For the first dedicated microphone by gaming peripheral manufacturer SteelSeries, the Alias is a very impressive debut. Bringing the same ease of use that you would find in a SteelSeries mouse or keyboard to the audio space, this is a simple, plug-and-play microphone that sounds absolutely excellent out of the box. Although you can squeeze comparable audio quality from cheaper products by non-gaming brands (the exceptional Blue Yeti for example) doing so requires some degree of software knowledge and a level of fiddling that is totally absent here.

In addition to performing well, the Alias looks a cut above the rest thanks to an understated design that simply oozes class and quality. The RGB lighting on its underside may be purely cosmetic and a slight letdown, but the innovative LED display found on the front of the microphone is the perfect blend of style and substance. Conveying information on your current noise level, not to mention providing a useful indicator as to whether the microphone is currently muted, this is one feature that will make you wonder how you ever managed without it.

The same can’t be said of the SteelSeries Sonar software, however. Although it is at least adequate for tweaking your settings before jumping into a game, it’s disappointingly basic and brings very few extra features to the table beyond some mildly amusing voice filters and a volume mixer.

SteelSeries Alias - Price and availability

Retailing for an eye-watering $179.99 / £179.99 / AU$399, the Alias ranks among some of the most expensive gaming microphones on the market. This is a lot of money to spend on a microphone, even when compared to the most high-end offerings by other well-known gaming peripheral manufacturers. The Razer Seiren V2 Pro, for example, retails for $149.99 / £149.99 while the HyperX QuadCast costs $139.99 / £119.99.

This lofty price tag puts it squarely in competition with pricey non-gaming options from brands like Rode or Blue, where we think it manages to find a decent niche. While these other options will undeniably offer superior audio quality with the right setup, unwieldy desk mounts, large pop filters and intrusive boom arms make them a pain to use if you just want to chat while in a game. From a purely casual gaming standpoint, it’s easy to appreciate why many might consider this a better all-in-one option thanks to the sheer convenience factor.

The Alias is readily available from the SteelSeries website or Amazon in both the US and UK. It can also be found at a range of other retailers, including Best Buy and Walmart in the US or Currys in the UK. It is a little harder to find in Australia but is in stock at JB Hi-Fi at the time of writing.

SteelSeries Alias - Design and features

The design of the Alias certainly looks the part for such a premium product. A pill-shaped microphone sporting durable metal grills and covered in a sleek black fabric, everything about the aesthetic comes across as suitably high-quality. It’s suspended in a shock mount out of the box which makes for an impressively hassle-free setup. 

Although it’s also compatible with boom arms (through an included adapter) the pack-in stand is likely all that most will need. Like the microphone, it feels very robust and is constructed from a combination of smooth plastic and metal. The underside of its base is coated with a rubbery material that helps prevent the microphone from slipping around your desk and, while your mileage will inevitably vary depending on your desktop, this proved more than enough to keep it secure on the range of surfaces that I tested.

A small panel sits on the front of the microphone, with a dial to control headphone gain and a mute button. On the rear, you’ll find a 3.5 mm headphone jack (allowing you to insert headphones for audio monitoring), a USB-C port, and a microphone gain dial. The dial placement is a little strange here, as it would have made more sense to group the headphone jack and headphone gain dial together, but this setup is still fairly intuitive and, more importantly, very easy to adjust.

On the bottom of the microphone is a small ring of RGB LEDs, which can be configured with a range of presets or custom colors within the SteelSeries Sonar software. While the inclusion of some RGB lighting is certainly welcome, especially in a product so heavily marketed towards gamers, the effect isn’t particularly impressive and only really serves to illuminate a small portion of the stand’s base. For owners of other SteelSeries peripherals, however, there’s probably going to be some further appeal in being able to coordinate this small region of lighting with that of your mouse and keyboard.

