A dedication ceremony was held for the new Emera Astronomy Center on Friday, Oct. 17 at 10 a.m. The event kicked off Homecoming weekend and was attended by UMaine faculty, staff, alumni and students.

The $5.2 million astronomy center, located at the intersection of Rangeley Road and Long Road near Hilltop Commons, hosts the Maynard F. Jordan Planetarium and Observatory. The center replaces the more than 60-year-old planetarium located in Wingate Hall and the more than 100-year-old telescope formerly housed in the Jordan Observatory near the Maine Bound barn.

“I’ve been involved in the design and construction process through and through, and it’s like a whole different animal [than the previous Jordan Planetarium],” said Emera Astronomy Center director Alan Davenport. “The amount of technology is outstanding. There are eight computers that power the planetarium alone.”

The 7,400-square-foot center utilizes a 55-seat planetarium dome 33 feet in diameter — the largest in the state — and a state-of-the-art Definiti projection system. The adjacent 618-square-foot observatory houses a 20-inch observatory telescope is also Maine’s largest. The center’s innovative exterior lighting system is designed to maximize darkness when stargazing, and the center itself is heated with geothermal heat pumps, the first UMaine building to do so.

“This center will inspire young people’s curiosity,” Davenport said, referring to the numerous K-12 groups that utilize the center. “UMaine students were essential in designing and constructing this facility; students and staff are the lifeblood of these types of educational opportunities.”

The Emera Center is designed to enhance UMaine role in outreach to K-12 students and the education of science, technology, engineering, and mathematics (STEM) education.

“We felt it was way past time we stepped up the quality, the scale and the style of the facility,” Davenport told the Maine Campus in September 2013. According to Davenport, the new center will offer educational opportunities outside astronomy thanks to the center’s digital visualization system.

“Everybody will be blown away by the Emera Center’s power,” said UMaine President Susan Hunter, who had been given a preview of certain Emera Center programs. “We’ve known at UMaine for a long time the importance of observing the universe; the Emera Center helps us further that goal.”

The center was funded by an anonymous couple’s $3.2 million donation, as well as $1 million naming gift from Emera, the parent company of Emera Maine, along with other UMaine funding. Designed cooperatively by WBRC and planetarium design specialists Kasian, the center was built by Nickerson & O’Day, a Maine-based construction firm, who broke ground in April 2013.

“Only a handful of post-secondary institutions have planetariums,” Kasian Principal Architect Bill Chomik said. “[The Emera Center] is one of the largest, most advanced, most educationally-focused planetarium in Maine. It encourages user engagement.”

The Emera Center hosts public events within the planetarium, as well as public telescope viewings. The center’s schedule can be viewed at astro.umaine.edu.

Grade: 9

A game developer capitalizing on a franchise license to make a truly great game is rare. Usually, games of this nature focus on meeting a specific deadline to coincide with a movie’s release date or an anniversary of the game’s franchise. This almost always leads to a substandard game plagued with poor use of characters, locations and events.

Luckily, this isn’t the case with “Middle-earth: Shadow of Mordor.” Filling the gap between “The Hobbit” and “The Lord of the Rings,” “Shadow of Mordor” is a game hardcore Tolkien fans will undoubtedly enjoy, as it is overflowing with lore. Simultaneously, regular gamers will equally enjoy passing the time with gameplay reminiscent of “Assassin’s Creed” and a combat system similar to “Batman: Arkham Asylum.”

In short, developer Monolith Productions has created a surprisingly deep, expansive game, a long overdue necessity for “Lord of the Rings” fans.

“Shadow of Mordor” shamelessly borrows the signature stealth mechanics and character movement from Ubisoft’s “Assassin’s Creed” franchise. While Monolith could be faulted for utilizing this in their game, the developer has expertly crafted these mechanics into Tolkien’s world. In fact, one might even forget the “Assassin’s Creed” elements once they start exploring the vast realm Monolith has created.

