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Monday, 4 October 2021

Alan Wake Remastered Review

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Like a flashlight flickering to life from a freshly inserted set of Energizers, Alan Wake Remastered takes the 11-year-old survival horror shooter and presents it in its most radiant form. Yet while the details in its moody environments are now far easier to make out, its gameplay shortcomings are presented in equally stark relief. Alan Wake Remastered’s twisted brand of psychological torture by torchlight still makes for a supremely tense trip through the woods, but as a shooter it’s stuck in the past compared to more modern games – including developer Remedy’s own Control.

If you missed it the first time around, Alan Wake Remastered’s story remains a novel one in every sense of the word. When crime fiction author Wake’s wife goes missing in a small town, the only clues to her whereabouts are the loose excerpts from a book he has no memory of writing. The details described in this breadcrumb trail of manuscript pages manifest themselves into the subsequent events, making for a consistently enthralling journey down a descent into madness in which Wake is armed only with a small arsenal of guns and a battery-powered torch to keep the darkness-cloaked townsfolk at bay. It’s a pulpy, Stephen King-style thriller viewed through the dreamlike lens of David Lynch, and it’s every bit as gripping and surreal as that pairing of influences would suggest.

Flashlight Flashback

Make no mistake, this rerelease is very much a remaster as opposed to a full remake; its graphics may have been overhauled to an appreciable extent but gameplay remains unchanged. It looks pinsharp at 4K and runs at a fluid 60 frames per second on the PlayStation 5, and the slightly shoddy cutscenes from the 2010 original have been given a welcome new lick of paint. Even so, Alan Wake Remastered remains a fair way behind the big-budget visual standards that have become the norm in 2021. Perhaps to best illustrate this, after my first 10 minutes with the PS5 version I had to pause it and double check that I hadn’t downloaded the PS4 version by accident.

Still, the gloomy setting of Bright Falls has certainly never looked better, with jagged edges straightened out by anti-aliasing, textures more clearly defined right down to the woolen weave of Wake’s coat, and the neon signs in the local diner popping with a more realistically vibrant glow. Unfortunately, the character animations seemingly haven’t received similar attention in the remastering process, making their stiff movements seem as wooden as the western pines that surround the small town.

Otherwise, Alan Wake Remastered plays in the exact same way as the original did, and in some respects I admire the streamlined nature of the survival-horror shooting at its core. Ammo and batteries can certainly be scarce at times but for the most part there’s little need for any complicated inventory juggling, and there aren’t any crafting systems to fuss with or skill trees to flesh out like so many shooters released in recent years. Aside perhaps from the collectible coffee thermoses, nothing you pick up feels superfluous; every flare is precious for buying a bit of breathing room when you’re surrounded, and each hunting rifle bullet is best kept in your back pocket for when one of the more brutish Bright Falls locals attacks.

There aren’t any crafting systems to fuss with or skill trees to flesh out like so many shooters released in recent years.

Of course, the downside to such simplicity is that there’s not a great deal of depth. By the story’s midpoint you’ve had your hands on all the weapons you’re ever going to get access to, and each shadowy enemy ambush starts to feel largely indistinguishable from the next, causing Alan Wake Remastered’s second half to become increasingly mired in repetition. Remedy would later go on to, well, remedy this issue with the excellent Control in 2019, which evolved its combat over the course of its duration via a transforming gun and expanding set of superpowers, but that just makes Alan Wake’s one-note action seem even more antiquated in retrospect.

While I wouldn’t expect a huge shake up to the combat system in what is otherwise a purely superficial remaster, playing Alan Wake Remastered did make me wish for at least some light improvements to its interface. An on-screen stamina indicator for Wake’s sprint ability would have been a plus, since judging how far you can run without him fatiguing feels like total guesswork. Similarly, you’re not really given much indication of incoming attacks from offscreen. While the dodge button is extremely effective anytime you see an axe spinning towards you, I found myself routinely copping a shovel to the back of the head with no time to anticipate and react to the blow. Minor HUD changes such as these would have gone a long way towards mitigating the occasional frustration I felt this time around.

Two bonus episodes that were originally paid DLC, The Signal and The Writer, are also included with Alan Wake Remastered, and they come complete with the same level of visual polish. Having skipped over them the first time around I was delighted to discover how they expand on the transforming-words-into-objects mechanic that is only briefly used at the end of the main campaign; however, having replayed the entire story and its two epilogue episodes I still have no real idea what the meaning is behind it all.