Far more impressive is the fantastic LED display on the windscreen of the microphone itself. Shining through the front fabric, this display indicates the mic’s current status. It shows a red cross when the device is muted and a useful audio level monitor when it’s picking up sound. This level monitor is divided into five separate stages, ranging from green to red depending on your current audio level. Seeing frequent red illumination while speaking would suggest a need to decrease your volume or alter the microphone’s gain level, making this an addition that not only looks fantastic, but is genuinely practical.

The ability to tell whether the microphone is muted at a glance is incredibly convenient, especially if you intend to use the Alias for online streaming. The brightness and colors of both the mute indicator and audio level monitor can also be fully customized (or even disabled) within the SteelSeries Sonar Software which adds a welcome degree of personalization.

SteelSeries Alias review - Performance

The Alias performs extremely well out of the box without any software customization. Audio sounds crisp and clear even when used in a purely plug-and-play fashion, with a wide cardioid pattern that helps ensure your voice is picked up. It’s very easy to position on your desk and, experimenting with a range of online games including Counter-Strike 2 and Call of Duty: Modern Warfare 3, the microphone never interfered with my ability to deliver vital comms. The mute button is responsive and easy to use, while the gain monitor proved a highly useful way to check the impact of any unwanted background noise while on calls.

The microphone is also extremely capable outside of gaming, producing clean professional-sounding recordings in programs like Audacity. This should make it a favorite for content creators or podcasters, especially given the striking look. For those purely concerned with audio quality, however, it’s worth noting that I was able to squeeze similarly good results from the cheaper Blue Yeti which, despite its age, remains a top pick for streamers for good reason. This did take some software adjustments though, which wasn’t needed with the pricier Alias.

If you are the type to rely heavily on software, then this is perhaps the one area where the Alias is behind the curve. The SteelSeries Sonar software is a little basic, featuring a volume mixer, some alternate EQ options, a few voice filters, and little else. The AI background noise removal is undeniably extremely impressive, allowing me to play loud games without headphones while on calls with no tangible effect on background noise levels, but doesn’t seem that much more advanced than the options found in competing software like Nvidia Broadcast. 

To make matters worse, the UI is bloated, and redundant features like Moments, which automatically records your gameplay, are frustratingly intrusive and, worse still, switched on by default. Even so, this software is wholly optional and might still provide some value depending on your setup.

Should I buy the SteelSeries Alias?

Buy it if...

Don't buy it if...

How we reviewed the SteelSeries Alias

I used the SteelSeries Alias as my primary PC microphone for over three weeks. This included a lot of use in a variety of online games and frequent chats with friends on platforms like Discord. In order to test the audio quality, I recorded myself in a range of settings with different levels of background noise using Audacity.

During my time with the microphone, I also made sure to explore the SteelSeries Sonar software and tried to test the majority of the software’s available features and settings.

For more hardware recommendations, see our guide to the best gaming earbuds or the best gaming desks available now.

Call of Duty: Modern Warfare 3 is a disappointment. A DLC hastily repackaged as ‘full’ sequel, it’s hard to fathom why Activision decided that the best way to celebrate Call of Duty’s 20th anniversary was releasing a clearly rushed direct sequel in the Modern Warfare series, trading on fan’s goodwill to try and cover for a massive stinker.

So it goes. 

There are flecks of brilliance here, and it’s clear that Activision’s collective of Call of Duty developers (Sledgehammer Games take the lead here) have talent. While there are accusations swirling around Modern Warfare 3’s development time, the full picture hasn’t emerged yet. However, there’s no denying that Call of Duty: Modern Warfare 3 feels rushed and, while some polish might reduce some of the friction in the first-person shooter game’s multiplayer, there are substantial flaws in the structure that no amount of post-launch support can fix. 

For the first year in a long time, this is a Call of Duty game that, despite having its moments, isn’t always that fun to play and lacks a lot of the smooth gunplay that the series is known for. These elements alone make it hard to recommend Modern Warfare 3, even if the fact that Modern Warfare 2 ceasing development means many players will get dragged along for the ride. 

