jeudi 31 mars 2016

Vikings: "The Profit and the Loss" Review


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The chain.

Warning: Full spoilers for the episode below.

A massive, devastating Vikings this week with "The Profit and the Loss," as a drug-addled, red-mouthed Ragnar led his forces right into Rollo's capable clutches, with disastrous results.

Adding to the suspense of the thrilling opening 20-minute sequence of mass death and capsized boats was the fact that we, the audience, knew about the river chain. Not that we couldn't assume Ragnar's plan was doomed from the start, but the chain between the forts was always there to be the final, crushing ruiner of Ragnar's second Paris raid. So while Lagertha faced serious opposition in the form of tall grass and crossbows, causing her to fail at her attack on the fort, the chain was going to still upend everything in the end. It all played out rather brutally, and in a very exciting way.

The Paris raid episodes last year were very impressive, but I'd consider this to be the best action sequence that Vikings has ever pulled off. Just due to all the moving components, the suspense, and the actual emotion involved. Part of me wanted to hate Rollo, and really feel for Ragnar over this second betrayal (after Ragnar spared Rollo's life in the Season 2 premiere, even), but part of me also enjoyed Rollo in his new position of power. And watching him dismantle his former brethren at almost every turn. Shoving their pride down their throats. Pride that led them back to Paris in an attempt to attack a city they'd already attacked before. And in the same way they attacked it before. Not changing their methods at all. Arrogant, greedy, and murderous.

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But then to also watch Ragnar's army fall so decisively was crushing in its own right. Add to that the fact that this was a big water sequence, which are way more difficult to pull off from an action set piece standpoint, and this was all easily a recipe for some amazing drama.

The second half the episode saw the Northmen reel from their blunder, and from the attack on the riverfront camp, while Harbard magically seduced all the women back in Kattegat and Ecbert formed a big alliance with a Mercian nobleman seeking redemption over the corruption of his ruling class family. An alliance that could mean big "King of Both Wessex and Mercia" things for Ecbert.

But mostly, we saw the continued disintegration of Ragnar, who retreated even further into "medicine" following his defeat. Bjorn now has grown frustrated with his father's state, and we know Ragnar already has people in place to try and usurp him. From Aslaug to Harald to Floki, his list of enemies continues to grow and he's only making things worse. And crazily mumbling severed heads isn't going to win him back into people's favor.

Let's also dig into that oddball ending with Floki and Aslaug. Where it appeared as if her having sex with Harbard, as she's want to do while Ragnar's away, sort of found its way into Floki's devestated mind. Wherein he took the place of Harbard in the sex act, like a surrogate. Almost as if Harbard was trying to bridge Floki and Aslaug together. I'm not sure of what was going on exactly, but that's what it seemed like. Does this mark the beginning Floki's rise to power? At the eventual side of Aslaug?

The Verdict

"The Profit and the Loss" managed to sneak in some Ecbert stuff, but primarily - via a giant and exciting opening action sequence - it dealt with Ragnar's huge defeat at the hands of his brother and then subsequent spiral in the aftermath. An exciting, suspenseful, intense chapter.

Editors' Choice

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Opinion: 5 Reasons Why I Loved Batman v Superman


Snyder's Batman and Superman have a lot going for them.

Spoiler warning! If you haven’t seen Batman v Superman and are sensitive to spoilers you might want to skip this. You have been warned.

It has been a week since the release of Zack Snyder’s Batman v Superman, which, despite an overwhelmingly negative reception from critics, has enjoyed incredible box office success.

While I understand some of the criticisms leveled at BvS, I walked out of the movie with the complete opposite opinion. The film did exactly what I wanted it to and struck all the chords I wanted to hear. While there were some issues -- it’s too long, some storylines are convoluted -- Dawn of Justice is bold and unafraid to make you question its heroes.

The darkness of Batman v Superman has raised inevitable comparisons to the lighter Marvel movies. Though I was born and raised on Marvel Comics and am a fan of the MCU, I appreciated that BvS is challenging in a way most superhero movies won’t attempt. The latest movie in the DCEU isn’t perfect, but here are five ways it made me love its take on two iconic superheroes.

1. An Older, Hardened Batman

Ben Affleck’s portrayal of grizzled 40-something, head-spiking, car-tossing, screw-you Batman is incredible. Batman has been doing the Caped Crusader gig for too long and he is absolutely tired of your crap. He’s seen it all and has no tolerance for your idealism and belief in the inherent goodness of people. This is the Batman I wanted to see. We’ve already seen his origin stories and tales of redemption. Seeing cynical Batman, the scarred veteran of his war against Gotham’s criminals, provides the perfect foil to the idealism he perceives Superman and his followers to represent.

Batfleck also apparently has no issue offing bad guys; something Batman purists have taken issue with, but he has done many times before. From KGBeast in Batman Vol.1 #420 to the group of thieves he sets on fire in All-Star Batman and Robin No. 7 to Batman Returns, where he torches some of the Penguin’s henchmen with the Batmobile’s jet engine, comic book writers take artistic license with characters and so do directors. What works about Affleck’s portrayal of Batman is that he walks such a fine line where you aren’t quite sure whether he is a savior or just a vigilante.

2. A Bleak, Conflicted Superman

Henry Cavill’s portrayal of a conflicted and imperfect Superman worked for me. He’s not a benevolent God from Krypton - he’s a man from Kansas doing the best he knows how. From the immediate hypocrisy evident in Clark Kent wanting to blast Batman’s vigilantism in a Daily Planet article to his internal struggle displayed when talking to Lois on her hotel balcony, this is a Superman divided. Superman is a relatively young, lonely, indestructible super-being trying to do what he thinks is right.

Try placing yourself in his shoes: you’ve taken your first life and it was potentially the last surviving member of your race. The people you saved want to punish you for what happened in that battle. There are still crowds burning you in effigy and demanding justice for the catastrophic collateral damage caused by your heroics - and maybe those protesters have a point. The depiction of Superman’s struggle was perfectly captured when we saw him standing in the burning wreckage of the Senate. The very people he vowed to protect died because they wanted to hold him accountable for the damage his actions caused.

It’s refreshing to see this Superman reflect the bleak world we live in. It’s also a very valid perspective to want Superman to remain an unsullied beacon of hope, like IGN’s Lucy O’Brien’s argued in the fantastic article Snyder's Superman is Not the Hero We Deserve, but I found this take on Superman believable and fascinating.

3. Batman’s Change of Heart

During the climax of the film’s titular conflict, Batman is ready to kill a defeated Superman. With what could be his final breath, Superman’s last worries are for his mother, Martha, and he pleads for Batman to find her. The coincidence of Batman’s mother also being named Martha seems to break him out of his zealous search for (what he sees as) justice.

