scale.
This is one of those gadgets that makes you wonder why no one thought of it earlier, But then again, the IN1 could use a little more thought in offering a better mix of multitools and the ability to easily order replacement parts. While it's on the right track, there is still some room for improvement.
Overall, the IN1 feels a little too much like a novelty even if it is a step up from the generic carry case. You can order the case direct from IN1. We'll add more outlets when the case becomes more widely available.
There are several manufacturers rethinking how cameras might remain relevant in a smart phone world. Sony is one of them, with two new lens designs developed to work with smart phones. All you have to do is attach them or not. With the NFC/Wi-Fi connection, they work together regardless.
The more accessible solution transforms your phone into an 18MB camera. The other transforms it into something comparable to a DSLR camera. The price difference between the two is steep, about $250.
I tried the former, but not the latter. Between the price points and where the product seems to be in its development timeline, trying the QX10 first felt like common sense. For the price that Sony set the QX100, the more advanced smart lens is competing with some standalone DSLR cameras.
The QX10 by Sony shoots better than bare.
The long and short of the QX10 lens is that it is comparable to a mid-range point-and-click camera sporting an 18.9 megapixel sensor. This is significantly bigger than most built-in smart phone lenses. It also provides a 10x optical zoom with very little distortion.
Other bonuses include that it is equipped with Sony's image stabilization features, exposure compensation (+/- 2.0 EV, 1/3 EV step), and built-in white balance. It can also record MP4: 12M (1440x1080, 30 fps). The stereo speaker is built into the lens. Some people like the video better than the stills.
The camera attaches to the smart phone via an embedded bayonet mount. The mount can be adjusted, accommodating most phones and cases. The grips are rubber so there isn't much fear of damaging the phone. Counting the mount, the lens extends about 1.5 inches off the back of the phone.
You can use the lens without the phone, but there aren't many physical controls or a viewfinder. With exception to the basic functions, the lens is largely operated by Sony's PlayMemories application. Mostly, it feels awkward unattached, like trying to line something up in a mirror. The one exception is when the lens is set on a tripod for a static shoot or, with proper planning, a nice self-portrait or shot with friends.
Overall, the image quality is largely better than the smart phone but not always on par with comparable cameras. I noted some overexposure issues on occasion. Low light shots were particularly muted.
The low light shooting was especially bothersome to me. The lens does not include a flash nor will it work with the smart phone light. One solution might be to turn the light on and then launch the application, but this won't work with an iPhone. The bottom line is that it is better, but I'm not sure it's always better enough.
Much like other reviewers have noted, it seems close to a stripped down Cyber-Shot DSC-WX150 with Wi-Fi. You see, the side-by-side specs look similar, but performance varies. This lens requires some patience. There is a delay between turing everything on and connecting to the smart phone, anywhere from 5 to 15 seconds after the initial setup, and the irritation of a lost signal or depleted battery.
The lens relies on Sony's PlayMemories application.
Sometimes it's difficult to tell whether or not the performance is a hardware or software issue. The app itself is straightforward. There is a zoom toggle and shutter release (which can also be operated from the lens) as part of the viewfinder.
The settings include an autofocus, advanced autofocus (e.g., macro, etc.), and white balance. All in all, it's a point-and-shoot camera that, in terms of working with the iPhone, takes advantage of a tap-screen focus but not everything iPhone owners have become accustomed to. Sony seems to know it too.
It released the API and is hoping third-party apps will take an interest. Right now, however, even sharing photos to places like Instagram or Facebook means closing the PlayMemories app and then uploading the photo from the smart phone library (where photos are saved in addition to the microSD card in the lens).
The QX10 Lens By Sony Steps Up At 4.2 On The Liquid Hip Richter Scale.
The first time you see the QX10, it's hard not to become excited. It looks and feels like a glimpse into the future, one where smart phones are armed with an arsenal of hardware to make them even better. In that regard, the Sony QX10 is a step in the right direction even if the camera feels first generation.
As third-party applications become readily available, I expect the lens will become a hero for doing its primary job — providing better than smart phone pictures without requiring you to carry around another camera and accessories. Both the QX10 and QX100 come in black and white (and gold). Look for the Sony QX10 4.45-44.5mm Smart Lens on Amazon.
A couple of years ago, Patrick O'Neill had an idea. He believed that hardware, not software, was at the heart of great iPhone photography. He wasn't the only one. Designer Chong Pak agreed with him.
They wanted to create a double-sided lens converter that could slip inside your pocket. It sounded like a handy little device at the time. The fact that it was invented in nearby Huntington Beach was a bonus.
The Olloclip is a fisheye, wide-angeled, and macro lens in a compact camera accessory.
Once the lens started to ship, it quickly attracted a cult following of people who love it. Some are friends of mine. And Apple even liked it enough that Olloclip was invited to enjoy some international retail store space. Almost all third-party products want the invite, but most of them never get it.
What makes Olloclip different is that much like Apple, O'Neill and Pak aimed for simplicity of design and quality components. It only weighs about one-third the size of an electronic car key. It weighs less too. (The small size is also why I recommend the red lens over the black.)
Olloclip made an overview video that runs down the basics, but be warned before you watch it. The product is cooler than the commercial, which resembles an early 80s throwback spot.
Of the three lenses, the two I use the most are the macro and wide angle. While the fisheye works, it's not a look I love. The few times I've taken pictures with it, I mostly edit off the black circular border left behind. Still, some people like it.
Fisheye. With its hemispherical shape, the lens captures a panoramic-like view (about 180 degrees). While some people use it for landscapes, brightly colored artistic shots seem to suit it. It's especially cool when capturing something that doesn't lose its luster with distortion.
Macro. This is an exceptionally useful lens when you want a close-up without relying on an app. The macro lens magnifies your image roughly 10 times and allows you to get within with 12-15 millimeters of the subject material. The detail is crisp and brilliant, ideal for any small object or even something that would otherwise be too small for the eye.
Wide-Angled. Of the three lenses, the wide-angled is most likely to see some everyday usage. It doubles the field of view, giving the photographer a much bigger canvas. What impressed me the most is the little lens worked exactly like a wide-angled lens is supposed to, giving the photograph more depth of field by exaggerating the subject in the foreground.
An overview of additional products from Olloclip.