The price isn’t right  

The campaign of Call of Duty: Modern Warfare 3 is a turgid, joyless affair that struggles to justify its roughly three-hour runtime. The saving grace is the performance of the four-man Task Force 141 crew (Price, Gaz, Ghost and his stupid skull mask, and Soap) and new villain Makarov. But then, the game is so short, that hardly any other characters get time to themselves at all. 

Frustratingly, there are several characters back in the mix that you might have straight-up missed if you haven’t spent the last year plugging away in the game’s raids and paying sharp attention. Modern Warfare 2’s big-bad Graves? Last seen in the single-player game piloting a tank you’ve exploded? Faked his own death somehow, back here grinning like nothing has happened. CIA operator Alex, who left the CIA behind to join an insurgency and gave his life to detonate some explosives and save the world at the end of Modern Warfare? It didn’t take, he has a prosthetic leg here, but otherwise, he’s good to go. 

Both of these reveals will be obvious if you’ve played all of the extra multiplayer content, but it will be completely lost on you if you haven’t dipped into it. Not that cohesion seems to be valued much in the story, with missions feeling more like vignettes than anything actually linked together.

The writing is fine, although the idea of a false flag operation by Russians pinning terrorist atrocities onto a Muslim-speaking country is incredibly uncomfortable in the context of the current geopolitical climate. A reference to Modern Warfare 2 (2009)’s infamous No Russian mission teased in a post-credits scene feels designed more to shock than to make an actual statement and plays out end to end in barely a minute. I wondered if this had merely failed to land but quickly realized this was the point as another mission has you fighting Russian ultranationalists that are attacking a stadium while dressed as police and paramedics. 

Other missions feel like they were originally planned as cutscenes and then expanded out to deliver a few scant minutes of play. The story here - despite the cracking performances - feels half-finished and roughly sketched out. 

Very few of the set pieces gel, a bizarre thing to discover when this is something that Call of Duty has always done well even in its more disappointing efforts. Worse still, it doesn’t even really appear like they’re trying. I found myself dreaming of the Embassy assault from Modern Warfare or the shootout on the Golden Gate Bridge in Call Of Duty: Advanced Warfare. The opening level, an assault on a prison to free a high-value prisoner, is the closest the game comes to having a set piece, but too often you’re trudging through a darkened corridor or shooting up a sewer. 

Lots of this is due, presumably, to the game’s Open Combat Missions, which feel like single-player versions of the Spec Ops co-op missions seen in Modern Warfare 2. The freedom is exciting as a theoretical concept, but all too often you’ll miss an exciting combat encounter because instead of dancing to cover as designed, you snuck in the back and now have to fight off an entire army by crouching behind some trash cans.

Too many aspects of Warzone have snuck in too: you’ll have to spend a lot of your time hunting for weapons and sliding armor plates into your vest to keep you going. This is a big part of Call of Duty: Warzone, but here it kills the pace for me. 

Bizarrely, different levels seem to control in different ways, too. The Open Combat Missions seem to be built in a different engine and here you can inspect your weapons but are unable to take down enemies. If I had to guess - I’m not a game developer and my word here is uninformed at best - it appears the OCMs are built to play like Warzone and exist with that framework, while the more linear missions have been built in the standard engine. It feels sloppy, and the inconsistency means that sometimes I can sneak up and perform a takedown on an enemy, and other times I have just… forgotten how to.

As a long-time enjoyer of Call of Duty’s single-player campaigns, this one isn’t just hard to defend but it’s hard to tolerate with its gross politics intertwined with missions and gunplay that feel uninteresting. 

Ordinance survey

Call of Duty: Modern Warfare 3’s multiplayer initially shines, even if something immediately feels a little off. Drop in and you’ll be seduced because it feels like the classic Call of Duty experience, but the cracks start to show quite quickly. 

Gunplay feels off, and the precision - particularly playing on a mouse and keyboard - just isn’t there which makes it feel unsatisfying. While I’ve only had a couple of days to play with Modern Warfare 3, this time has been marred with frustration as fights become unpredictable affairs. 

