mercredi 1 novembre 2017

EA Says It Will Bring EA Access Subscriptions to Other Platforms


Businesses continue to enjoy your money.

EA has revealed that it plans to expand its subscription services - like Xbox One's EA Access and PC's Origin Access - to "other platforms", although doesn't specify exactly what they'd be.

Speaking on an EA earnings call (as transcribed by Seeking Alpha), CEO Andrew Wilson discussed the success of the existing subscription services, before revealing its future plans:

"Our subscription services like EA Access and Origin Access are bringing more players from across our network to join in. Our subscription player base continues to grow. And you should expect us to continue driving this model to more platforms going forward."

Wilson went on to explain the significance of the subscription model to EA, explaining that because of its "live service" games (such as FIFA, Madden and the upcoming Star Wars Battlefront 2), players will download games included in the package before paying more for them down the line:

"The one thing that's often lost when we have this conversation is that unlike linear media, the subscription fee paid is not the total value of what a player might expend as they enjoy the games they play inside of subscription [...]

"And so we believe long term, while it may take us some years to facilitate that at the kind of scale that we expect it to evolve to, in the same way that digital music and digital movies have evolved, the upside for the interactive entertainment industry is uncapped by virtue of the value of live services that are born inside of a subscription."

The rise of the kinds of microtransactions that Wilson is talking about have been the subject of recent controversy around the issue, not least as EA shut down Visceral Games and pivoted its single player game to a live service model.

EA CFO Blake Jorgensen added that the existing services will likely be expanded, too:

"We've been doing a lot of work on Origin Access and EA Access. And as Andrew mentioned, you'll most likely see those on other platforms. And you'll most likely see additional content coming into those subscriptions and some exciting things to come there. But we believe that's a very important way for more consumers to enjoy more games over time at a very reasonable price."

The Access services currently offer a "vault" of free-to-download EA games, as well as discounts and early access for new titles, in return for a monthly payment.

Joe Skrebels is IGN's UK News Editor, and reading earnings calls is sometimes like looking into the brains of businessmen who'd never say this kind of stuff in regular interviews. Follow him on Twitter.

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The Walking Dead: Telltale Series Collection Announced


Available on December 5 for PS4 and Xbox One.

Telltale Games has announced The Walking Dead: The Telltale Series Collection, which includes all 19 episodes of the game series so far.

The $49.99 collection will be available on December 5 for PS4 and Xbox One digitally and physically across North America and Europe.

It features the most recent third season, A New Frontier, as well as visually enhanced versions of Season OneSeason Two400 Days, and the three-part Michonne miniseries.

Telltale has also announced Rogue One: A Star Wars Story writer Gary Whitta will return as a story consultant for the fourth and final season of The Walking Dead: The Telltale Series, which will be released in 2018. Whitta was part of the team of writers on the first season.

"Collaborating with Telltale on the first season of Clementine's journey through the world of The Walking Dead was one of the highlights of my career, so reuniting with them to now bring her story to a close with this final season feels like a homecoming," Whitta said in a statement alongside the announcement.

For more on Telltale's The Walking Dead, be sure to read IGN's reviews of all five episodes of A New Frontier.

Alex Gilyadov is a freelance writer for IGN. Be sure to check out his YouTube channel and follow him on Twitter.

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AOC AGON AG322QCX Curved Gaming Monitor Review


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Lots of bang (and some blur) for the buck.

 Be sure to visit IGN Tech for all the latest comprehensive hands-on reviews and best-of roundups. Note that if you click on one of these links to buy the product, IGN may get a share of the sale. For more, read our Terms of Use.

Trying to find the right PC gaming monitor in 2017 can seem like a rather daunting task. There's a multitude of panel types, refresh rates, response times, and of course, price levels. AOC's AGON AG322QCX (See it on Amazon) / (See it on Amazon UK) attempts to find middle ground between packing in all the bells and whistles a gamer could want at a price that won't break the bank. With a 2560 x 1440 resolution, a curved 31.5” screen, AMD's FreeSync adaptive refresh rate technology, and a 144Hz refresh rate the AG322QCX has a really impressive feature set for a $400 monitor. But does the budget price lead to budget picture quality? I put this monitor through its paces to find out.

