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In an interview with The Guardian more than a decade ago, Warren Spector, the director and producer of Deus Ex, said his dream game would take place in one city block. “There are people who are trying to simulate massive worlds at a level of an inch per mile,” Spector told journalist Keith Stuart. “I don’t get it. I really want deep worlds that you can interact with.”

I’ve spent a lot of time thinking about those comments while playing Diablo IV. Blizzard’s latest is easily one of the best games the studio has released in about a decade, but I can’t help imagining what Diablo IV could have been if it were a smaller, more focused experience.

The story of Diablo IV opens decades after the end of Diablo III: Reaper of Souls, with the world of Sanctuary still reeling from the events of that game. Structurally, the narrative that unfolds is similar to Diablo II. Following a visit to a remote village, your character sets off after the demon Lilith – who is the daughter of Mephisto, one of the Prime Evils you defeated in Diablo II. More often than not, your character finds they’re one step behind Lilith, leading to predictably dire results.

I won’t say much more about Diablo IV’s story other than to note Blizzard smartly grounded it in the tragedy of its human characters. When the narrative calls on elements from past games, it does so in ways that feel natural and earned. Lilith is also a great antagonist. Every time she appeared on-screen, I felt a sense of unease waiting to see what kind of calculated cruelty she’d inflict on those unlucky enough to cross her path. If you only end up playing Diablo IV for its story, I think you will enjoy the experience, but if you decide to veer off its critical path, be prepared to play through a lot of uninspired content.

If you tried Diablo IV during one of the open betas Blizzard held in recent months, you’ve seen most of what the game’s open world has to offer as you’re leveling your character. Did you encounter a world event in the Fractured Peaks that tasked you with protecting a group of villagers hiding under their carts? Guess what – you’ll find another group just like that one again in Scosglen, the game’s second zone, and in other areas, too. I bet you played through a few optional dungeons. Well, there are more than 100 in the full game, and most feature a limited combination of layouts and objectives. World bosses and camps are more fun to complete, but there are far fewer of them than all the other content present in the game. The post-campaign adds more things to do like helltides and nightmare dungeons, but those increase the difficulty of the content, rather than introducing something substantially new.

Sometimes you’ll discover some interesting lore, a nifty bit of environmental storytelling or a named enemy that will drop an item with unique flavor text, but those moments are few and far between. I kept waiting for Diablo IV’s world to surprise me, to do something unexpected. The closest the game came to scratching that itch was when it sent the Butcher, a boss that shows up in nearly every Diablo game, to murder my character in an optional dungeon I was exploring. Even though my barbarian didn’t survive the encounter, I wanted more moments like that. Instead, the game seemed dead set on offering me an endless checklist of samey content if I ever decided to strike off on my own.

That frustration is palpable while playing Diablo IV because so much of the game is immediately compelling. Nearly every inch of its open world is striking, with some of the most detailed and creative assets Blizzard has ever produced. Add to that a soundtrack that is haunting and evocative, and you have an experience that’s begging for players to inhabit it.

Maybe it’s my fault for expecting a live service game to offer something more substantive, but everywhere in Diablo IV, you see evidence that the people who spent years of their lives working on this project wanted the same thing. Just look at character creation. Clearly, the intention here was to allow players to make their druid, barbarian, sorcerer, rogue or necromancer look exactly like they’ve always appeared in their imaginations. Diablo IV offers a dizzying amount of visual customization for each class. In addition to all of the items, you can give your character different hairstyles and tattoos, and modify their skin tone, eye color and other attributes. Add in the transmog system, which allows you to transform the appearance of items to make them look like ones you’ve found in the past, and I can guarantee no two characters will look alike.

