Bonus Mojo can be obtained if the Game Boy Advance version of Crash of the Titans is inserted prior to turning on the Nintendo DS.

[7] Each island has its own pachinko board where players can win items with several effects, such as restoring health, providing temporary invincibility, and setting off explosions.

At certain points in the game, the player takes control of Cortex's niece Nina, who is tasked with using her raygun to transform the island's creatures into mutated henchmen.

In the midst of her task, Nina — dissatisfied with her position and perceiving the plan's inadequacy — begins plotting to take over her uncle's operation, and she recruits N. Gin and Tiny following their defeat at Crash's hands.

[9] Development was led by Eli Ford and Marc Hall, with Amaze's Mike Platteter and Radical Entertainment's Joe Selinske serving as producers.

[10] The development team sought to have the game reflect the flavor and story of the console version while playing to the platform's strengths by incorporating extensive use of the touchscreen and microphone into its gameplay.

[12] Kevin Chung was the lead artist, heading an art and animation team consisting of Platteter, Caleb Parrish, Jerry Vorhies, Nelson Brown, Bryan Fu, Sketch Ditty, and Nick Hamilton.

He praised the level design and the gameplay variety granted by the Titan mechanics and mini-games, but he regarded the hand-to-hand combat as stiff, elaborating that the attacks lacked a sensation of impact.

[18] Zachary Miller of Nintendo World Report compared the combination of platforming and beat 'em up elements to God of War, and he was excited by the fast-paced and interesting gameplay, but felt that the environments and enemy types blended together.

[1] Frank Provo of GameSpot appreciated the varied gameplay and enjoyed the jacking mechanic as a fresh addition to the Crash formula, but he lamented the game's short length.

[17] Tracy Erickson of Pocket Gamer felt that the jacking mechanic was the game's only innovative element, regarding it as an otherwise formulaic platformer.

While Harris considered the music decent, he was unenthused by the game's humor, and he and Miller criticized the inclusion of a laugh track, which they felt was unnecessary and inappropriately timed.

[17] Erickson observed that the exaggerated audio lent the game appeal to children, adding that they "will no doubt also giggle at the sound of simulated bandicoot flatulence".