Design and Features

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AOC has crafted an attractive monitor with the AG322QCX, keeping things understated while adding just enough flair to mirror the aesthetics of a gaming rig. The 1800R curved display has wonderfully thin bezels on three sides, while the bottom portion of the monitor is a bit thicker to accommodate two LED light strips. The lighting can be customized in red, green, or blue, and looks great sitting above an RGB keyboard. The bottom bezel itself has an unfortunate, cheap glossy-plastic appearance; a shame, since the rest of the monitor looks really solid. On its back, the AG322QCX has a winged design with four more light strips. You can tweak the brightness of the lighting, too, and the ambient effect against a wall is subtle and appealing.

The sturdy metal base offers swivel, height, and tilt adjustments, and while the metal feet are quite solid but on my narrow desk they forced me to move my keyboard back a bit, which was a bit annoying. AOC has included a handy flip-out headset stand on the right-side of the monitor which gets the job done well enough. Cable management can be accomplished by feeding cords through an opening in the stand, but the outcome isn't all that clean. I would have preferred a clip on the back of the stand to keep things more out of the way

Similar to other curved 1440p monitors, like the Acer Predator Z35P, the AGON AG322QCX uses a Vertical Alignment (VA) panel. These types of panels generally offer better contrast and viewing angles than Twisted Nematic (TN) panels, while still producing better (sometimes) response times than In-Plane Switching (IPS) panels. This 16:9 display boasts a 4ms response time, although like many VA panels, this can be a tad misleading as I'll discuss below. The screen itself has an anti-glare coating which does a great job of deflecting errant sunlight, but to my eyes also adds a small degree of haze to images. Still, a 2000:1 contrast ratio is more than decent, and with a 300 nit brightness, the AG322QCX can project a well-balanced image.

Under the backside of the monitor you'll find an array of I/O ports, including two HDMI ports, two DisplayPort connections (required for both FreeSync and 144Hz refresh), a VGA port, as well as 3.5mm mic and audio hookups. While these are all located in a rather annoying spot under the monitor, the three USB 3.0 ports are mercifully located at an angle just to the side and are easy to reach. There's also a set of internal speakers in the AG322QCX, but like most monitor speakers, you're better off with a headset. The audio quality overall is pretty poor.

Under the front edge of the monitor is a JOG button for quick access to the on-screen display menu. The button works fairly well, with each direction opening an oft-used sub menu for things like setting the color of the monitor's LED strips or changing pre-set “game modes.” The menu itself, beyond those quick selections, is a pain to navigate and appears fairly outdated. What's offered in the menus themselves is the usual controls for brightness, contrast, and the previously mentioned pre-set color modes. But frustratingly, some of the more detailed options like Image Setup, which includes sharpness, are inaccessible depending on which mode you're using.

The OSD jog dial is also illuminated.

The OSD jog dial is also illuminated.

Personally, I felt all the “game mode” settings looked terrible and oversaturated the colors to an alarming degree, so I left things on normal mode. There is an sRGB color setting, but to be frank, I wouldn't trust this monitor—or most VA panels, for that matter—with any detailed color work as in my experience they lack the color accuracy of IPS panels. On a better note, AOC's Shadow Control setting, which intends to fight some of the blending of black tones on VA panels, does a good job and is easy to tweak.

If you don't want to use the menu button on the monitor, however, AOC has also included a strange little mouse-sized remote which connects to the monitor via mini USB. The remote does actually make the experience of navigating the menus easier, since you're not constantly hitting the wrong button. But honestly, it's just another plastic brick taking up valuable desk real estate. The thing is hardly worth keeping around once you've calibrated the monitor.

