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Friday 29 October 2021

Fracked Review

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Fracked just wants you to have fun, and so it throws a lot at you. You’ll engage in shootouts, climb rickety structures, solve puzzles, and zip-line from platform to platform. Maybe you've seen all the individual parts before in other VR games, but that’s not a big problem. As it funneled me from action scene to action scene, I had little time to dwell on which game did what first.

The setting here is a mining operation run by an evil corporation. Your job is to kill all the workers (don't worry, they're purple interdimensional zombies) before confronting the maniacal CEO, a talkative fellow with a foul mouth and a southern drawl. This is a fine setup, but it’s hardly original. How many times have we stopped evil corporations from sapping a planet's resources? The voice acting is great, though, and the whole thing feels stylish in a way many PSVR games don’t.

At the start, you find yourself skiing high up on a snowy mountain. You hardly have time to soak in the appealing cel-shaded world before an explosion causes an avalanche you have to outrace. Occasionally, beat-driven electronic music kicks in, suiting the style of the world nicely. It’s an exciting start that’s perfectly in line with the action-hero exploits to come.

To play Fracked, you'll need a pair of Move controllers. In the headset these become your hands, appearing in your vision as meaty, floating gloves you’ll put to good use: you use them to pull yourself behind cover, shoot and reload guns, climb ladders, turn cranks, and operate levers.

When you have to climb, reload, or use your hands, everything feels nicely tactile.

Despite the Move controllers' lack of analog sticks, you have full freedom of movement. The controls work exceptionally well, all things considered, especially if you're familiar with games like Skyrim VR that use a similar control scheme. Also, when you have to climb, reload your weapon, or use your hands in general, everything feels nicely tactile. It didn't take me long to get the hang of the controls, and soon I was navigating the mountainside mining operation with ease.

The campaign's pacing is nicely varied, with environmental puzzles and exciting climbing sections sprinkled between the action-heavy shooting areas. In fact, I preferred the quieter sections over the shootouts, which can feel drawn-out and repetitive after a while. One reason is because the enemy variety is lacking, with only a few different types of foes to go up against. You have some basic gun-toting soldiers who usually just stand in place and shoot at you, and then there's the exploding variety who run at you and detonate in a one-hit kill if they get close enough. Finally, you'll encounter heavies who stomp around littering the ground with landmines. There aren't any bosses to speak of, or other enemies that might make you rethink your combat approach.

Enemy variety is lacking, with only a few different types of foes to go up against.

The weapons feel satisfying to use, but unfortunately the more powerful ones, like shotguns and grenade launchers, are single-use and they disappear when you run out of ammo. So the only two guns you can always access are a pistol and an Uzi-like automatic weapon that shoots lasers. These are serviceable, but unexciting. It would be nice to have more weapon variety available during any given shootout.

Combat is fine in small doses, but later in the roughly three-hour run time you'll have to kill a lot of enemies before you can move on. I died quite a bit in these sections, often in ways that felt unfair. For instance, the kamikaze enemies generally make noise as they approach, but sometimes one would appear behind me and explode without warning.

Fortunately, there’s plenty to do aside from combat. At various points you'll find yourself skiing, climbing, zip-lining between platforms, operating a crane, and a lot more besides. I’ve done most of those things in VR before, but never in the same game. Climbing is particularly fun. From the outside you might look silly flailing with your Move controllers, but in the headset you’re shimmying around collapsing structures like Nathan Drake. The puzzles are also well executed, not too hard or easy.

As I approached the final encounter, though, the combat sections became more frequent, the map flooding with more and more waves of enemies, bogging down the pace before it came to a close. But prior to that, I had a lot of fun.



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Passing Review

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Passing is in theaters for a limited release on Oct. 27 with digital streaming on Netflix Nov. 10, 2021.

Based on Nella Larsen’s 1929 novel of the same name, Passing is a period piece objectively about race that transcends that binary distinction to explore the lengths people go to secure “happiness” at all costs. It’s quite the assured directorial and screenwriting debut from Rebecca Hall, who uses the narrative construct of the novel — two mixed race friends unexpectedly reconnecting in adulthood — to quietly expose the sacrifices women make in terms of their values, morals, hearts, and minds for what society deems acceptable.

Tessa Thompson and Ruth Negga play the two women at the heart of the story, friends from rural Georgia that grow up, lose touch, and then accidentally reconnect in the fancy tea room of The Drayton Hotel in New York City. Their interactions and childhood remembrances make it clear early on that both women have white and Black parents, but Negga’s Clare Bellew has the lighter complexion, which allows her to easily “pass” for white to her unabashedly wealthy, racist husband, John (Alexander Skarsgård). While Thompson’s "Reenie" Redfield uses a well-appointed hat and some specific clothing to lean into her lighter skin for the same assumption on this particular day, she stridently exists as a Black woman in her Harlem community.

Expecting their stories to unfold entirely around their racial categorization choices, Hall wisely expands the boundaries of self-definition in the film to extend outwards exponentially as the women’s renewed friendship begins to unravel the carefully constructed lives they’ve both worked so hard to attain. While both exist in upper-middle class lives, the movie focuses on the perspective of Reenie’s life as the wife of a respected Black doctor, Brian (André Holland), and the mother of two growing boys. It’s in their home and world that Clare thrusts herself into, and begins to flourish within, because she doesn’t have to sustain a constant ruse.

And this is where Passing is at its most fascinating. While there’s a disquieting pall of emotional withholding that permeates the whole piece because of how much each woman is holding back in their everyday existences, it’s in their reignited friendship that their true selves bloom again. Their shared secret is the great unifier for them; a place to both share and connect without fear of judgment and they practically hum with organic chemistry that insinuates the sensual from both sides. In their quiet moments with one another, dispensed with purpose and precision throughout the film, both actresses find their moments of devastating honesty with one another, creating scenes that simmer with what’s said and unsaid.

Clare is far freer with her confessions to Reenie, but she’s stingy with the details of her day-to-day life, which keeps her a beautiful mystery in the story. Reenie’s faults and flaws are more exposed in the emotional distance she keeps from her husband and children, how she treats her Black housekeeper, and in her relentless pursuit of a “perfect” existence at any cost. The more time we see them exist in one another’s orbits, the more their life goals seem to blur, and their morally grey areas blend.

It’s both quiet and impactful, and all beautifully realized.

The emotional lives of both women are brilliantly framed by Hall and her cinematographer, Eduard Grau, utilizing a uniquely intimate aspect ratio that keeps the story small and contained. And the use of monochromatic lighting is almost magical in the way it plays with both women’s skin tones to sometimes emphasize their divisions, and at other times almost negate our perception of their ethnicity. In doing that, the film moves beyond just the binary exploration of race and delves into the rest of their complicated issues about masked sexuality, greed, control, and depression. All of it steadily builds towards a climax that is both bravely enigmatic and profoundly impactful in revealing their shared capacity for ruthless self-preservation in a world that wants to define them by just one thing.



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Paranormal Activity: Next of Kin Review

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Paranormal Activity: Next of Kin debuts on Paramount+ on Oct. 29.

As someone whose roots in horror are very tied up in the release of 1999’s The Blair Witch Project, I’ve been an ardent champion of found footage for a long time. When it’s done right, found-footage horror can be terribly imaginative and immersive while remaining budget friendly. Unfortunately, years and years of focus on the latter aspect of the subgenre has taken focus away from the former. There’s no better avatar for that transition than the Paranormal Activity franchise, which like Blair Witch, has its roots in a viral internet campaign that catapulted the austere first film to massive box office success. Cheap to make, Paramount and later Blumhouse quickly started churning out sequels that introduced new camera gimmicks and a surprisingly deep mythology, but also increasingly strained credulity around why any of these people are still filming instead of running for the hills. Rather than furthering the established continuity, Paranormal Activity: Next of Kin reboots the found-footage stalwart for Paramount+, setting up new villains and demons should audiences connect with this film in the same way they did with the original. That’s putting the cart before the horse in a big way, though: Next of Kin brings nothing new to either the Paranormal Activity franchise or found-footage horror, making it a disappointment on multiple fronts.