It’s this moment that shows to Batman that his seeming enemy Superman, despite being an invulnerable alien of nearly limitless power, is,on the edge of death, primarily concerned with his mother. As Batman said previously, “You’re not brave; men are brave.” Nothing could have convinced Batman of Superman’s bravery or humanity more than this act of selflessness in the face of death. It also shows the audience that Batman is human too and not just a single-minded zealot bent on making Superman answer for his crimes regardless of the cost.

4. Zero Audience Hand-holding

Even though Batman v Superman is only the second instalment in this particular DCEU, we get thrown into a world that feels like it’s five or six movies deep and doesn’t come across as another origin story. We get introduced to this Batman who has been stalking the streets of Gotham for decades and has already lost Robin and Wayne Manor. It’s a world where Aquaman, Wonder Woman, The Flash, and Cyborg are all active and (secretly) documented. We’re expected to know who Wonder Woman is and to figure out her motivations for ourselves. None of the story details are spoonfed to us, and we are meant to come to our own conclusions and realizations. The dots are all there, and it’s up to the audience to connect them, which is a nice change from movies that explain everything from the beginning.

5. The Unresolvable Conflict

Who does Superman answer to and who can possibly hold this godlike being accountable? This question works because it’s nearly impossible to answer. All the hypothetical outcomes only lead to more questions, and Batman v Superman doesn’t offer an easy resolution. Who will be the one to make Superman answer? What do we do if Superman doesn’t want to answer for his crimes? Can he be held accountable for what he’s done? Can any goal justify the destruction at the end in Man of Steel? These difficult questions motivate every character, and Batman, Lex Luthor and Senator Finch are all grappling with those issues. Instead of satisfying us with an answer to these questions the movie chooses to challenge us into finding an answer for ourselves.

Whether you love BvS or hate it, we want to hear from you. Let us know your thoughts in the comments below.

Kyle O'Connor is IGN's eSports fanatic and runs IGN's social media feeds. Find him on Twitter @KyleThatKyle.

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MLB The Show 16 Review


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This year's game is a field of dreams.

MLB The Show 16 carries the torch for the long-running Sony series, and continues to raise the bar in nearly every aspect. Building on the already-strong foundation of MLB 15: The Show, the overall aesthetics, franchise mode, road to the show mode, and especially Diamond Dynasty mode all received meaningful additions that make this year’s game better than it’s ever been.

When dealing with simulation games, the way real-life people and places look in the virtual world can make or break the level of immersion and believability. Here, the new lighting effects make a noticeable improvement in how the field itself and different materials on it look. For example, different types of metals are noticeably brighter, while the new matte helmets are more dull. It’s an attention to detail that stands out.

But while ballparks look better than ever, it’s the way the players move that jumps off the screen the most. A large amount of animations from years past have been redone, and are so fluidly stitched together that passersby might mistake it for the real thing. Specifically, the way pitchers transition from their pitching animation into fielding is smooth and natural looking.

The real prize of this new edition is the Road to the Show career-simulation mode.

Of course, incremental graphical improvements are expected year to year. The real prize of this new edition is the Road to the Show career-simulation mode, which makes its triumphant return with a few clever new features that start at the very beginning. This year you begin your career with an authentic-feeling scout day, where your performance in hitting and fielding drills results in an official scouting report. Once you get drafted and start leveling up your player, consumable and passive perks become available, and those open up interesting new ways to feel like your player has super powers, even if you’re not a star MLB player.

Consumable perks can only be used once per game, but can be activated at any time. Having a “flyball hitter” perk, which forces fly balls if contact is made, really came in handy when I needed a sacrifice fly to win the game. I was able to do exactly what needed to be done, in a simple and straightforward way. Having that kind of control (which the batting system doesn’t typically offer) once per game opens up more strategies. Other perks include things like eliminating foul balls for the at bat, and forcing the next pitch to be right down the middle.

Perks are great because they artificially create great baseball moments.

Passive perks, on the other hand, come into play automatically depending on the situation. For example, if you find yourself at bat with the bases loaded, you can fast-forward to a 3-0 count, forcing the pitcher to throw strikes. You can also make the umpire use a hitter-friendly strike zone, or have the altitude be similar to that of Coors Field, which makes home runs easier. Perks are great because they give you the option to make meaningful situations lean in your favor and artificially create great baseball moments, but still force you to actually make the play yourself.

There is a cost to using perks, however, and that makes using them a difficult decision. Each perk, depending on how powerful it is, removes time from the brand-new ShowTime meter. ShowTime allows you to slow down time in critical moments, helping you to either make a clutch play, or make a complete fool of yourself as you miss anyway. Although it can take some getting used to, it can really come in handy when you’re batting and want to get a better read on the pitch, when you’re on defense and need a faster reaction, or when you’re attempting to steal a base and want to perfectly time your jump.

Is all of this cheating? Yes, a little. But it’s also fun.

At first glance, ShowTime might feel a bit too “gamey” for a baseball sim, but since ShowTime is only available in Road to the Show, the new feature artificially creates and enhances big moments for your player. Is all of this cheating? Yes, a little. But it’s also fun, and the AI doesn’t care if you’re not playing fair. The best part about perks and ShowTIme is that they’re optional: you can completely ignore those features if they’re not your thing.

The addictiveness and quickness of each Road to the Show game encourages you to play multiple games in a row, especially because this year, an entire series can be played without ever going back to the menu as long as you’re playing against the same opponent and in the same ballpark. Even if you want to upgrade your player, the training screen is available without needing to load a new page.  The valuable time that used to be spent staring at loading screens in MLB 15 The Show was spent actually playing MLB The Show 16.

Likewise, The Show 16’s franchise mode is deeper, and consequently, better than ever. Individual players are now ruled by a morale system which alters their overall rating based on a number of realistic factors. The astonishing amount of information that’s now available consistently made me feel like I was making informed decisions when making trades and lineup changes. For example, the way a player feels about his team role can range from happy when batting cleanup, to angry if he’s downgraded to eighth in the lineup. When a player is angry his overall rating takes a hit, making my managerial decisions even more thoughtful and complex. Other factors affect player morale as well, such as contracts, team performance, and distance from birthplace. The same bits of emotional information becomes especially useful during contract negotiations.

Even if the aforementioned changes weren’t enough to lure me down the rabbit hole, the ridiculous level of stat tracking certainly gave me a nudge. Every statistic you can think of, from batting average against lefties to wins above replacement, is recorded.