Testing

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In order to get a better look at how the AGON AG322QCX holds up under pressure, I turned to the Lagom LCD test pages. This series of images allowed me to see how the monitor performs in terms of things like contrast, viewing angles, response time, and gamma. The VA panel under the hood performed well on contrast tests, with most tones from black to white easily discernible without any dithering. Some of the darkest tones did tend to blend into the black background, though—a common issue with VA panels. Again, some tweaking with the Shadow Control setting helped somewhat. Gamma output was great, with colors landing solidly in the Windows Standard 2.2 range, and this also translated over to perfect grayscale gradients. I witnessed no banding whatsoever, so you can expect consistent color transitions.

The viewing angles on the AG322QCX were quite impressive, helped no doubt by the rather steep 1800R curve and the 31.5” screen size. Moving my head left to right, colors stayed consistent outside of extreme angles. Moreover, I witnessed no “backlight bleed” or errant glow coming from the monitor when taking a step back and looking at a dark screen. Sometimes, with VA panels, the bleed can be an issue, but not with this monitor. It's important to note, however, this can vary from unit to unit.

Response times can also be a area of contention with VA panels. The Lagom tests use a series of flashing pixels, transitioning from light to dark and vice-versa, wherein perceived flashing indicates an estimate of response time. While AOC claims the AG322QCX has a decent 4ms response, manufacturers tend to publish the easier “grey to grey” figures. This appeared to be the case with this monitor, as the darkest transitions were significantly longer. Light to dark transitions were very fast and almost unnoticeable, though.

Unfortunately, slower response times can also cause ghosting, or perceived blur, behind moving objects on the screen. I tested this on the UFO ghosting test page, and as expected there was some significant blur trailing behind moving objects on a darker background. Lighter backgrounds were less noticeable, but ghosting was still present.

Gaming

The inclusion of FreeSync adaptive refresh is a big draw for anyone using a compatible AMD graphics card. I utilized a Radeon RX Vega 64 during testing to take full advantage of the anti-screen tearing capabilities and resolution of the AGON AG322QCX. As expected, the two worked very well together, with no discernible screen tearing or stuttering while playing games like Middle Earth: Shadow of War or Battlefield 1. The latter allowed me to take full advantage of the monitor's 144 Hz refresh rate, and when the framerate held to that high standard, gameplay was smooth and looked good despite some slight blurriness. The steep curve of the display coupled with its large 32” size made for an immersive experience indeed.

But screen dimensions notwithstanding, I more often than not felt myself put off by the AG322QCX's ghosting and blur issues. Playing Shadow of War on High settings, for example, where the framerate holds around the 60fps mark and scenes can be considerably darker, there was an aggravating amount of softness to the screen. This looked even worse in PlayerUnknown’s Battlegrounds, a game that's admittedly in the earlier stages of optimization. Jumping into the fray felt like I was watching a British television show in PAL format at times. It looked that fuzzy.

None of this is helped by the fact that pixel density becomes more questionable for 1440p displays above 27”, or the—admittedly minor—amount of haze I could sense from the screen's anti-glare coating. Color-wise, as previously stated, the AG322QCX looks perfectly fine on its normal settings, but utilizing any kind of pre-set game mode is an oversaturated affair. Game 1, for example, turned the desert in Battlefield 1 a bright orange and the sky into a flat blue.

 

Purchasing Guide

The AOC Agon AG322QCX has a surprisingly low MSRP of $399.99, and since it just launched that's the same price it is on Amazon:

The Verdict

The AOC AGON AG322QCX is an aesthetically pleasing, incredibly priced monitor with a host of excellent features like a 31.5" curved panel, FreeSync, and a 144Hz refresh rate. But the blurry ghosts of your in-game enemies should steer you away to slightly more expensive pastures. It's worth the money to look elsewhere.