The first question of found-footage, and the hardest to continue to answer throughout the film: who are these people and why won’t they put their damn cameras down!? Next of Kin goes with the old standby of “documentary filmmakers, one of which is the subject of the documentary.” That’s Margot (Emily Bader), a young woman looking for her birth family. She makes contact with Samuel Beiler (Henry Ayres-Brown), a relative taking a year off from his Amish community. Samuel agrees to introduce Margot to her long-lost family, so she travels deep into the woods to the Beiler farm with hired sound guy Dale (Dan Lippert) and partner Chris (Roland Buck III), a cinematographer whose pricey gear gives the Paranormal Activity franchise a major visual facelift, for better or worse.

Consumer camera tech is a crucial component of making a found-footage horror film feel authentic and immediate. While Next of Kin’s more professional cinematography is crisp and less static than previous Paranormal Activity movies, it loses the distinct visual language the locked-off surveillance-style angles gave earlier entries in a sea of samey handheld horror. Too often, Next of Kin is shot like any old found-footage horror movie, so how scary you find it will rely heavily on your experience with the franchise and with the subgenre in general… that is to say, if you’re familiar with either, it’s not very scary.

The film takes very few risks in constructing its scares, with a number of long pans around dark rooms ending with something popping out from the location second down your list of most likely places to be surprised from. There are even scares that veer straight into derivative territory, calling to mind better-executed moments from more confident films ([REC] fans may start to get deja vu at times during the third act).

Further, Next of Kin sometimes seems to drop the found-footage conceit altogether for no clear reason, and not when it would make sense, like when the characters are being chased by a demon. On the first night, Margot’s estranged grandfather Jacob (Tom Nowicki) has the village’s kids sing a creepy song and the camera glides around the room, in for closeups of slamming fists and faces of Amish folk that we’ve been expressly told at this point hate being filmed. It’s a moment of sensory overload, but one that has no real impact because of the distracting conflict between what it can look like versus, based on the reality of the story, what it should look like. Next of Kin even flirts with slow motion at times, first introducing it as a joke but later calling back the camera’s function in egregious fashion during a death scene.

The young filmmakers Next of Kin follows aren’t the most exciting bunch.

Next of Kin director William Eubank and writer/franchise vet Christopher Landon seem to look back on the original Paranormal Activity’s ethos of “less is more” with a laugh and a shake of the head. The only way Next of Kin really improves on Paranormal Activity’s past is by moving the series’ action out of southern California (spookiest of all locations) to rural Pennsylvania. The remote Beiler farm itself is perhaps the scariest aspect of the film, full of labyrinthine passages and farm buildings capable of evoking an eerie atmosphere day or night. Chris’ drone camera is occasionally and effectively employed to highlight how isolated the characters are on the farm, but it’s perhaps the one piece of tech Eubank restrains himself in using. With drones capable of self-flying and tracking subjects these days, it feels like the franchise missed an opportunity to do something fresh with its new toys.

The young filmmakers Next of Kin follows aren’t the most exciting bunch. Margot and Chris, neither with much of a personality to begin with, each become so consumed with the business of making their documentary and gaining access to parts of the farm they’re being steered away from that the personal reasons behind the project start to lose focus. Sound guy Dale, Next of Kin’s comic relief, lightens things up considerably when he’s on screen, a gently giant goofball who’s not afraid to let the young girls of the village give him a truly hilarious Amish makeover early on that he commits to for the rest of the movie.

Next of Kin does at least shake things up a little when it comes to who’s really pulling the strings on the Beiler farm, giving cut-and-paste antagonists like Jacob at least a slightly more interesting part to play in revealing the nature of the demonic presence plaguing the characters. But Next of Kin doesn’t spend much time on the nuance of the villains’ motivations, capping things off with a predictably open ending that seems more aimed at keeping Paramount’s options open for future installments than satisfyingly wrapping up its own story.



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Disciples: Liberation Review

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A tactical RPG adventure, Disciples: Liberation is a fun outing in a fantasy world that puts you in the shoes of a classic RPG protagonist with special powers, a motley crew of companions, and a bone to pick with fate... then just keeps escalating the stakes further than you'd ever expect them to go. In fact, it punches above its weight class in the quality of its combat and content, but lets itself down with a disorganized mess of extra systems and some very prominent bugs.

Blending a turn-based tactics game with a proper RPG, Disciples: Liberation has you wander through isometric environments as you play through a hefty 80-hour RPG story – I did more than a few sidequests and optional fights, ending up at 92 hours played. It's not an open world, but it's not linear either; each chapter is divided up into a few regions that can be tackled in any order. Within those regions you fight a lot of turn-based battles, and it's good that those are fun and (aside from being a bit slow at times) pretty openly designed because there are a lot of them.

It's a suitably sprawling, cosmic story for Nevandaar, a fantasy world that's dark and terrible, but still allows for goodness and redemption. Your character, a gutter-born mercenary named Avyanna, has plenty of dialogue choices: Kind ones denoted by halos, aggressive ones denoted by horns, and snarky ones denoted by Avyanna's own twilight wings symbol. The sidequests have enough diversity, and enough compelling characters, that I couldn't always easily decide who to side with.

Disciples: Liberation knows what tone it's going for and sticks to it.

There's a lot of branching dialogue, most of it pretty good, but some of it's really cheesy and accompanied by equally cheesy voice acting. That's honestly a positive thing, because Disciples: Liberation knows what tone it's going for and sticks to it. Nevandaar is a comfort-food setting; this is a familiar, feel-good, generic fantasy done right.

When you settle in for a fight you'll control Avyanna, a few of her named companions, and a set of generic units you've recruited on your travels or produced back home in the ancient magical city of Yllian. There's a lot of variety to the units, from armored infantry to bone golems, possessed berserkers, and feral elf snipers. There are over 50 units, all told, and units level up as you go, so nothing ever becomes truly irrelevant. (Unfortunately, though your companions are a diverse and weird lot, on the battlefield they're just reskins of basic units with higher stats.)

In addition to its front line use, each unit can also be placed in one of your three back line slots, where it contributes a unique power from afar by buffing your units or weakening your enemies. Pro tip: Winter Dryads give your entire army permanent regeneration, which I found invaluable.

From armored infantry to bone golems, possessed berserkers, and feral elf snipers.

The combat maps are an ideal size, giving you enough room to maneuver and a sprinkling of terrain to play around. They avoid both the trap of feeling like a tight chessboard and the classic genre mistake of attempting environmental realism at the cost of being tactically interesting. No playstyle feels penalized, nor does any style feel fundamentally overpowered. Both melee-centric and ranged options have their high points, and while mobility is strong, units get bonuses and healing if they choose not to use an action point. Those small bonuses for not acting are brilliant design, allowing defensive strategies to flourish in a genre normally obsessed with aggressive movement. The enemy AI does its best, and does focus fire pretty well, but is very bad at knowing when to time its special abilities and truly terrible at staying put to capitalize on those bonuses.

I liked to build my armies out of combos of Undead (who have staying power), Demons (who hit hard), and Elves (to pick off the stragglers). The human Empire units are all obnoxious god-botherers and I couldn't stand their voice shouts after a while, so I mostly didn't use them. One of my favorite army compositions came about mid-game, when my undead Death Knights would inflict the chilled effect on enemies and Elf snipers, who automatically critical on chilled foes, would pick them off. Meanwhile Avyanna – who I'd built into a teleporting battle magician – would wreak havoc with controlling spells in the enemy's back line.

The spells are a particular joy, with an extensive spellbook of magic to collect that varies from situational buffs and fireballs to weird utility spells like walls or clouds of mist. It really nails the feel of that classic fantasy magic-user with a spell for every situation, even if you're playing as one of Avyanna's melee builds.

Other systems, however, seem designed almost at random.

Other systems, however, seem designed almost at random. Resources for building your base and upgrading your troops are poorly balanced, with some critical and others all but useless – I had a stockpile of over 200,000 wood and iron at the end of the campaign but constantly wanted more gold. They also accumulate in real time while the game runs, but can only be picked up in your base, so if you really wanted unlimited resources you could leave Disciples: Liberation running and visit every hour or so. There's other stuff that generally feels irrelevant and only comes up as a frustration, like persistent damage between unrelated combats, or the arbitrary limitation on how many buildings you can place in your settlement.

