Category: Technology

The following article contains spoilers for “The Broken Circle.”

Strange New Worlds’ first season may have stumbled out of the gate, but it outdid itself with every subsequentepisode. On the strength of the back half of its episodes alone, you could easily call it the best live-action Trek of the streaming era. This achievement was staggering, especially since it was saddled with the nightmare brief of serving as a spin-off to Discovery, a prequel to Star Trek and a paean to fans less than enamored with its serialized stablemates. It quickly found a tone that would serve those many masters, offering episodic storytelling with soap opera characterization that quickly teased out Star Trek’s oft-denied goofy side. It quickly found the confidence to be silly, and dramatic, and even made time to show the crew hanging out with each other, and above all else, it was accessible to mainstream audiences.

That confidence is proudly on show here in “The Broken Circle,” the season two opener credited to co-showrunners Henry Alonso Myers and Akiva Goldsman. Watching this, you get the sense that every person in the production team is pulling in the same direction, with fantastic results. It helps that Myers and Goldsman again write their crew making smart choices pretty much all of the time, sparing us any sludgy plot blocking. In fact, the quickness of its narrative and the sheer brute-force of its charisma helps cover a multitude of sins, turning what is otherwise a fairly light romp into something that will, hopefully, set the tone for the rest of the season.

We open with the Enterprise in spacedock, undergoing a (weirdly testy) inspection while Pike tries to find someone who can help save Number One from her upcoming court martial. He leaves an unusually-flustered Spock in charge of the Enterprise, who isn’t feeling up to the task. That’s because he can’t get his emotions back under control after unleashing his inner rage monster back in “All Those Who Wander,” and seeks help from Dr. M’Benga. He hands him a Lute and tells him to work on his emotions like a human, and when Chapel walks in, the good Doctor can’t help but notice the tension. On the bridge, meanwhile, Uhura receives a coded message from La’an, who has uncovered a plot against the Federation on the edge of Klingon space.

Sadly, April turns down Spock’s plea to investigate, and so enlists the bridge crew to steal the Enterprise. And yes, while this is comedically punctured soon after, I’ll admit to sighing myself inside out as I expected to sit through the second Search for Spock homage in three months. Mercifully, the heist is disrupted by Pelia, the immortal head of the inspection team – Carol Kane playing a stock Carol Kane-type character. Pelia, as a friend of Spock’s mom Amanda, decides to aid in the deception to get the crew underway. They find La’an on a dilithium rich planet which was contested during the Klingon war, and is now under the control of a gang of nefarious types. They’re annoyed that their profit margins have been eroded in peacetime, and would much prefer to restart the Federation – Klingon war to boost profits.

It’s Dr. M’Benga and Chapel who get the meat of the action here, as they are kidnapped and taken to a fake Federation starship being built underground. They correctly surmise that the ship will be used to – another sigh – stage a false flag attack on the Klingons to restart the war. In order to warn the Enterprise, they go heavy on the steroids and punch-fight their way to the ship’s transponder to send them a message. Unfortunately, the ship breaks ground to attack an arriving cruiser, forcing the Enterprise to give chase. But Spock’s reticent to open fire, since the (not so) secret object of his (not so) secret affections is still on board.

Thankfully, M’Benga and Chapel blast their way out into space without any EVA gear and get beamed aboard by the pursuing Enterprise (I know, I know!). Spock is then left to smooth things over with the Klingons, downing a mug or two of blood wine to demonstrate his fortitude to his new friends. April’s happy to give him a slap on the wrist for his heroics, mostly because his focus is on a looming war with the Gorn. And with that, we’re back at the races.

What sets “The Broken Circle” apart from many episodes like it from Star Trek’s history is the confidence in its execution and the faith it has in its audience. There are plenty of times that information is conveyed visually rather than with radio-style narration. The silent nod between La’an and M’Benga, when we’re trusted to know what a Starfleet ship looks like by sight alone, and the results of Chapel and M’Benga’s steroid hit. I know this is basic stuff, but it’s right to praise a show that’s able to avoid falling into its own worst habits, and Chris Fisher’s snappy direction deserves plenty of praise.

I could be wrong, but it feels as if the visuals have improved, too, both in scope and execution. The crew seems to have gotten to grips with how best to use its virtual production stage, putting it to effective use in several scenes. We’re still a long way from being able to light big walls of TV screens like the real outdoors, but the effect wasn’t jarring. It was also another episode where savvy use of pre-existing sets was disguised well-enough – at least until you wonder why a criminal crew building a fake starship would bother to equip it with a sickbay, at least.