The second shamelessly borrowed game mechanic, the combat system, is less forgivable. While the system itself is integrated well with the main character, Tailon, and his fighting capability, there isn’t a huge departure from how “Batman: Arkham Asylum” implemented the same three-button combat mechanic.

In short, it works in “Shadow of Mordor,” but it would have been nice to see an unique difference that justifies the obvious copy-and-paste style employed by Monolith.

However, one views these mechanics, there is no doubt Monolith has striven to create a game for Lord of the Rings fans, created by Lord of the Rings fans. Mordor, the game’s sprawling, surprisingly diverse setting, is immediately recognizable yet worthy of endless exploration.

Within this land, numerous “Appendix” entries — in true Tolkien style — are begging to be unlocked; even the most minute detail, such as a detailed explanation of Middle-earth’s use of potatoes, is accounted for. Hardcore Tolkien fans will undoubtedly appreciate the care and attention to detail given to Tolkien’s established lore.

From a visual standpoint, “Shadow of Mordor” isn’t the Xbox One’s best looking game, especially compared to the shiny polish of “Destiny,” but that doesn’t mean there isn’t plenty to love. Character models are extremely detailed, with eye-catchingly detailed skin textures on the foul, malformed Orcs and Uruks. As there are quite a few different character models for these enemies, it is refreshing to see such consistent attention to detail. Likewise, weapon detail, with respect to bump-mapping and lighting, are top-notch.

The game’s graphical aspects create an authentic Middle-earth, which is missing from previous “Lord of the Rings” games. In the game world itself, however, things aren’t so high-end; for every beautiful vista, there is non-player character with awkward animations and a rough character model. Likewise, environmental interaction animations, a common action in “Shadow of Mordor,” is rarely synced with the world’s geometry. Overall, “Shadow of Mordor” presents an effective yet hardly perfect graphical package.

What really sells “Shadow of Mordor” is the game’s “Nemesis System,” a novel approach to how boss battles play out. Basically, the game randomly generates Orcs and Uruk-hai for Tailon to fight, and the way those characters assume power within Sauron’s army is largely dependent on player actions. This system, combined with the aforementioned pros, make “Shadow of Mordor” a game worthy of any player’s attention.

Monolith has crafted an exceptional game under high expectations, delving into Tolkien lore and presenting Middle-earth in a novel, approachable, and highly entertaining fashion. Even after completing the 10- to 12-hour story, there are plenty of side missions and collectibles to occupy your time, and the game world itself is worthy of lengthy exploration. Expect to keep “Shadow of Mordor” in your disc drives for a while.

Rating: 7.5/10

Editor’s note: “Destiny” is a complex game that warrants an in-depth look. This is the final review of a three part series. This article will focus on the game’s multi player aspect. Part 1 covered the game’s presentation and part 2 explored the single player aspect. The score for this review reflects only the aspects covered in this article.

The third major aspect of “Destiny,” the competitive multiplayer aspect, called “The Crucible,” will likely determine how long the average player will keep Bungie’s shooter in their disk drives. Luckily, The Crucible offers players a worthy distraction from the game’s thrilling, but limited co-op.

Currently, there are four permanent game types available to players: Clash, a six vs. six team deathmatch; Control, a domination-style six vs. six game type; Skirmish, a three vs. three team deathmatch; and Rumble, a six-player free-for-all. At face value, these game types aren’t anything different from countless other multiplayer hosts, but once players delve into the Crucible, they’ll find these offerings satisfy their multiplayer needs.

By playing Crucible matches, players can gain Crucible Marks and Reputation; once players acquire enough of each, high-tier equipment becomes available. While there is a grind to securing these items, the maps of “Destiny” are varied enough to maintain players’ attention.  The Crucible hosts 10 (11 for PlayStation owners) maps across Earth, the Moon, Mars, Venus and Mercury. Like the campaign, these maps utilize beautiful vistas as backdrops, don’t be surprised if you get killed while admiring The Crucible’s settings.