None of that really detracts from the otherwise nice story and combat, though. What does are the interface, which slows down gameplay, and the bugs, which are both frustrating and too numerous to list. The interface itself just has delays built in: It's riddled with submenus and loves to use three clicks for a task when one would do. It's also poorly signposted outside of combat, doing things like showing you a total for a number but not what that number means – it's not fun to reverse-engineer precisely what each point of strength does.

The bugs, on the other hand, are more than mere annoyances. Some were just exploits, like one that let me add infinite units to my army. Others were annoying but survivable, like low-level combats that can't be autoresolved, or skills that seem to do nothing. Other issues consistently cropped up that required me to reload a recent quicksave or quit out and restart. I can't be comprehensive, but I'll give a few examples that required a reboot to fix: A persistent bug made me unable to interact with the world at random. Clicking "Done" too quickly after combat locked me on the summary screen. I'm a veteran of weird bugs and probably have more patience for them than most, but these were bad enough that I'd be sure they're fixed before you commit to play.

None of them were apocalyptic, of course. My save worked, and I was ultimately able to finish relatively unimpeded, but it left me with the sour taste that combos, skill bonuses, and other key parts of the game either didn't work. Or, worse, that they didn't work and I had no way to tell they didn't work.



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SteelSeries Arctis 7P+ Review

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The SteelSeries Arctis 7P+ takes an excellent wireless gaming headset and makes it better. A minor revision of 2020’s Arctis 7P, the new version adds USB-C quick charging and boosts overall battery life by 25% while retaining everything that made it excellent the first time around. It features a fantastic design to match your new PS5 and is extremely comfortable for long sessions thanks to its unique headband and breathable ear cups. It’s also fully compatible with Sony’s Tempest 3D Audio to deliver more immersive audio in select PS5 games. If you’re primarily a PlayStation gamer, this is hands down one of the best headsets available.

SteelSeries Arctis 7P+ – Design and Features

Since this is such a minor revision, most of what was stated in our original SteelSeries Arctis 7P review still holds up. It largely retains the same construction, including a durable steel headband and its signature ski goggle design that makes it so damn comfortable.

The 40mm audio drivers and frequency are identical to the previous generation headset, as is the retractable bidirectional noise-canceling microphone. It also fully supports Sony’s Tempest 3D audio right out of the box, allowing you to experience 360-degree immersive audio in supported PS5 games.

The primary new feature this time around is the addition of a USB-C charging port that replaces the previous generation’s Micro USB port. Not only is this a welcome change since most peripherals have made the switch to USB-C in recent years (including all of Sony’s first-party accessories for PlayStation 5), but it brings along quick charging capabilities as well. With just 15 minutes of charge time, you’ll get three hours of listening time.

Even better, SteelSeries has managed to squeeze even more battery out of the Arctis 7P+, which now boasts over 30 hours of listening time on a single charge – up from the 24 hours found in the previous generation headset. Unsurprisingly, I never found myself running low on battery during the entirety of my testing, making this a standout feature when compared to many other gaming headsets on the market.

As far as platform support goes, the Arctis 7P+ is compatible with both the PlayStation 5 and PlayStation 4, as well as PC and Nintendo Switch, all via a 2.4 GHz USB-C dongle. For mobile devices, it’s still compatible with USB-C Android devices as well as newer models of iPad such as iPad Pro, iPad Air, and iPad mini. It also adds compatibility for Oculus Quest 2 and the official Google Stadia controller. Still notably absent is Xbox, making this a difficult recommendation for those with both PlayStation and Xbox consoles, especially considering that the current Arctis 7X headset works with everything and still tops the charts as our favorite wireless headset for 2021. However, if your primary console is PlayStation and you also dabble in some other platforms outside of Xbox, then this is easily one of the best headsets around – not to mention an outright upgrade over the Arctis 7P.

SteelSeries Arctis 7P+ – Software

While the Arctis 7P+ headset sounds great out of the box, it can be tweaked slightly to your liking. The SteelSeries GG app for PC (previously SteelSeries Engine) acts as a hub for all of your SteelSeries devices and allows you to adjust EQ settings, select presets, as well as save custom configurations for specific games. You can also adjust the microphone volume and set your headphones to automatically power off after a specific period of time to preserve battery life. It’s also required to update the firmware for both the headphones and the multimedia dongle.

SteelSeries Arctis 7P+ – Gaming

My actual gaming experience with the Arctis 7P+ was nearly identical to my review last year. Since the audio drivers were unchanged, everything still sounds fantastic from an audio perspective. And because the Arctis 7P+ utilizes a USB dongle for transmission, you’ll have lossless audio streamed directly into your ears over the 2.4GHz spectrum, a stark upgrade over your typical Bluetooth headsets.

Most of my time with the Arctis 7P+ was spent testing 3D Audio since all of SteelSeries’ PS5-compatible headsets now support Sony’s Tempest 3D AudioTech. I was captivated while walking through Zurkie’s Bar in Ratchet & Clank: Rift Apart as the music blared and patrons chattered. I could close my eyes and hear individual conversations happening all around me with pinpoint accuracy. Even the music coming from the jukebox was directional, moving with me as I walked around the noisy bar. While in combat, I was able to easily determine enemies’ precise location without even needing to turn around. It’s more than just simple surround sound as all the audio exists in what feels like a true 360-degree space.

I also took Returnal for a spin, and from the moment Selene stepped out of her ship I was enveloped in audio. Even through the deafening sound of the rain, I could still make out the various sounds coming from the flora and fauna all around me. What benefited most from the directional audio, though, was the frenetic combat. I could easily tell the location of every enemy in the heat of the moment, and even pinpoint their attacks while running around dodging incoming projectiles.

Even games that don’t natively support 3D Audio sounded great, such as Kena: Bridge of Spirits. Although the surround sound was noticeably less precise, I could still easily discern the general direction enemies were coming from. What’s great about 3D Audio is that you don’t really need to do anything to take advantage of it. If the game supports it, your headset will just sound that much better. For everything else, though, it’s still a fantastic sounding headset. Even listening to music or watching movies works extremely well on the Arctis 7P+.

Not to mention, the Arctis 7 series are still the most comfortable headsets I’ve ever worn. The floating design of the Ski Goggle Headband takes all the pressure off the top of your head, while the lightweight and breathable Airweave ear cushions allow you to play or listen for hours with little to no fatigue. The earcups are also extremely friendly for those that wear glasses as they don’t press against your head.



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Thursday 28 October 2021

Inscryption Review

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There’s a technique popular in classical music called variation: a composer will take a single melody or musical idea and explore it in many different ways, potentially twisting it into dozens of different styles and structures without the overall work ever getting repetitive or tiresome. While that’s not exactly a concept unique to music, it is a practice I couldn’t help but be reminded of while playing Inscryption – an undoubtedly odd connection to make, given that it presents itself as a horror-themed roguelite deck-building card game. But dig beneath that somewhat familiar shell and it reveals itself to be nothing short of a symphony of exciting twists, clever concepts, and consistently surprising iterations on the fundamentals that hooked me in its very first minutes.

Inscryption holds much more than meets the eye, and a lot of what's so impressive about it are the unexpected places it ends up taking you. That means getting into many of the specific moments that make it so special will blunt their impact to a certain degree, so I am going to try to keep this review as spoiler-free as I can – both in terms of its story and some of its mechanics. That said, you only have to watch its launch trailer to understand that this isn’t just another Slay the Spire-inspired entry into a genre that has begun to feel a little too derivative recently. In fact, it manages to partially live in that genre while simultaneously tearing it to pieces.

Much like developer Daniel Mullins Games’ iconic Pony Island, Inscryption plays with meta themes in more ways than one. In this case, you start off playing a roguelike card game against a mysterious adversary shrouded in darkness, but the overall structure isn’t actually one that’s meant to be infinitely replayed. It took me about nine hours to reach the end of Inscryption, and it’s a proper campaign that tells an interesting and spooky story, takes a few justified jabs at card game culture, and stands as a genuinely fun card game of its own.

