Invincible Season 1 Finale Review

The latest game news from IGN - one of my fave channels ever - check it out This review contains spoilers for the Invincible Season 1 finale, titled "Where I Really Come From," which is currently available to stream on Amazon Prime Video. [poilib element="accentDivider"] It rains blood in the first few frames of Invincible’s eighth entry. Moments later, the mangled remains of The Immortal fall from the sky. The carnage of last week’s episode "We Need To Talk" continues to unfold, as father-son superhero duo Omni-Man/Nolan Grayson (J.K. Simmons) and Invincible/Mark Grayson (Steven Yeun) float overhead, as anticipation builds for their inevitable physical and emotional confrontation. As a season finale, “Where I Really Come From” delivers adequately on its promise of a family’s implosion. However, as a standalone episode, it excels far beyond expectations, invoking gruesome real-world imagery of natural and human disasters, and exploring surprisingly meaningful themes in the process. The season may have had its ups and downs, but it ends on a stunning high note. The finale’s first half essentially consists of a single extended scene, with occasional cutaways to supporting characters like Debbie Grayson (Sandra Oh) and the Guardians of the Globe, who watch Nolan and Mark’s confrontation play out from afar. When the conflict begins, Mark has trouble focusing on the image of his father drenched in The Immortal’s blood, as he speeds through the denials and excuses his mother experienced over the course of the season. While Debbie had the benefit of long-gestating suspicions, Mark is shocked to his core by the sudden reveal of his father’s murderous actions. [poilib element="poll" parameters="id=0a2f3612-543f-4f34-a726-590ce3df61ff"] Finally, Nolan reveals his true origins to Mark, informing him that Viltrum is not a planet of benevolent saviors, but of ruthless conquerors, who hope to bring every civilization under their rule. To justify his betrayal, Nolan also stresses that Viltrumites live for thousands of years, and since Mark shares his alien DNA, he will likely watch everyone around him die. To Nolan, the span of human life is but a speck on the Viltrum timeline, and humanity is insignificant. This supposed insignificance becomes a key part of the finale. Nolan attempts to force this outlook on Mark, who pleads with his father and clings to his most meaningful human relationships — the shudder in Yeun’s voice is especially gut-wrenching — but Nolan’s actions embody a chilling, defeating nihilism as the story plays out. Mark rescues a fighter pilot from plummeting to his death; the pilot thanks him and seems relieved to be alive, in a brief but memorable moment that speaks to why Mark chooses to be a superhero in the first place. The show hasn’t always focused on civilian lives or framed them as particularly meaningful, but it does so in this episode. Moments later, Nolan crushes the pilot’s head without hesitation, as if he were an inanimate object. Before long, the thematic struggle captured in this intimate, three-character scene explodes in horrific fashion, expanding to a global scale. Nolan punches Mark with all his might, so hard that he becomes a dangerous projectile headed for a nearby city. But before Mark makes an impact, the episode spends a few extra shots portraying quiet moments of people simply going about their day. These moments, unremarkable though they may seem, become poignant in retrospect, given what comes next. These civilians are simply living their lives — until they aren’t. [widget path="global/article/imagegallery" parameters="albumSlug=invincible-season-1-finale-where-i-really-come-from-images&captions=true"] Mark’s body crashes through buildings and skids through a major street with the force of an earthquake. Debris and mangled bodies litter the screen. The next thing Mark knows, he’s attempting to stop a skyscraper from toppling over, while also saving a woman from falling to her death as her young daughter watches from their window. He doesn’t succeed. The way the episode captures this carnage is twofold: in closeup, it reveals Mark’s shocked realization that nothing is left of the woman he was trying to rescue, except her arm. When subsequent shots pull out to capture the scale of the destruction, clouds of ash from the fallen buildings crawl between city blocks, an image distinctly reminiscent of New York on September 11th. After Nolan stomps on injured civilians as if they were ants, the episode moves on to other potent imagery of familiar disasters. He smashes Mark through an enormous cruise ship, breaking it in two, like the Titanic. He pummels Mark into the side of a mountain, causing an avalanche. The civilian toll is massive. The show’s blood-drenched violence, which felt silly and cartoonish in initial episodes, now feels disturbing when inflicted on people into whose lives we’re allowed the briefest of peeks, like snapshots of their final moments before disaster strikes. The toll on Mark is equally grisly. His face is practically unrecognizable as his father punches him to a pulp, in the hopes that Mark might accept his superior might, and his mission to colonize Earth. [ignvideo url="https://www.ign.com/videos/2021/02/26/how-robert-kirkman-is-handling-invincible-fans-expectations-feat-kinda-funnys-greg-miller-ign-fanfest"] Nolan’s ruthless nihilism feels, for a moment, more evocative of his comic counterpart, for whom human love and relationships were largely a ruse. But just when it seems like the show’s Nolan might be a little too disconnected from prior episodes, the character is drawn into a flashback in a heart-wrenching fashion. He knocks Mark’s teeth clean out of his mouth, which reminds him of a time in Mark’s youth as a gap-toothed tween on a baseball field. In this flashback, Nolan questions the point of Mark’s enjoyment of the sport in the cosmic scheme of things, and Debbie does her best to explain the shared joys of parenthood and family, unlocking some brief semblance of love and humanity hidden away. After Mark’s home run, the family smiles and celebrates together. [poilib element="quoteBox" parameters="excerpt=A%20part%20of%20him%20knows%2C%20deep%20down%2C%20that%20his%20belief%20in%20humanity%E2%80%99s%20meaninglessness%20might%20be%20wrong."] Nolan may have finally unleashed his callousness on the world, but there is still some human part of him that fights back against his colonial mission. A part of him that knows, deep down, that his belief in humanity’s meaninglessness might be wrong. There’s a part of him that still loves, no matter how much he denies it — and so, conflicted and unable to finish his mission, he flies away, deep into outer space, past the boundaries of our solar system. The battle may be over halfway through the episode, but its impact is unfathomable. The Guardians begin to clear the physical debris and rescue civilians, but the emotional toll of Nolan’s destruction continues to reverberate. Mark has a personal connection to it all, of course, but a reporter puts into words how the rest of the world feels similarly betrayed: “How can someone who promised to keep us safe, to protect us against any threat, become that threat?” [widget path="global/article/imagegallery" parameters="albumSlug=amazon-prime-video-spotlight-may-2021&captions=true"] What is perhaps most effective about the episode is the way it deftly captures what it feels like to live in the aftermath of disaster — both in its immediate wake, and in the weeks and months that follow, when its trauma continues to linger. Things return ostensibly to “normal” over time, but Debbie, despite putting on a brave face for Mark, still breaks down behind closed doors. Even friendly conversations over dinner — like when Mark, Amber, Eve, and William visit their usual burger joint — feel heavier than usual. Mark puts it simply: he feels hollowed out by the experience. Whether it’s a natural disaster, a terrorist attack, or a pandemic that continues to wreak havoc, the events themselves may not last forever, but their impact leaves an indelible mark, often beneath the surface. Invincible’s final episode grounds this haunting effect in a personal relationship, between a son and his father — and not just any father, but a father who is essentially immortal and transcends humanity, a figure who Mark and the rest of the world believed would protect them, and whose actions now feel inexplicable. Cursing Omni-Man after he brings the world to its knees feels not unlike cursing god or the universe after an untold tragedy, in the hopes of reconciling violent horrors with some reason or cosmic significance, where there is usually none. It’s in these moments of despair that nihilism can engulf the human soul. Were humanity to simply accept its insignificance, it would mean the victory of the ugly outlook which Nolan espoused. [poilib element="quoteBox" parameters="excerpt=As%20the%20season%20comes%20to%20a%20close%2C%20it%20feels%20like%20people%20have%20started%20to%20heal."] However, difficult though it may be for the characters, they don’t let that overpowering pessimism win. They begin to rebuild, no matter how exhausting. The new Guardians finally begin to clean up the blood from Nolan’s murders, which still stain the walls of their headquarters. Debbie and Art, two of the people closest to Nolan begin to drink and commiserate — their own way of coping. As the season comes to a close, it feels like people have started to heal. The flashes teasing various villains for future seasons, and the reveal of other alien allies in the fight against Viltrum, may be exciting in their own way. But for Mark, what’s most exciting is the prospect of finishing high school, and being able to live something resembling a normal life, despite what he’s been through. Perhaps that’s what it means to be invincible. Rather than never breaking, perhaps it means breaking and still finding a way to move forward. [ignvideo url="https://www.ign.com/videos/2021/02/19/invincible-official-trailer-2021-steven-yeun-jk-simmons"]

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The Mosquito Coast Premiere Review