The Crucible does many other things right. Each match, players’ unique jumpships are joined in-route to the next map’s planet. After arriving, every allied player is beamed down and displayed heroically next to their teammates. This presentation is a welcome change from other games, where players are corralled into faceless lobbies as a timer counts down to the next match. Once in-game, players have the opportunity to earn medals based on their performance, such as going on a killing spree or supporting their team. Using the many unique powers and abilities in “Destiny” in a competitive multiplayer manner provides an extra thrill for its players.

There are only a few critiques worth mentioning. The in-game announcer is not as memorable as in other games. Also, upon finishing a Crucible match, players don’t have the option to vote on the next map, leaving the next location a mystery until the game starts. Finally, while there are a handful of medals one could earn in The Crucible, there seems to be a missed opportunity to expand the number of attainable medals. The Crucible only features medals of objective captures, killing sprees and a few other accomplishments. The fact that players can’t create private games is also a noteworthy criticism.

When combined with the rest of “Destiny,” The Crucible compliments the game’s campaign nicely, offering a distraction that will keep players returning long after they tire of the game’s limited cooperative content. With the promise of additional content, such as the temporary multiplayer playlist, Salvage players will keep themselves plenty busy leveling up their character and unlocking ever more powerful gear. Indeed, that is where the main draw of “Destiny” lies: the grind to see how fast one can unlock legendary or exotic equipment, while repetitive, can be extremely fun. This reaffirms this writer’s overall review of “Destiny”: like any MMO, “Destiny” is always evolving. Players have plenty to look forward to in the future, which negates some of the monotony of “Destiny.” As it stands, The Crucible is a worthy addition to “Destiny,” ensuring players have plenty to do until the next batch of content is released.

Former United States Ambassador to Syria Robert Ford gave a public presentation on Sept. 22 about the Syrian Civil War and United States – Syrian relations.

Speaking to a packed McIntire Maine Event Room in the Buchanan Alumni House, Ford described the conditions of the Syrian Civil War and the associated complicated political scene in Washington.

“It is important that people realize that the Syrian conflict started out peacefully, but over time, turned extremely violent,” Ford said about the civil war that started in 2011. “Over 200,000 people have died from chemical weapons, torture, and starvation. There will be a big debate in Washington after the mid-term elections to discuss what should be done.”

Throughout the hour-long lecture, Ford commented on President Barack Obama’s handling of the situation, some of his own personal experiences in Syria and potential solutions.

“Syria needs a new government that can rally against the Islamic State,” said Ford. “It is important to note, however, that after five years of experience in Iraq, I don’t think we should pull out completely from the Middle East. I agree that we should help train Syrians against their oppressors.”

Speaking about Washington’s political front, Ford discussed the multiple viewpoints President Obama is facing from both Democrats and Republicans.

“Some people within the Democratic party strongly support taking action in Syria, while some do not,” Ford said. “The Republicans are also divided. For example, Rand Paul and John McCain are on opposite sides. I fear [taking action in Syria] is a slippery slope.”

Ford has been in the United States Foreign Service since 1985, taking positions in Egypt, Algeria, Turkey and others. Ford served as U.S. Ambassador to Algeria from 2006 to 2008 before assuming the ambassadorship to Syria from 2011 to 2014.

In a one-on-one interview with The Maine Campusbefore the lecture, Ford answered questions regarding his Algeria and Syria assignments, as well as personal thoughts about his career. When asked to compare his Algerian and Syrian positions, Ford commented on the extremity of the Syrian situation.

“The Syrian assignment was far harder in many ways,” Ford said. “When I got to Syria, we already had a contentious relationship with the Syrian government because of the Syrians’ nuclear and chemical programs. We wanted those programs to be put under international supervision, but the Syrians did not cooperate.”

Ford stressed the day-to-day violence he experienced in Syria, and how that affected his time there.