That game takes the form of head-to-head battles against an AI opponent: you play creature cards onto your side of the board which will automatically attack whatever is across from them each turn, be that opposing creatures or nothing at all. If it’s the latter, any damage they would have done is instead added to your opponent’s side of a tipping scale, but any damage you take will tip it back toward your direction – once one side of that scale is at least five damage heavier than the other, the match is over. That makes each fight a fun strategic tug-of-war, where taking a hit one turn could mean you’re just out of reach of winning the next. Exciting bosses can also challenge you with prolonged encounters and unique twists, ranging from a miner who turns your creatures into chunks of gold to some later ones that broke my expectations in legitimately jaw-dropping ways.

Watching Inscryption evolve so drastically is pretty incredible.

That’s the core of Inscryption that always stays constant, but the creatures you’ll use, the way you play them, the extra mechanics they have, and the structure of the metagame around each match all shift drastically as you progress. For example, the resource for playing stronger cards starts out by forcing you to sacrifice smaller creatures to fuel bigger ones, which can make for some tough but rewarding choices. But before long you’ll also get cards that instead spend “bones” generated when a friendly creature dies, adding another layer of planning to each decision. Later sections even explore systems closer to something like Hearthstone or Magic: The Gathering, which keeps Inscryption’s relatively simple fundamentals constantly fresh.

Similarly, while it starts off using a branching roguelike structure recognizable to anyone who has played Slay the Spire, picking between paths and upgrading your deck as you go, it doesn’t stay that way the whole time. Without spoiling any surprises, the skin and bones of Inscryption can change just as dramatically as its meat, but the heart at its center always keeps everything pumping to a familiar beat. That’s good too, because it’s not too difficult to stumble upon exploitable strategies that feel great in the moment but ultimately reduce any tough choices substantially, meaning certain sections might start to wear thin if they went on for too long on their own. Instead you get a delicious platter of all the games Inscryption could have been without any one of them feeling like a disjointed demo or half-baked idea, and watching it evolve so comprehensively is pretty incredible.

Of course, slinging cards is only part of what Inscryption will ask you to do. In wonderfully strange fashion, it will also occasionally have you to stand up from the literal table you are playing at to explore the 3D room it’s held in. There you’ll solve simple escape room-style puzzles like finding the combination to a safe or figuring out how to unlock a container – many of which are tied directly to the card game itself in clever ways. They aren’t the most complex riddles in the world, with the matches themselves being where I had most of my fun, but the overall vibe of Inscryption shines in these sections. Its dark, retro-ish art style is excellent across the entire campaign, and the creepy mood throughout is perfectly unsettling without ever really dipping into genuine “horror.”

And while it’s hard to say anything at all about the plot itself without ruining some of the surprise, Inscryption’s haunted story is a genuinely compelling one as well. It’s told through a mix of written dialogue and FMV cutscenes, and it provides a great (and often unexpectedly funny) structure to house all of its clever ideas. It feels like the kind of urban legend you’d find propagated across creepypasta posts on message boards and other corners of the internet, but not in a way that feels dated or derivative.



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WhirlwindFX Atom Review

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The onslaught of 60% mechanical gaming keyboards proves that there’s definitely a market for keyboards like the WhirlwindFX Atom, whose extremely compact form factor might be exactly what small desk owners and travelholic gamers have been searching for. But with rivaling manufacturers like Corsair, Razer and Cooler Master rolling out their own takes on small-form-factor gaming, this little-keyboard-that-could has some stiff competition. How exactly does it stay ahead of the game? By keeping things thin, great-looking, and relatively affordable – while delivering a performance that will impress even full-sized keyboard purists.

WhirlwindFX Atom – Design and Features

I’ll say this now: getting used to the 60% form factor takes time. Not only are these compact keyboards missing the numeric keypad, but unlike their TKL counterparts, they ditch the arrow keys and special keys altogether. While many of us don’t really utilize those special keys as much, many users who make the switch will miss those dedicated arrow keys.

But for every key missing on a 60% keyboard, it makes up for in reclaimed space. To gamers specifically, it is a boon. After all, most gamers only use a limited number of keys and often only in the WASD area.

Among the many things I appreciate about the Atom is that not only is it compact, but it’s also thin at 1.89 inches. At least, it’s thinner than the Corsair K65 RGB Mini that I tested and reviewed prior when its feet are put away. Don’t get me wrong; there are at least a dozen or so compact keyboards out there that have much thinner profiles, and some of those are compact mechanical keyboards. But not many of those deliver the same satisfying travel and bounce as the Atom.

When its feet are out, it does stand much higher than the K65 RGB Mini. However, that’s not necessarily a bad thing. In fact, that angled setup only makes the keyboard more comfortable to use – unlike the K65 whose lack of feet doesn’t really help its already thick profile. It doesn’t feel at all like much pressure is being put on my wrists, even with the absence of a wrist rest.

Speaking of which, I would love for Whirlwind (and other manufacturers) to complement their 60% keyboards with matching wrist rests. No amount of compactness, after all, is worth sacrificing our wrists for.

I’ve heard complaints of the rubber feet on the Atom being wobbly, and I can confirm that the left foot of the brown tactile unit I tested has that issue. However, I can also attest that the feet on the blue clicky version (which I received by mistake instead of the actual blue switches I requested) are pretty stable and bear no issues. This could just be a matter of quality control on Whirlwind’s part.

We now live in a USB-C dominated world so thank goodness Whirlwind opted for a USB-C to USB-A cable, which by the way is beautifully braided and flexible enough without being too pliable. It should last folks a long while, even if it does endure more than its share of bending, twisting and tangling.

As should the keyboard itself. The Atom is outfitted with double shot ABS keycaps as well as premium lubricated stabilizers for rattle-free actuation. It also has a 50 million keystrokes rating.

I also appreciate the aesthetic direction the company has taken here. Without making its keycaps thinner than those on the K65 RGB Mini, WhirlwindFX has designed the Atom so that it gives the illusion of having a floating keycap look, which lends to its classier aesthetic.

Of course, this being a gaming keyboard, you can’t expect it to not have RGB lighting. Much like its big sister, it boasts dynamic RGB lighting with per-key customizations as well as access to an ever-growing library of dynamic, content-reactive, and game-specific lighting themes via WhirlwindFX’s SignalRGB app. It’s a dream for RGB addicts.

WhirlwindFX Atom – Software

WhirlwindFX’s new app, SignalRGB, is a step up from its predecessor, the Whirlwind Engine. At least, to an extent. It keeps mostly the same look and interface as the Whirlwind Engine, with the same Dashboard, Devices, Effects and Media Settings tabs and mostly similar features and functionalities.

If you’re a WhirlwindFX user, this new software will certainly be familiar to you. Only this time, it seems to have added to its expansive library of lighting themes. The list of game-specific lighting themes, for example, now includes presets for newer titles like Among Us, Valorant, Cyberpunk 2077, and Valheim.

Sadly, WhirlwindFX didn’t take this app rebranding as an opportunity to allow key remaps and macro recording. Much like its predecessor, SignalRGB doesn’t offer any capabilities to reprogram any keys – nor does the Atom itself.

It’s definitely an omission, but forgivable if you’re not one to remap keys or record macros. That said, an opportunity to not have to use the FN key for certain functions in specific programs would have been welcome. As would have been an onboard memory considering the keyboard’s travel-friendly aspect. On both, the Corsair K65 RGB Mini definitely has the advantage.

That isn’t to say that SignalRGB is devoid of any major improvements. It has multi-brand hardware compatibility, with support for peripherals from the likes of Razer, Corsair, SteelSeries, and Logitech G. This means that you can use the same software to control the RGB lighting on all your gaming peripherals, no matter the brand or line.

WhirlwindFX Atom – Performance

The WhirlwindFX Atom is an undeniable pleasure to use. Testing both the blue clicky and the brown tactile versions (there’s a third one with red linear switches), it’s proven itself extremely satisfying to type and button-mash on – with the blue switch model delivering a more gratifying bounce back, while the brown offers a quieter operation. Whichever you choose will come down to personal preference.