While other modes have been meaningfully, yet mildly adjusted and expanded, the virtual card-collecting mode, Diamond Dynasty, has been vastly improved upon. Most of the features that were previously featured are still available: collecting cards to fill out your roster, creating a logo and uniform from scratch, and using a created player to round out your team.

You’re only allowed to lose twice before your team is disbanded.

On top of that are two new modes. The first – and best – is Battle Royale, The Show’s take on Madden’s Draft Champions mode in which you start by drafting a temporary team and try to win as many intensely contested online head-to-head matches as possible. Drafts go for 25 rounds, each of which allows you to pick one of the randomly selected players available. The catch, to ensure a competitive balance, is that you’re only allowed to select a predetermined amount of players from each rating level. This forced me to stop and make critical decisions about who I wanted to select in each of the higher ranked rounds. To make games quick and easy, each one is only three innings long. But to keep baseball strategy intact, pitchers will tire much more quickly to compensate for the condensed time. Increasingly valuable rewards, in the form of new cards you get to keep, are earned by winning. You’re only allowed to lose twice before your team is disbanded, and in order to join in the first place you’re required to buy-in using in-game currency. These factors led me to become incredibly invested in my teams, despite the fact that they’re temporary, and that makes Battle Royale the best way to play MLB The Show 16.

Conquest mode builds a turn-based strategy game in which you wager the size of your fanbase on the outcome of a single-player game to determine the difficulty, and isn’t as successful.  Conquest is just a bit too convoluted, and ended up feeling like a bunch of unnecessary steps I had to make between games. It failed to steal much of my time away from the other fantastic modes.

The Verdict

Simply put, MLB The Show 16 is the best baseball game available on any current-gen console. It looks, plays, and feels amazing, offering many ways to play the great American pastime. Franchise and Road to the Show modes have made incremental but impressive improvements, while Diamond Dynasty offers entirely new ways to play. Not every mode works, but it’s encouraging to see such a radical new mix of gameplay.

Editors' Choice

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New Mutants: Maisie Williams May Join X-Men Spin-Off

What Did You Think of Tonight's Legends of Tomorrow?

The Walking Dead: Michonne - Episode 2 Review


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The story remains bland, but Michonne herself and a few reveals toward the end give the series promise.

Much like the first episode, the only thing that elevates The Walking Dead: Michonne - Episode 2 above its basic plot is Michonne herself. She’s a complex survivor with intense guilt, moral ambiguity, and an unpredictability that keeps her interesting when the story is not.

Throughout episode 2, Michonne is faced with difficult, often lose-lose decisions that kept the routine people-are-worse-than-walkers theme from getting overly stale. My first major decision involved either staying with her friend Pete and killing innocent people or letting him go and taking more of a pacifist approach, but it's of course not that easy. After making what I thought would be the less painful choice, I was unhappy with the consequences and rewound to try the other one… only to find it was still seriously upsetting. For the first time in the series, I acutely felt the sting of the moral difficulty inherent to surviving in that world.

But everything is completely focused on Michonne. I only cared about the other characters when my decisions directly affected them, and that was mostly passing remorse. I felt like I didn’t have enough time to get to know any of them before something potentially devastating happened. The shocking death of someone I had just met was sad because I felt like I could have prevented it (or, at least, I wanted to), but other than that guilt, he really was just some random guy.

That’s partially important, since Michonne’s guilt over the fate of her daughters deeply affects her, and I wanted to relate to that. But even the characters I did know just don’t feel fleshed out — they’re either foils to Michonne or there to further her development. Pete in particular is an idealist to the extreme, which makes him entirely predictable and boring. His presence is at least helpful as a contrast to Michonne’s more muddied sense of right and wrong, but it would have been more effective for me had Pete been more of a three-dimensional character. Leaving him behind would have been an even more difficult choice if he had something to say that wasn’t stating the obvious.

Fight choreography and walker action — including an appearance by Michonne’s signature walker strategy — were once again strong in Episode 2, but the story driving that action is still tired. However, a small detail around the middle of the episode helps to unravel the basic good-versus-evil setup a bit, which is promising for the next episode. Suddenly, not everything falls so easily into easy good and bad categories, and there’s room for the story and characters to take a more interesting turn in the finale.

The Verdict

Michonne is undoubtedly a strong star, but the rest of the characters fall short as a supporting cast — they’re mostly backdrops and mirrors for Michonne to look into. It doesn’t hurt her character development, but it takes some of the emotion out of otherwise-powerful scenes that clearly affect Michonne deeply. Going into the third and final episode, those characters and the story overall have a chance to go in a more interesting direction, but for now, Michonne must carry it all.

Editors' Choice

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Game Scoop!: Game of the Year Watch 2016


What's your favorite game of 2016 so far?

Welcome back to Game Scoop!, IGN's weekly video game talk show. It's that time of year again -- time to start sorting out the best games of 2016 so far. Watch the video above or download the podcast below.

Download Game Scoop! Episode 384

Or subscribe in iTunes and never miss an episode.

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Batman v Superman: LexCorp Suspends Business

Unlocked: Quantum Comedy and Farewell


The most final fantasy.

DOWNLOAD UNLOCKED 239 (Audio version)

This week's Unlocked is Mitch Dyer's last, and with Ryan McCaffrey out on vacation, every rule is out the window. Marty Sliva and Alanah Pearce run down the future of Xbox with mouse-and-keyboard controls, Final Fantasy 15's leaks leading into last night's massive event -- and we end on what may be the silliest thing we've ever done: a dramatic reading of a comedic Quantum Break story item.

Unlocked now has its own snazzy new homepage! Bookmark this: go.ign.com/unlocked

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Past Episodes of Unlocked
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Wynonna Earp: Series Premiere Review

Suicide Squad's Jared Leto Salutes Past Joker Actors


Plus, additional shooting now taking place.

Suicide Squad star Jared Leto fully understands the importance and iconic stature of his character, the Joker, even if he admits, “I haven’t formulated a lot of my thoughts on this."

The Oscar winner is the latest actor to don the Clown Prince of Crime's makeup for the big screen following classic turns by Jack Nicholson and Heath Ledger, the latter of whom won a posthumous Academy Award for his performance in The Dark Knight.

"The work that’s been done on this character by so many people before me has been so impactful, so incredible, so much fun, so profound, so risky, that it’s a very special thing to be asked to take on that responsibility," Leto told Entertainment Weekly.

That said, Leto also understands the showbiz adage that no actor owns a role but is only renting it for awhile.