“The first six months I was in Syria [where] easier than the last six months,” Ford said. “At first, it was fairly simple for me to move around the city. There were no particular security threats against me. In the last six months, there were constant security threats. The Syrian government organized a mob and attacked the U.S. embassy, and it was the worst [mob] I had ever seen in my career. I had to change my daily routine because of all these threats.”

Ford retired from his official government ambassadorship in Feb. 2014, opting instead for a life of teaching at Johns Hopkins University and giving public lectures.

“I retired from my Syrian position because I could no longer defend the government’s policy,” said Ford, who now speaks as a private citizen. “It was touching on my personal integrity.”

In his lecture, Ford stressed the “abysmal” coverage western media provides of the Syrian conflict, and noted there were certain things Americans must know about the conflict.

“The conflict is complicated. The Assad regime is unbelievably brutal. It has arrested tens of thousands of people and tortured them to death. It is bad for all Syrians if that regime continues as it is now,” Ford explained. “But on both sides there are extremists that hurt the Syrian people. Americans need to understand the Syrians need help against both these sides.”

When asked what the average American could do to assist the Syrian people, Ford promoted the many organizations that provide assistance to Syrian civilians, as well as political representative outreach.

“I encourage people to donate money and supplies to the numerous American organizations that assist the enormous humanitarian crisis in Syria,” Ford said. “Americans can also let their representatives in Washington know that [the public] does care about what happens in Syria. Helping Syrians help themselves is in our national interest.”

On Sept. 27 at 10:30 a.m., the University of Maine hosted its first Elect Her – Campus Women Win, a conference for women to explore opportunities in student government and political office.

Elect Her – Campus Women Win held in the Wells Conference Room on the UMaine campus and featured guests such as UMaine President Susan Hunter and Maine Senator Emily Cain. The conference consisted of 20 college women from all University of Maine System campuses, along with Bates College, Colby College, St. Josephs, Tufts College and Hunters College in New York.

“I’m especially pleased as UMaine’s first woman president to welcome Elect Her to the UMaine campus,” Hunter said. “There continues to be disparity between women and men serving in elected positions. I encourage [conference members] to join efforts to lessen the gender gap and form a wonderful network here at Elect Her.”

Throughout the four and a half hour conference, Elect Her members were tasked with working through a comprehensive workbook that explored networking skills, the workings of student government, political campaign strategy, support networks and platform messaging tips. The group was also tasked with stimulating a campaign by interacting with members and explaining their ideas and candidacy.

“We’re one of 50 campuses in the nation who host Elect Her,” said Mary Cathcart, senior policy associate at the Margaret Chase Smith Policy Center, one of Elect Her’s sponsors. “UMaine applied to host the program last year, and we were very happy to get accepted. We’re hoping it will become a yearly event.”

Elect Her is partnered with the nonprofit, nonpartisan American Association of University Women (AAUW), an organization with more than 165,000 members nationally, and Running Start, a nonprofit that expose young women to politics to pique their interest. She Should Run, another Elect Her partner, is dedicated to increasing the number of women in public office and combating barriers that hinder women in politics.

“Elect Her has been happening [nationwide] for five years,” program manager Jessica Kelly said. “Kate Farrar, Vice President of AAUW, saw student government as a great way to start getting women involved with politics. It planted the seed to run for office later in life, so she started this conference.”

Jamie Austin, a University of Maine in Farmington political science sophomore student, attended the conference after hearing about it from her professors.

“The conference was fantastic for women who had any political aspirations, whether in student government or political office,” Austin said. “The introductions where everybody said what they thought made them eligible to run for public office was very enlightening. It just goes to show how many different walks of life politically minded women can come from. I’m happy to hear it is going to become an annual event.”

The conference also included a student government panel titled, “The Nuts and Bolts of Running Student Government.” The panel involved former Student Government President Kimberly Dao and current Student Government Vice President for Financial Affairs Christine Le.

Later in the program, guest speakers, Special Assistant to the Vice President for Innovation and Economic Development Jennifer O’Leary, and Ph.D. Candidate in Communication and Journalism Brianne Suldovsky gave a talked titled, “The Importance of Messaging.”