The latest game news from IGN - one of my fave channels ever - check it out The Mosquito Coast premieres Friday, April 30 on Apple TV+ with two episodes. [poilib element="accentDivider"] Based on the 1981 best-seller by Paul Theroux (also a notable Harrison Ford film in '86), The Mosquito Coast has now been tweaked and remodeled for television, starring Theroux's own nephew, The Leftovers' Justin Theroux. And while these first two episodes -- "Light Out" and "First of the Gang to Die" -- don't exactly leave you at a revelatory leaping off point for the rest of the season, Theroux is quite excellent as the unsettlingly mad and uniquely motivated inventor, Allie Fox. Paul Theroux's original tale of a bitter and disillusioned husband and father, irate at American greed and certain the world was going to erupt into a nuclear disaster during the Cold War, has been given new legs. In this updated version for Apple TV+, the Fox family now finds themselves on the run from the FBI for an unknown crime committed by one or both of the parents. Instead of the Fox foursome purposefully abandoning the U.S. for Central America, they're now fleeing the States, just barely out-maneuvering the Feds. And after two episodes, all signals point to the family not even reaching the titular location (where most of the book's story takes place) until the end of this first season. [poilib element="poll" parameters="id=ee02b99b-5cc7-45e8-aaf4-47dfa09e12e1"] Because The Mosquito Coast is now an escape saga, the family has to be the draw here. Not just Theroux's Allie, but the entire clan. If we're to watch an adaptation this protracted, we pretty much have to doubly care about the characters. So far, much like in the original story, Allie's choices as a father elicit instant sympathy for his two kids, who have no choice but to be passengers aboard his unhinged nature. The series, however, has even more to answer for when it comes to Allie and Margot as parents. They're not just moving their kids to an uncharted rainforest, but they've already forced them both to live isolated lives off the grid because they're wanted fugitives. Within the show's backstory, there are way more instances of these teens -- loyal Charlie (Gabriel Bateman) and rebel Dina (Logan Polish) -- being subjected to neglect and psychological abuse. The biggest challenge for creator Neil Cross (Luthor) and company, is getting the viewer on Allie's side, so that you don't want his kids to be rescued by law enforcement. It's only marginally successful in the first two episodes, though there is a moment when Allie asks, while he and wife Margot (Melissa George) are in the midst of a full-on burglary, "Wait, you think we're not good parents?" And he's asking it sincerely. Smartly, the moment is played for light comedy. [ignvideo url="https://www.ign.com/videos/2021/04/07/the-mosquito-coast-official-trailer"] This is where the performances come into play. Theroux perfectly plays Allie as a quiet storm. He's never so manic that it drives us away. Instead, he's smart and stubbornly resilient, firm in his belief that everything has a solution if you're willing to look hard enough. There are moments in these introductory episodes that play like Breaking Bad if Walter White's family had actually been along for the ride with him. Allie's seemingly inexhaustible cunning and engineering know-how are played like superhero attributes. Theroux, George, Bateman, and Polish are a strong quartet, capable of carrying us through parts of a story that can feel like a trudge at times. But it's Allie and Dina's combative relationship that really helps sell the show. It reaches a fever temperature at the end of the first episode in a way that suggests that their fates might one day flip. Dina is more like Allie than either of them realize and Charlie's the one who stands to be disappointed and let down the hardest. [poilib element="quoteBox" parameters="excerpt=The%20biggest%20challenge%20for%20creator%20Neil%20Cross%20is%20getting%20the%20viewer%20on%20Allie's%20side."] On the Fox's tail are snotty, grumbly agents played by Kimberly Elise and James Le Gros, who inadvertently give the audience more reasons to root for our outcast family. If these government trackers had been given more warmth, it'd risk viewers believing they'd care about what happens to Charlie and Dina. Right now, as these first two episodes merely tee up the Fox's future turmoil, Elise and Le Gros feel like they're part of the cold, broken system of waste that Allie rails against. [widget path="global/article/imagegallery" parameters="albumSlug=the-mosquito-coast-season-1-images&captions=true"] "Light Out," directed by Rupert Wyatt (who also helms episode 2), sets the stage for Allie and his family as industrious, insufferable loners right before opening the show up to a wider mystery of "what was Allie's crime?" What could he have done that A: won't make us think he's an absolute monster while B: still requiring a nationwide search for him? Also, the more both teens wonder what their father could have done, the more the show might be hiding Margot being the ultimate law-breaker. Coming from an affluent family she hasn't seen in years, Allie seems to sit atop a larger reason she doesn't use them for support. You know, something other than her love for/bond with Allie. "First of the Gang to Die," which Morrissey fans will recognize as a song title (a song that's played in the episode, in fact), pulls us closer into the Fox's trail of destruction, as they attempt to cross the border into Mexico. People are not only getting seriously injured, but they're losing their lives in this family's quest to evade the cops. And the more these tragedies happen, the more the series will struggle to keep us on their side. Not that we have to like them or agree with them to enjoy the show, but with each breaking point comes new fallout. And in that fallout, we're all able to choose whether or not to reinvest in the story. [ignvideo url="https://www.ign.com/videos/2021/04/28/the-biggest-streaming-movies-and-shows-of-may-2021"]

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Hyperkin Retron Sq Review

The latest game news from IGN - one of my fave channels ever - check it out Miniature retro consoles have been all the rage over the past few years, with Nintendo, SEGA, and Sony releasing micro-sized replicas of some of their most iconic retro gaming consoles. Filled with a small catalog of pre-loaded games, these offer a great way to replay games from your childhood, or experience classics for the first time. But, what if you already have a large collection of retro games and you’re looking for a more modern way to play them? That’s where Hyperkin’s Retron Sq comes in. Built specifically for GameBoy, GameBoy Color, and (most) GameBoy Advance games, this small cube-shaped box allows you to play those handheld games on the big screen with relative ease – assuming you have a worthwhile collection to take advantage of. [widget path="global/article/imagegallery" parameters="albumSlug=hyperkin-retron-sq-review&captions=true"]

Hyperkin Retron Sq – Design and Features

The Retron Sq is a small, handheld box that’s just as much a delight to look at as it is to hold. Built from a lightweight, transparent plastic, it instantly evokes 90’s nostalgia, harkening back to an era when almost every Nintendo peripheral had a similar look. Fans of the retrowave aesthetic will further appreciate the Hyper Beach colorway, which features transparent teal plastic and magenta accent buttons on the front. The plug-and-play nature of the Retron Sq is where it really shines. It features a single slot on the top that’s compatible with GameBoy, GameBoy Color, and GameBoy Advance cartridges, and inserting games has a familiar satisfying click. On the front are two large, circular buttons: one for power and one to reset the unit. Below that is a single USB port for the included controller, or for a wireless receiver paired with one of Hyperkin’s bluetooth controllers (sold separately). Unfortunately, it’s only compatible with Hyperkin’s own controllers, which means plugging in a Xbox Core Controller or DualSense or another third-party controller is a no-go. [widget path="global/article/imagegallery" parameters="albumSlug=hyperkin-retron-sq-review&captions=true"] On the rear is a USB-C port for power, a microSD card slot that contains the system’s software and will allow you to update the firmware in the future. Thankfully, it connects to your gaming TV or gaming monitor with HDMI, allowing you to use it with modern displays. Games are displayed in their original 4:3 format, however, there’s also a switch on the back that lets you toggle to a widescreen 16:9 format, if you prefer. To round it out, there are four small rubberized “feet” on the bottom that prevent the unit from sliding or scratching whatever surface it’s placed on. The included controller is made from the same transparent plastic and perfectly compliments the main unit. It’s modeled after an SNES controller, featuring a D-pad, four face buttons, L/R shoulder buttons, as well as start and select buttons in the center. While it’s certainly a familiar and comfortable format, it’s an odd choice given that GameBoy and GameBoy Advance games only ever use two face buttons. While the design is largely the same as an SNES controller in shape and size, it does feature one key difference. On the back of the controller are two small protruding plastic grips that give your fingers something to latch onto, and are much more comfortable than the flat back of a traditional SNES controller. It also has a long 10-foot cable, allowing you to sit back and relax while you play instead of having to sit just feet from your television.

Hyperkin Retron Sq – Software

The Retron Sq is different from other micro consoles in that it doesn’t come pre-loaded with a selection of games. Instead, it relies on you having an existing library of games to choose from. While this is no different from modern consoles, or gaming in general, finding specific GameBoy or GameBoy Advance games these days can prove difficult – and costly. So while the console itself is relatively inexpensive to get into, the games themselves may prove to be a more expensive barrier to entry. That being said, there is a bit of software built into the Retron Sq, but only what’s required to run the unit. However, beyond a simple Hyperkin-branded splash screen upon startup, it’s largely something you’ll never interact with. According to Hyperkin, future firmware updates will be delivered through the included microSD card. This will require inserting it into a computer, but shouldn’t prove to be a difficult process otherwise.