The one downside to all of this, really, is my usual one, which is that I still can’t shake the feeling some of this stuff is better suited to the other Star franchise. Clandestine meetings with arms dealers where you prove your mettle with how well you hold your drink or a (fake) grenade. A face-punching interrogation scene seconds after being reminded the Federation prohibits torture. A corridor-based punch-fight in which the two people least-qualified to be ass-kickers turn into ass-kicking ninjas for five minutes at a time. Yes, Star Trek of old could be violent, but I don’t think it was ever this cynical or nihilistic, even in the Deep Space Nine days.

For now, let’s welcome Strange New Worlds back for another run, where it’s only got to maintain its reputation as the best live-action Trek. No pressure, then.

This article originally appeared on Engadget at https://www.engadget.com/star-trek-strange-new-worlds-picks-up-where-it-left-off-130025200.html?src=rss 

Parallel Studio’s Under the Waves is a relaxing game. Between the cheers and jeers from Crash Team Rumble players (possibly employees) nearby, I was diving. Diving deeper and deeper into the inky blue, chasing a jettisoned shipping container as it bounced off rocks, spilling soft toys and revealing a mysteriously abandoned submarine hidden deeper still. While I might have been relaxed, I was a little unsettled.

First announced at last year’s Gamescom, in Under the Waves you play as Stan. And he doesn’t seem to be in a good place. My demo started on the third day of his placement at an underwater living pod, but I know (from the game’s synopsis) that he’s down there quite literally to get away from it all. He appears to be grieving the loss of his daughter, but it’s only lightly touched on during these opening parts of the game. Stan seems unsettled and twitchy in bed (and facially twitchy in general – hopefully, his face will settle down with more time in development).

At the start of the demo, Stan wakes with a piercing headache and picks up a call from what I assume is an offshore coworker called Tim. He reveals that the living pod’s oxygen mix is out of whack, likely explaining the sore head. Tim even added that a previous worker failed to flag his headaches, and by the time the rest of the dive team, the worker had started hallucinating. (And of course, Stan gets his own hallucination moments very soon after.

While you’re able to walk around your oxygenated living quarters, most of the game is spent in the ocean, either diving with a limited amount of oxygen (which can be replenished using oxygen sticks) or while steering your own deep-sea vehicle, which can cover ground quicker and help conserve oxygen.

In a nod to the reality of ocean waste, spent oxygen sticks will float where you leave them. These can be collected and converted into plastic. Throughout the game there will be machines and crafting blueprints so you’ll be able to make your own items (like more oxygen sticks) from plastic, metal and other materials found floating or left on the ocean floor. (Parallel Studio have partnered with Surfrider Foundation Europe to support its ocean preservation aims.)

While the ocean floor is attractive and interesting, the man-made features have a retro-futuristic design, like an alternate future that’s… in the past. Like Prey or the more recent Deathloop, the anachronistic combination, somehow works.

Stan is equipped with a scanner, making it infinitely easier to decode instructions from Tim and other objectives. You’ll still have to pay attention though, a little like Firewatch. When Stan heads out to fix the oxygen issues, you’ll have to trace the route of several pipes, noting the broken ones based on their red bulbs. The scanner doesn’t simply do everything, but it does ensure you’re at least headed in the right direction.

In a lot of ways, whether it’s the story yet to be revealed or the uneasy tension that is touched on regularly, it reminds me of Firewatch, even if it’s all set undersea. While this is developed by Parallel Studio, it’ll be published Quantic Dream’s new Spotlight arm, focused on new developer IP. Quantic Dream has created several games, including Heavy Rain and Detroit: Become Human, which placed a huge focus on narrative and storytelling. For developer Parallel Studios, it seems a good fit.

Under the Waves launches on August 29th, 2023.

Catch up on all of the news from Summer Game Fest right here!

This article originally appeared on Engadget at https://www.engadget.com/under-the-waves-is-a-sad-but-relaxing-oceanic-adventure-130037105.html?src=rss 

Logitech has rolled out new AI-powered tools for its Streamlabs platform that could make editing podcasts go much, much faster. Starting today, Streamlabs Ultra subscribers will get access to Podcast Editor, which provides easy text-based editing capabilities that they could use to auto-generate transcripts and real-time translations. They could also use the editor to add subtitles to their video podcasts in several languages, as well as create clips in different sizes (and with different template designs) for sharing on platforms, such as Facebook and TikTok. 