Unlike many movies, “Transcendence” boldly and bluntly expresses a singular theme, instead of tiptoeing around sensitive ideas in an attempt to seem multifaceted or overly intelligent.

While the quality of “Transcendence’s” actual cinematic elements is debatable, there is no doubt writer Jack Paglen has offered an extremely thought-provoking premise. However, an excellent story is only part of what makes a good movie, and, conversely, “Transcendence” lacks in terms of pacing and actor quality.

Firmly rooted in science-fiction, yet still plausible in today’s technology-centric world, Paglen has presented the audience with a smart, argumentative script. Dr. Will Caster, played by Johnny Depp, is a pioneer in the world of artificial intelligence, but when an anti-technology terrorist group tries to kill him, Caster agrees to let his wife, Evelyn, and co-worker Max Waters upload his conscience to the internet in order to create the most sophisticated AI ever created. Evelyn and Waters are played by Rebecca Hall and Paul Bettany, respectively.

Ultimately, “Transcendence” asks us whether technology is helpful to the human race, or will it eventually take over our humanity? The movie is effective in presenting both sides of the issue, with Caster representing both technology’s potential, such as healing the sick and cleaning the environment, and its detrimental effects on humanity.

Depp is strong, as usual, in his role, portraying a raw, synthetic version of Caster, as well as the character pre-AI. In particular, his performance at the film’s conclusion is noteworthy for his believability and emotional draw. Hall, however, is unfortunately wooden and weak compared to Depp; Hall’s most emotional scenes, such as when she must assumingly kill her husband in the movie’s second act, is noticeably dull and unconvincing.

Kate Mara, who plays the movie’s main antagonist, Bree, is a decent choice for the role, as Mara offers a deceivingly menacing performance. Morgan Freeman and Cillian Murphy help round out the cast, offering nothing more than solid supporting roles. Having Hall as a decidedly weak link is unfortunate, as “Transcendence” otherwise offers a serviceable, well-rounded cast.

The movie should be faulted for its slower first and second acts. It simply takes too much time for the real crux of the movie, the difference between “real” and “fake” humanity, to present itself. As such, some pivotal scenes aren’t given enough time to play out; as a result, many emotional moments don’t land as they should.

One of these moments turn out to be quite important in the movie’s third act, which makes this diluted pace even more unfortunate. Despite this flaw, the film’s final 40 minutes are paced much more effectively, allowing the movie’s climax to build to a tense, emotional finale.

While not as structurally sound as its script, “Transcendence” is a science-fiction story of epic proportions. Offering solid debate on the topic of artificial intelligence and its impact on humanity, “Transcendence” is eerily applicable to today’s society. With relatively basic virtual intelligences available today, such as Apple’s Siri or Microsoft’s Cortana, one can’t help but apply “Transcendence’s” message to the current state of technology.

With that perspective, “Transcendence” doesn’t seem too farfetched, making it as much a social commentary as a technological one. No matter its flaws, however, “Transcendence” is worth the admission price, as it is thought-provoking.

Grade: B

Jazz artist Ambrose Akinmusire is not a well-known musician to the mainstream community, despite a reputable history in his profession. Akinmusire debuted his first album, “When The Heart Emerges Glistening,” in 2011, featuring a jazz quintet.

Now, Akinmusire has released a follow-up record, titled “The Imagined Savior is Far Easier to Paint.” While the title and track listing is unorthodox, that is where the uniqueness ends. Quite simply, this is a boring, uninspired album that doesn’t bode well for Akinmusire’s recording career. While sophomore efforts are naturally challenging, “The Imagined Savior is Far Easier to Paint” is atypically uninteresting and dull, with very few stand-out elements.