Blizzard obviously also put a lot of thought into player agency, allowing each class to be played in a variety of ways. The Aspects system is one of Diablo IV’s most compelling features: By completing dungeons and finding legendary items, you will collect item affixes that modify how skills work, and they’re transferable among your inventory. Some of these can completely change how your build functions. After some initial frustration, I found a build that allowed my barbarian to make short work of both hordes of monsters and Diablo IV’s spongy bosses, and I had a lot of fun with the game. I just wish there was more to do in Diablo IV’s world other than kill countless monster hordes. After all, role-playing has always been part of the ARPG genre.

One last thing I want to note is that I played a version of Diablo IV that did not include any of the microtransactions the final build will feature. If you haven’t followed that aspect of the game’s development, I wrote about Blizzard’s monetization plans for Diablo IV last year. In short, Diablo IV is a full-priced game that also happens to feature an in-game shop and seasonal passes. Blizzard has promised that none of the cosmetic items you can buy in the shop or earn by completing the paid track of a season pass will grant “direct or indirect” gameplay advantages. The studio was also quick to note the shop and season pass will offer “more diversity of choices, not systematically better choices” for customizing your character. After Diablo Immortal, I’m fine with this setup, but I know some people will be put off by the presence of a season pass.

I don’t want to give you the wrong impression of my time with Diablo IV; I enjoyed nearly every moment of it. In a lot of ways, it’s the Diablo game I’ve been dreaming of ever since I first set foot in the world of Sanctuary back in 1997. But it is also a reminder of all the ways Blizzard has changed since I first encountered its games. There’s no way the company that released Diablo II in 2000 and even Diablo III in 2012 could have created a game of Diablo IV’s scale, but sheer size is not what makes Diablo IV enjoyable. So often, that scale works against the game, resulting in a world that is, as Warren Spector might say, simulated at a level of an inch per mile.

Diablo IV will be available on PC, PlayStation and Xbox on June 6th.

This article originally appeared on Engadget at https://www.engadget.com/diablo-iv-review-a-mechanically-perfect-romp-through-a-shallow-world-160017353.html?src=rss 

If you consider yourself a mobile creator and you’re not using some sort of dedicated microphone, you might be holding yourself back. We’re not judging, but your audience likely is. Audio, especially dialog, is often overlooked, but if you want true, high-quality content, you need good sound. There are many, many options for the home or office/studio, but there are a surprising amount of mobile-specific (or at least, mobile-friendly) solutions out there to elevate your on-the-go recordings be that for social, a jam session, live streaming, making movies, podcasting and beyond.

What “the best mic for your iPhone or Android” is will vary depending on the task you need it for. If you want to record a TikTok or a Podcast or even a jam session, all have slightly different needs but the selection below covers most bases (and maybe even a few you didn’t think of yet) for recording high-quality sound with little more than a mobile phone.

The gear

This guide is all about recording on the go, free from the constraints of a studio or office, but also far away from luxuries like power outlets, acoustically friendly rooms and a full-size PC. As such there are two styles of microphone that really shine here: Lavalier (lapel) and shotgun. We’ll be covering a few other types, too, but between those, most tasks are covered.

We’ll also show you how you can use the USB mics you may already have with your phone and even ways to connect heavy-duty studio classics (XLR) to your humble handset, but all that will be through accessories. For now, let’s start with the classic clip mics.

Lavalier mics

The obvious benefit of a lapel mic is size. Their small profile makes them perfect for presenting to the camera with the flexibility to move around while maintaining consistent audio quality. If you’re a budding TikTok or YouTube creator it’s definitely worth having one of these in your bag.

The main trade-off, however, is that they’re only good for recording the person they’re attached to. If you have two people talking and only one is wearing the mic, you’ll only get good audio for one half of the conversation, so for multi-person recordings you’ll need a mic for each guest and a way to record them at the same time, so costs can go up quickly.

Fortunately, lapel mics have become a very competitive market with good, viable options costing as little as $14.95. For an absolute bargain with a long cord and some connectivity accessories, the Boya BY M1 is hard to argue with. But, while these budget choices are great value, if you want something that should either last longer, is more versatile or just sounds better it’s worth paying a little bit more.