Hyperkin Retron Sq – Gaming

Playing actual games couldn’t be more straightforward. Simply insert your cartridge, press power, and your game will begin running automatically. Officially, the Retron Sq supports GameBoy and GameBoy Color games out of the box, while GameBoy Advance games are currently still in beta. Out of 20 games tested, 18 games worked without any input delay or audio/visual issues. The two in question were both GameBoy Advance games – Final Fantasy Tactics Advance and WarioWare: Twisted! – and it’s possible they aren’t currently supported in beta. The latter technically ran, but due to its unique gyro sensor built into the cartridge, I was unable to control it. (Yes, I even tried holding the Retron Sq unit and spinning it around, but to no avail.) For what is essentially a modern GameBoy Player, though, it’s concerning that games don’t start instantaneously like they do on their handheld counterparts. Instead, you’re greeted with a Hyperkin-branded splash screen upon each boot that lasts for about 15-25 seconds before the game actually loads. Even worse, if you’re inserting a cartridge for the first time, there’s an additional loading screen with a progress bar that lasts for another 10-15 seconds. Add in the splash screens from the actual game itself and sometimes it’s upwards of a minute before you’re actually playing something. While this isn’t terrible by any means, it is worth noting if you’re planning to quickly hop between games. [widget path="global/page/imagecomparison" parameters="comparisons=%7B%22comparisons%22%3A%5B%7B%22caption%22%3A%22%22%2C%22images%22%3A%5B%7B%22id%22%3A%22608b8928e4b023a668224cf5%22%2C%22label%22%3A%22%22%7D%2C%7B%22id%22%3A%22608b8928e4b023a668224cf4%22%2C%22label%22%3A%22%22%7D%5D%7D%5D%7D"] Games are displayed in 720p and default to their original 4:3 standard format. Even playing on a 4K TV, pixels were sharp and colors were vivid, and it’s surprising how many games still hold up today. Audio was crisp, and hearing so many chiptune soundtracks from my childhood was a delight. That said, the audio from some games can be a bit jarring when heard on large surround sound systems. As for the controller itself, the D-pad is responsive and feels good to press, although when compared to a SNES controller it doesn’t feel quite as tight. That said, each directional input ends with a satisfying click, giving you an audible cue that you’ve reached the bottom. The four face buttons feel good, too, each responding to inputs instantly and springing back up quickly after being pressed. The A/B buttons feature a convex design, while X/Y are concave – once again taking cues from the SNES’s controller layout. Even though the GameBoy and GameBoy Advance didn’t have X/Y buttons, they can be used interchangeably with A/B, depending on your preference. The L/R shoulder buttons feel a bit lower profile than usual, but still have a satisfying click when pressed. The diagonal pill-shaped start and select buttons on the face are made from a soft plastic and feel solid overall. [widget path="global/article/imagegallery" parameters="albumSlug=best-gaming-headsets&captions=true"]

Purchasing Guide

The Retron Sq can be purchased directly from Amazon for $74.99. It’s available in the aforementioned Hyper Beach or BlackGold styles.

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Yasuke Season 1 Review

The latest game news from IGN - one of my fave channels ever - check it out This is a review of the first season of the Netflix anime series, Yasuke, which is currently available to stream. [poilib element="accentDivider"] Based on the real-life historical figure of the same name, Netflix’s latest anime tells the story of the African servant-turned-samurai Yasuke, who served Oda Nobunaga during Feudal Japan. The anime does a decent job depicting a few historical moments of what’s documented about the 16th-century Black samurai’s life, but quickly takes creative liberties with the source material by adding power-armored mechs, telekinetic humans, and giant shape-shifting werebears to this epic tale. While the sci-fi fantasy elements are cool to see, they do little to add depth to the characters and only serve as a would-be distraction from the story’s lack of fostering an emotional connection to the protagonist. Those familiar with director and executive-producer LeSean Thomas’ previous work, the Netflix Anime original Cannon Buster, shouldn’t expect to see the same quirkiness and upbeat energy depicted in that series here. Thomas’ latest foray into anime means business. With sword fights that leave combatants completely eviscerated, Yasuke is a samurai story in the purest sense. [poilib element="poll" parameters="id=fa6019cf-90ac-4969-8100-fece5db18751"] Animated by the acclaimed Studio MAPPA, the visuals and fight scenes in Yasuke are the main highlight of this anime series. Focusing on the background imagery, 16th Century Japan is vibrantly depicted with sprawling landscapes. The environments and locations Yasuke and the other characters find themselves in adds to each scene’s overall moodiness. Visual cues abound. As the scenery becomes darker and the wind rustles, it quickly becomes apparent our samurai warrior is about to find himself in a fight for his life. An impending epic battle between two opposing Japanese military forces is telegraphed by contrasting colors and glowing lights. Given how detailed these backdrops are and how much texture each locale has, It’d be a safe assumption to say the background artists at Studio Easter drew upon their previous experience working on the visually dynamic Afro Samurai: Resurrection. [poilib element="quoteBox" parameters="excerpt=Animated%20by%20the%20acclaimed%20Studio%20MAPPA%2C%20the%20visuals%20and%20fight%20scenes%20in%20Yasuke%20are%20the%20main%20highlight"] The undeniably amazing animation of Yasuke is another win for Studio MAPPA. Though there are 3D computer-animated scenes and characters, the creatives made a wise choice in opting for a primarily 2D animated direction here. There’s a particularly visceral impact in seeing a sword fight rendered in traditional animation that going a completely 3D route wouldn’t have been able to convey. The hand-to-hand (or sword-to-sword) fight scenes invoke Samurai Champloo vibes mixed with a subtle Jujutsu Kaisen/God of Highschool aesthetic, which the latter two should come as no surprise. Before working on Yasuke, artist Megumi Iwabuchi also provided 2D visual work for both Jujutsu Kaisen and God of Highschool. [widget path="global/article/imagegallery" parameters="albumSlug=yasuke-season-1-images&captions=true"] But while the visuals are quite compelling, the voice acting and characters themselves leave a lot to be desired. As Yasuke, Oscar nominee LaKeith Stanfield gives a very reserved performance as the stoic samurai haunted by his past. Instead of coming off as a tormented soul wishing to forget his dark days as a murderous samurai, Stanfield’s subdued delivery misses that mark. It’s as if his character from FX’s Atlanta, Darius, stepped into the role of Yasuke to give a very blasé performance. Being a brilliant on-screen actor doesn’t necessarily translate to being a great voice-over actor, and while Stanfield’s performance is decent, it isn’t strong enough to provoke sympathy with Yasuke’s plight. As for the supporting cast members, each character plays out like the typical archetype we’ve seen in other anime: the reluctant hero, the child with mysterious powers, the rivals-turned-allies, the villain wanting complete dominion. It’s all on display here, but the characters feel hollow as the show never dives into their backstories or gives us insight into their motivations. We need to actually care about these characters so that whatever happens to them resonates with us on a deeper level. That’s what’s missing in Yasuke; an emotional connection to the characters. Anime like Attack on Titan, Cowboy Bebop, DragonBall Z, and many more spend entire episodes on a single character’s journey to becoming the character they are presently. [poilib element="quoteBox" parameters="excerpt=But%20while%20the%20visuals%20are%20quite%20compelling%2C%20the%20voice%20acting%20and%20characters%20themselves%20leave%20a%20lot%20to%20be%20desired."] Yasuke’s backstory plays out via flashbacks showing how he went from indentured servitude to a high-ranking samurai warrior for Lord Nobunaga and the Oda clan. Unfortunately, we don’t see or learn more about Yasuke beyond that. From what we’re shown throughout the anime, Yasuke clearly believes in defending the young and the weak. There's an altercation that takes place before he becomes a samurai where he defends a boy, which establishes Yasuke as someone who is a protector of the innocent, particularly children. This is a pattern we see throughout the series. The main story revolves around Yasuke, 20 years after abandoning the way of the samurai, picking up his sword yet again to safely deliver a young girl upriver to a special doctor. Yasuke initially declines the perilous journey, but eventually changes his mind seemingly based on the notion of “One Village”. According to Yasuke, this means that it is the duty of every man and woman in a village to make sure the children of the village are safe. (This is likely a variation of the African proverb, "It takes a village to raise a child.") [ignvideo url="https://www.ign.com/videos/2021/04/26/yasuke-official-trailer-2021-lakeith-stanfield-darren-criss"] His sheer will to protect the young and the innocent possibly stem from his formative years in Africa, before his time in servitude. But we don’t get to see that aspect of his life. In the brief scene we see of Yasuke as a servant, he never quite carries himself as a man who takes orders from another. He’s noble and strong-willed. He defends those who are helpless, regardless of his master's objections. Does he even have a master? He does, but you wouldn’t know it by the way he carries himself. What made Yasuke so resolute in his ways? We never find out, and are only shown surface-level scenarios that led to the samurai warrior seen in the anime. Although I can’t say the overall story of Yasuke will stick with you days after binge-watching, the opening and ending theme songs most assuredly will. Grammy-nominated producer Flying Lotus lends his talents to both the songs (‘Black Gold’ and ‘Between Memories’, respectively), teaming up with Grammy Award-winner Thundercat and vocalist Niki Randa to bring these groovy, spiritual R&B tracks to life. Flying Lotus’ composition meshes perfectly with the soothing tones of his longtime collaborators, and Thundercat’s recognizable falsetto tones provide a very unique contrast to what we see in the anime. You probably won’t feel the urge to skip the intro or end credits because the songs are so catchy and soothing, serving as the proverbial calm before (and after) the storm. [ignvideo url="https://www.ign.com/videos/2021/04/28/the-biggest-streaming-movies-and-shows-of-may-2021"]