Akinmusire, while obviously talented on the trumpet, does little to bring his power and voice to the recording. The first song, “Marie Christie,” allows Akinmusire to flex his musical muscles following a relaxing piano intro, but the song never seems like it is building toward a climax. Likewise, the middle section, featuring a complex trumpet solo by Akinmusire, seems poorly structured, and therefore unexciting. “Marie Christie” unfortunately sets the tone for the rest of the album, although a few songs fare better than this poorly-conceived introduction.

“Our Basement,” the album’s third track, is assisted by female vocals along the typical piano and trumpet bits. Singing about a lost loved one, Akinmusire’s trumpet accompanies the vocals well, echoing lyrics and adding chemistry between singer and musician; also, the duo’s fade-out at the song’s conclusion leaves the listener with a chilled feeling. While “Our Basement” holds up well compared to other songs on “The Imagined Savior is Far Easier to Paint,” it is not a good sign that the first truly interesting song on the album comes three tracks in.

“Vartha” is a stable, easy-listening piece, perfectly suitable for relaxing settings and careful listening. Piano motifs pepper the song, with only an occasional trumpet flourish to punctuate the carefully-laid melody. This song’s non-lyrical nature means the listener has to form their own story around who or what is “Vartha,” and this method works well against the emotional piano playing. As a slower, more thought-out track, “Vartha” is one of the more listenable songs on The Imagined Savior.

Most of the remaining 10 songs on the record are more or less the same as the aforementioned tracks. This monotony is The Imagined Savior’s biggest downfall, as the album becomes sluggish and unenjoyable to most listeners. “The Beauty of Dissolving Portraits” is unique in that it utilizes string instruments to keep the melody moving, a welcomed break from the hitherto typical string bass drive. Likewise, “Rollcall for the Absent” features nearly-indistinguishable children’s voices, once again leaving the listener with a figure-it-out-for yourself effect. Like “Vartha,” this method is interesting and thought-provoking, unlike the majority of the album.

If anything, Akinmusire should be praised for his creative track titles. Unfortunately, the album’s substance fails to make the same kind of impression. The only people who will likely get any extended enjoyment out of this album is die-hard jazz fans, but even after the first four or five tracks, the listener will have heard everything the album has to offer. It is a shame that Akinmusire has created a substandard album, as his skill as a musician is not in question. Rather, the album’s structure, monotony and bloated length hinder the artist’s otherwise favorable impression.

Grade: D

“300: Rise of an Empire” is not quite the movie that “300” was.

Yes, there are a ton of gory, over-the-top battle sequences stylized to be comic book movie-esque, but unlike “300,” “Rise of an Empire” doesn’t feature a solid lead, which considerably hampers the film.

This leaves the movie simply as an action flick for those who enjoy obscene amounts of blood, dismemberment and brutal melee combat. With incredible CGI and truly impressive combat choreography, “Rise of an Empire” succeeds admirably on this front, but those seeking substance should look elsewhere.

Paralleling the story of “300,” “Rise of an Empire” does a surprisingly good job of interweaving Leonidas’ story with the introduction of the character Themistocles and his ragtag fleet of Athenians. Not only are clips from “300” used, but characters reference events before and after Leonidas’ last stand against Xerxes and his Persian army. Additionally, Xerxes’ backstory is explained; his rise to power is directly related to the main villain of “Rise of an Empire,” Artemisia. It is pleasant to see such continuity in a sequel, as this lends unexpected credibility to the franchise itself.

“Rise of an Empire” contains the same amount of over-the-top action as its predecessor. This time, however, almost all combat takes place on water, with massive fleets of Athenian and Persian ships clashing on the Greek coast. Led by the ruthless Artemisia, played ably by Eva Green, the Persians must destroy a smaller, motley group of Athenian farmers-turned-soldiers, led by Themistocles, played less ably by Sullivan Stapleton. While Green is convincingly brutal, sexy and merciless, Stapleton is consistently wooden throughout the movie.