"Directors take on great works of cinema, actors reinterpret roles, that’s been going on for a great deal of time. From Scarface to Hamlet. In some ways it’s really interesting to reinterpret, redefine," said Leto, adding, "(It's) a weighty thing to do. But it’s exciting. The Joker is one of those roles. He was written brilliantly when he was first shared with the world 75 years ago, or something crazy like that. And I think I’m just really grateful I had the opportunity.”

In other Suicide Squad news, IGN has confirmed a report that additional filming has been underway for the last week. Additional shooting is a common element in major movie productions and is planned months ahead of time so this shouldn't been deemed as a sudden response to Batman v Superman. Productions, like aircraft carriers, simply cannot turn on a dime like that.

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Vote Now: Justice League vs. The Z Fighters


The only March tournament that matters.

Last week the Super Team Tournament 2016 had eight epic teams filtering all the way down to four , but not without plenty of surprises along the way. The Green Lantern Corps continued its unlikely run by narrowly taking out Team Avatar, as the Straw Hat Pirates finally lost out to the Justice League. But don't be scared - it's time for the Fearsome Four!

Take a look at bracket as it stands today, and be sure to cast your votes for this round before 5:00 AM PT this Monday, April 4th:

Click here for hi-res view!

Click here for hi-res view!

About IGN's Super Team Tournament 2016
The Fearsome Four
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Justice League vs. The Z Fighters

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The X-Men vs. Green Lantern Corps

Who do you think is a lock to make it into the next round? Which match-ups do you think might be tight? Make your predictions in the comments below, or on Twitter using the #SuperTeam2016 hashtag.

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Atlus USA Games Will Now Be Published by SEGA

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Game Scoop!: Game of the Year Watch 2016


What's your favorite game of 2016 so far?

Welcome back to Game Scoop!, IGN's weekly video game talk show. It's that time of year again -- time to start sorting out the best games of 2016 so far. Watch the video above or download the podcast below.

Download Game Scoop! Episode 384

Or subscribe in iTunes and never miss an episode.

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Filmmaker Kevin Smith No Fan of Batman v Superman

Disney Developing Movie About Snow White's Sister

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Call of Duty: Black Ops 3's Second DLC Pack, Eclipse, Announced

Hitman Episode 2 Release Date Announced

Ashes of the Singularity Review


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Putting the S back in RTS.

Ashes of the Singularity is one of those games that comes along every few years and slaps us in the face to remind us what the word “strategy” means. The likes of StarCraft 2, Grey Goo, and even Homeworld: Deserts of Kharak are rendered little more than tactical skirmishes by its grand scope, healthy disdain for fast-fingered micromanagement, and strong emphasis on high-level thinking. It’s a refreshing approach, considering this type of RTS hasn’t been attempted with much success since Supreme Commander: Forged Alliance. Ashes doesn’t quite pack the punch of Gas Powered’s nearly decade-old masterpiece, but it does hit the mark in several of the same places.

Someone who only played the disappointingly short single-player campaign would likely have a negatively skewed idea of the abundant strategic depth hiding in the other modes. Across eight main missions and three optional ones, the campaign introduces you to a future where the Post-Human Coalition (cybernetically-enhanced superdudes) send their remote-controlled robot armies out to do battle with the shinier, more-organic-looking-but-still-robot armies loyal to a mysterious, aggressive AI called The Substrate. The characters are as flat and flavorless as they sound, the story is about as minimal and straightforward as those in Ye Olde Games of Yore, and up until the last couple, the main missions feel more like an extended tutorial than a set of interesting challenges.

Unambitious story presentation is ultimately forgivable for a game like this, but it puts a flimsy foot forward that underrepresents what Ashes actually holds in store. Supreme Commander and the recent Homeworld: Deserts of Kharak did a much better job of infusing some life and a sense of purpose into the plot. Given that the campaign that comes with Ashes is labeled “Episode 1,” I hope to see a little more attention given to storytelling in the implied future installments.

In all fairness, though, a game like this deserves to be evaluated primarily on how well it lets you blow up robots in vast quantities while using your wits to outplay all opponents on a scrap-strewn battlefield the size of a small city. In that department, I had few complaints. Ashes definitely takes some getting used to, as its emphasis on strategy over small-unit skirmish tactics is as zealous as it is relentless.

Mind Games

Multiplayer is where Ashes really has room to spread its robotic wings. Adding human opponents to its rigorous equation has the potential to turn the sprawling conflict from a predictable puzzle into an elaborate mind game where actions per minute won’t save you from a well thought out counter. More than any RTS I’ve played recently, I see the potential to pivot entire matches by getting inside an opponent’s head and nullifying their grand plans before they’re even executed.

Battles are won or lost at the strategic level.

The two races (Post-Humans and Substrate) don’t play significantly differently—Substrate have rechargeable shields and a bit more mobility, while Post-Humans get tougher hulls and hold their own better in prolonged engagements—but given the high-level strategic focus, you’ll always be emphasizing which tools to bring over who has the better toolbox. Battles are won or lost at the strategic level, and trying to play it as I would a more micro-heavy game landed me in hot water even on simple earlier missions. Like in a game of chess between high-level players, you’ll often think back over a match and realize one side or the other had already clinched victory long before the last base fell.

Two dreadnoughts face off.

Two dreadnoughts face off.

If there’s a population cap, I haven’t hit it yet.

A large part of this dynamic comes from the massive, awe-inspiring scale of the battles and the armies fighting over them. Units number in the hundreds by the late game, from six-strong squads of small, frontline tanks, to mid-sized cruisers with versatile battlefield roles, to massive dreadnoughts with the ability to level up, gain new abilities, and hold their own against hordes of smaller vehicles. If there’s a population cap, I haven’t hit it yet; in one skirmish against a particularly stubborn AI I pushed my headcount well over 3,000, and there was no sign that I couldn’t have kept on going by collecting vast quantities of the appropriate resources. The engine also handles titanic engagements incredibly well, with no notable slowdown on my Core i7/GeForce GTX 770 on Windows 10 even when the battlespace gets very crowded. (Oxide says it’s used Windows 10’s DirectX 12 to deliver significant performance boosts by offloading light graphical tasks to the CPU.)

Think Big

The colossal maps can be surveyed with a flexible and responsive camera zoom that made me feel like I was managing an entire theater with multiple, full-scale battles going on in many locations at once. Ashes encourages you to think of large groups of units as single entities, which, when grouped into formal armies with the press of a hotkey, will adopt and maintain a logical formation without help. In this context, the need for low-level micromanagement and clickable abilities has been wisely jettisoned, allowing you to focus more on the unit composition of each army, and which army should be going to which part of the theater.

Units behave intelligently within their group.

Units behave intelligently within their group.

The trick is predicting your opponent’s movements.