Since Olloclip has come out, O'Neill and Pac have been adding to the brand. Most of the additions were to address a few shortcomings. Specifically, the lens fit best on naked iPhones.
The solution was to invent a case specifically for the iPhone 4/4s and iPhone 5 owners. Called the Quick-Flip, the case features a corner that rotates to accommodate the lens. The case also has an accessory that slides onto the case for tripod mounts, video lights, and microphones.
It's a good idea, but still doesn't address a primary design challenge that prohibits using the product with a case. A better idea might be to spring load the clip mechanism, allowing the lens to accommodate a few variable millimeters. While it might not provide a solution for every case, it would ensure a snug fit.
Giving the case a break on special occasions or swapping cases is another solution too. It doesn't seem like too much of a hardship even if most people seem reluctant to take off a case after they put it on.
The Olloclip Lens Snaps On 7.1 On The Liquid Hip Richter Scale.
Overall, Olloclip is a tremendous design achievement in adding hardware to one of the most-used cameras on the market today (our phones). With the exception of a few design limitations, Olloclip is right on target. In fact, rather than focus on additional accessories to be all things to all people, everyone around here is looking forward to more lenses, filters, and other goodies that manipulate the image without relying on digital manipulation all the time.
You can find the Olloclip Quick-Connect Lens on Amazon. Olloclip also maintains its own storefront. New product launches are listed there first. Visit them on Facebook where they sometimes share fan photos too.
While Baldur's Gate: Enhanced Edition left some people wondering why anyone would ever create a classic turn-based role playing tabletop game without overcomplicating everything, along comes Warhammer Quest. It delivers Dungeons & Dragons style play better than any app before it.
Although role playing is naturally limited — making the game more akin to a turn-based dungeon crawl (a.k.a. hack-and-slash campaign) — Warhammer Quest does exactly what it sets out to do. It allows you to lead a party of four pre-generated characters on a series of loosely-tied dungeon adventures.
Warhammer Quest works as an interactive story, with you playing every player.
The party consists of the proverbial troupe made famous by Lord Of The Rings: marauder (fighter), elf (archer), dwarf (fighter), and wizard. There are three additional characters that can be purchased, including classic Warhammer-like characters such as a troll slayer dwarf, warrior priest, and archmage elf. Although the additional character packs are steep, the game is tooled for future character packs too.
The important thing to know here is that while a large party can travel from town to town together, only four find themselves on a quest or adventure at a time. So unless you plan to ignore one of the original four outright, characters will have to be rotated into alternating quests in order to keep them relatively close in level, something that is challenging even if they journey together.
While the characters do place treasure, artifacts, weapons, and armor in a community pool (unless they possess the item), experience is tallied on individual merit with an unfair advantage of last hit being awarded the kill. The point is that every character needs to get their hands dirty to progress.
A quick overview of a turn-based, semi-strategy game.
The game is mostly broken into three play areas: towns, dungeons and the map. Towns (and cities) are where the party can sell and purchase goods, level up, pray to their patron, and find quests that are tied to a larger overarching story of sorts. Dungeons (and quests) are located around the city, usually consisting of missions (rescues and assassinations), quests (find specific treasure), and arch stories.
The map is how the party navigates between the other two play areas. If they are starting in a town or city, for example, every quest marker within their immediate proximity will be available. Sometimes something might happen on the road, but those stories are mostly scripted content and not real action.
The skirmish elements take place in dungeons and on quests (which are also dungeons with different goals). Much like the board game that Rodeo Games ported into an app, the battle area is a dungeon grid. Characters move to engage monsters, use items or cast spells. Spell casting can be a mixed blessing. Characters within the spell radius can and will be injured by friendly fire. Wild swings can cause damage too. And some characters don't fight well in a crowd, occasionally becoming pinned.
Once you kill all the monsters (orcs, goblins, trolls, etc.), the party collects any loot or artifacts before moving on to the next encounter. It's surprisingly fun, even if turn based means a slower paced game.
What Warhammer Quest currently lacks are any point-and-click search points in the richly rendered landscapes. As far as anyone can tell to date, there are no secret doors or non-combatant encounters.
A little bit about the development team at Rodeo Games.
The basic game play concept not only comes from Warhammer Quest, but also the perfection of a platform designed for a different franchise. Rodeo Games developed a space story franchise called Hunters and Hunters 2. Hunters 2 has a similar play style as well as some fun customization. The attention to detail is apparent in all their work.
The development team came together specifically to make iOS games in their Guildford, Surrey studio, which is located in the United Kingdom. The developers have worked for a few large-scale projects, ranging from Criterion Games and Lionhead Studios to EA Games and BodyCount.
Warhammer Quest By Rodeo Games Grinds 8.5 On The Liquid Hip Richter Scale.
Rodeo Games has been known to work diligently at producing additional content for the games it creates, which keeps everything fresh for nominal support. The game already has an expansion pack.
Overall, Rodeo Games has set a new bar. And after talking it over with my editor, there isn't too much that can be improved. A few long-term suggestions might include modest customization for characters (especially names), findable loot (as opposed to automatic awards), secret doors, traps and locks for thieves, etc. And, of course, if they are ever able to port characters or play parties made up of multiple iPad players (especially those entering lightly custom dungeons), they might have a serious run on paper games too.
Warhammer Quest is only available from the iTunes App Store. The initial game is $4.99 and well worth it. While there are in-game purchases and warrior packs, the initial game is immersive, offering plenty of play time. Visit Rodeo Games for more intel.
Almost immediately after it came out, we found ourselves sucked into the immersive and mostly flattened world that makes up The Silent Age. Stylish and straightforward, this free episodic story-based game with a time travel twist delivers a surprisingly addictive plot.
The nostalgic element of the game has everything to do with its setting. It's 1972 and change is in the air. This weighs both figuratively and literally on a janitor named Joe, a hypothetical everyman with a mustache who is handed a portable time travel device. It shifts between two times: his present and some well-weathered point in the near future after civilization came to a reasonably abrupt stopped.
Playing in two times gives the game legs.
Although the puzzle of the game is relatively simple and surprisingly linear, forcing Joe to find and use various tools in a linear cluster (e.g., you can't find a tool in a room that hasn't been unlocked by a key someplace else), the writing and design saves this gem from obscurity. It's creative. And that counts.