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Wrestling Wrap Up: Braun Strowman Has Magical Garbage Powers Now


Plus, Kane attacks Daniel Bryan, Emma gets fired (for real), Samoa Joe returns, Ziggler loses again, and more!

Happy Halloween Week! So much is happening. Candy, the end of Daylight Saving(s), candy, Braun Strowman being beautifully and tenderly birthed from the womb of a contracting garbage truck, candy - it's a precious parade of moments and memories!

RAW didn't even land on Halloween this year but it, more or less, like it do, co-opted the holiday from SmackDown Live - which DID land on Halloween.

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I know we're in the midst of a SmackDown vs. RAW brouhaha/hullabaloo/shpadoinkle, but nothing says "RAW hogs the spotlight" like RAW putting on a Trick or Street Fight match the day before Halloween and SmackDown not doing anything. I feel like this should have been brought up by Shane - RAW doing Halloween shtick when it that should have fallen to SmackDown this year - but then I realized that wouldn't have worked because Shane has the power to book whatever matches he wants so he could have easily done something ookity and spookity if he wanted to. So it's an actual underlying issue that speaks to the company's view of both brands that couldn't be brought up for the fake feud that's going on.

Meanwhile, Braun's a big ol' haunted trash golem now.

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I know there've been famous corny segments in the past that have been overproduced to the point where we're supposed to ignore the fact that there are camera men in impossible spots shooting at improbable angles. The infamous inside-the-coffin cam when we watched the casket lid shut through Ultimate Warrior's eyes. The extreme close-up on Jake's cobra when he was trying to attack Miss Elizabeth with it during her wedding reception. The forklift cam during The Rock and Mankind's empty arena Halftime Heat title match. They wouldn't stand out so much if WWE was ever constant with how they treated their use of cameras.

Lucha Underground is able to do really effective movies and skits because it set the rules up early on. Unless we're at ringside or in the ring, there are no cameras. We're just watching life. WWE runs into constancy problems a couple times a year when they abruptly shift to "there are no cameras" mode and things look ridiculous. And by "consistency problems" I mean, of course, the things we care about and bitch about that they give absolutely no s***s over. They do not care. We do. And then they make fun of us for caring about things making sense because we're just the crybaby IWC and we live to complain and nitpick. It's a fun cycle. So much fun. All the fun.

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Anyhow, aside from the actual gimmick tag team match that featured all the jack-o-lanterns and colored kendo sticks, RAW went full "monster movie" with both Braun and Kane. Daniel Bryan got locked in a dark rook (he said the door was locked even though he never moved from his one spot) and then chokeslammed by Demon Kane (footage not found) all while the camera ceased to exist. Even though it had JUST existed seconds before when Bryan was talking to Shane. And continued to exist to everyone EXCEPT Bryan because we all watched him get attacked and the announcers openly announced it. The camera guy just disappeared for him, in his dimension, but remained for us.

Here's how Lucha is able to use this technique well. Most of the time, the segments we see are just for us, the viewer. The announcers, Vampire and Striker, don't see them. Even if it's just a bit happening in Dario's office. In WWE, the announcers still see everything even when we're supposedly just looking through a magical portal.

Anyhow, Bryan getting taken out wasn't the most absurd part of that segment anyhow. Nor was it the fact that Kane is somehow getting his umpteenth monster heel push here in 2017, allowing him to beat guys like Balor and Rollins. It's was...what was Bryan doing on RAW? We know he disagrees with Shane about the Under Siege attack, but what was he trying to tell Kurt? He can't broker peace, right? There's an entire PPV built around this inter-brand feud. All the matches are happening. Was he just there to let Kurt know that he didn't approve of the ambush? What good does that do other than paint Bryan out to be a little weasel? Snitches get Chokeslams!

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Now, onto Braun, who, like any decent horror movie monster, has now meshed and merged with the device that killed him. Braun is now a mammoth vengeful filth beast who can summon the power of garbage.