This model for interplanetary combat creates an interesting, ultimately rewarding learning curve. Due to how slowly yet inevitably actions play out compared to other RTSes, you have time to think through your decisions. Swarms of smaller units have considerable agility, but won’t last long if they run into an army supported by larger ships. Mixing in weightier vessels yourself will make your army more resilient and dangerous, but lose a lot of mobility. Dreadnoughts take this concept to the extreme: They crawl across the map like advancing glaciers of death, and might not arrive at their destination until the crucial engagement is long over — but having more dreadnoughts in a given region than your opponent almost guarantees strategic control of the surrounding area. The trick is predicting your opponent’s movements and knowing where you’ll want to have a dreadnought a couple minutes from now. Once again, the side that’s better at thinking several moves ahead will always have the advantage, and the armchair general in me was delighted by that realization.

Ground Control

It’s possible to crash a complacent opponent’s entire economy by surgically taking out a key node.

That pace meshes well with the core means of collecting resources and achieving victory, which intelligently and intuitively stress map control. Each team (up to six in Skirmish and Multiplayer) competes for capturable nodes similar to those in games like Relic’s Company of Heroes and Dawn of War. Because only nodes connected by a string of other nodes to your main base generate resources, it’s possible to crash a complacent opponent’s entire economy by surgically taking out a key node in the chain with a smaller, more agile force before their larger, dreadnought-anchored armies can respond. In addition, special nodes in the middle of most maps generate Turinium, a strategic resource that grants automatic victory if one side controls enough of it for a certain span of time. This is the most common way to end a match in multiplayer, with the late game becoming a tense tug of war over those points rather than one side snowballing all the way to the other’s main base – it’s as good an anti-turtling solution here as it is in Company of Heroes.

Performance is great, even with lots of action on screen.

Performance is great, even with lots of action on screen.

Options for rapid, reactive counters are few, and have such a high resource cost that leveraging them less than optimally will set you back. A small selection of air units are Ashes’ primary means of swift counters to surprise attacks (and of launching your own), and some of the better multiplayer maps have creative configurations of impassible ground to create a compelling, extra layer of air war. These units are hard-countered by anti-air emplacements and certain cruiser types, however, which makes them much less flexible in the late stages of a match. You also have access to some orbital call-down abilities that can spawn units or fire a death ray anywhere you want at a moment’s notice to gain a tactical advantage, but they tend to be expensive and compete for the same resource used to increase your population capacity. I enjoyed that trade-off between throwing a strong, unexpected punch now and having a larger army in the long run, which prevents orbital abilities from trumping good planning in the long game. All of these factors in concert carve out a satisfying, distinct niche for Ashes of the Singularity that will appeal to a whole different breed of strategy gamer than the frantically paced melees that characterize its contemporaries.

My only other significant gripe was that the environment art is bland and uninteresting. While the layout and design of most maps is spot on, the mountains, hills, valleys, and plains across which my armies thundered all came across as bare, dead, and unexciting. Unadorned, repeating slopes of brown and green stand in contrast to the creative and distinctive unit designs, which are simultaneously fun to look at and allow you to easily assess the composition of an army at a glance from most zoom levels. Dreadnoughts, in particular, become distinctive characters dominating the field, with each hull design speaking to the theme and capabilities of the hulking capital ship. Adding more of this visual detail and personality to the maps themselves would have gone a long way.

The Verdict

Once you break free from the tactics-focused mindset of most RTS games, Ashes of the Singularity is a challenging, engrossing, and cerebral exercise in strategy that has me mentally iterating on army compositions, build timings, and board deployment schemes even when I’m not playing it. The campaign comes across as an unwanted stepchild beside the strong multiplayer, and the terrain art is dull and uninspired, yet Oxide has delivered on the promise of bringing back capital-S Strategy to the RTS space. This is a warzone where the shrewd general looking at the bigger picture will triumph over the fast-thinking ace with lightning hotkeys.

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Suiciders: Kings of HELL.A. #1 Review


In addition to being a talented artist with a strikingly raw and detailed style, Lee Bermejo has also developed a reputation as a capable writer in recent years. Suiciders: Kings of HELL.A. allows Bermejo to return to the earthquake-ravaged, post-apocalyptic landscape of the original Suiciders and further flesh out the world and its inhabitants. This first issue offers a clean gateway into the Suiciders universe, with a tale of restless young skater punks and gang warfare that won't fail to impress.

The most obvious change with Kings of HELL.A. is that Bermejo has mostly stepped away from the artist's easel. He still renders the cover and the opening prologue sequence, but the bulk of this issue is drawn by Alessandro Vitti. And while that may sound like a drawback, Vitti's aesthetic is a great fit for this dilapidated, decaying world. Vitti's work is some of the strongest he's delivered in years. His characters ooze detail and are covered in rugged lines. The environment is treated with as much care and respect as the characters themselves, which is only fair considering how much the hellish setting defines this franchise. The Suiciders franchise may actually be better off thanks to the Bermejo/Vitti collaboration.

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This new series revolves mainly around brother/sister duo Johnny and Trix, the former being a hotheaded, confrontation-prone gang leader and the latter a talented skater bristling under her brother's overprotective watch. This issue is very efficient in introducing both characters, their relationship and the desires they have in a city ruled by chaos and disorder. This isn't a slow first issue by any means, but one that races right into a violent conflict as two rival gangs clash head-on.

The worst that can be said about Kings of HELL.A. #1 is that it's over a little too soon. perhaps because of the opening flashback to the immediate aftermath of the earthquake, the main story breezes right by and cuts out just as things are getting really interesting. The pacing might be a little iffy, but it's rarely a bad thing when a comic leaves you wanting more.

The Verdict

The original Suiciders was a solid addition to Vertigo's lineup last year, and the sequel is shaping up to be even better. The addition of Vitti to the mix has only boosted the book's visual appeal. This first issue is quick to establish its cast and conflict and move forward without hesitation.

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mercredi 30 mars 2016

Saga #35 Review


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Someone's going to get chopped.

By its usual standards, Saga’s latest arc has been a relatively quiet affair, with Brian K. Vaughan and Fiona Staples playing the long game in gently nudging their many freewheeling threads back together. Issue #35 doesn’t do much to veer from that formula, but it does offer its first results. Said events change the various status quos to certain and often dangerous degrees, ensuring that the arc’s upcoming finale will be one with plenty at stake.