There is an unquestionable enjoyment in discovery. For example, a random plant in 1972 grows to block a door in the desolate setting of 2012. The man you passed on a table is reduced to dust and bones, exactly the way he was left for dead a long ago (or in the very near future). So it's all up to Joe to navigate this crazy obstacle course with near average intelligence (or slightly brighter depending on you).
The trick is, of course, to toggle between times and use each to its advantage. A plant, for example, killed four decades ago won't ever grow to wild proportions and block a door. A locked door can't slow anyone down if the walls have collapsed around it. An orange jumpsuit worn by a time traveler remains suspiciously nondescript, mostly to remind Joe (and you) that the fate of humankind has fallen to a chronic underachiever who wasn't even given more clearance until his predecessor met his demise.
The Silent Age falls somewhere between campy and spooky.
While it might be more fun to have even more interaction in the environment, the game developers seemed to have kept the game play straightforward on purpose. Rarely will anyone become stumped at the successively and lightly progressive challenges that keep getting thrown in Joe's way.
The benefit in keeping it simple is that The Silent Age pace remains largely seamless for the story. Joe never knows exactly what is happening but always has a sense of what needs to happen next. This creates a compulsion to play through with curiosity and will make some people crazy because episode two is not complete.
In order to make the game a labor of love fueled by passion instead of cash, the game developers are asking for donations of $25,000 to complete episode two. Once they do, those who helped out will get the game for free. Everyone else will have the option to buy. Think of it as reverse crowdsourcing as the developers want to reach a no-risk threshold before they give up the goods (which are, at least, party done).
A few words about the indie developers who designed it.
The game was created by an indie developer based in Copenhagen. It mostly consists of a team of six, with programmer Linda Randazzo, game designer Thomas Ryder, and production manager Uni Dahl (who also programs from time to time). They originally came together to create a different game, Neon Zone, but then became immersed into this alternative universe instead.
Episode two, they say, will also be the final installment. The development team wants to keep the game straightforward without too many extensions. Some players might have feelings about the news, given the expressionless Joe has a significant amount of character. Maybe it's the mustache, originally meant as a Facebook joke for the Movember Moment until fans picked it over a clean shaven hero.
The Silent Age Shakes Up Time At 7.2 On The Liquid Hip Richter Scale.
If the puzzles weren't so easy and the linear controls not so confining, possibly even alternating outcomes like The Walking Dead, the game would score even higher. But even as it stands, The Silent Age with its stylish throwback graphics and clever storyline is well worth the the investment. It's especially promising as something opens up Pandora's box for more time travel games in the future (or maybe the past).
The Silent Age is currently available from iTunes for iOS devices such as the iPhone and iPad. However, plans are in the works to release the game for the Android too. The company, House On Fire, is very adept at communication through its social media channels. Visit them on Facebook.
Not everyone was thrilled when Electronic Arts (EA) swooped in to acquire Firemint, a developer that found its Real Racing series frequently outpaced EA's Hot Pursuit series as one of the most loved racers on handhelds. Most people were afraid that the beauty of Real Racing would quickly disappear.
It didn't, mostly. What EA did instead was merge Firemint with Iron Monkey to make Firemonkeys, the new Australia development team responsible for creating the first free-to-play entry in the Real Racing line. Real Racing 3 is an entertaining addition, even with the introduction of new in-game economics, time delay deliveries and repairs, and semi-real friend competition.
Maybe it's best to get the setbacks out of the way.
There have always been two sides to the freemium business model sported by some handheld games. Some people loudly hate it. Some people quietly love it. And the reception that freemium software developers experience is always a crap shoot — wildly successful or painfully short-lived.
Here's the reality of it. On any given day, most of the top ten grossing apps on Google Play and in Apple's Appstore are freemium games. So despite pushback against the concept, too many people are willing to shell out $100 for in-game purchases (or more), even if a paid version valuation of the same game (no in-game purchases) is probably less than $10.
Although many Real Racing fans would prefer a one-time premium game price as opposed to freemium, EA makes a genuine effort to strike the middle ground. It's possible to play EA freemium Real Racing 3 without having to make in-game purchases if you are willing to progress at a less than prideful pace. Not all developers are nearly fair; most make in-game purchases semi-mandatory.
In this case, in-game economics drive the decision. After any given race, drivers will have to use some of their winnings to maintain and improve their vehicles. This includes repairs for damages that occur during the race, routine maintenance like oil changes and new tires, and upgrades to gain an edge.
None of the game economics are unreasonable (especially if players are smart about it), making the free play possible. What might be a little less appreciated is the real-time waiting periods for upgrades and services (incidental repairs are instant). You can spend gold, the game's second and harder-to-come by currency, to eliminate wait times. But if you do, you might be passing up other perks later in the game.
Finally, Real Racing 3 has the promise of real players via Apple's inventive asynchronous multiplayer mode. The time-shifted multiplayer feature allows one friend to race and challenge a second friend one day, and then allow the second friend the chance to race the next day. In other words, racers don't race their friends as much as they race friend "doubles" based on Game Center or Facebook friends who also own the game. It's almost cool, unless you want to race them in real time.
The allure of Real Racing 3 remains mostly the same.
Although the review invests more room on the setbacks more than the successes, it's largely because the allure of Real Racing hasn't changed much. The beauty of the game has always been associated with its gorgeous design and an intuitive interface.
This time out, EA added additional high performance manufacturers —Audi, Bugatti, Lamborghini, and Porsche — to create a slate of 46 race-worthy cars. As players progress and save some race winnings, they can purchase additional vehicles for their fleet.
All of the tracks are modeled after their real-life counterparts — places like Mazda Laguna Seca, Circuit de Spa-Francorchamps, Silverstone, Hockenhemring, Indianapolis, and others. While races can include an immersive 22-car grid, there are several race variations — a combination of styles developed by both development teams. They include drag races, head-to-head races, elimination rounds, fastest times, and fastest speeds.
If you aren't playing with friends, the game will select random players from the Game Center (or Facebook, if you connect the game to your social network) to act as clones. The players selected are generally picked because they are have comparative skills. The only downside is that EA games always gives players the last position in the race (as opposed to affording them qualifying times).
Real Racing 3 Speeds Ahead At 6.7 On The Liquid Hip Richter Scale.