The screenshot below shows the tool’s interface with its text editor where users can highlight parts of the transcript and automatically create short clips featuring those sections of their podcast. That editor is also where users can generate translations, as well as style and insert subtitles. Users can also remove filler words like “ums” and awkward pauses from their podcasts within just a few seconds using the tool. 

Logitech, which purchased the creator of the Streamlabs OBS livestreaming app back in 2019, says Podcast Editor could trim hours off creators’ total edit time. Although Streamlabs Ultra subscribers will get the most out of Podcast Editor, seeing as the paid service allows them to manage 40 hours of content, non-paying users will also get limited access to the tool. They can use Podcast Editor through the free version of Streamlabs and edit one hour of content at no cost every month. 

Vincent Borel, Head of PC Gaming and Creators at Logitech G, said: “Podcast Editor now enables Streamlabs to provide the most robust suite of offerings for creators to reach their audiences wherever they are while focusing on the elements of content creation they love the most – streaming and engaging with their audience.”

This article originally appeared on Engadget at https://www.engadget.com/streamlabs-gets-an-ai-powered-podcast-editor-120041029.html?src=rss 

MSI’s Stealth laptops have long been one of my favorite gaming notebook lines thanks to their blend of performance and portability. But last year’s model was a disappointment. After a few years of sticking with the same design, its chassis felt tired and refreshed specs didn’t address the system’s underlying issues. But for 2023, MSI has given the Stealth a complete makeover including a brand new design, an optional 240Hz display, more powerful components and not one but two sizes to choose from. Heck, there are so many additions MSI even changed the name of the entire series: The Stealth Studio. After using one for the past few weeks, I feel like we might be looking at the most improved gaming laptop of the year.

Design

I’ve been testing the 14-inch version, but there’s also a larger 16-inch model, with both sizes sporting a slick magnesium aluminum exterior that’s available in two colors: pure white and star blue. Admittedly, the white model isn’t very stealthy, but I don’t care because it looks fantastic and it’s super light. It weighs just 3.75 pounds, which is almost a full half pound less than rivals like the Alienware x14 R2.

Despite its small size you still get solid connectivity, including three USB ports (one Type-A and two Type-C) and a full-size HDMI jack. But more importantly, there are a ton of tiny features throughout the system that show MSI’s attention to detail. On the vents in back, the grille spells out the name of the system, kind of like you might get on a sports car. And in front, MSI has partnered with SteelSeries to deliver gorgeous RGB lighting on its keyboard. MSI also added some small, up-firing stereo speakers in front, which provide a nice upgrade in audio quality from the previous model. You even get a physical shutter for the webcam. Sure, it’s just a little plastic flap, but I’m glad it’s there.

My two small gripes are that the webcam is only 720p – come on MSI, it’s 2023 – and that the chin below the screen looks a bit ungainly. Even if you ignore how big it is, I wish MSI had gone with a hinge that cut down on the gap between the display and deck, because it can be kind of a distraction to see the rear lights shining through while working or gaming.

Display

By default, the Stealth 14 Studio comes with a 1920 x 1200 165Hz IPS display, which is a good place to start. However, our review unit has MSI’s upgraded 2560 x 1600 240Hz screen and it’s a real treat. In testing, I measured peak brightness just shy of 450 nits which is almost double what we got from last year’s machine. That makes it great for playing all sorts of games, and thanks to a color gamut that covers 100 percent of the DCI-P3 spectrum, it can pull double duty as a photo or video editing workstation too.

Performance

Packing an Intel Core i7-13700H chip, NVIDIA RTX 4060, 16GB of RAM and a 1TB SSD, the Stealth 14 Studio has more than enough performance for pretty much any task. In games like Cyberpunk 2077 and Returnal at 1080p and max settings, the Stealth Studio hit 67 and 78 fps respectively, which is actually a touch higher than what I got from a Razer Blade 18 with the same GPU and an i9 chip.

That’s pretty impressive when you consider that the MSI’s smaller chassis means it has way less room inside to manage thermals. Even on synthetic tests like PCMark 10, the Stealth Studio edged out the Blade 18 with a score of 8,126 versus 7,236, despite the Razer costing over $1,000 more than the MSI. This just goes to show that bigger and more expensive isn’t always better.

Lately, I’ve been playing a lot of Diablo 4 which really shows off the capabilities of the Stealth 14 Studio. You can turn down the graphics to take advantage of the screen’s speedy refresh rate or enable all the game’s bells and whistles while still staying well above 60 fps.