Not only can he magically place trash bags filled with rotting food in any place he desires, he can travel anywhere he wishes inside the belly of a garbage truck that he can control with his mind. Braun is now part of the truck and the truck is an extension of him. Fueled by the power of putrid waste, Braun hiber-sleeps inside the warm center of the rubbish, gaining strength and replenishing hate, until the time is right for the vehicle to gently release him into reality in order to wreak havoc.

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Continue on for more from RAW and SmackDown...

Continues

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If You're New to Monster Hunter, This Is The Place to Start


School of hard knocks.

At a basic level, Monster Hunter makes more sense than most games. Hunting and gathering - the looping rhythm of every game in the series since the 2004 original - is quite literally built into our DNA. Thing is, our caveman ancestors didn’t have to wade through four pages of stats to work out if their clubs had a 30% chance of knocking out a bison, or navigate a set of weirdly specific menu screens in set locations to bring mates along. The base idea is simple, the result immensely satisfying, but for over a decade, Monster Hunter’s main problem has been one of communication.

It’s a long-since trite point that the best way to get into the series is to have someone who already understands it explain things to you, because the game simply never will. Given that Capcom’s made very clear that it won’t be dumbing down the core experience (and, after about 15 hours of play, I can personally vouch for that), Monster Hunter World’s key concern will be in how it brings new players into the fold painlessly.

Going by its opening hours, Capcom appears to have nailed the balance between teaching new players without boring returning fans - but for now I’m going to focus on the former (we have a much bigger, much nerdier rundown of the game’s changes for long-time players coming soon).

Quite honestly, the introduction’s success has less to do with smart tutorialising or snowballing mechanics than with how it’s all presented. World is a consistently astonishing-looking thing, the series’ signature cavepunk art direction now accented with an over-the-top lighting engine coating newly seamless hunting grounds, an in-depth character creator sure to delight more demanding roleplayers (I made a man who looked like rockabilly Willem Dafoe, and never stopped laughing) and, naturally, fantastically cool/odd monsters, each with suites of gorgeous animations.

I’m not allowed to tell you the storyline (suffice it to say, we’re on pretty familiar ground for the series), but I can tell you that it’s delivered with more panache than ever before. Action-heavy cutscenes form the introduction and mark important moments throughout, and the addition of voice acting lends an admittedly wonky charm to the already near-peerless English language localisation the last few games have enjoyed.

The fact is that, after years of handheld-level presentation, I’m unjustly proud to see Capcom’s demonstrably excellent art team given room to stretch their leathery, house-sized wings. Purists may balk that it takes something as vain as looking really nice to get people interested, but it will surely be the reason that potential players pay World any initial attention.

The true marvel here is in how it holds that attention. After those opening cutscenes, and a controls tutorial dressed as an action scene, you’re dropped immediately into the research base, Astera, that you’ll make your home. Once you’re here, you’re into the meat of the game.

Previous entries have simply dropped new players into a world where bosses don’t have health bars, skills granted by armour are a matter of somewhat hidden mathematics, every weapon type feels like a separate fighting game worth of choices, and just said “deal with it.” World makes that process far, far smoother through a series of quiet tutorials and clever, minute tweaks.

Take those same examples: Bosses still don’t reveal their health through anything other than animation cues (drooling? It’s low on stamina. Steaming from the mouth? It’s enraged. Limping? It’s murder time), but new damage numbers at least show how your attacks differ, and what weak points you should be hitting. Armour skills are probably the biggest change - every piece of armour now comes with its own extra ability, encouraging mixing and matching between sets to help create a beneficial build, rather than forcing you to create full sets through hours of farming before getting any benefit. Weapon types now have their own video tutorials, as well as contextual controls that appear as you fight, helping you learn on the job, rather than in some drab training area.