Much like last issue, issue #35 is split threefold between Hazel, Marko and Alana, and The Will. At this point we’ve a clear idea how these three stories will eventually intersect, but that doesn’t stop writer Vaughan from adding further wrinkles to the unfolding narrative. Rather than force each thread in, writer Vaughan continues to push them out, giving each their own sense of urgency as the three groups continue to work towards their own means. It’s a heck of a juggling act, yet in Vaughan’s hands the pacing never feels off. His strong characterization again drives the read, as each and every action for the most part feels valid and earned. From Hazel’s plans of escape to Marko and Alana’s equally gripping plan to break in, there’s a wonderful synergy to the read that ensures that the sense of drama never dips.

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That’s not to say the issue is an entirely seamless experience. For whatever reason, The Will’s storyline feels remarkably thin in comparison to everything else that’s going on. Perhaps it’s simply personal preference, but the driving force of his arc – to enact revenge for The Stalk’s death – feels forced, particularly so given the conveniently handy role Doff and Upsher continue to play. Part of that may be in the way this new version of The Will is portrayed, but his involvement feels less organic. However, where that story falters the other two excel, Vaughan doing an excellent job in further exploring the two sides of Hazel’s impending rescue attempt. Not only has he successfully made power players of new characters such as Noreen and Petri, but his portrayal of the Robot formerly known as Prince continues to steal every page he’s on. And that final cliffhanger? Be still out hearts.

Of course, Fiona Staples only adds to that warm and fluttery feeling, her lush backdrops and fantastic design work again poster worthy in their rendering. As always, it’s the little things – from the wordless back and forth between Hazel and Klara to the emotional exchange between Marko and Alana –Staples’ emotional detail remains second to none. She can also work her away around a cheer worthy splash page, as made evident by the gleeful (and best read spoiler-free) final page. Add in a few subtle but hilarious animal movements (such as the lying cat demanding scraps at the table) and you have another issue that positively demands to be perused with a fine tooth comb.

Few titles play the long game quite so well as Saga, and issue #35 does a great job of capitalizing on the many well placed threads. Vaughan and Staples again find just the right blend of character and progression, culminating in an ending that all but tells you to fasten your seat belts. Consistency is key to a title's overall longevity, and few books remain quite so consistently engaging as this one.

The Verdict

Saga's many planted seeds begin to take root, Vaughan and Staples making ample use of their extended cast. The book's strong characterization and emotional focus again drives the read, it's balanced narrative allowing for a natural synergy as things come together. With Vaughan again investing us in the world and Staples bringing it further to life, issue #35 successfully ramps up the anticipation as we approach the arc's finale.

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Power Lines #1 Review


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Not just another superhero origin.

Based on Image's solicitation of this issue, readers might go into Power Lines #1 expecting a racially charged comedy about a young black man who gains super-powers and battles crime and prejudice in a suburb full of affluent white families. But despite that solicitation, and despite Jimmie Robinson's work on the very raunchy and comedy-driven Bomb Queen, Power Lines is a surprisingly serious book with a lot on its mind. While the characterization in this first issue is a bit suspect, there are enough interesting ideas at work to warrant a look.

Robinson sets the larger than life tone for the series right away as the narration explores the history of race relations in America and the existence of mystical, strength-bestowing "power lines" surrounding a particular area in California. This material dovetails into a more grounded sort of conflict, as series protagonist D-Trick and his friends drive to the suburbs for a night of theft and graffiti tagging. This in turn puts D-Trick in conflict with a military veteran named Kevin, whose mother is none too happy about being robbed. Throw in some mystical tomfoolery and Native American prophecies and you have quite the odd little comic.

It's great to see Robinson taking such an ambitious approach to this series, one that doesn't shy away from tackling racism and classism at a particularly thorny time. This issue ostensibly qualifies as a superhero origin story, but it's clearly it's own beast in terms of tone and subject matter. The supernatural elements not only add flavor to the story, they inject it with a greater sense of weight and purpose.

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Unfortunately, the book falls short when it comes to the cast of characters. Nearly everyone in this issue apart from D-Trick and Kevin come across as vague, bland caricatures of one extreme or the other. Kevin's mother is a particularly bad example, playing out as a stereotype of every angry, entitled, "I'm not racist, but..." character pop culture and real life have to offer. Even the two leads aren't especially compelling in this issue; they just have the benefit of showing some degree of depth and complexity.

Robinson wears many hats with this series, writing, drawing, coloring and even lettering this issue himself. There's a lot to be said for one creator controlling all aspects of the storytelling process. Robinson's angular, expressive character designs suit the unusual tone oft he story well. The page layouts are generally pretty straightforward, but Robinson's storytelling still shines, especially during the sequence where D-Trick and his friends embark on their crime spree while rap music forms a soundtrack. Robinson's coloring generally doesn't do justice to his pencils, however. The hazy, washed-out tones give the book a flat quality where another colorist might have been able to add more depth and vitality to the art.

The Verdict

If nothing else, Power Lines #1 shows plenty of potential. This isn't merely another addition to the ever-crowded superhero market, but a book that combines many disparate elements into one ambitious package. Unfortunately, Power Lines won't achieve its full potential without a more compelling and fully realized cast of characters to anchor the conflict.

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Star Wars Rebels: Season 2 Finale Review


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The tragedy of Skyguy and Snips...

Warning: Full spoilers for the episode below.

So that happened.

And that.

And that!

The Star Wars Rebels: Season 2 finale was a massive episode, filled with events that were crucial for this series, that paid off on years of build up from Star Wars: The Clone Wars and which felt impactful to the Star Wars universe as a whole.

It was emotional, it was intense and it was packed with so many lightsaber fights.

Let’s get to that ending though and Ahsoka’s fate. As we finally saw her… Die? Maybe?

The decision to end the long-awaited Vader vs. Ahsoka battle in an ambiguous manner was an interesting one and the one place I have some mixed feelings about the episode. Because after so much build up, it feels weird to not know exactly what happened to Ahsoka. And let’s face it, by not definitively killing her, it pretty much means she has to be alive, in some way, right? Because it would feel really odd to just have her fate confirmed later by being told she had died by Vader or such.

On the other hand, I did love the dream-like quality of those last few minutes. Vader, who was taken to the limit by Ahsoka, limping away from the battle… that owl-like creature (a "convor") flying above again and a cave where… Well, I know I thought I saw Ahsoka walking away. Is that what everyone else saw though? And was that in the real world? Or within the Force? If Ahsoka was still alive, what state is she in? Much to ponder.

As for the battle itself, it was exciting and wrenching and oh-so sad, just as it should be. For those of us who watched The Clone Wars, it was appropriately difficult to see the man who was once Anakin Skywalker set on killing his former Padawan, and it was hard not to feel pain for Ahsoka, having to face the monster someone so dear to her had become.