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Without Remorse Review

The latest game news from IGN - one of my fave channels ever - check it out Without Remorse debuts exclusively on Amazon Prime on April 30. [poilib element="accentDivider"] Tom Clancy’s Without Remorse marks the onscreen elevation of the late author’s CIA operative anti-hero John Clark from perennial second banana to the main attraction. And after an interminable 28 years wending its way through the production pipeline, it’s about time. As directed by Stefano Sollima, the film strays far from the novel’s story in favor of something more generic, but it’s nonetheless bolstered by a sizzling, charismatic performance by leading actor Michael B. Jordan that sets the stage for more action in possible future entries. First appearing in print as part of Clancy’s famed Jack Ryan book series, John Clark was previously played by Willem Dafoe in 1994’s Clear and Present Danger and Liev Scheiber in 2002’s The Sum of all Fears. In both of those films, the enigmatic Clark offered a muscular, shoot-first brand of spycraft that was an interesting contrast with the more cerebral heroics embodied by Jack Ryan (the author’s other most famous character), with both prior takes on the character proving compelling in their own right. The 1993 publication of Without Remorse gave the character an origin story and seemed to point the way towards an impending celluloid adaptation, but home studio Paramount kept kicking the can down the road. Years turned to decades as they attempted to crack the story, with Keanu Reeves, Gary Sinise, and Tom Hardy all attached at various points even as the studio careened from one Jack Ryan reboot to another (the current Amazon Prime show starring John Krasinski marks the fifth iteration of the Ryan character if you’re keeping score). It seems it took Jordan’s arrival in the superstar firmament to finally put fuel in the tank and actually get the thing made. In that sense, things probably worked out for the best. Without Remorse could well end up finally creating another franchise to run on a parallel track (and possibly intersecting with) the Ryan series. Although initially slated for theatrical release from Paramount, pandemic-related delays prompted Amazon to acquire it, with the added effect of keeping Clark in close proximity to his Clancy kin. [widget path="global/article/imagegallery" parameters="albumSlug=amazon-prime-video-spotlight-april-2021&captions=true"] Although sharing the same title as the novel, Taylor Sheridan and Will Staples’ script pays lipservice but charts its own course (so, basically like every Tom Clancy adaptation since 1992). Where the book was heavily centered on John Kelly (the man who will become John Clark) embarking on a trial of vengeance when his ex-prostitute girlfriend is murdered, with a digression that sees our hero sneak into and out of Vietnam, the film swaps the 1970s-centric plotline for something a bit less locked into a specific era, which either makes it more timeless or less unique, depending on one’s perspective. Following an ostensibly successful mission in Syria, John Kelly and his team find themselves targeted for murder, getting picked off one-by-one, with Kelly only escaping death when his pregnant wife (Lauren London) is murdered in his stead. Embarking on a trail of bloody vengeance, Kelly finds himself at odds with his own government as he uncovers a plot aimed at bringing about war with Russia. With assistance from Jodie Turner-Smith’s Karen Greer (niece of Jack Ryan’s boss Jim Greer, played by James Earl Jones in the films and Wendell Pierce in the show), Kelly sets out to prevent an international crisis even as he seeks revenge for the loss of his wife. It all comes off fairly boilerplate, but none of that should necessarily be taken as a debit. Director Sollima (Sicario: Day of the Soldado) gives the action sequences a gritty aesthetic that’s functional rather than flashy. So no, there’s nothing here that approaches the slow-build intensity of the Colombian van ambush in Philip Noyce’s Clear and Present Danger –– which remains a masterpiece of unfolding tension nearly thirty years later –– or the terrifying countdown to a nuclear bomb detonation in Phil Robinson’s The Sum of All Fears. Instead, Sollima’s approach is steeped in more of a vérité style that foregrounds impact and immediacy. While it doesn’t particularly stand out, neither does it detract from the experience. On the casting front too, the ensemble has been stacked with familiar faces who can be counted on to deliver solid work character work, even if the characters themselves are a bit too thinly-sketched (thank goodness reliable players like Jamie Bell and Guy Pearce can work some mojo with their “enigmatic CIA honcho” and “enigmatic politician” roles, respectively). First and foremost, this is a showpiece turn for the man who occupies the lead. While Without Remorse lacks the cerebral intrigue that made The Hunt for Red October, Clear and Present Danger, or even The Sum of All Fears so memorable, it offers a brand of bullets-and-brawn action that feels increasingly out of place in today’s superhero-centric cinema landscape. It hearkens back to the mid-’90s era where seemingly every thriller was a Tom Clancy adaptation, a John Grisham adaptation, a wannabe Tom Clancy adaptation, or a wannabe John Grisham adaptation. You know, the good old days. 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The Falcon and The Winter Soldier: Full Series Review

The latest game news from IGN - one of my fave channels ever - check it out This is a mostly spoiler-free review of Marvel’s The Falcon and The Winter Soldier, which is now streaming in its entirety on Disney+. Some themes and characters are alluded to, but no main plot points are discussed in detail. For a deep dive into the show, you can read our spoiler-filled individual episode reviews:

• The Falcon and The Winter Soldier Season 1, Episode 1 Review
• The Falcon and The Winter Soldier Season 1, Episode 2 Review
• The Falcon and The Winter Soldier Season 1, Episode 3 Review
• The Falcon and The Winter Soldier Season 1, Episode 4 Review
• The Falcon and The Winter Soldier Season 1, Episode 5 Review
• The Falcon and The Winter Soldier Season 1, Episode 6 Review

[poilib element="accentDivider"] If you believed The Falcon and The Winter Soldier would be, as its marketing seemed to suggest, a standard Marvel movie chopped into six television-sized pieces, then the reality certainly comes as a surprise. The story of Sam Wilson and James “Bucky” Barnes is less a comic book villain-busting adventure and more an examination of institutional racism, radicalisation, and the looming shadow of lost heroes. Often closer to the run of a (good) Netflix Marvel show than anything seen on the big screen, The Falcon and The Winter Soldier is a surprisingly weighty, frequently engrossing show – though every so often it flies too close to the sun and demonstrates an inability to restrain its scope to a level that can be adequately explored in the time it has. Even so, its ambition frequently wins the battle over its uneven quality and lacklustre management of its many components. The Falcon and The Winter Soldier’s most prominent and well-explored theme is that of race and Black America. The character arc of Sam Wilson (Anthony Mackie) deals with his struggle to follow in the footsteps of Steve Rogers, his departed friend whose last act in Avengers: Endgame was to pass onto Sam the Captain America shield. For a Black man to take on that role – one that’s emblematic of a nation that’s long been unable to address its institutional racism – carries disturbing implications that haunt Sam throughout The Falcon and The Winter Soldier’s six hour-long episodes. This is an abnormally heavy topic for the Marvel Cinematic Universe to delve into, and while it's not an academic-grade dissection, by examining the issue through a superhero lens the message is made clear and accessible to all. Of Marvel’s many on-screen triumphs, its treatment of Sam Wilson’s story is among its strongest and most admirable. [widget path="global/article/imagegallery" parameters="albumSlug=the-falcon-and-the-winter-soldier-cast-and-characters&captions=true"] The strength of this exploration comes from both sharp writing and a strong leading performance from Anthony Mackie. Given much more room that he’d have in a movie, Mackie has the ability to convey emotion and inner turmoil through glances and subtle movements. He’s matched perfectly by Carl Lumbly as Isaiah Bradley, a Korean War veteran who suffered at the hands of a racist system decades ago. Bradley acts as Sam’s lighthouse through a fog of pain, and their scenes together are heartbreakingly raw. These components make the exploration of Captain America’s legacy a more poignant topic than many may have expected. And while the trajectory of Sam’s journey is obvious from the very first scenes, the handling of its weight makes for a distinctly satisfying conclusion to his arc. While The Falcon may be the clear lead protagonist, his isn’t the only name in the show’s title. Sebastian Stan’s Bucky Barnes is also along for the ride, but despite a fair amount of screen time the ex-Winter Soldier isn’t afforded the same storytelling luxuries as his partner. His personal antagonist is his own past, and segments of the series deal with him making amends for the damage he caused in his life as a Hydra assassin. But these moments are unfortunately few and far between; despite starting on perfect footing in the series premiere, it is not until the penultimate episode that these themes are truly revisited in any meaningful way. [poilib element="quoteBox" parameters="excerpt=The%20exploration%20of%20Captain%20America%E2%80%99s%20legacy%20is%20a%20more%20poignant%20topic%20than%20many%20may%20have%20expected."]In between those chapters, Bucky’s main foe is Daniel Brühl’s fantastic Helmut Zemo, returning from his role as the instigator of Captain America: Civil War. But, similar to Bucky’s issues with his past, his relationship with Zemo promises more than it delivers. There’s a great Hannibal Lecter-like dynamic between them as the heroes must work with the villain to achieve greater things, but the opportunity for the slippery Zemo to manipulate Bucky in interesting ways is missed. Bucky certainly gets the shorter end of the stick, then. But while he must play second fiddle to Sam, these six episodes do a substantial amount of heavy lifting to humanise a character that previously has been a plot point more than a genuine person. Without Steve Rogers around, Bucky is able to be his own man, rather than someone else’s mission. The quieter moments where Stan gets to explore the character’s inner turmoil and anxieties really prove that he was worth including in the story, even if the closure of his arc doesn’t provide quite the amount of fireworks that Sam’s does. For all their individual successes, the show is a double act – even if it does feel like THE FALCON (and The Winter Soldier) – and Sam and Bucky’s dynamic is a contributor to both highs and lows. Early on, particularly in the second episode, the writing really struggles with the pair’s dialogue. The first half of the season positions them as a buddy comedy duo, as if this were Bad Boys or Rush Hour. While humour is an essential part of the MCU, the attempt to use this relationship template in a story exploring such heavy themes feels entirely out of place. Thankfully the crowbarred-in quips are mostly left behind in the latter half, making for a more natural back-and-forth between the two that still delivers jokes when appropriate. [widget path="global/article/imagegallery" parameters="albumSlug=the-falcon-and-the-winter-soldier-10-comics-stories-you-should-read&captions=true"] Sam and Bucky’s dynamic is much stronger when they are allowed to be earnest, vulnerable characters. An extended conversation sequence in the penultimate episode allows much of the tension between them to be resolved, as well as address their personal demons. It's a scene drawn with genuine sincerity, and says as much about the value of supportive friendships as it does the other weighty topics that are dealt with at the forefront. Complicating Sam and Bucky’s life is John Walker, a state-appointed successor to Steve Rogers. Played with smugness by Wyatt Russell, he is everything Captain America shouldn’t be; a self-righteous, aggressive loose cannon. Walker’s presence in the world is a constant source of stress, both in the way that his actions disrespect the legacy of Steve Rogers, and how he works as a constant reminder that Sam should be the one wielding the star-spangled shield. In the broad strokes, John Walker is a great examination of the danger of governments wielding superheroes as weapons. Unfortunately, there’s very little nuance to this, which makes this Captain America rather one-note. There are moments where we see a deeper personality – occasional glimpses of the pressure Walker feels as a soldier elevated to the US military’s new poster boy – but the slim episode count and a mountain of other topics and characters means this particular thread isn’t as well-rounded as it ought to be. And while Walker is given enough material to ensure he delivers one of the season’s most shocking and valuable scenes, it unfortunately all leads to a weak, under-developed conclusion for his character. [poilib element="quoteBox" parameters="excerpt=By%20the%20final%20third%20it%20becomes%20clear%20that%20time%20has%20been%20misspent%20on%20the%20wrong%20elements%20and%20the%20pacing%20begins%20to%20spiral%20out%20of%20control."]A similar treatment is given to the Flag Smashers, a group of morally grey antagonists led by the radicalised Karli Morgenthau (Erin Kellyman). There’s a huge amount of interesting ground this faction treads, touching on issues of humanitarian crisis, anti-nationalism, and the failure of government. Their plight is linked to the MCU’s Blip and how authority deals with the sudden reappearance of billions of people after five years away, but their story is clear commentary on wider societal issues in the real world, particularly the treatment of refugees and displaced communities. This makes for a group of sympathetic ‘villains’, and the opportunity for a more complex approach from our heroes. Regrettably, The Falcon and The Winter Soldier’s writing really suffers when walking that morally grey line. Karli Morgenthau is clearly envisioned as a person with good intentions who goes too far, but a lack of granular detail in the Flag Smashers’ story means they come across too much as terrorists who are all too casual about killing innocents rather than freedom fighters. The GRC, a global taskforce that inflames tensions during the post-Blip crisis, is so underexplored, and Karli’s radicalisation so over exposed, that any attempt at nuance is largely off-balance. This occasionally, in its worst moments, comes across as The Falcon and The Winter Soldier outright condemning their argument, and so its worthy observations around radicalisation can be lost to simplification. Where The Falcon and The Winter Soldier certainly doesn’t suffer is with its action choreography. Director Kari Skogland flawlessly replicates the grittier look of the Russo brothers’ Captain America films. This acts as a neat visual way to connect Sam and Bucky’s story to Steve Rogers’, but also makes for comparably rugged and weighty fight sequences. The premiere opens with a thrilling dogfight that allows Falcon to literally spread his wings, but the best moments are all on the ground where each punch rings loud. A late-season battle in which Sam and Bucky tag-team against a foe calls back to the Steve-Bucky-Tony three-way clash at the end of Captain America: Civil War, and is executed almost as skilfully. [poilib element="poll" parameters="id=dc1c42b9-63ec-4acb-a281-1d070a86d401"] The titular duo’s tag-team fights are in direct opposition to the worst of their dialogue. In fact, across the season, the fluctuating quality of Sam and Bucky’s relationship works as a microcosm for The Falcon and The Winter Soldier as a whole. Its many triumphs, though, helps mask this unevenness up close. Episode to episode, Skogland and showrunner Malcolm Spellman deliver a show that is consistently fulfilling in its drama, gritty direction, and the boldness of its themes. It is only by the final third that it becomes clear that time has been misspent on the wrong elements and the pacing begins to spiral out of control. Alongside the topics already discussed, the story also re-introduces CIA agent Sharon Carter, Captain America: The Winter Soldier’s Batroc returns as a secondary villain, there’s a shadowy big bad known only as the Power Broker, a whole new Nick Fury-style character appears with zero context accompanying their surprising big-name casting, and plenty more beside. To say The Falcon and The Winter Soldier is overstuffed is putting it lightly. The end result of this is a conclusion that feels rushed and lacking detail as it races to put everything into place. The problem here is that, at its heart, The Falcon and The Winter Soldier is a character study. For the most part, this is its greatest strength, and it admirably sticks to its guns through the six episodes. But by introducing so many extra ideas, all while consistently dedicating long stretches of time to its central themes and characters, means many – if not all – of its side stories are weak and unfulfilling. Ultimately, this should have been a show about Sam and Bucky dealing with the legacy of their friend, and what that means in relation to America’s socio-political landscape. Thankfully that’s where The Falcon and The Winter Soldier’s priorities lie, but it’s little wonder that everything else around its best story threads suffer.