All of this has been designed so as to not slow down progress, meaning old players won’t have to trudge through early missions to get to the good stuff (and almost all on-screen queues can be turned off if you want a classic experience). “It's a difficult balance,” explains producer Ryozo Tsujimoto, “but we've been careful with each feature and to approach it in a way that's going to be opening up the game to more players but not putting off the existing veterans.”

In fact, this is probably as breezy as Monster Hunter’s been for a long time. You’re hunting the game’s boss monsters within an hour of starting a new game and, if you choose not to get sidetracked by the many optional quest options and Destiny-style Bounties, you can hit some real challenges not much longer after that. The idea is simple - new players want to see what the fuss is about as much as old ones do. If you’re using a newly-crafted heavy bowgun to fire exploding sniper shells into the mouth of a mega-ostrich that uses boulders as a shield, you’ll just naturally understand something of what MonHun has to offer.

This isn’t to say everyone's going to like it. Monster Hunter’s combat - purposefully slow movements, punishing difficulty, and occasionally cruelly meted out rewards - simply won’t work for those going in for a classic action experience (and that visual upgrade makes it look more like one than ever).

At the very least, you’ll know far more quickly whether that’s you (and the game's PS4 open beta later this year will help there, too). This is Capcom’s best trick - it’s not teaching by slowing things down, quite the opposite. You’re being brought up to speed with seasoned players quickly enough that when you unlock multiplayer missions (an hour and a half in), you’ll at least be able to hold your own among a full hunting party. That’s a considered approach, according to Tsujimoto. He sees most of the game’s major changes to be a way to broaden the strategy available for old players, while allowing new players to learn without unnecessary restrictions. “It can only be a good thing for everyone,” he explains. “We really consider the holistic effect of every change we make on the gameplay system, and we're confident it's absolutely still a Monster Hunter game through and through.”

Perhaps one of the game’s smartest little decisions is also the most emblematic of how Capcom’s changes benefit new and old players alike. Much of what players used to rely on Wikis for - in-depth monster defense statistics and the best weapons to use on them - have been mechanised as part of gameplay. To find monsters, you now track them by finding environmental clues. The more clues you find, the better you get at tracking them, and the better you get at tracking them, the more details your Hunter’s Notes reveal about them, from elemental weaknesses to mini-map location tracking. Not only is this a solution to a fiddly problem the series has always had, but it changes how you play for the better, no matter your level of experience.

There was little doubt in my mind going in that World will be the most accessible Monster Hunter game yet - I can say with certainty now that it is. What I didn’t expect is for that to mean it’s also the quickest to get to the point. “It's not just a dumbed-down western Monster Hunter,” insists Tsujimoto, “it's amazing Monster Hunter with all the quality of life improvements we hope will expand the western audience in a way we haven't been able to before.” I can't see him being wrong - if you're brand new to the series, this is the place to start.

Joe Skrebels is IGN's UK News Editor, and he looks forward to hunting with you (when you prove yourself). Follow him on Twitter.

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EA CEO Comments on Shutting Down Visceral Games


"It does happen from time to time as part of the creative process."

EA CEO Andrew Wilson has commented on the closure of Visceral Games, and discussed the refocusing of its in-development Star Wars game.

Speaking on an EA earnings call (as transcribed by Seeking Alpha), Wilson was asked about the decision by a shareholder:

"Anytime you close a studio, it's a very, very tough decision," he replied, "and something that we take very seriously, and we spend a lot of time working through before we make such a decision. But it does happen from time to time as part of the creative process."

The decision to refocus the Star Wars game that saw the Dead Space development studio shut down came after playtesting the game, and seeing how the games market had changed in recent years:

"During the development process of the game that they were working on, we've been testing the game content with players, listening to their feedback in terms of what and how they wanted to play and really tracking that closely with fundamental shifts in the marketplace and we are seeing an evolution in the marketplace. And it became clear to us that to deliver the experience that players wanted to come back and enjoy for a long time, that we needed to pivot the design."