Part of this is the introduction of movement too: the speed of just about everything has been increased and it’s now common for people to start bunnyhopping around in a gunfight until it feels more like a dogfight. Part of this speed increase seems to be that old guns and equipment returning from Modern Warfare 2 have had their animations sped up, which contributes to how off everything feels. 

Sniper rifles are so back, but not in a good way. Hit someone above the waist with a sniper rifle and it is curtains. This feels satisfying when you’re the one clutching the rifle, but it’s miserable when you see just a glint of scope shine before getting polished off on any map with long sight lines.

These are all disparate issues but they come from the same root cause: it feels like the game has been optimized for the angry streamers who take to Twitch each night and talk about how the game needs to be faster and more bombastic while jerking their viewpoint around in every different direction. This is the direction Call of Duty games had been going before 2019’s Call of Duty: Modern Warfare, which slowed things down in combat considerably. For me, I think Call of Duty plays better when you have a second to think, and it really suffers here from the tweaks that will make it better for high-level players to get ridiculous kill montages for TikTok, but make it harder for most players to enjoy. 

Then there’s the fact that every gun and skin from Modern Warfare 2 (2022) is returning, meaning that all of the obscure meta tweaks from that game are live here on day 1. By my second game of Call of Duty: Modern Warfare 3, playing at 6am after the servers had been up for an hour, I was already being accosted by people charging around with semi-automatic shotguns and riot shields strapped to their backs. Within an hour, I was strapping thermal sights and silencers to weapons I’d barely touched because my Modern Warfare 2 attachments can be slotted into Modern Warfare 3 weapons even when those weapons are barely leveled. 

This is great for consumers in that that money you spent on a Nicki Minaj skin last year isn’t gone forever, but by adding all of this stuff they’ve completely broken Modern Warfare 3’s sense of progression and exploration. Why would any player feel the need to experiment with the all-new arsenal when the old one is right there and has already been fully explored? Similarly, finally unlocking a key attachment is meaningless now because you’re often already going to have strapped something from Modern Warfare 2 into the game in the first place. 

While this is often the case with Call of Duty launches, the previous battlepass is still active, so you’re earning cosmetics from the last game for this one. It feels to all intents and purposes like even Activision don’t think this is a new game either, and the only people they’re trying to convince that this is a whole new world is us, the mooks they want to buy into the game for 12 months despite the fact it sucks. 

I’ve still enjoyed playing it because I adore running around maps I was obsessed with during my years plaat University, and loading into a map on Terminal or Afghan gives me the warm and fuzzies even now. Thing is, Modern Warfare 3 plays very differently to Modern Warfare 2 (2009) where the maps are cadged from, and while they’re still well designed, the addition of systems like mounting will make it feel very different.

The maps are excellent though, the best bunch in a Call of Duty game in years. If anything, the reintroduction of these old maps just goes to show they don’t make them like they used to: last year’s Modern Warfare 2 played much better as a game but none of the maps come close to what’s on offer here.  

Ghoul of duty 

The Zombies mode, basically Modern Warfare 2’s DMZ except every player is allied now and every enemy is a zombie or a zombie-killing mercenary, is an absolute delight and is the strongest part of this year’s package by far. 

It hasn’t reinvented any wheels here: Zombies staples like the pack-a-punch machine, the mystery box and on the wall weapons are still present and correct, but the world is huge and there’s large-scale co-op action as you’ll be covering your team from a nearby ridge with a rifle before noticing another team fighting a crowd of undead nearby and losing a few rounds to help them out, too. 

That comfortable co-op is the bit that wins me over with the Zombies mode. One time, escaping towards the extraction point alone after my team had all died, I found myself completely outnumbered by mercenaries who had me totally outgunned. As I ran out of ammunition, another car drove past with two players in it. They beeped twice as they drove past and I lunged for the vehicle, slipping inside without them losing any speed at all. They weren’t trying to help me, they had their own thing going on, but it gave me a cool story and it felt like a fun interaction. Later, we fought shoulder to shoulder as the helicopter landed. This sort of relaxed cooperation is incredibly engaging, and it just feels pleasantly lightweight. 