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Razer Blade 15 Advanced Edition Review

The latest game news from IGN - one of my fave channels ever - check it out Razer’s Blade has been one of the most iconic gaming laptops on the market over the last decade and this year is no exception. I’ve spent the last several weeks with the Razer Blade 15 Advanced Edition in its highest configuration. Coming in at an eye-watering $2999, is this the flagship gaming laptop you’ve been waiting on or merely another contender for best gaming laptop of 2021? [widget path="global/article/imagegallery" parameters="albumSlug=razer-blade-15-advanced-edition-review&captions=true"]

Razer Blade 15 Advanced Edition - Design and Features

What’s in a name? In this case, quite a lot. As a high-end laptop from Razer, you can count on focused gaming performance. The “Blade” speaks to its thin and light design – well, reasonably light, anyway. This unit features a 15-inch Full HD Display configured to run at an esports-grade 360 Hz. Under the hood, it’s running on a 10th generation Intel Core CPU, an Nvidia RTX 3080 GPU, and 32GB of system memory. The total specs as configured are:

• Price: $2999.99
• Processor: Intel Core i7-10875H (8-core/16-thread, Max Boost 5.1 GHz)
• Display: 15.6-inch Full HD (1920x1080) IPS 360Hz
• Graphics: RTX 3080 (Mobile Version)
• Memory: 32GB DDR4, 2933 MHz, 64GB Maximum
• Storage: 1TB NVMe (Expandable with Additional Slot)
• Networking: Wi-Fi 6E AX210, 2X2, IEEE 802.11a/b/g/n/ac/ax, Bluetooth: Bluetooth 5.2
• Battery: 80WHr, Up to 7 Hours, 230W Adapter
• I/O Ports: 1x Thunderbolt 3 (USB-C), Supports 20V USB-C chargers with PD 3.0,  3x USB 3.2 Gen 2 (USB-A), USB-C 3.2 Gen 2, Supports 20V USB-C chargers with PD 3.0, SD Card Reader, UHS-III, HDMI 2.1 output (Up to 8K 60Hz or 4K 120Hz)
• Dimensions: 0.67 x 9.25 x 13.98 inches
• Weight: 4.4 lbs