As far as play tips, always make repairs and take care of maintenance first. It's hard to finish in a paid position with a damaged car. As you accumulate more money, invest in upgrades to boost performance and avoid the temptation to waste gold on wait times.
Eventually, wait times won't matter because you will be able to toggle between cars. Likewise, don't count on upgrades to give you a maximum advantage. You'll have to drop some driver assists, allowing you to barrel through corners faster (among other things).
The bottom line? It's fun and free (unless you choose to fuel it). You can download Real Racing 3 from iTunes. You can also get exclusive deals at Origin powered by EA Games, including other race titles and console game releases. Worst case, you can always delete the game after a few races.
There are plenty of people who lament the decline of analog photography, especially the SX-70, which was produced by Polaroid from 1972-1981. The camera, responsible for one of the few projects to earn a perfect score here and which sparked Instagram, is still around but hard to find in the digital photo age.
Film was equally hard to find. When we wrote about the photo-a-day project a few years ago, we pointed people to the Impossible Shop because it makes replacement film for the SX-70 and other cameras. What we weren't sure about at the time was how long the company might be around.
We're not so concerned any more. Three years later, the Impossible Shop created something cool.
The Impossible Instant Lab Bridges Polaroid And Possibilities.
The Impossible Instant Lab transforms digital iPhone photos into an analog medium, using the new film formula it originally created as a replacement for Polaroid 600 and SX-70 models. The lab promises to bring together the best of two worlds, giving creative and throwback photographers the freedom of digital photography and the allure of instant analog film production.
The innovation marries the camera base with a telescopic cradle, allowing someone to attach the iPhone 4/4s or iPhone 5 (and Android soon). Then, after choosing a library image already transferred to a special Impossible Lab app, the lab apparatus chirps when the photo is finished. Push one button and the picture ejects, with the exposure slowly appearing much like it would if it were taken by the SX-70.
The transference isn't electronic. The design captures the light of the iPhone to make an exposure, using a base that the Impossible Shop was already producing. It's a smart solution to reinvigorate the medium.
One of the most comprehensive overviews of everything the Impossible Shop is doing was recently covered by American Dreaming Magazine. The audio isn't great, but the story is worth a look.
The concept itself isn't new. There have been several methods of converting 35mm slides, digital photos and even Polaroid pictures into various print formats. But where the Impossible Instant Lab works is that it revives a unique medium, an instant image created by a surprisingly involved chemical process.
In fact, this was one of the reasons the Impossible Shop chose its name. Believe it or not, it is still impossible to recreate Polaroid film the same way that Polaroid made it. Impossible Shop reinvented everything from the ground up, with a keen eye on exposing a new generation to this unique art form.
Does the Impossible Instant Lab detract from the impossible instant shot?
The lab makes it possible to produce what appear to be instant shots without an instant print camera. Not everybody gets this, mostly because it removes the spontaneity of the instant shot that used to accompany instant print.
The instant shot process was especially true with Polaroid cameras because even when the film was mass produced, there was always a greater sense of waste. Film packs were more expensive than the photo rolls that could be dropped off at the store. You had to get the one shot right (or make sure any wrong shots still looked interesting anyway). There was no editing. There were no do-overs.
The Instant Lab removes the impossibility of the instant shot because smart phone pictures are virtually limitless. With the Instant Lab, you can resize and crop image before printing, and only process those prints you want without blowing a pack of film.
Our take is a bit different. The real magic of the medium is unique for other reasons, ranging from color saturation to the familiar square format. As it stood just a few years ago, even with the five-year journey that the Impossible Shop has taken to revive the magic of it, the demand for film was diminished. This innovation just might help save it.
The Impossible Instant Lab Hits A High Mark At 9.6 On The Liquid Hip Richter Scale.
Simply put, we like the idea that the Instant Lab could help broaden the market for the 8-shot film packs made by Impossible, perhaps lowering the price but, more importantly, ensuring that there continues to be a need to make it. This could also be the right stepping stone to jumpstart production on a new instant shot/instant print camera, based on the beautiful craftsmanship of the SX-70.
Smart phones and digital photography may have revolutionized how people take pictures, but it hasn't changed how people want to see them. Passing around a smart phone or scrolling digital files isn't it.
People appreciate print. And print has taken on a new meaning in recent years. There are dozens of developers working to deliver more diversity in digital photo output. Several have caught our eye, but Art.com, which originally specialized in vintage art posters and prints, has developed one of the newest ready for review.
Photos [To] Art app is free. Ordering is optional.
The Photos [To] Art app is a first generation digital-to-print application for iPhone, iPad, and iPad smart phones. Call it "first generation" because it isn't perfect. It's a promising work in progress.
The application was designed specifically to help people print photos to canvas, wood, or poster prints. This concept isn't necessarily new, but the application simplifies the process because the photos can be uploaded directly from your phone from either your camera roll or Instagram account.
The prospect is promising, but there are limitations. Although the application supports a variety of sizes from 8"x10" to 20"x30", the size is dependent on the photo format and quality. The allure of printing Instagram photos, for example, is limited, typically rendered at 12"x12" or 16"x16", which is especially important to know if you are hoping to create a series of three or more photos of the same size.
For more sizing options, the application prompts members to upload the shot from the camera roll (assuming the shot wasn't taken through the Instagram app). Most photos are then rendered at four or five sizes, with can be viewed against three mock living areas or on the actual wall where you intend to hang it. The latter feature is pretty clever, even approximating how far away you are from the wall.
Although the limitations might seem annoying at first, it doesn't take long to adjust for output. The primary reason Art.com is a bit restrictive is because quality is the priority, especially with a 30-day satisfaction guarantee policy. For more flexibility, the web platform has some flexibility.
Specifically, the web platform provides some limited cropping and resizing (horizontal or vertical adjustments) options and allows you to save up to 10 photos for 30 days. In contrast, the application assumes all cropping is complete and saves only one photo at a time. It may also be possible to sync the mobile app with a web platform account, but I couldn't find it.
A few graphs about Art.com and its growing family of apps.
The Photos [To] Art app easily makes up for any limitations for ease of use and high quality outputs delivered, which has always been the objective of founders Michael Heinstein and Brandon Carr. They started with a single "poster" site concept and a small room in Berkeley, with nothing much more than a modest capital investment from the founders and a sympathetic relative.