The Gateron mechanical key switches are truly impressive, touting speedy actuation and high accuracy while being smooth. They do the job well, especially when coupled with the Atom’s full N-key rollover and 3,000Hz polling rate. The Atom is, without a doubt, a high-performing keyboard, which it proves in faster-paced games like Doom: Eternal, Rocket League, and Sayonara Wild Hearts.

Interestingly, while Gateron switches are supposed to have a slightly higher actuation point than Cherry switches, I found the ones on the Atom to have a lower actuation point, which means it takes a deeper press for a key to register. WhirlwindFX hasn’t specified the actuation point on the Atom, but the Corsair K65 RGB Mini’s Cherry MX Speed switch (which has an actuation distance of 1.2mm) definitely takes a much lighter touch, which makes it the better candidate for productivity tasks.

Rest assured those slightly deeper presses won’t affect your game, however. The WhirlwindFX Atom is as fast and as accurate as some of the best full-sized gaming keyboards on the market, and its 100% anti-ghosting feature will ensure that you won’t have any missed presses.



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Mario Party Superstars Review

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With 23 years of history under its belt, the Mario Party series has certainly had its fair share of highs and lows, with its highs representing some of the most fun I’ve had playing local multiplayer games with friends, and its lows being… well, the near opposite of that. Thankfully, Mario Party Superstars is a celebration of only the best moments this long-running franchise has had. It gathers 100 of the most enjoyable minigames, five excellent boards from the first three Mario Party games, and an amalgamation of some of the best rules, mechanics, and quality-of-life improvements into a single Switch game. It’s still unsurprisingly dull without friends, and not all of the minigames are worthy of the “superstar” label, but on the whole this is quite simply the best Mario Party has been in a very long time.

2018’s Super Mario Party represented a “back to basics” shift for the series, and Mario Party Superstars has taken that idea several steps further by focusing in on the N64 and early GameCube days. There are no motion-controlled minigames, no item capsules, no character-specific custom dice blocks, no buddies to recruit, and of course, no party car. Just four players, each taking turns rolling dice, moving along a virtual game board, playing minigames to earn coins, and using those coins to buy stars. And maybe it's because it has been a long while since we’ve had a Mario Party game without some sort of extra gimmick, but this simplicity is incredibly refreshing, and I certainly didn’t miss having something there to mix up the formula.

It helps that the five boards are some of the best-designed in Mario Party’s history. Yoshi’s Tropical Island is an excellent starter board with an easy-to-understand layout and a fun twist involving the star marker swapping between its two islands – it’s sure to lead to heartbreak and elation in equal measure among your friends. Space Land, meanwhile, is a go-to when I want to play without any game-changing board mechanics and just get that pure virtual board game experience; Peach’s Birthday Cake offers a completely different style of play by keeping the star in one position and sprinkling spots where you can plant coin or star-stealing piranha plants; Woody Woods forces you to think several moves ahead thanks to its constantly changing arrows that send you down different paths; and finally, Horror Land is a personal favorite of mine because of its fun day/night mechanic and a King Boo that can let you steal a star from every other player... if you get a skeleton key, 150 coins, and are able to reach him while it’s night. It’s an insane hail Mary win condition to shoot for, but if you are able to manage it, it’s sure to be a story you and your friends won’t soon forget.

Developer NdCube has done a fantastic job of bringing both the looks and sounds of these boards up to modern standards as well. Character models are pretty much identical to how they looked in Super Mario Party three years ago, but the remade boards are immaculately detailed, with Peach’s Birthday Cake being a clear standout thanks to the hyper-realistic and delicious-looking snacks decorating the linear path around the cake. It also can’t be understated that not only have all of the boards and nearly all of the 100 minigames undergone dramatic visual transformations, but they’ve also gained new instrumental arrangements for every song that accompanies them. You can even unlock the songs from the store and listen to both the classic and modern versions of each one in the Data House, which is great because while the N64 songs still hold up, their modernized versions are even better.

One more board from Mario Party 3 would have made the overall package feel more robust.

But while the boards are all impressive, the one bummer is that there are still only five of them. That is a step up over the dismal four that Super Mario Party offered, but still not on par with just about every single other numbered Mario Party game in the past, which have almost always included six. Even just adding one more board from Mario Party 3 would have gone a long way toward making the package feel more robust, and it would have evened out the balance of boards from the three N64 games at the same time.

Minigame Madness

At the heart of any good Mario Party game is its minigames, and fortunately almost none of the 100 that were cherry picked from every numbered entry in the series disappoint. You’ve got your all-time classics like Bumper Balls, Shy Guy Says, Hot Rope Jump, Revers-A-Bomb, and Booksquirm, just to name a few favorites. What makes these games so great is their sheer simplicity, plus a small added twist. Bumper Balls, for instance, is literally just a game about bumping your rivals off a small circular platform while riding a bouncy ball. But the twist is that in order to knock an opponent off, you have to put yourself in a dangerous position by building up momentum and bumping them close to the edge, which puts you in prime position to get bumped off yourself.

And then you also have some picks that might not immediately come to mind, yet wind up being great selections because of the variety they bring to the table. Honeycomb Havoc, a game in which you just take turns picking one or two fruits at a time and try not to be the one who’s forced to grab a honeycomb, may not be the most exciting game in the world based on what’s happening on-screen, but the metagame that’s happening between you and your friends as you’re all able to see their loss or victory several moves ahead makes it one of my favorites out of the whole pack.

Very few, if any, are complete duds. That said, there are a couple of minigames that are so close to each other that including both of them feels like a waste of space. Leaf Leap and What Goes Up both have you racing upwards by hopping up platforms as fast as you can; Pokey Pummel and Mecha Marathon both have you pressing a button (or buttons) really fast; and Roll Call and Goomba Spotting both have you counting the number of things that appear on screen. All are fun games, and none are completely identical, but when you consider that classic minigames such as Platform Peril, Locked Out, and Running of the Bulb didn’t make the final cut, it’s hard not to feel a bit disappointed at these handful of double-ups.

Very few minigames, if any, are complete duds.

My only other gripe with the minigame selection is that many of the 1v3 minigames are so skewed to favor either the single player or the group of three that it really doesn’t make it much fun for either. In Piranha’s Pursuit, for instance, it doesn’t even feel like you’re part of the minigame when you’re on the team of three, Archer-ival feels actively terrible when you’re not the archer, and Tidal Toss feels nearly impossible to win as a solo player if even one of the team of three is any good. Oh, and there’s the iconic, N64 controller-destroying Tug o’ War, which actually requires an in-game warning to advise you not to use your palm to rotate the control stick in order to avoid damaging either your Joy-Con or your hand.

That said, there are a couple of genuinely great 1v3 minigames, like Tackle Takedown, which is a football minigame that has the team of three attempting to tackle the single player who is able to use three bursts of speed to try and juke them out of their boots. But the majority are underwhelming and I always groaned when I saw one was coming up.

Bringin’ It All Back

Mario Party Superstars doesn’t do much that’s completely new for the series, which is completely fine with me considering it brings back so many things that I love and missed from recent Mario Party games. Like for example, stars that cost 20 coins instead of 10, which was a big issue I had with Super Mario Party. It was just far too easy for everyone to afford stars in that game, which really hindered the actual board game strategy and placed too much importance on recruiting buddies to bolster your dice rolls. In addition, Duel Minigames are back and help make the final five turns way more exciting by giving you and your adversaries the opportunity to challenge each other to high-stakes, 1-on-1 minigames with wagered coins up for grabs. And of course, Chance Time is back as well, which introduces all sorts of chaos into the mix..

Bonus stars can also be turned on, off, and even set to the classic style of always going out to the ones who collect the most coins, win the most minigames, and/or land on the most event spaces – but the one truth of Mario Party is that even despite all of those options, luck will always be a factor. Try as you might, you’ll never be able to completely remove its hold over every game, and that’s part of the magic. There will absolutely be times when the person who won the least amount of minigames will end up the overall victor, stealing a win from the person who held the lead for the majority of the match in the final seconds. And yeah, that may feel bad for some people in the moment, but the joy I get from Mario Party Superstars doesn’t come from winning or losing. It comes from the hilarious interactions it pulls out of me and my friends, which it does with a reliability that few other games are able to match.