That artistic vision may remain intentionally ambiguous, but at least it’s no longer compromised, since the much-maligned product placement from the original version is now gone. Packets of Energizer batteries have been substituted by a generic off-brand replacement, and obtrusive Verizon commercials no longer play on in-game televisions – making for possibly the first time in history that Verizon dropping out in a remote part of America can actually be considered a good thing.

Outside of the new commentary track, the one bit of truly new content in this remaster is the QR codes that are hidden throughout the environment. They’re arguably just as conspicuous as the now-absent in-game ads, but at least they serve a useful purpose for fans: scanning them with your real-world phone takes you to some intriguing new videos that I won’t spoil here.


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Friday, 1 October 2021

Astria Ascending Review

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There is always something exciting about playing a brand new JRPG that isn’t from one of the popular franchises we already know and love, mostly to see how it differentiates itself from the pack. But while Astria Ascending’s turn-based combat is excellent, its mediocre story and weak quest design drag it down. It has plenty of amusing things going for it, but those shortcomings keep it from becoming the breakout JRPG it had the potential to be.

Astria Ascending puts a side-scrolling twist on a more traditional, turn-based RPG shell. You’ll explore its world of Orchanon as a 2D platformer, entering separate rooms, collecting treasures, and encountering enemies as you travel across the screen. But while its presentation is novel, its story setup is something we’ve seen several times before: you play as Ulan, the leader of the 333rd company of Demi-Gods trying to stop an uncompelling chaotic threat that wants to remove harmony from the world.

Each of your party members has their own bigger motivation too, but in general, the story is just so cliche. Astria Ascending’s world has a unique look and its races are freshly designed, but their differences are only skin deep. Because of this, the main cast suffers from bland dialogue and a lack of personality, making them uninteresting to spend dozens of hours with.

And like so many other JRPG stories, their struggle is against yet another syndicate of generic villains that want to destroy the world for some weak, unconvincing reason. That isn’t to say that this story structure never works, because it does have entertaining or heartfelt moments here and there. Many party members have family tied into the events in ways that could be compelling, but with how vague a lot of the plot points are left, those potential hooks were never actually able to grab my interest.

Side quests do very little to make the world feel fleshed out.

Unsurprisingly, completing your quest will mean venturing into a handful of puzzle-filled dungeons. Some of these require you to take advantage of basic elemental powers to solve them, like using wind to move boxes to their correct position. But most aren’t that engaging due to their simplicity. Dungeons are usually structured the same too: each has a boss known as an Astrae that you can summon in battle once you’ve defeated it, followed by another boss at the end, leaving them a little too predictable to make your way through.

The repetition is shaken up a bit relatively deep into the story by a section where you shoot enemies in the sky like a side scrolling shooter, but it’s too little too late. You only ever see this twist between specific locations in the latter half of the story, and by that point you’ll already have progressed so far that its introduction feels random and disjointed.

As you explore Orchanon, you will also find plenty of side quests, but these are similarly straightforward and uninspired, doing little to make the world feel fleshed out. You’ll often be asked to defeat a certain number of enemies or find the quest giver a specific item, and little else. While none of them are very interesting, additional guild missions that task you with killing special enemies for money, experience, and skill points can be. Every enemy type has distinct abilities so fighting these minibosses adds even more variety to the creatures that you face, which is especially welcome when combat is the shining star here.

Focus Your Skills

Astria Ascending really stands out in its battles and its art style. Every zone is drop dead gorgeous, especially in dungeons. Since it’s presented as a 2D platformer outside of fights, the world of Orchanon feels as if it was created in a story book – each of its characters drawn with tender love and care, and they especially shine in combat. Whether it be an attack, spell, buff, or status effect, everything is animated immaculately and with purpose.

The combat itself is some of the best I’ve seen in a traditional turn-based JRPG. This is due to the excellent Focus mechanic, which makes the party gain Focus Points when striking an enemy’s weakness. Focus can stack up, allowing you to deal an abundance of damage once it maxes out. But while you’re collecting Focus, enemies can hit your weaknesses and do the exact same thing, raising the stakes the longer a fight goes on. You’ll also have to be careful since using the wrong attack on an enemy will make you lose Focus, adding an extra layer of tension to each fight. Mix that exciting system with the art and animations and it truly makes combat an impressive package.