  Like most Razer laptops, the Blade 15 is available in multiple configurations that will set you back anywhere from $1699 to $3299 depending on the components and display you choose. On the cheaper end, you’ll be downgrading to an Intel i7-10750H, an RTX 3060, and half the memory and storage. The most expensive version is similar to the one I’m reviewing today but is equipped with a 4K OLED touchscreen. The exterior design of the Blade 15 is similar to last year’s model. It’s outwardly simple but unmistakably a gaming laptop. The matte-black aluminum chassis is unassuming except for Razer’s large, backlit snake icon smack-dab in the center. The lighting can be turned off, but if you’re hoping to hide the fact you’re carrying a gaming laptop to class or the office, think again. Personally, I rather like the look of it lit up in classic Razer green. Thin and light has been the name of the game in gaming laptops for several years. The Blade series definitely embraces this maxim and this year’s model comes in at only 0.67 inches thick. I was easily able to slide it into my messenger bag and still have room for papers and materials. It’s light, but not industry-leading at 4.4 pounds. Over the course of the day, my bag definitely started to feel heavy carrying the laptop with me, but it’s a trade-off for the extra-durable design and caliber of components therein. The aluminum chassis is very durable and rigid. There’s no discernable screen flex opening the laptop, which has been a concern on other models. An all-metal shell also aids in heat dissipation but does mean the entire lower-half of the laptop eventually feels warm to the touch. Unlike the Asus ROG Zephyrus G15 I last reviewed, the area above the keyboard didn’t get so hot, which speaks to the vapor chamber cooling solution Razer has applied. The biggest downside to the frame is that it’s an absolute fingerprint magnet. It will show every bit of oil from your fingers, which leaves it looking messy within a day of normal use. The Blade 15 is a beast of a gaming laptop. It’s Intel Core i7-10875H processor features 8-cores and 16-threads of processing power, but more important for in-game frame rates is its 5.1 GHz boost clock. It pairs wonderfully with the Nvidia RTX 3080 mobile graphics card which is currently the most powerful on the market. Like all RTX 30-Series mobile GPUs, it won’t run quite as fast as a desktop 3080 but absolutely dominates at 1080p gaming. The 1TB NVMe SSD is also very fast, reducing load times to the bare minimum, and has enough storage to hold a decent selection of games and applications. It also sports a second M.2 slot to quickly expand the storage without the need to reinstall Windows. The system came with 32GB of pre-installed memory, which is more than enough for any game on the market today in conjunction with streaming apps and even a few browser windows with room to spare. These specs also make the Blade 15 a very solid choice for streamers and content creators. While many games aren’t able to leverage all eight cores of the CPU or all 32GB of DRAM, many creative applications will happily use these resources and benefit from them. I recorded 4K video directly to the laptop with OBS and an Elgato CamLink and then edited it in Adobe Premiere Pro – the process was virtually seamless. Like most (all?) consumer laptops currently available, it did stutter when rendering certain aftermarket transitions, but its ability to handle massive video files with ease was impressive. Since the unit has a 1080p screen, most gamers will be working with 1080p video files and the experience was even smoother there. The real highlight of the screen is its incredibly fast 360 Hz refresh rate, which is ready to compete with cutting-edge 360Hz and 240Hz gaming monitors. This can offer real benefits in motion clarity and responsiveness if your reaction speed is up to the challenge. Even though the RTX 3080 is a powerful mobile GPU, it won’t be pushing many games to 360 FPS outside of esports, however, so be wary if you’re expecting to play AAA games at such high frame rates. Still, offering such a high refresh rate pays dividends in the smoothness of games even below 360 FPS, so it’s a welcome addition – albeit one that will more quickly drain the battery. The laptop also has a number of other features going for it. For day to day use, the keyboard is outstanding. The keys offered greater travel and tactility than most other laptops I’ve tested, which made typing reliably accurate. The touchpad is also very large, which makes navigation quite easy and even opens the door to some casual gaming if you forget your mouse at home. The keyboard offers bright, saturated, per-key programmable backlighting and is also completely programmable akin to Razer’s standalone keyboards. Above the screen is also a 720p webcam with Windows Hello compatibility for biometric login. To either side of the keyboard are the built-in speakers, which feature THX Spatial Audio and 7.1 surround sound support. They are able to get exceptionally loud and seem to project out in a way that gives a greater sense of space than you would expect from a pair of laptop speakers. They work very well for most kinds of content, though bass is stereotypically lacking. The dynamic range and frequency response of the transducers is enough to give rifles a satisfying “crack” in Battlefield V – they just don’t have enough punch for a good explosion. As a gaming laptop, connectivity is much more important than laptops designed for productivity. The Blade 15 has it in spades. There are three USB 3.2 Type-A ports, one USB 3.2 Type-C port, another USB Type-C with Thunderbolt 3 (the latter two ports also supporting 20V chargers with PD 3.0), a combo audio jack, a UHS-III SD card reader, and an HDMI 2.1 video output for external monitors capable of 8K40 or 4K120 output. For networking, it supports WiFi 6E for high-speed wireless internet but doesn’t offer an RJ-45 ethernet port. It also supports the latest Bluetooth 5.2 standard for wireless peripherals. Taken as a whole, this is a generous array of connectivity options that easily allows for a full array of USB peripherals and external storage and display options – just keep in mind you’ll need a USB ethernet adapter if you want a wired internet connection. Compared to a number of other RTX 30-series laptops we’ve looked at here at IGN, the Blade 15 appears to have a surprisingly sparse arrangement of vents to support its cooling. This is partially because Razer cleverly hides the rear exhaust under the edge of the lid, but it’s also because there are flat out fewer vents. The reason for this is that the laptop uses a vapor chamber cooling solution that better isolates thermal flow through the unit. This approach to cooling is common on graphics cards and high-end CPU heatsinks as it allows the manufacturer to better guide the flow of heat and direct it in the path of blowing air. In this case, that results in heat expelling from the rear of the PC. In practice, the cooling solution proved to be reasonably effective, albeit not exceptionally so. The CPU regularly peaked at 100C, a behavior that’s common among gaming laptops with this particular chip. The GPU, on the other hand topped out at 77C after extensive testing. Not bad, but right in line with the similarly equipped MSI GS66 Stealth that featured more traditional heat-pipe cooling. In addition, the Blade became quite loud under heavy load managing those thermals, forcing my wife to turn the TV up while sitting next to me on the couch. There is an ongoing balance in the world of gaming laptops between heat, noise, and performance. In this case, there’s definitely room to better balance those elements.

Razer Blade 15 Advanced Edition - Software

When it comes to software, the Razer Blade 15 Advanced Edition is delightfully sparse. My unit shipped with a basic Windows installation in addition to Razer’s Synapse management software. This was my first experience with a Blade laptop but I was familiar with Synapse from many peripherals over the years, so getting up and running with it was fast and easy. Upon opening it for the first time, you load into the Dashboard which shows a picture of the laptop. Clicking it takes you to the Customize screen with an overview of the keyboard. This is a rather counter-intuitive design since this screen doesn’t actually allow you to change the settings of the laptop. Instead, clicking a key opens up the programming options, exactly like a standalone Razer keyboard. You can record macros, create shortcuts to launch programs, map media controls, and more. Thanks to Razer Hypershift, you can even create entire secondary layouts for storing macros or alternate key sets. The lighting tab controls your system lighting. The available options allow you to control system-wide rules – such as how long it needs to be idle before disabling lighting to preserve battery or brightness – to individual lighting presets. The illuminated logo can be made to breathe or stay lit at a custom brightness, while the keyboard is much more programmable with animated presets like fire, rainbow waves, spinning color wheels, or entirely custom layouts created in the Chroma Studio. These lighting effects can also be synced with other Razer peripherals to quickly color-match your whole setup. When it comes to actual system settings, these are tucked away on the performance tab. Razer has done an arguably too good job simplifying the settings here. Performance modes are limited to Balanced and Custom when plugged in and just Balanced when running on battery. Setting custom specifications doesn’t give the same degree of control found on flagship MSI or Asus gaming laptops and instead gives you a basic performance slider. Custom fan curves or overclocking are out of the question with this version of Synapse. This tab also allows you to choose the current GPU mode. Like some other RTX 3080-equipped notebooks, the Blade 15 supports Nvidia Optimus and can intelligently swap between the integrated GPU on the processor or the dedicated RTX 3080 to save battery. Enabling Optimus defaults the system to 60 Hz outside of games, however, which is very noticeable even in basic mouse movement. That said, it’s very effective in extending battery life through most of the day.  

Benchmarks	Razer Blade 15 Advanced Edition	Origin EVO15-S	MSI GS66 Stealth	Asus ROG Zephyrus G15
Price as tested	$2,999	$2,997	TBA	$1,799
CPU	Intel Core i7-10875H	Intel Core i7-10870H	Intel Core i7-10870H	AMD Ryzen 9 5900HS
GPU	Nvidia RTX 3080	Nvidia RTX 3080	Nvidia RTX 3080	Nvidia RTX 3070
3DMark Time Spy	9973	10163	9623	9417
3DMark Fire Strike	21765	19318	19725	20947
3DMark Night Raid	48029	44155	40996	35633
Total War: Three Kingdoms	82	80	83	71
Borderlands 3	88	89	89	110
Metro Exodus	63	63	64	57
Hitman 3	134.5	129.4	NA	113.9
Unigine Heaven 4.0	123	135	124	123
PCMark 10	6697	6029	5892	7016
PCMark 10 Battery Test	5:52	1:56	5:44	5:01

Razer Blade 15 Advanced Edition - Performance

As a flagship gaming laptop, what really matters most is how it performs in games. I conducted my testing using IGN’s standard array of games and benchmarks. Since thermal solutions can make such a big difference in overall performance, I’ve shared the results alongside other competing laptops with similar specs. All of my tests were conducted at Ultra settings. Note: We added Hitman 3 to our test rotation after the MSI GS66 had already been returned, so that entry is marked with an NA. The Razer Blade 15 performed very well across these tests. In synthetics, it led the pack in all but 3DMark Time Spy. Performance in Unigine Heaven did fall slightly behind the Origin EVO15-S but it made up for that with real world performance gains in Hitman 3. In other game tests, the Blade 15 performed right on par with other mobile RTX 3080s we’ve tested. Since the NVMe SSD in this drive was undisclosed, I also tested its speed using CrystalDiskMark. If offered impressive, if not cutting edge, results. At 2.9 GB/s for both read and write speeds, the Razer Blade 15 will be able to optimize load times and offer good performance in creative apps like Premiere Pro. Still, given the price, I would have liked to have seen Razer include a drive that runs a bit faster. The same is true of the memory, which is clocked to only 2933 MHz versus the 3200 MHz offered by some of the competition. These might seem like small things, but remember, the Blade 15 Advanced Edition is actually more expensive than many models currently available today. For gaming outside of these tests, the Blade 15 was excellent. Even though I’m not an esports player, the fluidity of motion with the 360 Hz screen was fantastic. There is subtly more clarity in quick turns and the system does feel more responsive, though I wish it came with Nvidia G-Sync as a cherry on top. I also loved how color rich the screen was, which made both gaming and watching shows on Netflix more enjoyable. It was also nice to be able to use and enjoy the built-in speakers. They do sound thin but are perfectly sufficient for gaming and loud enough to hear clearly even when sat back with a controller. For normal use, it was also exceptionally good. The keyboard was great for getting work done and the touchpad made carrying a separate mouse optional for me. The webcam also worked well and colleagues on the other end reported that I both looked and sounded good. I do wish it was slightly lighter, however, as I could definitely notice it in my bag after a while.