Ahsoka slicing open part of Vader’s mask was incredible. The glimpse of Anakin/Vader’s disfigured face… the way The Clone Wars’ Matt Lanter’s voice as Anakin was intermixed with James Earl Jones as Vader… What an amazing moment. Ashley Eckstein was excellent here, bringing all the heightened emotions as Ahsoka faced Vader. And how awesome to hear her say, "I'm no Jedi."

Beyond the "Did Ahsoka die?" question, this is why I want to know how that fight ended. If Ahsoka is still alive, why would Vader leave her? Was he himself too injured to continue fighting? And whether she lived or died, did she, perhaps, actually stir something within him he couldn't face - a small part of him that was still Anakin? After all, while he is destined to not be redeemed until Return of the Jedi, Luke says he did feel some good in him after their first encounter. I like the idea that Ahsoka perhaps oh-so slightly opened that window up, even if it was still overshadowed by the evil of Darth Vader for years to come.

I’m several paragraphs in and I haven’t even mentioned Darth Maul, which just goes to show you how busy this episode was! Having this fearsome and frightening character return, acting like he was old and weak – with many parallels, dialogue included, to the guise Yoda uses when Luke first meets him – was great, even as we waited for the other shoe to drop. Sam Witwer was awesome throughout, as Maul played one role, and then resumed the one we knew him to be.

It was undeniably cool to briefly see Maul fighting side by side with Ahsoka and Kanan, but I’m glad it didn’t last, as truly redeeming Maul would feel forced. So yes, he helped fight their common foe, the Inquisitors, but ultimately, he was as self-motivated as ever…

…and blinded Kanan! This episode really didn’t shy away from consequences, as Maul cost Kanan his eyes. Which made it all the more gratifying for Kanan to use the Force to fight Maul without his sight, and ultimately beat him.

Meanwhile, we met another Inquisitor (the “Eighth Brother”) and got the aforementioned thrill of seeing three Inquisitors fighting our Jedi heroes and Maul all at once. That being said, I was very surprised to then see all three Inquisitors then killed! Farewell, Sarah Michelle Gellar. Inquisitors don’t come out of Rebels season finales doing very well, huh? Hard not to wonder how many of these guys are left now.

As an aside, I found the whole helicopter lightsaber thing very goofy, but I did love that it led to the Eighth Brother's demise when his lightsaber shorted out.

As for Ezra, it was a bit of a reach that he so quickly fell under Maul’s sway, but it was helped by the fact that there had been plenty of direct discussion in the past about the possibility of him falling to the dark side. And while he did turn his back on Maul (who made it clear he wanted Ezra as his apprentice), that ending sure was ominous, as Ezra was able to open the Sith holocron, after Maul said “One must be a Sith or think like one” to do so.

Kanan, Ezra and Ahsoka all running around on Rebels has been a constant curiosity and raised lost of questions, since it was difficult to see how they could still be doing so by the time Luke Skywalker has begun his training, given the whole “that boy is our last hope” exchange - with Leia the only other option. But this episode took Ahsoka off the playing field (at least for now?), badly hurt Kanan and indicated Ezra may be going down the wrong path entirely.

Suddenly, that kid on Tatooine must be looking like a much more viable option.

The Verdict

The Star Wars Rebels season finale was incredible, packed with amazing, crowd-pleasing sequences and no-turning-back decisions and confrontations. There was so many iconic moments, from Maul fighting side-by-side with Ahsoka and Kanan, to the suitably terrifying image of Darth Vader on top of his TIE Fighter, looking as demonic as possible. But in the end, it came down to Vader and Ashoka and an inevitable confrontation that was packed with all the emotion and weight one would expect from seeing these two have their tragic reunion.

Be sure and check out my in-depth post-finale interview with Star Wars Rebels executive producer Dave Filoni, as we discuss the huge events that occurred - and what Ahsoka's fate may be.

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Cranston, Hart in Talks for Intouchables


With Simon Curtis on board to direct.

The Weinstein Company's upcoming remake of the hit French comedy-drama The Intouchables may have found its pair of leading men in Bryan Cranston and Kevin Hart.

According to Deadline, Cranston (Breaking Bad) and Hart (Ride Along 2) are currently in talks with the studio to star. Additionally, sources have told Variety that Simon Curtis is on board to direct the movie.

hart

Hart in Ride Along 2

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Cranston in Breaking Bad

The original film -- which released internationally in 2011 -- tells the story of an aristocrat who hires a young man from the projects to take care of him after a paragliding accident leaves him paralyzed.

Following its $416 million success overseas, TWC secured the rights to remake The Intouchables, with Paul Feig attached to write the movie's script. Filming is scheduled to begin sometime this summer.

Alex Osborn is a freelance writer for IGN. You can follow him on Twitter.

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Teenage Mutant Ninja Turtles Deviations #1


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The Turtles are out for blood.

"City Fall" is easily one of the more memorable stories to unfold in IDW's ongoing TMNT comic. It marks the point where the series really came into its own and the family dynamic between Splinter and his sons became all the more crucial. So it's fitting that IDW chose to revisit that story as part of their month-long "Deviations" project. Like so many What If/Elseworlds-style comics, this issue isn't quite big enough to contain the ambitious tale within, but it still offers a compelling read for TMNT fans.

This issue deviates from the events of "City Fall" by presenting an alternate universe where Casey Jones was killed by Shredder and all four Turtles, not just Leonardo, were brainwashed to become agents of the Foot Clan. Seeing the Turtles decked out in red and black and hunting their father like an animal definitely packs an emotional gut punch. This is about as dark as TMNT comics get, and rightfully so. The alternate universe setting means writer Tom Waltz doesn't have to pull any punches. Many characters die as this one small deviation spirals outward to reshape the entire city.

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It's just a shame the writers didn't have more room to work with. The pacing of the story is a little rushed, particularly in the latter half as more familiar faces join the escalating conflict. This issue doesn't spend enough time focusing on the Turtles' respective mindsets. How did they react to Casey's death? How do they feel about becoming cold-blooded killers? In some ways it's to this issue's credit that the story feels more deserving of a full-length graphic novel than a one-shot special.

Visually, this issue maintains the increasingly high standards of the ongoing TMNT comic. Zach Howard's art is a natural fit for the TMNT aesthetic, but his powerful figures and heavy black lines hearken back to the classic Eastman/Laird comic. That harsh vibe is a perfect fit for the darker tone of the story. With that in mind, it's a little strange to see Cory Smith's smooth, organic style paired with Howard's work. Smith's expressive storytelling is great on its own merits, but not necessarily as an accompaniment to Howard's. The transition works fine at first, when Smith renders a psychedelic dream sequence, but the abrupt shift from Howard's art to Smith's in the final pages is fairly jarring.