Themistocles does not display emotion well, whether watching his friend die or watching his fleet get destroyed. Likewise, “Game of Thrones’” Lena Headey puts in a substandard performance as Queen Gorgo, reprising her “300” role. This acting inconsistency means “Rise of an Empire” lacks emotional depth. While surely not the movie’s focus, this lack of an effective cast severely diminishes audience investment, devolving “Rise of an Empire” into nothing else but an excellent action movie.

Visually, “Rise of an Empire” will melt your eyes. Outstanding detail is ubiquitous, whether it is a thousand splintered ship hulls ramming each other, the fiery, chaotic battle zone in the movie’s second act, or the hundreds of individual wood chips dislodged as an arrow strikes a shield. The change from “300’s” ground combat to “Rise of an Empire’s” water-based action doesn’t feel forced or fake, as every wave is rendered brilliantly and each ship is realistically detailed. Obviously, “Rise of an Empire” is stylized, meaning combat is exaggerated; this is where excellent CGI is imperative. Slow-motion sequences and complex camera rigging is masterfully executed, making each combat sequence exciting and satisfying.

As a parallel story, “Rise of an Empire” carries the story set forth in “300” quite well. Injecting references and clips from Leonidas’s plot into “Rise of an Empire’s” events, there is a welcomed sense of continuity. However, “Rise of an Empire” lacks an equally impressive cast as its predecessor, which undoubtedly hurts the film’s emotional impact.

There is really no line or event that will be remembered as fondly as Leonidas’s “This is Sparta!” moment, but nevertheless, “Rise of an Empire” stands on its own two feet as an action movie. Thanks to amazing CGI and exhilarating battle sequences, fans of “300” will find plenty to love in “Rise of an Empire.”

Grade: B-

Hot off the heels of a successful second season debut, independent video game developer Telltale has once again hit it out of the park. As perhaps the best episode in the critically-acclaimed series, “A House Divided” expresses all the reasons why we love “The Walking Dead.” Featuring a new, chilling villain, a welcome return of a Season 1 character, and plenty of gore, emotion, and tension, “A House Divided” will pull in players and leave them in great anticipation for the next episode.

Unfortunately, the same technical issues that plagued other “The Walking Dead” episodes return in “A House Divided.” Beyond the severe frame rate drops and awkward scene switching, “A House Divided” contains a couple subtitle inconsistencies and inaccurate lip-syncing. While these flaws do not make the game unplayable in any way, they are an oversight that is most unwelcome. Most glaringly of all, there was a scene in the next episode preview where characters were silhouetted against a completely white background, leaving the player with no idea what was going on or what the preview was supposed to tease. A glitch of this severity is inexcusable, no matter how good the game is itself.

Thankfully, there is much more to “A House Divided” than graphical faults. Its story and characterization are top-notch, making it a perfect set-up for events further into this season. A new antagonist, only briefly mentioned in the first episode, is revealed as Carver, a gravelly-voiced psychopath with ties to the group’s past. Carver is intimidating even before he takes action against the group, thanks to excellent voice-acting by Michael Madsen. The first encounter between Clementine and Carver is tense, showing the maturity of young Clementine and Carver’s seriousness, frightening nature.

While the previous episode, “All That Remains,” took place solely in the woods, “A House Divided” treats its players to a variety of locations. Leaving the cabin far behind, Clementine and her new companions travel to a mysterious mountain to escape Carver and his band of followers. A dangerous and thrilling bridge scene, a marvelous, vast landscape, and a deceivingly peaceful country lodge are the environmental highlights of “A House Divided”; the variety is a much welcomed break from the monotony of “All That Remains.”

For the first time, Telltale has focused on making player choices really matter. As seen before in video games, the idea of “pseudo-choice,” where player’s decisions really don’t necessarily have an impact one way or another, are replaced with actual meaning and weight behind difficult choices. This means a player’s decision to kill a character in “All That Remains” really does make “A House Divided” feel unique; dialogue and character interactions will be different depending on player choice. No two players will have the same experience, furthering its replay value and promoting discussion.