Almost every encounter feels like a challenge that is satisfying to conquer too. An intuitive job system provides a wide variety of abilities to use, and planning your team’s powers is where Astria Ascending’s true puzzles lie. Members of your party begin with a starting job but will gain three more throughout the story, which provides them with a myriad of different skills to mix and match based on your personal preference and the weaknesses of the enemies you are facing.

Unfortunately, Astria Ascending also comes with some horrendous difficulty spikes. This means you’ll occasionally need to spend a significant amount of time grinding to get past tough enemies. There is at least a difficulty option that can be lowered if you’re not willing to deal with these annoying spikes – but on the normal difficulty, it’s not uncommon to spend multiple hours leveling just to get past one specific fight only to have to do it again for a different one not too far down the road.



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iPhone 13 Pro Review

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By now we’re used to iPhones getting major updates on a biannual basis. One year the smartphone gets a major design overhaul, while the following year is a refinement with a new processor, better cameras, and generally small changes. This year’s iPhone 13 Pro has completely broken that mold with both technical improvements and design refinements, including a 120Hz display with a smaller notch, completely revamped cameras, bigger batteries, and so much more.

For something that’s updated annually, the iPhone 13 Pro feels like an almost completely new device. This is easily the most exciting iPhone in a long time, even compared to last year’s splashy redesign.

iPhone 13 Pro – Design and Features

The iPhone 13 Pro might use the same overall chassis as the iPhone 12 Pro, but this new handset is noticeably heavier as soon as you pick it up. On paper, Apple’s flagship has gone from weighing 189g to 204g, largely due to bigger batteries and camera lenses.

Speaking of those larger camera lenses, they’re almost the size of dimes now, which by extension calls for a larger camera bump. The sensor array is 2mm thick, which prevents the iPhone 13 from lying flat on a table. This massively bumped-up camera bump also makes it incompatible with some phone controllers including the Backbone One. So you might be out of luck if you were hoping to use an older case or other iPhone peripherals here.

The display brings the most welcome iPhone 13 Pro changes. First up, the screen notch is 20% smaller than the previous iPhone, which has until now been unchanged since the iPhone X originally introduced the notch. The new notch is narrower on the sides but dips down a skosh more. The extra bit of screen real estate is fantastic for watching full screen videos and playing games. You also get a larger clock and notification icons to boot.

The other most significant improvement to the iPhone 13 Pro is its 6.1-inch screen finally refreshes at 120Hz with ProMotion. Plenty of Android phones – and a few iPads – have featured 120Hz screens for the last few years already, and finally getting smoother scrolling on Apple’s handset is fantastic. 120Hz makes scrolling feel extra silky, and swiping between your widgets, apps, and app library so much more responsive.

Unfortunately, beyond swiping around on your screen, there aren’t many ways to take advantage of that 120Hz right now. As of this writing, there’s a bug (Apple is working on a fix) that prevents the phone’s Core Animation technology from utilizing the maximum refresh rate. There also aren’t any apps that support the 120Hz refresh rate, but I’m hoping developers begin rolling it out soon. Fast-paced games like The Pathless and Asphalt 8+ already run like butter on the iPhone 13 Pro thanks to its A15 Bionic processor, and extremely smooth frame rate would only make that experience even better.

iPhone 13 Pro – Gaming and Performance

The iPhone 13 Pro’s new A15 Bionic processor has an additional GPU core compared to last year’s A14 Bionic chip, a significant upgrade. This spec bump mostly plays into powering the handset’s new 120Hz ProMotion display, but it also makes the phone more graphically capable for editing complex cinematic mode video and the serious slate of Apple Arcade games releasing now.

The iPhone 13 Pro masterfully runs graphically challenging games like Monster Hunter Stories+ and Castlevania: Grimoire of Souls without the slightest bit of stutter. It’s a step away from the purely original mobile titles that Apple Arcade was originally known for, but it’s amazing to see console and handheld games run extremely smoothly on the iPhone now.

Apple has increased the maximum storage capacity up to 1TB, which might seem absolutely obscene, but makes sense considering how good this phone is for shooting video. Another thing to note about the storage capacity is the base 128GB iPhone 13 Pro can only shoot 1080p ProRes video. To shoot in 4K, you need at least the 256GB model.