Many have seen this as part of a growing trend wherein AAA publishers abandon traditional single-player games in favour of the "games-as-service" model popularised by the likes of Destiny and Overwatch - but Wilson disputes that idea, implying that the game as it was simply didn't work for players:

"You may have heard the conversation around single-player versus multiplayer or single-player versus live service, and this wasn't about that conversation. It wasn't about this was just a single-player game or it needed to be a live service, it was more about how do we get to a point where the overall gameplay experience was right for players."

Wilson's comments echo the statement from EA's Patrick Söderlund, who called it a "creative decision".

Wilson finishes by reiterating that EA intends to reuse elements of Visceral's version of the game in the refocused version now being led by EA Vancouver:

"We're also very happy with some of the assets and content that was created as part of that game development and we'll be looking at how we can better utilize that in line with fan and player expectations in the future."

Visceral's version of the game was a linear, story-based experience, which we now know would have featured multiple playable characters and had a Star Wars meets Ocean's 11 vibe.

Despite Wilson's comments, it's clear that EA is pushing toward games-as-service as a whole - FIFA and Madden already exemplify the idea with Ultimate Team, while Star Wars Battlefront 2 is the latest game to adopt the model with its controversial loot box system.

Joe Skrebels is IGN's UK News Editor, and he can't help but think he'll never get to play as a walrus with a gun now. Follow him on Twitter.

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Marvel's Runaways Premiere Review


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The Parent Deathtrap

The first episode of Marvel’s Runaways was screened at New York Comic Con. This is a spoiler-free review based on what we saw. The series will premiere via Hulu on November 21, 2017.

Marvel’s Runaways delivers a promising start with its adolescent, coming-of-age story where a group of teenagers find out their parents are super villains. Finally, a reason to be angry with your parents that doesn’t have to do with homework or chores. Sometimes the show leans a bit too much into melodrama, but otherwise it captures the essence of the excellent source material and knowingly plays to its biggest strength: it’s completely unlike anything else currently in the superhero TV genre.

Yes, DC’s Arrowverse has strong parent/hero relationships and Marvel’s Netflix shows have a flair for the dramatic, but not quite like this. The Marvel Comics series created by Brian K. Vaughan and Adrian Alphona that Runaways is based on won readers over not just with its juicy, shocking hook but with its rich cast of diverse, troubled teen characters.

The age demographic, ethnic diversity, and male to female ratio are enough to make this show stand apart from everything else in the Marvel Cinematic Universe -- it stars young teens with various backgrounds and the ladies outnumber the guys two to one -- but there’s also its surprising emotional maturity. Whereas the MCU movies have made a name for themselves with their nonstop gags and jokes, Runaways plays everything earnestly. Tense moments and dramatic confrontations aren’t cut short for a laugh, making this series feel more akin to the Netflix shows than the movies. That said, in place of the more adult themes and subjects tackled by Daredevil, Jessica Jones, and Luke Cage (sorry, Iron Fist), Runaways’ overall tone is one of sadness and pain caused by, well, being a teenager.

The brainy but emotionally detached Alex (Rhenzy Feliz) tries to get out of his sad funk by getting the gang back together for a hangout. Easier said than done with each character belonging to a different high school clique. Nico (Lyrica Okano) is the sad, loner goth kid. Purple-haired Gert (Ariela Barer) is a feminist/activist/protestor all about celebrating self-worth while taking down the man. She’s sad because she has a crush on Chase (Gregg Sulkin), the most handsome jock in school who may be too dumb to get a good grade in Spanish class but nevertheless has a knack for engineering. He gets his sadness from living under the rule of his intimidating father. There’s also beautiful blonde Karolina (Virginia Gardne), who has been raised in a religious cult to be the perfect smiling teen role model, but that smile is just hiding sadness underneath. And Molly (Allegra Acosta) is Gert’s adopted sister, the youngest of the group, who just wants to try out for the dance team despite her body going through some interesting changes. No sadness for Molly yet, but there’s still time.