It’s not a meaningful leap forward on anything that DMZ was doing, but it’s a broad improvement on the DMZ formula by making the jump entirely to making it a player vs enemy mode, and it really is a lot of fun. But it’s too little too late to salvage the rest of the package that is Call of Duty: Modern Warfare 3. 

Accessibility features 

Call of Duty: Modern Warfare 3 has a handful of accessibility options. These mainly relate to subtitles, which can be enabled across the campaign and multiplayer modes with the option to tweak their size and opacity. There are also a small number of HUD customization settings available, including the ability to increase or decrease its size.

PC players can benefit from comprehensive controller support, in addition to keyboard and mouse support on consoles. 

How we reviewed  

I played 30 hours of Call of Duty: Modern Warfare 3, with five hours in the campaign to reach the credits and the remaining 25 hours bouncing between the multiplayer mode and the game’s zombies mode. 

The Invincible puts you in the boots of an astrobiologist on the barren planet of Regis III. Embarking on a journey of tense discovery and exploration, you'll quickly discover that mysteries abound on the planet. You'll need to unravel what happened to your crew, and what's causing the strange events on the planet. You have no choice but to press on in this and delve deeper.

The game is a hard science fiction story about space exploration, the ‘future’ role of robots, artificial intelligence, and the potential self-propagation of machines. It also touches on themes of humans’ approach to space exploration and our (often skeptical) view of anything alien to us. This all makes for a deeply intriguing setup and fine video game story material - and it comes from a novel.

Based on a 1964 book of the same name by Polish writer Stanislaw Lem, The Invincible is a first-person adventure thriller game from developers Starward Industries that brilliantly deploys its source material into video game form. Large portions of it translate extremely well, such as the Atompunk aesthetic (a retrofuturistic art style heavily influenced by the space and atomic ages), the Soviet-styled spaceships and exploration tools, and the mysterious, unraveling story of a planet’s secrets.

But for all it does well, it doesn’t all transfer perfectly. Some moments are slowed by sluggish pacing, several puzzles feel crowbarred-in and overly simplistic, and there are a fair number of empty spaces, that detract from an otherwise gripping game.

In the name of science

Taking control of astrobiologist Dr. Yasna, of the spaceship Dragonfly, the game’s pace, sensibilities, and story-driven nature are quickly apparent. Setting out to find the rest of her crew on the seemingly barren and lifeless plant of Regis III, Yasna’s journey is steadily paced, and she gets by relying on her methodical brain and science-driven approach - as well as a few tools and characters.

You spend The Invincible in Yasna’s spaceboots as she attempts to unravel the planet’s mysteries. The most pressing of which is what has happened to her fellow crewmates. Scouring parts of Regis III for those crewmates starts a journey of discovery, scientific curiosity, and a lot of tension. 

You’ll largely do all of this alone as Yasna but are helped along the way by Firewatch-esque comms with Novik, the Dragonfly’s pilot, who is regularly on call to give orders and directions, but also conversation and discussion. 

These chats, as well as the ones that Yasna has with herself, a few flashbacks, and Yasna’s steady exploration of the planet are how the bulk of the intriguing and at -times - gripping story is delivered. It’s a malleable narrative too; Yasna almost always has dialogue options that can alter the kind of conversation or tone of reply she can give (some are timed too) - and a number of these can only be had if you’ve found items in exploration before discussions. However, despite being a slow unraveling, as the story unfolds it can get a little hard to follow, especially when the sci-fi and science get to their ‘hardest’.

Yasna herself is a very likable protagonist; she demonstrates genuine emotion and feeling, and I found her easy to relate to. This could be, in part, due to her superb voice-acting, with every line delivered with intent and believability. She narrates most of her actions but this is never annoying and also acts as her means of carrying out her mission; by reporting on everything she sees, discovers, and has a scientific opinion about.