One other spec upgrade is expanded support for Mid-Band 5G, which means you can take advantage of more 5G networks around the world. It’s a small improvement, but after swapping over to the new iPhone, I found myself connecting to T-Mobile's mid-band 5G UC network in places where previously I would typically only get 4G or the carrier’s low-band 5G connection.

iPhone 13 Pro – Camera

The cameras have easily seen the biggest overhaul on the iPhone 13 Pro. The main wide-angle camera’s new 12MP sensor is physically bigger, and features larger 1.9 µm pixels, plus sensor-shift technology. This improved main camera first debuted on the iPhone 12 Pro Max, and this year it has trickled down to the smaller iPhone Pro.

Meanwhile, the 12MP ultrawide camera features a larger aperture and a new macro shooting, and then the 12MP telephoto camera has been upgraded with 3x optical zoom giving it the equivalent focal length of a 77mm camera lens.

Not only is the main camera’s sensor larger in both size and imaging pixels, but it also has a wider open f1.5 aperture lens that makes it excel at nighttime shooting. The iPhone 13 Pro’s new main sensor captures a wider dynamic range and blacks that are actually black rather than a hazy gray.

The Ultrawide camera also features a larger f1.8 aperture that helps in low-light situations, though not to the same extent as the main camera. It can also now focus super close, up to 2cm away, to take macro photography shots. Thankfully Apple chose to add this feature to one of the phone’s preexisting three cameras rather than add a disappointingly low-resolution macro camera like so many Android phones have. Interestingly, you don’t even need to manually switch to the ultrawide camera to take macro images, instead, the handset automatically switches to it as soon as you try to focus on a subject within 10cm.

Lastly, the new 3x telephoto camera adds some very welcome added reach to the iPhone 13 Pro’s photographic arsenal. The extra magnification helps you shoot tighter portrait photos, and of course, shoot farther away objects. Unfortunately, the added zoom also closes the aperture of this lens from f2.2 to f2.8, so less light passes through its optics. However, to make up for it Apple has added night mode shooting on the telephoto camera, and the lens features optical image stabilization to help steady those long exposures.

iPhone 13 Pro – Cinematic Mode

Cinematic mode is the only new video feature on the iPhone 13. It essentially lets you take the blurred portrait effect we’ve enjoyed on stills and apply it to your videos. This mode artificially creates a narrow depth of field to blur the background around whatever you’re shooting. When applied to video, this also allows you to shift or rack focus between subjects as well.

In practice, Cinematic Mode is pretty neat for giving your movies more depth and isolating your subject. However, to make it work you need to set up the right shots and be prepared to edit your videos after the fact.

First off, to create an effective Cinematic Mode video, your subjects need to be spaced pretty far from each other and ideally not all standing next to each other in a line. The second finicky thing about Cinematic Mode is it works a little too hard to find things to focus on and switches between them automatically. So in a crowded space with multiple people and faces, the phone will sometimes lock focus onto another subject without asking you. Additionally, the way the iPhone finds focus isn’t perfect, so you’ll sometimes see it struggling to find focus around your subject, which causes the blur effect to wobble in a very unnatural way.

Because of all this, you’ll almost always need to edit your video afterward to ensure the focus is locked onto only the subjects you wanted. But even that process is painstaking as the iPhone easily loses focus lock on people – especially if they’re moving around a lot or other objects are moving around them – meaning you might need to relock focus on them multiple times.

Even after you put all that effort into making Cinematic Mode work as you wanted, the blur effect is very apparently fake. A traditional camera lens creates a natural-looking blur effect from shallow depth of field in which only objects at a certain distance are in clear focus while anything closer or past that point is obscured.

Apple’s blurring effect, on the other hand, basically adds an uneven blur around the subjects you lock focus to in a very inconsistent manner. This artificial blur looks rough with jagged, aliased edges if you examine your Cinematic Modes video closely.

Another limitation of Cinematic Mode is it lowers the shooting resolution of your videos to 1080p.

As frustrating as Cinematic Mode is to work with, there’s still something impressive (or dystopian) about watching the iPhone’s neural engine at work finding faces like it’s your own personal facial recognition surveillance camera. Still, I can’t imagine shooting many movies in cinematic mode with how much you need to wrestle with the focusing system while you’re shooting and editing afterward.

iPhone 13 Pro – Battery Life

Last year’s iPhones cut battery sizes, and thankfully they’ve been increased this time around. Whereas the iPhone 12 Pro was only 2,815mAh in capacity, the iPhone 13 Pro has bumped up to a 3,095mAh battery. According to Apple, this new flagship should last 1.5 hours longer than the iPhone 12 Pro.