Not even 15 years later, the rebranded Art.com and several sister sites have grown to become the largest poster and print producers in the world and includes one of the largest masters collections. They have developed two other apps: artMatch, which helps people find similar artistic styles by snapping a picture of any art; and artCircles, which is an iPad art curation tool that features artist picks along with any self-made collection.
More analog offerings from developers on the horizon.
The ability to order self-made prints from any mobile device is not an exclusive fix for analog. Three other projects in development that have caught our eye include the Impossible Instant Lab, which turns iPhone photos into instant Polaroids; Instacube, which ports photos directly from Instagram into digital frames; and Projecto, which transforms eight Instagram photos into a slide wheel that can be projected from a projector about the size of a matchbox. The latter concept convinced us to become a backer.
Photos [To] Art App By Art.com Prints 4.6 On The Liquid Hip Richter Scale.
While Photo [To] Art has room for improvement, having personal photographs or artwork transferred to framed prints, wood mounts or canvas from a mobile app is a step in the right direction. Art.com keeps its pricing reasonable, with unmounted poster prints starting at under $4 (8"x10"). Canvas runs considerably higher, depending on size.
You can download Photo [To] Art from iTunes. The app has already been optimized for iPhone 5. It also works with iPhone 3GS or better as well as some iPods and iPads. The app is a free download, perfectly timed to take pictures over Thanksgiving with enough time to make prints for the holidays.
There are iPhone protectors. There are iPhone covers. There are iPhone cases. But there is only one Taktik from Lunatik, which is the most protection anyone has ever thought to bestow to the iPhone.
All the thought that went into its durability didn't sacrifice design sensibility. The casing is retro-futuristic with an industrial edge designed to military specifications. About the only thing you can't do with an iPhone cradled inside a Taktik is submerge it. But a little water won't hurt. This is like a real Hummer. Rugged.
The Taktik transforms iPhones into tanks.
While tempted to review the Taktik like plenty of other people who were among the first to receive one fresh off the production line, I wanted to live with it for awhile. It's a good thing. Sometimes you can learn a little more with patience. First impressions are easier to shake with a three-week commitment.
Despite the allure of the video, which is one of the better gadget demos on the market, initial reactions to the product in hand will take some people aback. The Taktik is bigger, bulkier, and heavier than anything you're used to. Once encased, the iPhone feels close to twice the girth and double its weight.
Encased is the right word as some assembly is required. In this instance, the Taktik housing is fastened together by six tiny screws. Lunatik includes one spare, along with the heptagonal specialty screwdriver to lock and unlock them. It's easy to do, and you might do it more often than you think.
The casing itself is a 3.5 HSJ cover made from anodized aircraft grade aluminum, which sandwiches the iPhone between the 9mm silicone impact truss that extends beyond the two aluminum frames. The bezel is tapered, making it easier to slip in a pocket but primarily engineered to compress on impact.
The front is optionally protected by another layer of Corning Gorilla Glass, without affecting the touch screen. On the back, the silicone polymer is exposed on the back of the case. Almost every port is protected too. There is a polymer/plastic flap protecting the 30-pin connection. There is a heavy aluminum lever locking in place over the headphone jack.
The only exposed area is a small cutout for the camera and light. Even the speakers and mic are protected by water and dust resistant covers. The home, volume, and power buttons are covered by either protruding or recessed indentations in the polymer. The mute button has a push button slider.
The Taktik was designed for durability. Period.
There are some inconveniences, but most are an even trade. One common complaint right out of the box is that the polymer covered buttons feel stiff and require some heavy pushing. This becomes a myth in a few weeks. Like a pair of new jeans, functionality opens up with normal wear.
Likewise, it doesn't take long before the weight and girth feel familiar (except inside suit and jacket pockets). But the trade off is even. The additional girth makes the iPhone easier to use as a camera (but not with the SlingShot) and the polymer adds traction.
More troublesome is the polymer casing around the 30-pin connector. Depending on the dock or plug, the opening will be too snug for some connectors. (The one on my television included.) Extensions will work, but sometimes even these require finesse as the polymer opening is pliable and bows slightly.
The company says that the snug fit is related to durability design. It seems more likely that, much like the headphone jacks, Taktik was designed to accommodate whatever comes out of the box as opposed to third-party accessories. Slightly larger openings wouldn't have had an impact.
Although it is nominal, it does diminish connectivity on outgoing calls and shortens the distance for WiFi. It's not significant, but worth noting. More challenging is the bevel aluminum around the glass. Because the glass is inset, screen touch points around the edges and corners aren't as accessible.
The Taktik By Lunatik Covers 6.2 On The Liquid Hip Richter Scale.
All in all, the Taktik was designed for people who have active lifestyles and hazardous occupations or spend time in unforgiving environments. This is where the Taktik gets the job done, giving the best protection possible for people who always feel like their iPhone is at risk. Hands down, it wins in this category (even after being tested according to military standards).
It could have scored higher, but it does lose a little ground as an all-around cover. Harkening back to the Hummer comparison, it's too much case for someone who never goes off road. And yet, it's undeniably cool. The Taktik for the iPhone 4/4S and iPhone 5 is available on the Lunatik site or you can order it on Amazon (sometimes at a discount). Almost all mix and match colors are available.
There really is a zombie invasion. Independent film, interactive gaming, and literature are all overrun with them. And why not? Zombies are fun. They provide a challenge but are easy enough to beat if you're fast on your feet.
But there is a downside that comes with popularity. Not all zombie offerings are equal. Even people who have a passion for them eventually lose patience if they try to sample everything (much like vampires). I try to be cautious despite being curious, looking for things that pay off like Call Of Duty: Zombies, World War Z, and The Walking Dead.
It was the tie-in to the series that convinced me to give the latest interactive offering a chance. I'm glad I did. The Walking Dead game for the iPad rocks despite the price point that has some people shaking their heads.
The Walking Dead from Telltale Games rocks.
Based on the comic book by Robert Kirkman, the Walking Dead game from Telltale is an immersive, choice-based adventure that represents an evolution from its other cinematic story lines. The art is sharper, the interface improved, the pacing more fluid, and the experience feels different.
The choices you make matter. Not all them were inset into the game just to carry the story froward. They change things. If you lie to a character or choose to save one person over another, there are consequences, nuances, and subtle changes forever. Some are more important than others.