“A House Divided” is particularly noteworthy due to the perfectly frantic pace at which the plot unfolds. Seeing Clementine escape the previous episode’s walker attack provides the episode with a thrilling introduction, and the subsequent aforementioned bridge scene is sure to be a fan favorite. However, it is when the group reaches a pleasant, festive ski lodge that the episodes goes full throttle. Not only does a Season 1 character return, but Carver catches up with the group and immediately brings chaos and tension to the situation. Depending on player choice, the confrontation between the two groups can be disastrous, with several characters perishing or otherwise meeting grim fates.

“A House Divided” fulfills every player expectation, at least plot-wise, an especially daunting task considering the high standard set by “All That Remains.” Even though the persistent graphical glitches are present (maybe by Season 3 these will be ironed out), this shouldn’t detract fans from experiencing the compelling storyline “A House Divided” delivers. Carver is set to become a memorable, truly terrifying villain in “The Walking Dead” universe, and Clementine proves to be a consistently interesting and well-written character. Returning characters and gruesome action scenes is the icing on the cake. At $5, you really can’t go wrong with this episode.

Grade: A

One would be hard pressed to find a person who hasn’t heard of Frank Sinatra, fan or not. Sinatra was one of the most popular singers in the ’40s, ’50s and ’60s, leading the swing and easy-listening movement that produced other sensations like Tony Bennett and Dean Martin. The fact that Sinatra’s music has been re-released nearly 70 years after his rise to stardom is an obvious testament to his music’s longevity.

“Sinatra, With Love” is a compilation of his most romantic songs, a perfect collection for those who enjoy Sinatra’s timeless passion and irresistible charm. Old favorites make a welcome return, while lesser-known tracks fit in well with more popular songs.

The track list itself is well-rounded, with obligatory favorites such as “The Way You Look Tonight” and “Love Looks So Well On You” making an appearance, as well as deep cuts like “(Love Is) The Tender Trap” and “It Could Happen To You.” No matter which song you choose, though, the engineering quality is consistently excellent thanks to attentive remastering. Sinatra’s rich, unmistakable baritone shines through each track, and instrumental accompaniment is appropriately dynamic.

These tracks still eerily echo the time in which they were created, but the first-rate sound quality of modern day is present. It is an excellent mix, considering the age of most of these songs. One can’t help but feel transported to Sinatra’s time when listening; this is a sensation not often felt with older music.

Those who aren’t familiar with Sinatra’s work will find “Sinatra, With Love” enjoyable, provided they like older music. Those who appreciate upbeat pieces will like “Something’s Gotta Give,” a fast, instrumentally driven song about opposable lovers. “The Way You Look Tonight,” Sinatra’s arguably most popular song, also fits this category. This song in particular is the quintessential Sinatra piece. Any new listener will likely fall for Sinatra’s style because of this hit.

For those who enjoy slower, easy-listening songs, “Moonlight Becomes You” and “It Had To Be You” feature Sinatra at his lyrical best; instrumentation is at minimum, spotlighting Sinatra’s impeccable presence and mysterious authority. Other songs, like “I Love You,” “My Foolish Heart” and “Nice ‘N’ Easy” are comfortable middle-ground tracks, offering a punchy rhythm section and Sinatra’s signature gentleness and appeal. Overall, the 16-track set is diverse, offering an excellent sample of Sinatra’s lengthy career.

Sinatra die-hards will have no problem picking up his pleasing re-release. The track listing is satisfactory, and the focus on romantic music helps Sinatra’s vocals shine. Those who are looking for an introduction to the Chairman of the Board, or those who value any good romantic night in, will find “Sinatra, With Love” a suitable, pleasant experience. In a time when swing, easy listening and other oldie music are becoming more and more forgotten, it is comforting to see some of these artists getting renewed attention through re-releases such as “Sinatra, With Love.” While there can’t be anything inherently wrong with a compilation re-release, “Sinatra, With Love” goes the extra mile to please amateurs and die-hards through a dedicated track list and excellent technical detail.

Grade: A