Best 3.5mm mic: Rode Lavalier II

Rode’s Lavalier II is a slick-looking low-profile lavalier that sounds great. At $99, it’s somewhere in the sweet spot between budget and higher-end clip-on options. It’s easy to recommend the Lavalier II just on its sound alone, but it comes with a rugged case and a good selection of accessories. For even more flexibility you can pair this with Rode’s AI Micro interface ($79) which provides easy connection to an iPhone or Android (or even PCs) and adds support for a second mic – perfect for recording podcasts or interviews.

Best USB-C mic: Sennheiser XS

At $60, Sennheiser’s XS (USB-C) lav mic is fairly affordable, sounds great and plugs right into your phone (or laptop) without needing an adapter. This not only makes it convenient but reduces the overall cost as you don’t need a headphone adapter for your phone. What’s more, the XS has a 2-meter long cable which gives you plenty of scope for movement or framing.

A word on wireless systems

Recently there has been an explosion in mobile-friendly wireless systems but there are two we really like. The first is Rode’s Wireless GO II. Arguably the original defined this category, but the second generation improves on it with two wireless transmitters making this podcast and interview friendly. This wireless microphone is also incredibly versatile as it doubles as a standalone recorder, can be mounted in a camera cold shoe and even has its own “reporter” mic adapter. Oh, and you can make any 3.5mm mic (including the lavaliers above) wireless by plugging it into one of the receivers.

The second is the Mikme Pocket. This Austrian-designed pack is a high-end wireless lavalier microphone system designed to be particularly mobile-friendly. There’s a comprehensive app for both video and audio recording and internal storage so you won’t ever experience dropouts. It also means you can enjoy a practically infinite range. At $399 it’s a higher spend, but if high-quality audio and near-infinite range are what you need then this is the one.

Adapters

So we’ve already touched on this with the AI Micro, which is an adapter of sorts. One of the first things you might bump up against when dealing with mobile audio accessories is TRRS vs TRS connectors. Simply put, 3.5mm TRS is what you might know as the age-old classic headphone connector while TRRS became common for its support for headsets and inline mics. You can easily tell them apart as TRS connectors have two black bands on them while a TRRS has three.

For you, the budding creator, it can be a bit of an annoyance as many 3.5mm lavaliers are going to be TRS and won’t work when plugged into your phone’s headphone adapter. Sometimes your lavalier might include what you need in the box, but otherwise, you’ll want to pick up a TRS to TRRS adapter like this. Of course, some smartphone-specific mics have TRRS connectors already – for those, you’ll want a cable that goes the other way should you want to use it with other devices like a DSLR.

Shotgun mics

You may be more familiar with shotgun mics when it comes to video recording. It’s the style of microphone most often found atop a DSLR or mirrorless camera, but they make great companions for other portable devices too, your cell phone included.

The benefit of a shotgun is that they tend to be highly directional, which makes them perfect for podcasts, recording instruments, foley sounds and much, much more.

For us mobile recordists, another benefit is that they tend to be light and portable, perfect for slipping into a backpack or even a laptop bag. Even better, there are some great mobile-specific options.

Best shotgun mic for video/music: Sennheiser MKE 400 (2nd gen)

You shouldn’t buy a mic just because of how it looks, but the MKE 400 from Sennheiser ($200) definitely makes its rivals look wimpy. More important than aesthetics, though, is how it sounds and the MKE 400 records very cleanly without obvious coloration to the audio. What’s more, the battery-powered mic won’t steal power from your phone or camera, and with three gain levels to choose from you can boost things when needed, or avoid clipping on louder subjects. The MKE 400 also comes with both TRS and TRRS cables for compatibility with a variety of devices.

The MKE 400’s physical gain controls and high pass filter (unlike the other two below that are updated via an app) take the stress out of worrying if your audio source moves or changes volume as you can adjust that on the fly. If you’re a musician looking to record loud drums and then softer vocals on the move, for example, these tactile gain settings are a massive plus.