Some choices that are more visceral than real make the game surprisingly immersive. But even those that don't change an outcome will change how various characters react to and interact with you later.
The storyline is as rich as the comic or television series.
The story exists in the same universe as the one many people are familiar with. While this game is based on a different group of survivors, they are geographically close enough to each other to allow for cameo appearances.
The primary perspective is provided by Lee Everett. Everett, a university professor convicted of murder, is being transported out of Atlanta to prison when the epidemic starts. From the backseat of the police car, a few exchanges between the police officer and Everett provide some back story.
It also enables you to set the early tone of the experience. You, as Everett, can be reasonably regretful and cooperative or more callous and disinterested. Depending on how you act will dictate what you learn. And then, bam.
The police officer is too engaged in chatter to notice the first zombie in the game as it ambles across the highway. The impact causes the car to veer off the road. Everett is left dazed, drifting in and out of consciousness. When he comes to, the world is a very different place. Soon, he meets survivors.
Some are new. Some are old friends. Most notably in Episode 1, Everett meets Hershel Greene and his son before Shawn becomes one of the walking dead. He also runs into the always resourceful and likable Glenn, who is traveling to Atlanta in this timeline. Glenn has yet to meet up with what will become the Rick Grimes group.
The Walking Dead game is more story and less kinetic.
If you are familiar with other games by Telltale, like Back To The Future or Jurassic Park, you'll have some sense of the Quick Time event (QTE) environment. The Walking Dead is better, and delivers what seems to be the right amount of length for each episode. Expect about two hours of playtime each.
The story itself is strong enough for anyone feeling starved for the series between season breaks. It has stood on its own as a digital comic. Anyone who plays, however, will be glad there is more. The sense of controlling some character's destiny is entertaining, even if it is limited.
There are a smattering of forgivable setbacks. For instance, if you see a dead police officer, you really want the ability to search for his side arm. You can't unless it's in the script. Weapons and useful items are relatively constricted.
The next most common critique is how the game is being released. Across all platforms, players are anxiously awaiting installments. Episode 2 was just recently released (but not for the iPhone or iPad). Episode 3 might arrive by mid-August.
More troublesome for many iPad and iPhone owners is pricing. The Walking Dead doesn't distinguish between platforms, charging $4.99 for Episode 1 and $14.99 for the bundled preorder, Episodes 2-5. I don't personally have a problem with it given this isn't a stripped down game, but iOS customers are becoming increasingly frustrated by price creep. This one nearly eliminates portable platform savings.
The Walking Dead Game By Telltale Survives 7.2 On The Liquid Hip Richter Scale.
The most fascinating aspect of the Walking Dead is it is among early entrants in the evolving cinematic game concept. This kind of gaming — balancing an interactive comic, light action, easy puzzles, and psychological depth — seems like this would be a natural fit for the future. It could be especially be great for games based around James Bond or Star Trek.
For portable iOS, The Walking Dead is only compatible with iPad 2 and up or iPhone 3 and up from iTunes. It is also available for the PS3, Xbox 360, and PC/MAC platforms. The Walking Dead [Online Game Codes] can be found on Amazon. My review is based exclusively on the iPhone and iPad experience where it feels natural despite being the last platform.
In 1977, a young Japanese engineering student turned video game developer was given an honor reserved for only a few. The Taito Corporation of Japan asked Tomohiro Nishikado to design a game on his own.
Nishikado took the challenge seriously. Still unsatisfied with the pace of development, he started from the ground up. Not only did he design, program, illustrate, and engineer the sound, Nishikado developed an entirely new microcomputer to serve as a platform for his game. In 1978, Taito put it on the market.
Space Invaders was such a success it caused a coin shortage in Japan.
Inspired by War Of The Worlds, Space Invaders pitted players against several columns of alien enemies that would descend from the top of the screen toward four fortifications at the bottom. The only thing that stood in the way of this endless wave of aliens was a single laser cannon behind the first destructible barricades.
Destructible barricades was not the only innovation of Space Invaders. It was also the first game to introduce "lives," set high scores, employ a continuous soundtrack, and revolutionize the industry as an early first person shooter. The game was so successful that the 360,000 arcade cabinets sent around the world made $1 billion (in quarters) in just three years, $2 billion in four.
Some even speculate that had it not been for Space Invaders (and Pac-Man), the home video market might have crashed. Instead, this roll-of-the-dice development sparked a renaissance that would usher in a golden age. The next wave of innovative games would include Galaxian and Asteroids. Pac-Man earned $1 billion in one year.
Space Invaders is one of several highlights at The Smithsonian this year.
The novelty of Space Invaders still hasn't come to a close. The Smithsonian Art Museum recently launched an interactive exhibit to explore the 40-year evolution of video games as an artistic medium. The exhibit opened in March and will run through September 30. Following its stay in Washington D.C., it will visit ten major cities in the United States, ending at the Patricia and Phillip Frost Art Museum in Miami.
The exhibit is rekindling novelty interest in the Space Invaders plug and play joystick with ten video games from the early era. Manufactured by Just Plug It In And Play, the two-button and single joystick controller connects directly into any television set with audio and video jacks. There is no console.
While Space Invaders is the primary game (with its art decorating the controller), nine other less popular games are included. Some of the vintage games include Alpine Ski, Legend of Kage, Bubble Bobble, and Crack n' Pop (the latter two being predecessors to early adventure maze games).
The best known, of course, is Space Invaders. And although there have been many updates to the game in several years, this controller carries something similar to the original art. Its starkness shines.
For those who don't know, the game is incredibly straightforward. Once the five rows of aliens appear, you shoot them while avoiding their three types of missiles: slow, fast, and wiggly. Each alien type is worth 10 to 30 points (990 points per screen), with mystery ships carrying a value up to 300.
During the golden era of video games, masters developed several strategies, including becoming one with the cadence of the game, shooting the outer layers before the aliens can descend, and blowing small holes in a barrier in order to benefit from protective fire. Some even know that the value of the mystery ships is determined how many times you have fired (seriously.)
Space Invaders Plug And Play Shoots 6.7 On The Liquid Hip Richter Scale.
While playing Space Invaders today carries some campiness, there is something cool about preserving the game as it was meant to be played. If not in an arcade cabinet, then absolutely for television.