Mario Party Superstars pulls hilarious interactions from me and my friends like few others.

Playing locally in the same room is obviously ideal, but Mario Party Superstars also has a pretty solid suite of online options. The standard Party Mode has both matchmaking with random players as well as private lobbies that let you invite specific friends, and if someone drops out their character will be controlled by a bot until they are able to reconnect – an amusing selection of emote stickers can even let your rivals know exactly how you feel about Boo stealing your hard earned stars. There’s also Mt. Minigames, which offers a variety of modes that let you play minigames a la carte. In the limited amount of testing I was able to do before launch, lag certainly played a noticeable factor in one of my sessions, especially in the more reflex intensive games like Hot Rope Jump and Bill Blasters, but online play was generally fun and serviceable overall.



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Star Trek: Prodigy Premiere: “Lost & Found” and “Starstruck”

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Star Trek: Prodigy premieres on Thursday, Oct. 28 with a one-hour episode, “Lost & Found,” exclusively on Paramount+.

If you’re a Star Trek fan, you’re existing in a full-out Trek-aissance with the variety of Trek universe series already here and coming soon to Paramount+. But the latest, Star Trek: Prodigy, is unique to the whole franchise for being the very first series created within the mythology for a younger audience. An original CG-animated half-hour series made as a joint enterprise with CBS Eye Animation Productions and Nickelodeon Animation Studio, Prodigy has the slick look of a high-end movie but is scripted with a tone that caters to a tween sensibility.

Created by Kevin and Dan Hageman (Trollhunters), Star Trek: Prodigy is set in 2383, which lands post the Voyager series in the Trek story timeline. The pilot, “Lost & Found,” is an engaging one-hour premiere that ably sets the stage for the core ensemble: a rag-tag group of mining colony refugees who accidentally discover, and escape in, the long-hidden Federation ship, the USS Protostar.

The main protagonist is Dal (Brett Gray), an orphan boy of unknown species stuck doing manual labor in a remote mining colony. But he’s got ambitions to escape and get off planet to see if he can discover more of his own kind, and a future that he can choose. As the colony rebel and smart aleck, Dal’s already got a reputation as a troublemaker, which puts him on the radar of the colony owner, The Diviner (John Noble) and his extremely competent older teen daughter, Gwyn (Ella Purnell). They are the yin and yang of the series, as Dal exists on charisma and impulse while Gwyn is the extremely well-educated conformist that is learning the truths of her father.

Through a series of misadventures on the job, Dal connects with other miners who will become his de facto posse: the erudite fugitive robot, Zero (Angus Imrie), essentially a child laborer; Rok-Tahk (Rylee Alazraqui); the contrarian mechanic Jankom Pog (Jason Mantzoukas); and a sentient eating-machine blob known as Murf (Dee Bradley Baker).

Under Ben Hibon’s direction, Prodigy is a beautiful series. The CG animation has an interesting design aesthetic of almost live-action Trek realistic celestial bodies, star-scapes and ships, mixed with highly stylized character designs for the various core characters and their species. Brought to life with bright colors and cartoon-y looks, they hit the sweet spot for kid expectations in an elevated CG world. But it’s the cast’s vocal work that really solidifies the youthful energy of most of the characters in the show. They’re essentially archetypes that kids will relate to because of the young cast, with the only outlier being Mantzoukas. He’s an excellent voice actor, but he’s supposed to be voicing a 16-year-old, and that’s not flying in any universe.

For old-school Trek fans, the Janeway of old is a welcome friend.

Of course, the most recognizable and anticipated voice of them all is Kate Mulgrew’s, as she voices Hologram Kathryn Janeway. As expected, she steps back into the role perfectly. Mulgrew leans into the warm tonal quality of her voice, which she modulates wonderfully in the early episodes. For old-school Trek fans, the Janeway of old is a welcome friend. But in her Hologram capacity, she’s giving the character a lot of sly cheek, which frames her mentor role extremely well to counterbalance the chaos of these untested kids she’s teaching on the bridge.

The show also sets up some potentially great villains in John Noble’s The Diviner and his right-hand enforcer, Drednok (Jimmi Simpson). Both in design and voice, this scary pair of foes amp up the stakes, yet retain an air of mystery which is appreciated. Together, they live in a color palette of reds, blacks, and metals, with spiky tech that envelops them and creates a visually imposing duo that will be chasing our young heroes across the galaxy.

Story-wise, the Hagemans and their writers do a good job in “Lost & Found” of setting up the series’ premise, and then give us the template for how adventures will play out weekly in the following half-hour episode “Starstruck.” Sure, there’s some definite competency-stretching going on with this goofy ensemble being able to pilot a starship with exactly no experience — even with Janeway support — but the diverse skill sets of each character at least make it kind of plausible. And there are great moments of kid-relatable volatility, humility, and compassion woven into stories of each character that feel organic and not cheesy or forced, which is what great Trek does for any aged viewer. And Mulgrew serves as a grounding cheerleader/teacher that isn’t talking down to any of them, which will go far in keeping kids engaged and hopefully, learning a few things too as the series unfolds.



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Wednesday 27 October 2021

Epos H6Pro Review

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Epos makes good gaming headsets. Emerging from the Demant and Sennheiser split, the company had a history with developing audio-based devices prior to its 2019 debut. The major emphasis was seemingly always on sound quality over everything else.

Being able to hear and be heard are the two of the most important features of any headset. And while none of Epos’s headsets have landed on our Best Gaming Headset list, they’re known to excel in this regard. That’s certainly the case with the company’s solidly built H6Pro, a wired headset that’s only hindered by an uncomfortable fit.

Epos H6Pro – Design and Features

The Epos H6Pro comes in two variations: a closed and open acoustic model (the latter of which was used for this review). Both offer a sturdy, lightweight frame with a slim metal headband wrapped in soft padding. Thick plastic surrounds the adjustable portions, which connect at the earcups via a 2-axis hinge. The cups’ similar plastic and metal combo is offset by thick memory foam padding and the open acoustic design. At a glance, the H6Pro looks rather sleek.

The earcups are nearly bare; besides the boom mic and a large circular volume dial, there aren’t any external buttons or switches. This helps in providing seamless lines, where the aesthetics bleed into one another for an overall uniformed appearance. There are some bits that stand out though. For instance, the left cup features a magnetized surface that secures either the detachable mic or a metal plated cover. Below that is where the headset’s cables connect – either a PC cable (that splits into the green/pink headset/mic plugs) or a 3.5mm cable for console and mobile device use. The right cup sports the volume dial that, without its slightly raised notches, would otherwise go unnoticed.

Unique to this build is the open acoustic design. Each earcup has a breathable top half that mitigates some of the heat that builds up during play. They also allow the transfer of exterior sound, making it easier to hear whatever’s going on in a player’s immediate surroundings. Speaking of sound, the H6Pro has strong inner components. While I can’t speak on Epos’ claim of having the best transducers on the market, I can say that this headset produces high quality audio. The biggest explosions, the faintest footsteps, team chatter – it was possible to hear it all with minimal effort in most cases. Just plug in the H6Pro and go.

Epos H6Pro – Performance

The H6Pro is compatible with the Xbox One, Xbox Series X/S, PS4, PS5, Nintendo Switch, PC and mobile devices, all via 3.5mm connection. No matter what platform I tested it on, it performed splendidly. I could easily communicate with other players in various games or through apps like Discord. The headset’s mic always picked up my voice. Unless of course, I wanted to mute myself by raising it up towards the headband. Lowering the mic back down would prompt a nice “click” letting me know I could be heard again.

On the flipside, when it came to in-game sounds, the H6Pro kept me immersed. This proved beneficial when playing games like Back 4 Blood; it was possible to avoid getting pounced on when you can hear enemies lurking around corners. The headset seems to push all sounds forward with little to no overlap. This is boosted by virtual surround sound options on consoles – Windows Sonic and 3D audio/Tempest for the Xbox X/S, PS4, and PS5 – and supposedly through the Epos Gaming Suite, when paired with the company’s GSX 300 external sound card (sold separately).