Best budget shotgun mic: Rode VideoMic GO II

When we tested the VideoMic GO II we were surprised at just how good it sounded right out of the box. At $100 it rivals many desktop microphones that cost three times the price. You’ll need a companion app to change settings, otherwise this performs well across the board.

Best shotgun mic for portability: Shure MV88+

Not to be confused with the older MV88 that plugged directly into a Lightning port, the MV88+ is a mini shotgun mic made with the smartphone in mind. Often sold as a vlogging kit ($249) with a tripod and phone grip, the MV88+ has modular cables for connecting directly to Androids and iPhones.

Desktop and USB mics go mobile

Mobile-specific mics are great, but there’s nothing stopping you from using the mic you might already have (if it’s somewhat portable). You’ll definitely need to do a little dance with some adapters, but that’s half the fun. Below are a couple of recommendations for “regular” microphones that pair well with a phone and then the cables and adapters that you’ll need to get setup.

Apogee HypeMic

Arguably, there are few microphones that are could be described as “mobile-friendly” than the HypeMic from Apogee. While it looks like a regular handheld mic, it’s actually deceivingly small, making it very light and portable. It also comes with cables to directly connect it to iPhones and Android handsets — no adapters needed. Don’t let the small size deceive you though, the HypeMic has a big trick up its sleeve: a built-in analog compressor for professional-sounding vocals. Whether you record podcasts, vocals or instruments there’s a setting on the HypeMic just for you. At $349 it’s a little on the spendy side, but you get a very versatile device that’s just as useful for the desktop too.

Samson Q2U

This dynamic mic is a favorite with podcasters, with many production companies using it as their standard mic to send out to remote guests thanks to its excellent quality to value performance. The Q2U features both USB and XLR connectivity making it versatile for both desktop and mobile applications, but it’s the former we’re interested in here as that’s what allows you to connect it to your phone with nothing more than a USB cable and an adapter (see below).

What’s more, the Q2U is solid enough to endure a little bit of rough and tumble, so will happily live in the bottom of your backpack ready for when you need it. Meanwhile, the handheld design is versatile enough it can turn its hand to singing/instruments, podcasts, interviews and more.

Tula

You may not be familiar with the name, but Tula snuck into our hearts with its versatile, vintage inspired debut microphone. From a mobile perspective, the Tula connects to Androids directly over USB-C or iPhones with the right USB-C to Lightning cable (more on this below) or a USB “camera kit” adapter. What makes the Tula special is that it’s also a desktop mic and portable recorder with lavalier input and 8GB of storage and even features noise cancellation – perfect for cutting down on outside background sounds. With the Tula you could theoretically have one mic for home, mobile and standalone recording.

IK Multimedia iRig Pre 2

If you already have a stash of XLR mics or really do need a studio condenser mic with phantom power then the iRig Pre 2 is a portable interface that will feed any XLR mic into your phone. It runs off two AA batteries which it uses to supply phantom power when needed and won’t drain your phone. There’s also a headphone port for monitoring, gain controls and LEDs to help prevent clipping.

A word on cables

Connecting USB microphones directly to phones is rarely as simple as just one cable, although that’s starting to become more common. In general, Android makes this simpler, but also, thanks to the wide range of manufacturers and software versions you can’t always guarantee things will work smoothly.

The iPhone is a whole other situation. USB microphones have a good chance of working via the USB camera kit we mentioned earlier, but that’s still inelegant sometimes. Frustratingly, some USB-C to Lightning cables will play nice with microphones, but sadly most will not – including Apple’s own. One confirmed option is this cable from Fiio or this generic alternative. These are inexpensive enough that it’s worth having a couple around if you work with audio a lot (they of course can also be used to charge your phone as a bonus).

This article originally appeared on Engadget at https://www.engadget.com/best-mobile-microphones-for-recording-with-a-phone-154536629.html?src=rss