For me, this translated into a phone that would still have slightly more than 60% of its battery life – rather than below 50% – at the end of a normal day consisting of checking email, browsing the web, scrolling through social media, listening to podcasts and music, watching YouTube videos, and taking photos. With heavier usage – consisting of playing Apple Arcade games on top of a lot more of the usage I mentioned above – I ended days with closer to 25% battery life.

Basically, you can expect this phone to last you through a full day even if you’re using it almost constantly.

The iPhone 12 Pro brought back the convenience of MagSafe with magnetized wireless charging and the iPhone 13 Pro boosts its performance. While iPhone 12 Pro could only juice up to 22% after 30 minutes of Magsafe charging, the new iPhone soaks up a 31% charge – and then a 57% charge after a full hour. That’s almost a single percentage of charge per minute.

Of course, wired charging is still the most efficient way to recharge the iPhone 13 Pro. In my testing, the battery charged to 56% after 30 minutes and 86% after an hour.

Purchasing Guide

The iPhone 13 Pro is available at a starting price of $999 and you can find it at Amazon, Best Buy, Walmart, and direct from Apple.



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Mayday Review

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Mayday is in theaters and on VOD on Oct. 1, 2021.

Avant-garde cinema isn’t meant to please the masses, but to truly have an impact, we still need to feel something for what’s been presented -- and that’s why Karen Cinorre’s Mayday is incredibly frustrating. The director certainly assembles an array of beguiling elements, from her talented cast to the beautiful out-of-time setting, yet none of it stitches together to say what you hope it might all be about.

Opening with an ethereal disembodied female voice reciting the internationally recognized distress signal word of Mayday, Cinorre makes us work to suss out the time, place, and context of Anastasia’s (Grace Van Patten) existence. She’s a mousy waitress working for a catering venue. She likes two of her male colleagues, but she’s treated miserably by her manager and seems rather disconnected to much of the world around her.

During prep for a wedding reception where a storm is raging outside, something happens to Anastasia that transports her into a liminal space where she washes up on an unnamed island, and three young women welcome her into their fold. Marsha (Mia Goth), Bea (Havana Rose Liu), and Gert (Soko) live in an abandoned WWI era submarine and imply that dire consequences in their previous lives brought them to this space where they now practice a variety of signaling techniques to lure soldiers to their small rock and then dispatch of them in cold and cruel ways.

Existing in this feral purgatory, Marsha especially demands that they all find their individual talent so they can eke out vengeance against the subjugators of their gender. Anastasia — renamed Ana by Marsha — is entirely confused and more than reticent about participating in this endless state of innocence lost, even when she eventually warms to the freedoms of their independent lives.

Ana assumes the quartet are all dead, which is implied but never entirely supported by dialogue or circumstances, since it becomes apparent they can be hurt by the men who aren’t dispatched quickly with bullets, stranglings, or drownings. Through dreams of her old life and mumbled conversations with Bea and Gert, Ana pieces together that she doesn’t really belong in this place of cyclical violence, which keeps her as suspended from progress as her inert, old life was.

Despite some beautifully shot locations and intriguing period costuming and set design for the women and their soldier prey to exist within, Mayday feels like it’s trying to say something about how the world has allowed the male gaze to dominate the stories of loss and sacrifice in life and war, making women a footnote to those experiences, but the four women don’t do anything to change that narrative. They don’t make the men they encounter, through force or violence or even conversation, see them as fully formed people. Marsha just inflicts death with determination and quirkiness, and requires the same of her cohorts. At one point a character says, “I don’t think we’re seeing the whole picture,” which sums up the failure of Cinorre’s intentions. Does she want for these women redemption, autonomy, to move forward after their pain? Who knows? The characters exist only as reflections of their pain, so there are no stakes, or even a sense of intentional purpose for any of them.

It’s like watching a gauzy dream about nothing.

Because the film presents so little context and is devoid of scenes meant to really connect to who these women are outside of their murky traumas, it’s hard to muster the energy in the last act to care no matter how much the swelling score and the editing tell us we should. Mayday is undoubtedly handsome to look at, with a collection of interesting locations and sound design that all have the potential to engage. But in the end, it’s like watching a gauzy dream about nothing.



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