While the H6Pro was great to use with various consoles, including the Switch, it performed best when connected to my PC. Just being able to fine tune the sound gave that set up the edge. And that’s without using the Epos Gaming Suite. This is partially due to the lack of external features on the H6Pro and how the Xbox One, Xbox X/S, PS4, and PS5 are designed.

There are no toggles or switches on the H6Pro that control a console’s chat mixer. Meaning that you’ll have to manually change the volume of chat opposite of in-game sounds via your console’s audio settings. The problem here is that not all of them are created equal. On Microsoft’s consoles, there’s a chat mixer that becomes available after you’ve plugged in a wired headset. The same with Sony. The difference is that Sony’s consoles only seem to allow you to either change all audio (to hear chat and game or just the chat) or audio within a party.

What this means is that, as long as I’m in party chat on a PS4/5, I can separate chat from in-game sounds. This also works if I empathize in-game chat over my party. But this effect stops working when I leave a party. On my Xbox One and Xbox Series X though, the mixer controls all chat. No matter where I am or what game I’m playing, I’m able to tweak what sounds are heard. All of this would be negated if the H6Pro had exterior functions that could adjust these settings by itself.

To be fair, this isn’t a huge problem as most wired mics don’t have these chat mixer features. And considering that most people tend to hang out in party chat, regardless of their preferred console, I doubt anyone will really notice. That said, Microsoft gets the edge when it comes to fine tuning chat when playing with random gamers online.

When it comes to hearing and being heard, the H6Pro shines. I especially liked the open acoustic design as it kept me engaged with my surroundings without taking me out of the action. Unfortunately, my gaming sessions with this headset were always short lived due to its tight fit. The 2-axis hinge is supposed to help the H6Pro conform to your head. The mechanism doesn’t seem to actually give very much though, resulting in a ton of pressure; I had to remove my glasses at one point because of the pain from the cups being pressed against my skull. This might not be an issue for everyone, but for me at least, despite having memory foam covered cups and a somewhat flexible frame, the H6Pro was very uncomfortable to wear.



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Fena: Pirate Princess Season 1 Review

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Fena: Pirate Princess Season 1 is now available to stream on Crunchyroll, Adult Swim's website, and VRV.

When a show has the words "Pirate Princess" in its title, there are certain promises and expectations of royalty and swashbuckling being made. Sure, the show can subvert expectations, but a show about Batman should at some point have Batman in it, right? Though the first co-production between Crunchyroll and Adult Swim offers plenty of pirate fun and high-seas adventures, viewers should know that a show about a pirate princess, this is not. Instead, this is the closest we've come to a Da Vinci Code anime, with reincarnations, secret organizations, and religious treasure hunts that culminate in an ending that brings to mind the final choice of Mass Effect 3.

Fena: Pirate Princess takes place in a fantastical alternate version of the 18th century, full of ninjas and pirates, where high-tech submarines and ironclads are frequent sights in the high seas and machine guns are as common as muskets and cutlasses. It is here that we meet Fena Houtman, a young orphan who decides to take fate into her own hands, escape a life of forced sex work, and join a band of ninjas to look for treasure -- and also possibly El Dorado and the Garden of Eden or something.

Production I.G's work on Fena really shows why they are one of the biggest anime studios working today. If nothing else, this truly is a marvel to look at. The character designs are memorable and distinct, and the action is dynamic and fluid, fully delivering on the swashbuckling sword and gunfights you'd want out of a pirate/ninja anime. Likewise, the show boasts some of the most beautiful environments in animation this year. Every new location is different than the one before and instantly recognizable, whether it's Germany, England, or Shangri-La, with grand vistas and detailed backgrounds that sell the epic adventure we're embarking with imagery alone.

But pretty vistas don't make a show. The reason we embark on the adventure is that Fena is a fantastic and charismatic character, with infectious energy and great chemistry with the rest of the cast, who are a delight to follow episode by episode. Likewise, the contrast between the violent fights and cartoony visual gags works rather well. The problem is that Fena has next to nothing to do on her own show. For a series that started out with the promise of a main character who is no one's damsel in distress, a heroine in a world where the only historical pirates are women, Fena never really does anything but get kidnapped, ask for help from the men in her life, and have the plot explained to her.

Though Fena: Pirate Princess makes it clear from the start that it is an alternate world, the show includes plenty of callbacks and references to real history to keep fans of the Golden Age of Piracy busy, especially once we are introduced to an all-female pirate crew. That being said, this is no Vinland Saga, so don't expect the show to be super concerned with staying true to history either.

Its swashbuckling adventure quickly gives way to a convoluted ending.

The first few episodes do a great job in building an old-fashioned pirate treasure hunt, with surprising twists and turns that raise the stakes while staying in line with this heightened world. After all, the Pirates of the Caribbean movies started with an army of the dead and only got crazier from there. But as the season went on, it introduced more and more ludicrous ideas that make it resemble The Da Vinci Code more than a pirate adventure, leaving the swashbuckling fun behind in favor of one-upping the twists and turns of the previous episode. Though there are still some good character moments and the action never stops, the last two episodes introduce so many new ideas and themes out of nowhere that brings to mind the ending of Mass Effect 3 or even Game of Thrones, leaving plot threads open in favor of a grand statement it never justifies.



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Hypnotic Review

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Hypnotic premieres Wednesday, Oct. 27 on Netflix.

Midnight Mass' Kate Siegel stars in Netflix's new chiller, Hypnotic, about a woman who falls victim to a conniving, cruel therapist and his post-hypnotism triggers. Siegel, a stalwart member of Mike Flanagan's "Flanagang," impressively elevates a lot of this film, but ultimately can't save it from feeling like an outdated, bare-minimum thriller designed to take up space in a sea of streaming fare.

Just the premise alone -- an evil hypnotist -- feels excessively yesteryear, when fewer people would have known the broad basics of hypnosis, and turning that particular therapeutic practice into something menacing would feel more subversive and fresh. Just coming off like a movie that was written decades ago -- especially in the '90s when there were a ton of psychological thrillers where someone seemingly normal in a person's life was a psycho (The Hand that Rocks the Cradle, Pacific Heights, Single White Female, etc.) -- gives this one a toothless timestamp.

That's what you get with Hypnotic: all the familiar beats from all those past movies, including people thinking the hero is mentally unwell, friends and loved ones getting taken out for snooping, and a weirdly neat wrap-up considering the lives lost and questions raised.

Siegel, who's been nothing short of mesmerizing in her husband Mike Flanagan's Netflix fare (Hush, which she leads and collaborates on, is particularly fiendish and fun), plays a woman recovering from a tragedy, Jenn, who decides to give therapy a whirl. Jason O'Mara (Marvel's Agents of SHIELD, The Man in the High Castle) plays Dr. Meade, a psychologist who, within a few lines of dialogue, suggests to Jenn that she be hypnotized on the spot, in her first session. This is brought up here only to note how the film also, for the sake of plot, doesn't pay much heed to how therapy works either.

In the subsequent weeks. Jenn finds herself having weird dreams and then actually losing time. It all leads to Jenn digging into past crimes involving accusations against a rogue hypnotherapist, a trustworthy detective who's sort of half on the case (played by Psych's Dule Hill), and the realization that she's now powerless against Dr. Meade because he can shut her down with a single word.

Now, there are for sure moments within this movie that are born of true terror, including the sheer idea of being utterly helpless and paralyzed and at the feet of a madman. It's not unlike the phobia of being awake during surgery -- being conscious, trapped, and in torment. But Hypnotic, designed to be a rather middling tale with dulled edges, doesn't make the most of those moments from a horror standpoint. It offers up only muted stakes and mild danger.

The tone, beats, and premise of Hypnotic feel very out-of-time.

Siegel is great at drawing out the most from very little, but her character is still short-sighted here. Perhaps it's because we've grown accustomed to her having such well-crafted and meaty roles in series like Midnight Mass and The Haunting of Hill House that it's become more notable when she has to work harder to make a role feel more layered than it is. But the film itself, too, is a very quick and easy by-the-numbers story that pulls too many punches and plays things too safe to be memorable. When Dr. Meade's full plan is revealed, the silliness sort of escalates to a new level as he's transformed from an empty suit villain into something more ridiculous and cartoonish.