Razer Blade 15 Advanced Edition - Battery Life

The Razer Blade 15 Advanced Edition features a large 80 WHr battery. This falls somewhat behind the likes of the ROG Zephyrus or MSI GS66 Stealth that offer 90 and 99 WHr batteries respectively. Still, it optimizes battery usage well. With Optimus enabled and the screen and backlighting at 50% brightness each, it lasted 5 hours and 52 minutes in the PCMark 10 Modern Office Battery Test. This falls short of the average workday; however, by turning lighting off completely and further dimming the screen could likely be extended to the full seven hours of rated uptime. An interesting feature of this laptop is the braided cable on the charging brick. The brick is large and rated for 230 watts, so is already challenging to carry along with the laptop itself if you need more battery life (and you just might). The braided cable looks very nice on the surface and will certainly help protect the charging cable over time, but is very stiff and difficult to manage. It’s also flat-out bigger, taking up more space in your bag. In the end, I would prefer something slimmer and easier to work with. [widget path="global/article/imagegallery" parameters="albumSlug=best-gaming-laptops&captions=true"]

Purchasing Guide

The Razer Blade 15 Advanced Edition is available from the Razer Store for $2999. Razer also offers alternate configurations ranging from $1699 to $3299. The line-up can also be purchased from Amazon.

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Returnal Review

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Fast and frantic action, a dazzling display of thousands of bullets in a multitude of shapes and sizes, and glorious, glorious particle effects. These hallmarks are what Housemarque games are all about, and Returnal certainly checks all of those boxes. But it’s also their most ambitious effort yet: a PS5-exclusive third-person shooter with an incredible sense of exploration and discovery, rich atmosphere on par with Dead Space or Metroid Prime, and shootouts that remain fresh and rewarding throughout the multiple playthroughs needed to beat its roguelike campaign and unlock the secrets that remain beyond the credits. A good run takes a bit too long for something you have to complete in one sitting, but the reward for making that commitment is more than worthwhile.

Returnal tells the story of Selene Vassos after she crash-lands on an alien planet called Atropos. As she emerges from her ship and tries to locate the origin of a mysterious signal, things start to get very weird and time-loopy very quickly. Of course, this all serves to contextualize the fact that this is a roguelike and built on the idea of repeated runs through the same environments, but it’s also a clever storytelling device. Selene is able to find logs left by her former selves, which slowly starts to peel back the layers of Returnal’s central questions. Housemarque even goes a step further by incorporating a number of surreal and chilling PT-esque first-person segments where Selene must explore her memories and nightmares.

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It makes Selene an interesting protagonist who’s in this weird repeating-but-different scenario along with us, and it’s all way deeper than I would ever expect a roguelike’s story to be. Housemarque deserves praise for finding a unique and compelling way to incorporate an interesting story in a genre that makes storytelling rather difficult. It’s not quite as elegant of a solution as Hades’ home base full of characters that always have something new to say to you based on your successes, failures, and overall progress, but it’s an admirable effort nonetheless.

[poilib element="quoteBox" parameters="excerpt=Selene%20is%20an%20interesting%20protagonist%20who%E2%80%99s%20in%20this%20weird%20repeating-but-different%20scenario%20along%20with%20us."]While the story focus may be a surprise given Housemarque’s previous games, the tight and responsive gun play is right on brand. Returnal takes the bullet-hell stylings of the likes of Resogun, Nex Machina, and Super Stardust HD, and transplants them into a third-person shooter. The results are spectacular. All the usual staples are here: the directional dash that makes you momentarily invulnerable to damage, the enemies that shoot a barrage of bullets that are just slow enough for you to outrun, the ones that shoot just a straight-up wall of bullets you have to dodge through, the jerks that fire a locked-on laser beam at you if you can’t kill them in time, and then there’s the mega-assholes that do a little bit of everything. There’s an excellent variety of enemies in Returnal, and even when it resorts to using the same character model in a different environment, there’s always something different in their behavior that makes them a completely new challenge.

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Learning those behaviors is important, because Returnal really, really encourages you to avoid getting hit. There’s an adrenaline meter that builds up as you score kills and grants up to five stacking buffs, but they all disappear when you take a single hit. Also, if you pick up health items while you’re at max life it actually adds to your total health capacity. Returnal is a hard game, but it rewards you handsomely for playing well and for making smart choices, which is always a great feeling.

[poilib element="quoteBox" parameters="excerpt=Returnal%20rewards%20you%20handsomely%20for%20playing%20well%20and%20for%20making%20smart%20choices"] And those major risk-reward choices often aren’t so easy, either. Many chests and health pickups are “malignant” and have a chance to saddle you with a debuff that can only be removed by completing specific requirements, such as killing a certain number of enemies. Then there are parasites, which offer both a buff and a debuff that can only be removed with a rare consumable or by finding an equally rare parasite-removal machine.

Sometimes the risk pays off, like when I open a malignant chest and receive a powerful weapon that’s two levels higher than the one I currently have and helps me decimate the next few rooms of a level. But oftentimes it doesn’t, and I just get a weak consumable and an added two seconds of cooldown to my dash. Coming out on the bad end of a risk-vs-reward gamble can be brutal, but it also is one of the things that makes each run of Returnal feel unique and exciting. You just have to make the best of a bad situation, which is one of the key aspects of the roguelike genre that Returnal absolutely nails. This improvisational style of combat that has you constantly changing up your weapons, altering your strategy on the fly based upon the types of upgrades that you come across, and deciding whether to buy or save your currency is crucial to making every run feel like a new and fresh experience.

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The roguelike format also works because of how interesting each of the 10 weapons are. While most fill the expected roles in a shooter, several others are wildly inventive. There’s a gun that never has to reload but can only be fired once a round bounces back into the gun, and a weapon that fires pylons into the ground and triggers streams of red lightning between them. It’s clever stuff.

[poilib element="quoteBox" parameters="excerpt=There%20are%20many%20more%20possibilities%20for%20each%20weapon%2C%20which%20has%20given%20each%20of%20my%20playthroughs%20thus%20far%20a%20distinct%20flavor."]The best part, though, is that each of the 10 weapons can spawn with one of nine gun-specific traits which can dramatically affect how that weapon is used. A shotgun might have a slugshot trait that makes it super accurate and powerful from a long distance or one that makes it spit out acid clouds for damage over time; a carbine can be given a chaingun-like trait that makes its firing speed ramp up as you continue to hold the fire button down or one that fires slow but powerful high-caliber rounds; and the pistol might spawn with a trait that turns it into a burst fire weapon, or one that gives it a barrage of homing missiles after every shot. There are many more possibilities for each weapon, which has given each of my playthroughs thus far a distinct flavor.

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Returnal’s persistent progression comes from the fact that these traits are already present on guns that you find when you start, but they must be unlocked by scoring enough kills with that weapon. After you’ve done that once, any weapon you find in a future playthrough with that trait has it automatically unlocked (and upgraded, once you’ve unlocked those). This adds another element to the risk-reward equation: sometimes you’ll have to decide whether you want to keep a weapon with great traits that’s helpful in the moment, versus tossing it in favor of a new weapon with a promising new trait that needs to be unlocked. That can definitely be worth the sacrifice in the long run.

Exploration Exhaustion

However, one of the key aspects of the roguelike genre that Returnal does not nail is that nagging feeling of “just one more run.” That’s because a run through Returnal lasts way too long, plain and simple. To paint a picture, I’ve put in 42 hours into Returnal so far, and in those 42 hours I’ve only died 25 times. That’s not a weird flex, or me saying that this game is easy, because again, it’s absolutely not. It’s to illustrate that if you’re going to get anywhere near the end your run is almost always going to be at least about two hours long, which is exhausting. It also means you have to clear your schedule when you sit down to play, because there’s no saving your progress at any point in the run. Until you’re done with that run you cannot play any other game, you cannot fully turn the PS5 off (only put it in rest mode, which is risky in of itself), or do anything else that closes the application. And obviously, you’d better hope that it doesn’t crash – that happened to me on two separate occasions and halted two runs where I was more than an hour deep.

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Runs last so long because of the fact that there is very little in the way of permanent progression outside of traits, and because of the way temporary progression on individual runs is handled. For instance, weapons don’t drop based on how deep into a level you are; instead, you build up a Weapon Proficiency meter by killing enemies and finding items that add to the meter. So, for example, if my weapon proficiency meter is at 5, weapons will drop with a power level of 5 or, with luck, slightly higher. Attempting a later level when your weapon proficiency is at too low a level takes an already hard game and makes it absolutely ridiculously difficult. So, if you want to make a real attempt at succeeding in Returnal, you have to grind.

[poilib element="quoteBox" parameters="excerpt=If%20you%20want%20to%20make%20a%20real%20attempt%20at%20succeeding%20in%20Returnal%2C%20you%20have%20to%20grind."]And that really slowed my momentum. Unlike with other roguelikes such as the Spelunky games, Dead Cells, or more recently, Curse of the Dead Gods, I was never eager to jump back into another game after a death. I needed a break.

The good news at least, is that the actual act of exploration in Returnal is done extraordinarily well. Every level is a sight to behold, whether it’s the dark, gloomy, and alien vibe of the Overgrown Ruins; the Doom-esque feel of the Crimson Wastes; or the ancient mechanical atmosphere of the Derelict Citadel. It helps, too, that there’s a great variety in the challenges of the many rooms. Despite the procedural generation that keeps Returnal from becoming too predictable, enemies and environmental elements always feel deliberately placed – especially the grapple points that allow you to put distance between you and especially dangerous foes, deadly pits that punish careless movement, and loads of secrets lying in wait.