Our protagonist also has a lean but very cool toolset. These toys are science-focused, naturally, but all are enormously useful - and also beautifully crafted and implemented in their retro-futuristic aesthetic. For example, the tracker has pleasing concentric lights that illuminate and change position according to your proximity to a beacon, and the metal detector works like a simple but satisfying X-ray machine, giving you a view of what’s beneath the skin of Regis III - and both look exactly like they’ve dropped into Yasna’s palm from a 1960s sci-fi movie.

Invincible by name

The Invincible is at its strongest and most successful in its broader brush strokes. The Atompunk aesthetic and the overall 60s sci-fi movie feel of the game are excellently done. Everything from the look and finish of the spaceships or internal quarters of camps to the shapes and movements of robots, and from the music that accompanies you throughout, to Yasna’s sketchbook and the comic book summaries that you collect and build along the way are exquisite, all executing the hard sci-fi aesthetic the game’s inspiration demands, ensuring it is a brilliantly faithful, effective, and sleek representation of the source material.

At times, there’s also a great sense of isolation and loneliness - and the fear that that brings. The Invincible is not a horror game, I should hasten to add, but at times the tension of what you might find around a corner, through a cave, or as you approach a familiar-looking spacesuit from a distance is palpable. It is excellently tense and gripping at times and it can build tangible feelings of tension and suspense, especially when Yasna only has those few tools to hand. 

Successfully offsetting that loneliness and isolation is Yasna’s determination and desire to keep learning and making scientific observations and discoveries as an astrobiologist. She takes this approach both in terms of finding out what happened to her crew, and also what mysteries of Regis III lie across the planet. Even though she only has a few items at her disposal, there’s some great satisfaction to be had when she explores, explains hard science simply, or even puts it into action - at the beginning of the game she triangulates her position to locate herself on the map, and make it a functional tool for the rest of the game. 

Not quite invincible by nature

However, some elements of The Invincible let it down. The slow pacing of the story, combined with Yasna’s steady movement, is very slow at times; though it can provide an opportunity to decompress or process the story or exchange that Yasna has just had, a lot of the time there are just prolonged stretches of nothing. 

Exacerbating this are the empty spaces on Regis III, of which there are many - too many. The world simultaneously also reveals that, well, there’s not much to do on or interact with on Regis III - and there’s not even much that Yasna can do to interact with anything given the very simple mechanics and controls. This point is, of course, something that can be present in this genre of game, but with such a cool, hard sci-fi setting and backdrop, it’s a shame Yasna can’t just do much.

When there are things to discover, piece together, or solve a puzzle, everything is very simple and nothing is particularly engaging or stimulating. It’s often a case of looking around for things to interact with and letting some voice lines play - ad infinitum. While a lot of these spaces have gorgeous galactic vistas behind them that are exceptional and very beautiful, the emptiness within them is glaring.

Overall, while there’s a lot to like about The Invincible, a few frustrations are detracting from the experience. The encouragement of exploration to fuel later dialogue choices, the aesthetic and faithfulness to the source material, and Yasna and her communications with Novik all shine in particular. It’s only seven hours or so so it’s quite concise as a video game adventure experience, and will still scratch the story-driven walking-sim itch for many.

And while the story raises the eyebrow and genuinely piques interest with some of its bets and themes, it wanes a little in places and is hard to follow. There’s also not much to play with in terms of literal controls but also mechanics or puzzles, and a lot of the empty spaces of the Regis III are, well, empty. These grievances build up throughout the game and leave it a few steps from being something truly memorable, despite being a great encapsulation of source material and a fine video game adaption of a novel.

Accessibility features

There aren’t many accessibility features at all in The Invincible, however, the option to change subtitles is a particularly helpful one in-game. There is a dedicated accessibility menu in the game but these are mainly based around in-game help and hints that can be toggled on or off. 

How we reviewed The Invincible

I played The Invincible on PS5, and it took about seven hours to complete the whole story and a fair chunk of exploration. I played the game on a Samsung Q6F 4K TV and experienced the audio with a soundbar as well as a gaming headset at times.

Looking for more narrative-focused adventures? Check out our guides to the best story games, while some of the best indie games shouldn’t be overlooked for what they can offer in narrative too.