The writers don’t try to make a comment on these teen stereotypes, but rather use them as a way of showing how fast kids can grow apart during their adolescent years. The Runaways aren’t so much a superhero team as a group of young people who are forced to face a shocking reality together, despite how different they appear to be. Unique and intriguing personalities are hiding under the stereotypes they wear, you just have to go through a thick layer of sadness to get to them.

And I just have to throw it out there that initially it's hard to feel too bad for these teens given that they all go to a cushy private school (it has a freakin' meditation room) and live with rich parents in lavish Los Angeles homes. This isn't really addressed, but could definitely be fodder for a future episodes.

As far as the adults go, Alex’s parents Catherine (Angel Parker) and Geoffrey Wilder (Ryan Sands) have great chemistry and a sense of both tenderness, as they try to get through to their troubled son, and power, as they head up the Pride foundation, a group the parents use as a front for their unsavory activities. Chase’s parents, on the other hand, feel too one-dimensional; Victor Stein (James Marsters) is the genius inventor with high expectations and zero chill, while his wife Janet (Ever Carradine) seemingly exists just to be afraid of him. To be fair, Chase’s parents feel less like oversights and more the result of having 10 parents to introduce on top of everything else.

For those who are fans of the comic book series, worry not, because the show fully embraces the source material. It looks like every member of the cast got up off the comic book page and walked onto set. There are even hints at all the signature powers and abilities, from a special staff to a pair of gauntlets and even a certain character’s trusted pet. Showrunners Joshua Schwartz and Stephanie Savage wisely put the teen drama first and slowly mix in the superhero-y elements as the plot unfolds. That they made their name on The O.C. and Gossip Girl won’t surprise anyone given Runaways’ natural dialogue, teenage yearnings, and engaging character dynamics.

There are several changes from the comic and it’s plain to see how each one was necessary to make the show a strong adaption. Now, there is one huge change from the comic that fundamentally alters the story. I won’t spoil it here, but suffice to say that it was clearly added to start things off with a more dramatic oomph. It often works, driving characters to act out and make hard decisions, but it’s also laid on pretty thick and can occasionally send things into melodramatic overdrive. It’s this addition that causes nearly every scene to be so gosh darn sad.

While the show generally works well, a few elements hold it back. Things like a few odd lines of dialogue and a pair of parents who are too awkward for their own good can be ironed out in later episodes, but one extremely uncomfortable scene brings the show’s momentum to a screeching halt. For a show that seems to understand its characters so well and add such a richness to the teenage experience, it’s shocking to see it use such a serious teen subject as nothing more than a story beat.

Aside from that, the part that most definitely could have benefited from some fine-tuning was the big reveal at the end of the episode. It’s not much of a spoiler to say that it ends with the kids learning the truth about their villainous parents, but the way it’s done is more confusing than anything. Whereas it should leave viewers shocked and shaken, like when Jaime pushed Bran out the window at the end of the first episode of Game of Thrones, it instead creates a haze of uncertainty over what was just shown on screen. With such an excellent concept to work with, it feels like a huge misstep to not nail that pivotal moment.

Still, the show still has some strengths to fall back on. The dynamic between each child and their parents feels authentic. Some kids get along fine with mom and dad, whereas others have a genuine reason to fear or mistrust their parents -- and this is before the supervillain twist. Also, it’s a relief to have a Marvel story where the stakes are both small scale and intensely personal. This show is more in the realm of Spider-Man: Homecoming than The Avengers, just with far less humor than either.

The Verdict

For those looking for a new flavor of superhero show, Marvel’s Runaways definitely delivers. The idea of teens finding out their parents are supervillains is a unique and exciting one, and while the story doesn’t quite stick the landing when it comes to unveiling that concept, it still manages to offer up some watchable moments with its large, diverse cast. The first episode leaves a largely positive impression despite a few flaws, and for comic book fans it’s a big relief that the Runaways are in good hands.

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