You can find the retro Space Invaders game at The Smithsonian Art Museum (about $35-$40, down from $50). The Smithsonian Art Museum has other discounted gifts as well. A similar plug and play Space Invaders controller is available at Amazon. If you aren't sure about purchasing a controller, there is vintage Space Invaders for the iPhone.
In recent years, other plug and play vintage controllers have also appeared for Atari and another for Super Pac-Man and an Atari collection. Depending on the manufacturer, some controller games have already become collector items.
Although the release of iBooks 2 textbooks (selling 350,000 textbooks in three days) stole some thunder from recently released educational applications, it's impossible to ignore Color Uncovered from the Exploratorium in San Francisco. Its recently released educational app is wild, beautiful, and free.
The subject is color. And while designed with children in mind, the program can easily be considered a must have for artists and photographers — especially those who haven't studied color, light, and pigments. Color Uncovered presents just under 20 exhibits similar to those that you might see at Exploratorium stations except they are beautifully recast for the iPhone, iPod Touch, and iPad.
The hero shot is the first exhibit, featuring an optical illusion that helps demonstrates how the brain fills in shapes that it expects to see rather than what is actually there. The faint blue square you see, for example, is absolute fiction.
The interactive experiments capture attention, but how you apply it counts.
Most reviews have touted it as an educational tool, mostly for children. The assessment comes from the interactive feature included on the page. Each of the circles can be pulled outward, disrupting the pattern. It's fun, even if it could be more than that.
Depending on how you apply the lesson, different ideas emerge. Someone who is science minded might consider the theory that the optical illusion is a latent ability that once helped us see faint outlines underwater.
The artist, designer, or photographer might take away something else. Paintings or photographs could impart entirely different meanings by taking in what our brains are all too ready to see. While not necessarily new on its own, there are more mini exhibitions to explore, including a better understanding of Claude Monet.
The French impressionist had more than light in his eyes.
While many people are familiar with the the French impressionist's paintings, especially Water Lilies, there is more to the story than being included in exhibitions for breaking with tradition. According to Color Uncovered, Monet could see and frequently painted patterns and colors to include the ultraviolet spectrum.
He acquired the ability late in his career after he developed cataracts that dulled his vision. In 1923, he underwent surgery to have them removed. The unexpected result was allowing him to see the ultraviolet spectrum, which a normal lens is equipped to filter out. In other words, water lilies look white for most people but Monet saw them how he painted them — pale blue with vibrant patterns.
A cross sampling of color exhibits within Color Uncovered.
The application presents dozens of optical illusions, most of which are interactive or ask for specific participation to make the optical illusions work. Don't be surprised to recognize a few if you've sought out optical illusions before. Where Color Uncovered shines is in the explanation.
Your eyes will make spots disappear, imagine colors that don't exist within the pigments used, demonstrate how the mind is attracted to luminance, or how color saturation can seem fleeting. One of the most striking (even if you've seen it before) is how the brain can colorize a photo based on nothing more than color negatives. The effect only lasts a second, but the artist's application is mind bending.
Of course, not all of the screen exhibits are about how we see things. Sometimes they are about how things are. As most designers know, computer screens only use three colors. As most photographers know, incandescent lights add more reds and halogen lamps emit more blues. Or as only people in the tropic might know, oranges are really green unless they've been treated with ethylene gas or blasted by cold.
All in all, the app is light on content in that it can be digested in the quick span of half an hour, maybe an hour if you are really concentrating on each experiment (and watch all of the videos included in the Shades of Meaning, which is the least grabbing of every thread).
However, just because the app is 17 exhibits today, that doesn't mean it will have 17 exhibits tomorrow. The Exploratorium originally launched the app with 11 pages. The additional exhibits were added as an update.
Color Uncovered By The Exploratorium Surprises At 5.4 On The Liquid Hip Richter Scale.
As a free education application, the Exploratorium has put together a great starting set for anyone interested in light, color, science, and perception. The physical Exploratorium is a museum of science, art, and human perception with hundreds of explore-for-yourself exhibits. The museum will be moving to the San Francisco's historic waterfront in 2013.
You can find Color Uncovered for free on iTunes. You can also learn more about the Exploratorium on its website. For those interested in the work of Claude Monet, we found a surprising collection of prints, museum prints, and canvas prints at Barewalls (including Water Lilies). Just search for his name.
Kyle Hart knows a thing or two about cameras, which might sound odd for an insurance salesman. But like many people, insurance isn't all Hart does. He's also an amateur filmmaker with the spirit of an entrepreneur.
Earlier this year, he and a few friends were trying to get better shots and angles for their films when they started asking the question: "What if you could film yourself from the third person perspective?" So Hart machined an adapter, screwed it on an aluminum pole and stuck in his camera.
It worked well enough to start their own business. But that's only part one of this gadget success story. While launching their store, Hart and his friends were already on to their next big idea.
The EZ-Steady stabilizer is the best film/photo gadget this year.
Hart and his friends had another idea. They wanted to make a better camera stabilizer, one that wasn't too expensive, didn't take too long to balance, and wasn't too challenging to operate. Four prototypes later, Hart came up with the EZ-Steady and they took the concept to Kickstarter for a trial run with a modest $5,000 goal.
EZ-Steady has long since surpassed its initial goal, raising more than $46,000 with nine days left to go. The quick pick up in interest is easy enough to understand. The stabilizer balances the camera depending on where it sits on the stage and the adjustable counter weights.
It also includes a flight control, eliminating the need to pivot your entire body to stay with the shot. The flight control pivots the camera using nothing but a thumb. Likewise, the gimbal allows for mounted cameras to change vertical angles as well. Smart and simple.
When Hart initially shared his Kickstarter concept, he did have a few more questions to answer. Photographers and filmmakers wondered whether or not the stabilizer could support heavier cameras.
So Hart tested the EZ-Steady with the Canon EOS 5D Mark II (almost 2 pounds). It held up, and he says it works fine even if the camera is equipped with a 16-35 zoom (which is heavier than a prime lens). It took him about two minutes for set up.
More importantly, according to Hart, the EZ-Steady works with cameras like a VideoMic Pro if you purchase additional weights for counterbalance. But what really struck me about the EZ-Steady story was something else.
Two additional concepts came from early backers. First, at the request of backers, the rig is now being made in a blue powder coated or black anodized finish. And second, Hart developed an accessory that makes the EZ-Steady the stabilizer of choice for anyone with an iPhone.