The two small downsides to the Stealth 14 Studio’s performance are that it runs kind of hot and it tops out with an RTX 4070, which is understandable given its size. I tried to game with it on my lap while watching TV, and trust me when I say that it gets real toasty. So unless you have a lapboard, you’re better off sitting at a desk or table.

Battery Life

Coming from last year’s model that conked out after a little more than four hours, MSI has delivered some notable gains here too. On our video rundown test, the Stealth 14 Studio lasted five hours and 19 minutes, which is up 25 percent over last year’s system. But what’s even better is that it also beat out larger rivals (with bigger batteries) including both the Blade 16 (5:01) and ASUS’ ROG Zephyrus M16 (4:38).

Wrap-up

The Stealth 14 Studio is an almost complete about-face for MSI’s thin-and-light gaming line. It’s got a striking new design, updated internals and a handful of welcome quality-of-life upgrades – all in a chassis that’s easy to carry around; I’ve already made multiple cross-country trips with it and it hasn’t let me down yet. In fact, the Stealth 14 Studio has basically everything I look for in a great all-rounder – well, except for maybe an OLED screen or an SD card slot (though you do get one on the larger 16-inch model).

But if those aren’t deal breakers for you, MSI has delivered a system offering a stunning build and solid performance for gaming or anything else you might need. And with our upgraded model currently going for $1,900, you’re getting more storage and a faster CPU and GPU than a base Alienware x14 R2 for only $150 more. So, after a down year, MSI has restored the Stealth – ahem the Stealth Studio – back to its former glory as a system that can do a bit of everything while looking great too.

This article originally appeared on Engadget at https://www.engadget.com/msi-stealth-14-studio-review-a-redesign-done-right-123028890.html?src=rss 

Anker, which made its name building device batteries and chargers, is now making gear for all of the devices you own. Or at least all of the devices in your home, since it just unveiled its Solix home energy system, which can be bolted onto existing or new domestic solar setups. Like many other home battery companies out there, Solix is scalable, with the smallest unit sized at 5kWh – enough for a few hours backup power – all the way up to 180kWh. It won’t arrive until 2024 but, when it does, it’ll be paired with an EV charging system Anker is presently cooking up.

The company is no stranger to this world, since it already builds small solar and battery sets for off-road types. But it’s pleasing to see it also entering the home battery market which, Tesla aside, is full of companies that don’t have as big a presence in the consumer space. It’s also heartening to see Anker building gear for smaller setups, like apartments, where sometimes the only thing you can do to clean up your energy is hang a solar panel off your balcony.

– Dan Cooper

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This article originally appeared on Engadget at https://www.engadget.com/the-morning-after-anker-gets-into-the-home-solar-battery-game-111509903.html?src=rss 

Fujifilm’s line of instant cameras has grown again with the launch of the Instax SQ40. The new model borrows retro cues from the Mini 40, while shooting larger-format square film like previous SQ models. 

Unlike the shiny plastic square format models of the past, the SQ40 is wrapped in faux black leather with silver accents. It measures 5.25 inches wide by 4.5 inches tall by 2.25 inches thick, so it’s considerably larger than the Mini 40 and other rectangular cameras. For easy carrying, it comes with a shoulder strap with quick release loops.

The lens is retractable and has three modes, starting with the fully retracted “off” position that makes the camera relatively flat and closes the protective cap. In the “on” position, it extends and the lens cap opens, giving a field of view equivalent to 65.75 mm (35mm equivalent, presumably) for shooting no closer than 19.7 inches. And finally, there’s a “macro” mode for selfies that lets you shoot between 11.8 and 19.7 inches, with a small mirror at the front so you can see yourself and friends. 

It has automatic exposure and shoots on the Instax Square frame to a 2.4- by 2.4-inch image area on a 3.4- by 2.8-inch film size. Unlike some Instax models, there doesn’t appear to be any saving to a digital format, so this is about as analog as modern cameras get.

The SQ40 costs $150 and is expected to be available for purchase by the end of June 2023. The basic white-border version of the square film costs around $19 for 20 exposures, and a new version called Instax Square “Sunset” with pastel shaded borders (above) is $15.75 for a 10-pack. Finally, Fujifilm released a new brown colorway for the Mini Evo priced at $200, also available at the end of June. 

This article originally appeared on Engadget at https://www.engadget.com/fujfilms-instax-sq40-marries-retro-charm-with-larger-square-film-091047370.html?src=rss