Controller Chaos

While Returnal is not a PS5 graphical showcase on the level of say, Demon’s Souls, it still looks really good and runs at a mostly consistent 60fps, though it does dip every now and then ever so slightly in certain spots. Where Returnal does show its “new-gen” chops is in the ways it uses the DualSense controller. Barring Astro’s Playroom, this is the best usage of haptic feedback and adaptive triggers so far on the platform because it actually makes a difference in how you play. Sure, it’s cool to be able to feel rain drops on the controller, but what’s even cooler is having that added element of sensory feedback to let you know when your alt-fire is off cooldown in the form of a very specific feeling rumble in your controller.

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And while it takes a little bit of getting used to, I grew to love being able to aim down sight (ADS) by holding the left trigger halfway, and then pressing it all the way down to quickly go into an alternate fire. The triggers gave me just the right amount of resistance to the point where I never mistakenly pressed the trigger all the way down when I meant to ADS or vice-versa. And hey, if you don’t love it, there’s a classic control scheme that just keeps ADS on L2 and maps alt-fire to the R1 button, or you could just map the controls however you like.

There are also daily challenges which give you an opportunity to compete against other players for a high score under set conditions, which is a neat diversion and feels particularly fitting as a score-chasing arcade-style mode in a Housemarque game.

As I mentioned earlier, I’ve played Returnal for about 42 hours, but I actually rolled credits at around hour 18. Everything since then has been working toward uncovering a secret ending, finding all of the 80 xenocyphers hidden throughout the six levels, and trying to find as many lore-dropping audio logs as I can. Needless to say, there’s a lot of meat on this bone, and completionists will find plenty to keep them busy for quite a while.

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Things Heard & Seen Review

The latest game news from IGN - one of my fave channels ever - check it out Things Heard and Seen debuts exclusively on Netflix on April 29. [poilib element="accentDivider"] By now, Netflix has created its own subgenre of digestible thrillers that nuzzle into the public discourse for a moment until they release a new one the week later. Not quite B-movies (though Velvet Buzzsaw came close), there is still a level of camp to Bird Box, I Am Mother, and even the hilariously bad Secret Obsession starring Brenda Song that draws people onto Twitter to ask, what the hell did I just watch? Especially in times like these, it’s almost a bonding experience. Things Heard & Seen starring the Oscar-nominated Amanda Seyfried (Mank) and perpetual scary creep James Norton (Happy Valley) is not one of those movies. Based on the novel All Things Cease to Appear by Elizabeth Brundage, the supernatural drama follows a young family of three picking up their comfortable life in 1980s Manhattan for a decrepit dairy farm in the fictional upstate town of Chosen, New York. Catherine Claire (Seyfried) is a prominent art restorer with a debilitating eating disorder that is giving up her illustrious career to allow her husband George (Norton) a chance to pursue his own as an art history professor. Unfortunately, the first 25 minutes of the film are packed with so much exposition it felt like forever before we even made it out of the city. The dialogue starts off excruciatingly unoriginal, which is a surprise coming from a writing and directing team like Robert Pulcini and Shari Springer Berman (American Splendor). When a friend of Clare’s points out that she’s a “big city girl with your dream job” about to give up everything she’s worked so hard for, Clare rationalizes that George has “made some big sacrifices” for her. What sacrifices, exactly, we never learn. [widget path="global/article/imagegallery" parameters="albumSlug=netflix-spotlight-april-2021&captions=true"] Eventually, they do make it to the home George purchased without consulting his wife. It clearly needs a lot of work, but “look at these bones!” In case you didn’t know, that’s scary movie 101 for “this house is haunted as hell.” After a rough start, the Things Heard & Seen finds its footing for a moment when it stops telling us about the Clares and we get to see the couple as they truly are: fractured and toxic. While Catherine is haunted by the presence of potentially malevolent spirits, George dismisses her concerns with condescending jokes and patronizing concerns that make it easy for herself and others to doubt her experiences. As Catherine looks into the home’s sordid history and attempts to forge relationships in town, her husband becomes increasingly controlling and erratic. The more she learns about the house, which has seen its fair share of abhorrent men, ill-kept secrets about its history and George’s own past lead Catherine to question everything he’s ever told her. The tension builds as his glossy veneer tarnishes completely and we’re left with the true villains of this story: mediocre men with PhDs in gaslighting. [widget path="global/article/imagegallery" parameters="albumSlug=worst-reviewed-movies-of-2021&captions=true"] Still, Seyfried and Norton’s layered performances don’t make up for a messy attempt at creating a supernatural allegory for the trauma of emotional abuse. Unlike the 2020 Blumhouse thriller The Invisible Man, which uses the genre to amplify the horror of being trapped in a relationship with a charming abuser, Things Heard & Seen distracts from its most compelling moments with hokey séances and frankly boring lore. One bright spot of the film is a sardonic college student played by Natalia Dyer (Stranger Things) who breaks down George’s facade even as she partakes in their illicit affair. “You think because I f*** you, I’m fooled by you,” she asks him. “My dad made a fortune defending them: thieves, conmen, psychopaths. And they all got off because that’s the way the world works for men.” If Pulcini and Berman followed that thread instead of attempting to tie everything into their convoluted mythology, Things Heard & Seen might have made a bigger impact. When things do eventually hit their unexpected climax, the filmmakers struggle to deliver any specific point. The spirits that inhabit the farm act as counterparts to its living inhabitants, but it’s hard to tell if George was ever influenced by a higher evil when he was so unforgivable to begin with. Catherine was damned well before she moved into that haunted house. [widget path="global/article/imagegallery" parameters="albumSlug=the-best-horror-movies-on-netflix&captions=true"]

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The Mitchells vs. The Machines Review

The latest game news from IGN - one of my fave channels ever - check it out The Mitchells vs. The Machines premieres Friday, April 30 on Netflix. [poilib element="accentDivider"] It's both fortune and folly that the new animated adventure The Mitchells vs. The Machines is a Netflix Original. The blessing is that this delightful, energetic, and clever film is easily accessible, and affordable, for most everyone and the curse is that it's a gorgeous work that would benefit from a big-screen experience now that it's becoming more normalized to go to theaters. (The film, previously titled Connected, was originally produced as a theatrical release from Sony.) From director and co-writer Mike Rianda (Gravity Falls), and executive producers Phil Lord and Christopher Miller (The LEGO Movie, Cloudy with a Chance of Meatballs, Spider-Man: Into the Spider-Verse), The Mitchells vs. The Machines takes after the best of Lord and Miller's previous hits, providing a dazzling, inventive, and heartfelt adventure through a robot apocalypse. Yes, nothing can quite deliver mirth in the face of absolute global ruin like a Lord and Miller project. A vibrant mix of different animation techniques, including some of the innovative stylings from Into the Spider-Verse, this raucous family romp smoothly switches between 3D, 2D, and real-life imagery in a manner that helps tell the story, distinguish between worlds, and show the inner workings of characters' minds. It's overflowing with action and noise but it never feels disjointed or messy. It's a spot-on blend of character, plot, and silliness. [ignvideo url="https://www.ign.com/videos/2021/04/28/the-mitchells-vs-the-machines-official-trailer"] The over-arching messaging about how "screen time" is causing rifts in families, and a decline in overall society, is a touch, well, out of touch. Where The Mitchells vs. The Machines is more effective, though, is in portraying the broader generational divide between parents and kids. People may focus on the Boomer vs. Millennial aspect of the film -- though that's not accurate since it's actually older Gen X vs. Gen Z -- but at the heart of everything is just the all-too-common split that happens in families and the lack of clear paths toward understanding and reconciliation. Obviously, it's blown absurdly out of proportion and turned into a giant maelstrom of metaphoric mayhem as the online realm rebels against the entire world and dooms everyone, but the gap between patriarch Rick (Danny McBride) and daughter Katie (Abbi Jacobson) is still a grounding force that always tethers the outrageous goings-on to a relatable, familiar situation. Outdoorsy, computer-illiterate Rick has grown apart from Katie, who's always been into quirky online filmmaking and is now on the precipice of heading off to a faraway film school. Nature vs. Cyber, or pragmatic vs. creative, is an easy go-to for this awesomely animated road trip, though it can certainly speak toward bigger themes of sexual orientation, gender identity, and overall self-realization that have sadly proven to rip at the seams of families. When Rick can't "understand" Katie, there's a little more going on than "she just wants to post videos to YouTube and I want her to learn to drive stick." It still works as an unsaid throughline, though the film would have been even better with small amounts of deeper exploration. There's also a side subject involving Instagram envy, even mom-shaming if you're wondering how many relevant online ills can be unfurled in the course of a few hours. Katie's mom, Linda (voiced by Maya Rudolph), is practically paralyzed by the idea that her family's offbeat and imperfect and doesn't live up to the yogalicious clan next door (funnily enough, voiced by John Legend and Chrissy Teigen) and it actually prevents her from being able to actively address her own family's larger issues. It breaks her down to where she can usually only play peacemaker. And yes, all of this is tucked deftly inside a whirring, buzzing buffet featuring rampaging robots -- and Oscar-winner Olivia Colman hilariously voicing a rogue A.I. called PAL. [widget path="global/article/imagegallery" parameters="albumSlug=the-mitchells-vs-the-machines-gallery&captions=true"]

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