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Chucky Episode 3 Review: "I Like to Be Hugged"

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Spoilers follow for Chucky's third episode, "I Like to Be Hugged," which aired on Syfy on Oct. 26.

Chucky has been walking protagonist Jake Wheeler down a dark path since his introduction, with the killer turning the screws in the kid’s mind as the cruel world comes crashing down on him. “I Like to Be Hugged” challenges Jake’s killer instincts, while also raising some interesting questions about how the idea of nature versus nurture has affected numerous characters in Hackensack. With more focus than last week’s aimless Halloween episode, “I Like to Be Hugged” delivers a silly concoction of teen drama and slasher backstory that’s proving to be Chucky’s hallmark.

“I Like to Be Hugged” finds Jake (Zackary Arthur) at a crossroads in the serial killer development course Chucky’s (Brad Dourif) got him involuntarily signed up for. As much as the show has asked us to believe Jake could succumb to the darkness in his life and go down a violent path, his tearful apology to his mother at her grave seems to firmly establish that’s just not going to happen. It’s good to have this lingering “question” settled this early in the season. We’ve already seen Jake transgressed against in deeply personal ways, so it was now or never for him to hit his breaking point. I don’t think anyone truly believed the thoughtful Jake would run Lexy (Alyvia Alyn Lind) through with a knife in the middle of the day anyway, so I’m glad to see the show moving on from the unsustainable idea that he could actually become Chucky’s padawan learner.

As Chucky tells Jake, “some killers are made, but the best of us are born.” “I Like to Be Hugged” gives us our most important look yet into how Charles Lee Ray became the monster he is. Young Charles displays the violent tendencies that end up blossoming into Chucky’s bloodthirst, but it’s not until a seemingly random home invasion that Charles’ slasher fuse is lit. After Charles sees the intruder stab his father to death, he kills his own mother as they hide from the assailant in the closet.

It raises an intriguing question about Charles Lee Ray’s nature: despite claiming to Jake that he himself is a born killer, it’s a random act of violence that catalyzed Chucky’s slashing ways. While Chucky’s been promoted as a reunion of Child’s Play franchise players, the idea that Chucky himself may have to reckon with his own nature is an even more exciting possibility for a character so often played for laughs. The episode does a nice job weaving the flashbacks into Jake’s story, as he struggles with his own impulses, and primes Jake and Chucky for confrontations both physical and ideological as the show continues.

This week, it’s Lexy’s turn to host a rager in her comically large house, a silent disco which offers opportunities for both laughs and tension. Lexy’s feeling a little cramped by Junior (Teo Briones) after he chided her for her “Jake’s dying dad” Halloween costume, and flirts with Oliver (Avery Esteves) in front of Junior at the party as music blares in their headphones… well, Lexy and Oliver’s; headphone-less Junior’s watching from the stairs in awkwardly funny silence. Later on, the “no one can hear” conceit is used to great effect as Chucky leaves Lexy’s sister’s bed for a little late-night homicide. The screams of Chucky’s victim go unheard as they’re repeatedly stabbed by the laughing doll which, coupled with the victim’s young age, makes the drawn-out kill feel even more brutal. But Chucky’s got his glassy little eyes on Lexy, and his attack on her leaves us with an explosive cliffhanger that represents one of the killer doll’s greatest strengths: his ability to sow chaos.

Storylines involving adult characters are feeling relatively stagnant.

As Chucky laments, hand-to-hand combat is tough when you’re two and a half feet tall, but one of the most fun elements of the Child’s Play franchise is watching the elaborate (or dead simple) ways Chucky lures their victims to their demise. Whereas last week’s housekeeper kill lacked tension, taking place entirely in the beginning of the episode with little lead-up, this episode places Chucky in the Cross house early enough for a couple scenes to establish the doll’s presence and Lexy’s growing discomfort. These are small bits of information, but every little bit helps when you’re trying to get an audience invested in whether that plastic doll actually murders that annoying teen.

While Hackensack’s kids have their hands full, storylines involving adult characters are feeling relatively stagnant. Detective Evans (Rachelle Casseus) is doing the stereotypical “that kid’s trouble” routine regarding Jake to give Devon something to rebel against, and Jake’s teacher Mrs. Fairchild (Annie Briggs) calls a conference between Lexy’s parents and Jake’s uncle and aunt to broker peace between the teens.

That conference sees Lexy’s mom, Mayor Michelle Cross (Barbara Alyn Lind), displaying the same entitlement she passed to her daughter as she tries to frame Jake as the true bully in the situation. The encounter doesn’t really go anywhere and, if anything, is only worthwhile for Aunt Bree’s (Lexa Doig) late entrance. This is the second or third time Chucky’s suggested Bree is doing something behind Logan’s (Devon Sawa) back, and it’s coded as an affair, but maybe there’s something even more insidious going on. Chucky loves playmates, after all...



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Tuesday 26 October 2021

Army of Thieves Review

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When Netflix debuted Zack Snyder’s Army of the Dead last spring, the big-budget, big-runtime zombie flick marked a turn away from comic book epics and a return to the horror-on-steroids fare the director had previously made a meal of with his 2004 remake of Dawn of the Dead. More importantly, by bringing Snyder into their fold, it signalled Netflix’s desire to tap into the Man of Steel director’s vocal, passionate Internet fanbase to hopefully propel new franchises and shared universes aplenty for the streaming service. Unfortunately, Army of Thieves arrives as a bit of an inauspicious test case for that hypothesis thanks to an over-reliance on Army of the Dead’s thin story.

A prequel set six years before the earlier film’s running-jumping-biting antics in Las Vegas, the film is centered on safecracker Ludwig Dieter (Matthias Schweighöfer, also directing) before he became the Ludwig Dieter. A taciturn bank teller dreaming of excitement while posting videos about impregnable safes on YouTube (to embarrassingly low viewers numbers), is pulled into a heist by the beautiful Gwen (Nathalie Emmanuel), a fugitive jewel thief looking to make a legendary score while an impending zombie apocalypse begins to consume the United States. They make for a fun pair, and one wonders if their chemistry might’ve had better opportunities to flourish without this story’s baggage of the connection to Army of the Dead.

In that same vein, other than the aforementioned die hard Snyder fans, it’s hard to discern who exactly a movie like Army of Thieves is aimed at. It’s not enough of a zombie movie to satisfy that audience, and not enough of a heist movie for that audience. Instead, it’s a strange hybrid of a thing that seems to feel the mythology Army of the Dead established only five months ago is so substantial and/or iconic as to require significant excavation. And it’s just...not.

It’s a strange hybrid of a thing.

That said, of the roster of dead people walking in Army of the Dead, Schweighöfer’s Dieter is definitely one of the most colorful and interesting, so a prequel centered on him isn’t the worst idea in the world. He has a manic, high-strung energy making him an interesting, if offbeat, protagonist. However, since the character himself says in that film he hadn’t encountered a zombie before, it somewhat limits how much terrain is available to explore here.

And so, in lieu, of a deeper examination of the zombie plague and its roots (which, to be fair, may still be forthcoming in some other Army project down the line), we get Shaun of the Dead-style snippets of flesh-eating hordes engulfing America interspersed with our main characters – including getaway driver Rolph (Guz Khan), hacker Karina (Ruby O. Fee), and bad boy wild card Brad (Stuart Martin) – heisting overseas while trying to evade INTERPOL. It’s just nothing all that noteworthy – by this point we’ve seen so many heist movies (including plenty of Netflix originals on the subject) the only thing left for screenwriter Shay Hatten to do is run through a litany of heist movie tropes while commenting on how predictable heist movie tropes are.

Most of the zombie gore is reserved for several dream sequences detailing Dieter’s nightmares about being consumed by zombies. There’s also an ending scene that will prove meaningful to Army of the Dead fans by lining this movie up with that one. On that note, while Snyder is only producing this go-round, his signature stylistic template is very much in evidence even as Schweighöfer confidently makes the production his own. There’s a fun, manic energy to some of the sequences that makes me want to see him direct a movie that’s a bit more fully realized and less reliant on connections to other films.



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