The Verdict

You might think the world has no need for a darker, grittier take on the Ninja Turtles, but this comic could very well change your mind. TMNT Deviations uses the main series' continuity to craft an unsettling look at a world where things have gone wrong for the Heroes in a Half-Shell, and it makes for fine reading. It's just a shame the creative team didn't have more space to let this What If?-style tale fully breathe.

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Rush Hour: Series Premiere Review


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1998 called...

Note: The Rush Hour TV show debuts Thursday, March 31 at 10/9c on CBS. Minimal spoilers follow...

It's been nearly a decade since the last Rush Hour movie came out, and even then it was a tired concept. The farcical buddy cop trilogy starring Jackie Chan and Chris Tucker had its charms in the early going, but it quickly ran out of steam about halfway through the second film. It's a little puzzling then why CBS would want to reboot the franchise as a TV series, other than sheer name recognition I guess. Having now seen the pilot, I can say it's actually not as bad as I thought it would be, but the same old premise doesn't feel as fresh and funny as it did in 1998.

Developed by Cougar Town's Bill Lawrence and Blake McCormick, the new series follows straight-laced Detective Lee (Bangkok Revenge's Jon Foo), who travels from Hong Kong to Los Angeles to track down a Chinese crime syndicate that he believes murdered his sister (Jessika Van). Once in LA, he's partnered with Detective Carter (21 Jump Street's Justin Hires), a motormouthed cop who, you guessed it, doesn't play by the rules -- much to the disdain of his boss, played by Wendie Malick.

The new show takes place in the present day, but you wouldn't know it from the stock racial jokes, which are almost exclusively pointed at Lee being a fish out of water in Big City, America. To be fair, that was 90-percent of the original movie's humor too, but none of the references have been updated for this, and they come off as trite as a result. That's a shame, since the modern differences between Chinese and American cultures (not to mention police forces) seem like fertile ground for new, insightful comedy. Instead, we get the usual stuff: Carter making fun of Lee's Eastern stoicism, while Lee berates Carter for his unlawful behavior. Honestly, the jabs are pretty harmless -- in today's PC-minded society, they could have been much worse -- but none of them are very original.

As for the two leads, they're fine. Hires seems to be channeling more Chris Rock than Chris Tucker as Carter, but he's certainly got the energy down. Meanwhile, Foo has all the aloofness and fighting grace of Jackie Chan but almost none of the slapstick appeal. In fact, most of the action here is humorless and all too brief to be enjoyed.

For example, in the pilot, Lee gets into fisticuffs with some bad guys around a pool table, just like in the first movie. But instead of playing with that environment and/or adding some physical comedy to the mix, Lee systematically takes each guy down in a matter of seconds -- no struggle, no slapstick, just one minor nut shot at the end. Same goes for the numerous chase sequences in the premiere, which are all played pretty straight.

"And I won't even crack a smile."

"And I won't even crack a smile."

As pilots are wont to do, there's a handful of more expensive-looking set pieces. The most notable one is Carter's first scene, in which he rides the side of a helicopter across the LA sky. Unfortunately, it's paired with the most overplayed song of 2015, "Uptown Funk." The other big action sequence involves a clever (but still low-key) skirmish set around a bunch of Terracotta Warriors, which both Lee and the bad guys try to avoid as they fight. That said, if this is the best the Rush Hour TV show has to offer, I can't say I'm really sold, especially considering this is poised to be a case-of-the-week show -- at least I assume. CBS only made the first episode available to screen.

The Verdict

CBS's Rush Hour doesn't outshine the original movie, or even the sequel, but I guess it's somewhat better than the third one. That doesn't seem like high praise, I know, and that's because it isn't. While the network's Limitless TV series has had some success with taking that film's original premise and putting a fresh spin on it, Rush Hour feels like a straight rehash of its 1998 predecessor. Granted, the tone is right and some of the fight scenes are cool, but the jokes, characters and Lee's underlying storyline aren't strong enough yet to justify a long-form take on the movies.

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X-Men '92 #1 Review


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Does a mallrat eat chili dogs?

The good news for fans who might be less than thrilled at the current state of the X-Men franchise is that there's now a second option for those who prefer standalone, humor-oriented books. X-Men '92 picks up where last year's Secret Wars tie-in left off, chronicling the ongoing adventures of the merry mutants in the tradition of the beloved animated series. This series works as a heavy dose of nostalgia, but more importantly, it's just plain fun to read.

The new series deviates a bit more from the framework of the cartoon than its predecessor did. The traditional team lineup has changed, with Bishop and Psylocke replacing Cyclops and Jean Grey and the casts of Generation X and X-Statix now settling into the mansion. These changes seem to be for the better. I blame X-Men: The Animated Series for leading me to believe Cyclops was a terrible character for several years, and there's not a lot to be gained by having that stuffy teacher's pet version of the character hogging the spotlight. Psylocke and Bishop make for fun additions to the group dynamic. And the addition of a real student body to this incarnation of the X-Men doesn't hurt either. Characters like Chamber add a bit of extra flavor to the book without distracting from the core cast.

Plus, '90s Doop. 'Nuff Said.

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The tone is also more overtly comedic. Writers Chris Sims and Chad Bowers achieve a delicate balance in this first issue. The dialogue is very reminiscent of the cartoon, what between Storm's overwrought proclamations, Rogue's colorful, Southern-fried similes, Gambit's nigh-indecipherable patois and Wolverine's perpetual tough guy posturing. It's all very '90s in the only way it's really acceptable to be '90s in superhero comics these days - with a healthy dose of self-awareness and a tongue-in-cheek fondness for the source material.

While Sims and Bower carry over from the previous X-Men '92 series, this book receives a significant visual overhaul thanks to Alti Firmansyah. In some ways Firmansyah's style is a natural fit. It's just cartoonish enough to pay tribute to the animated series without losing sight of the bombastic, hyper-kinetic approach that made the '90s X-Men comics so distinctive. The individual character designs are sleek and expressive. The problem generally comes with how those characters are arranged on the page. Far too many panels in this issue feel cluttered and crammed full of figures. The often sparse background details don't do much to create a sense of order or perspective.

The Verdict

Marvel hasn't always found success in trying to tap into the lingering nostalgia for the X-Men's '90s period. This new series is largely successful, thanks to its lighthearted tone and a storytelling approach that honors the source material while also poking fun at its many excesses. It's unfortunate that the art isn't quite up to the task of capturing that distinctive era, but hopefully that's an element of the book that will improve with time.

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