The iPhone might have found its best stabilizer to date.
When paired with GLIF (which holds the iPhone in place) and counterbalance that essentially tricks the stabilizer into thinking it has a heavier camera, the EZ-Steady essentially makes iPhone hardware work like a professional camera to match its video quality. And from some of the footage shot using an iPhone, the results are stunning.
As a stabilizer, the EZ-Steady puts amateur photographers as close to professional as possible and it's no surprise that many professionals are interested in the project too. Hart's company, Rhino Camera Gear, is also developing a slider accessory and shoulder rig for the stabilizer. It wouldn't be surprising to see a quick-fix tripod mount in the near future too.
The only thing close to the EZ-Steady is the U-Fly Cam or Glide Gear steady cam. But looking at the design and functionality, it's easy to see why this one landed here.
The EZ-Steady Stabilizes At 9.4 On The Liquid Hip Richter Scale.
Although I've shot family video for years, my passion for it slipped as iPhone technology surpassed analog technology with each new generation of iPhone. I generally stick with photos because handling the iPhone for film can be awkward in anything less than an ideal position (because of big hands). The EZ-Steady could easily solve that problem.
Through Dec. 14, the EZ-Steady is only available via Kicktstarter. Shortly after, the EZ-Steady will be available at Rhino Camera Gear for $100 more. On Kickstarter, EZ-Steady lists for $225. An additional $30 more (on Kickstarter) includes the Mini Steady counterweight for the iPhone. It also works with a GoPro and Flip. Kickstarter orders are expected to ship in late January.
There have been about 70 World War I flight sims on the market at one time or another since Atari released the Red Baron in 1981. Game play has always been all over the map, which is why most of them enjoyed a quick pickup of interest before falling off the radar, usually to more modern aircraft.
But there is one World War I flight sim that could have a longer shelf life. Rise Of Glory: Sky Gamblers invested development in the flight controls to create a realistic flight experience with better maneuverability than any combat flight simulator for the iPad, iPod, or iPhone.
Sky Gamblers wins with a richer, more complex control system.
There are some people who are complaining about the controls, but it is the controls that make for such rewarding game play. Pilots can control the planes with a combination of tilt (three-axis gyro), rudder (on-screen touch), throttle (on-screen touch), and finger motions (special maneuvers).
The primary complaints are related to using the three-axis gyro (tilt) component. Ignore them. The learning curve is quick, and the dual movement controls (three-axis tilt combined with touch variations) are what add a dynamic to aero-stunt flying in combat. If you can master those combinations, finger motions for special maneuvers aren't even needed. The responsiveness is that good.
Sky Gamblers offers up a diversity of vintage flying experiences.
The planes are modeled off of eight different designs (with two versions each). Two of them are based on the most famous from history: Sopwith Camel, which was piloted by Major William Barker; and the Fokker Dr. I, which was the mount of the Red Baron Manfred von Richthofen. With the possible exception of the Sopwith Triplane or Spad XIII, players gravitate to the more famous planes.
The most common exception is the Spad. Without question, the Spad was the most capable fighter toward the latter part of World War I. But much like real lift, there are tradeoffs in the game. The Spad is significantly faster, but feels less maneuverable than the Sopwith Camel or Fokker.
Maneuverability is important, especially while playing against real opponents. At faster speeds, you lose too much of it. (That's not a game fault, it's a flight truism.)
Other planes in the game include the Bleriot, BE2, RE8, PFALZ, and Albatros. All are unlocked by playing the campaign, which is especially important before taking the game online.
Some people don't seem to know this, because it's not uncommon to see players attempting to fly a Bleriot against pilots with the Sopwiths, Fokkers, or Spads. They don't have a chance.
Campaigns, dogfights, customs, and online options.
The campaign is the best place to start for another reason, with the player piloting a Bleriot with tutorial instructions to understand the basics of the game and get a feel for the flight. Some missions are harder than others (and it took me awhile to understand the 'photo' mission), but playing the campaigns is the best way to understand the flight controls.
Each mission focuses on different elements, ranging from strafing or bombing ground units to dogfights and taking out balloons. While many people like to bypass campaigns and head to online game play, it's very much a mistake in Sky Gamblers.
Likewise, dogfight missions are progressively more challenging in head-to-head fights against aggressive artificial intelligence pilots. The level of difficultly increases with game play against various mixes and matches between the number of enemies and wing men. I've personally found that it's always a good idea to play at least one dogfight mission before joining the online games.
Custom games are also worthwhile for the same reason. It's the best chance to learn some of the online scenarios — free for all, team deathmatch, defend the base, and capture the flag — before playing online. But eventually, online is where you will want to play. Nothing beats the online challenges with up to eight players per game (or on a local WiFi).
When you do play online, expect most gamers to play free for all or capture the flag. This may change as more people pick up the game (almost all games develop loose friendships, alliances, and clans after awhile).
Anyone playing will also find that human opponents are easier than the artificial intelligence for now. As players pick up more tricks (such as not flying away from opponents and using the throttle to enhance maneuverability), it will be very likely to change.
The game does have a ranking system based on kills versus deaths, with kills earning two points and deaths equally one point. The system is fair instead of harsh, giving everyone the opportunity to move up quickly (unless they fly a Bleriot, which is like a knife in a gunfight).
Sky Glamblers was developed by a division of Namco Bandai.
Sky Gamblers was the creation of Namco North America, Inc. It has dozens of titles, but is possibly best known for the cinematic Ace Combat, which is becoming even more video-realistic this year. It's safe to assume its experience with flight sims and the iPad, iPod, and iPhone platform paid off.
Even better, Namco Bandai seems to have learned its lesson about in-game purchases. Last year, the company launched Ace Combat for the iPhone and iPad, but players complained. I'm glad they did. Requiring people to make in-game purchases has made flight games like Skies of Glory (World War II themed) and F.A.S.T. (modern aircraft), both by SGN, largely unplayable.
Sky Gamblers: Rise Of Glory Takes Flight At 8.3 On The Liquid Hip Richter Scale.
Namco Bandai has developed a near-perfect flight game with Sky Gamblers. Hands down, it is the best historic flight combat app available. The only way to make it better is to continue to build out the campaign scenarios and add more features to customize the planes.
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