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Space Harrier at 40: How Sega’s Surreal Classic Redefined Immersion in ’80s Arcades | Games

Posted on October 14, 2025 by

DDuring my family’s vacations in the 1980s, primarily spent at classic British seaside resorts, I devoted all my time and pocket money exploring arcades. From Shanklin to Blackpool, I dabbled in them all, drawn in by their vibrant bulb-lit facades and enticing names (Fantasy Land! Treasure Island!), alongside the alluring sound of beeping video machines within. Although I spent countless hours on well-known classics like Pac-Man, Galaxian, and Kung Fu Master, there’s one particular game that has always captivated me. It features a distinctive design that is both quirky and exhilarating. It offers a complete experience that feels like a blend of a traditional arcade game, a flight simulator, and a roller coaster. At the time, it appeared remarkably futuristic. Now, I find myself at the age of 40.

Launched by Sega in 1985, Space Harrier is a 3D space shooter where players control a jetpack superhero named Harrier. Harrier emerges on the screen and shoots down surreal alien foes amidst a psychedelic landscape. Initially envisioned by designer Yutaka Suzuki as a detailed military flight shooter, the graphic constraints of that era rendered this impossible. The animations were too complex. Thus, drawing inspiration from the flying scenes in the fantasy film The Neverending Story, he conceived something surreal and different, replacing fighter planes with flying characters and creating alien adversaries reminiscent of stone giants and dragons. It was vividly colorful and wild, akin to a Roger Dean artwork animated by the Memphis Group.

However, what truly captivated players was the game’s motion cabinet. Sitting in a cockpit-style seat connected to two motors that provided rocking motion in eight directions, as Harrier leaped, so did you; as he tilted from side to side, you mirrored his movements. Enemies constantly approached from various angles, switching direction and altitude, keeping you swooping down, rising up, and spinning your body into action. Throughout, a synth-pop score by Hiroshi Kawaguchi, known for his work on Suzuki’s “Afterburner” and “Outrun,” resonated through the headrest speakers. Advanced speech synthesis enhanced the experience, allowing machines to shout encouragement and instructions: “Welcome to the Fantasy Zone, get ready!”

Space Harrier was a truly immersive experience and exemplified Suzuki’s talent for crafting engaging gameplay. It was just one of the many projects he was proud of at the time. Notably, Taikan offered a physical sensory experience. Games like “Outrun,” “Space Harrier,” “After Burner,” and “Power Drift” emerged in arcades featuring large motorized or hydraulically driven cabinets designed to enhance realism. Suzuki and his team also created an animation technology termed Super Scaler, which allowed manipulation of thousands of 2D animation frames to simulate a 3D environment. What I cherished most about Space Harrier was the way this motion intertwined within its fantastical realms of checkered planets and surreal aliens. It felt akin to participating in a vibrant 1980s interactive pop video. Like Pac-Man or Tetris, its timelessness lies in its unique abstract world.

Why does Space Harrier celebrate its 40th anniversary? This arcade cabinet could still entice players anywhere in the world (if one can still locate it), but sadly, such opportunities are diminishing. The machinery is aging, and the expertise to repair and maintain it is fading. Aside from a few adaptations for home computers and consoles (with the PC Engine and 32X versions being the most notable), I haven’t engaged with the game in years. Now, as I settle into that familiar seat, insert two 10p coins into the slot, and grasp the joystick in anticipation, I wonder: Will I ever rediscover that immersive gaming experience? Will I ever see my 13-year-old self exploring an arcade in northern England again? Regardless, Space Harrier remains fulfilling for whatever purpose.

Neuromancer Review: Does William Gibson’s Cyberpunk Classic Still Captivate in 2025?

Posted on September 8, 2025 by Igor Mitreski

William Gibson in 1985, a year after the groundbreaking work emerged

Aaron Rapoport/Corbis/Getty Images

Neuromancer
William Gibson (Orion Publishing (UK); Ace Books (US))

Neuromancer opens with, “The sky above the port was the color of the television, tuned to a dead channel.”

The book was released in 1984, in an era when very few individuals had access to computers. The esteemed William Gibson penned this work on a typewriter. Nevertheless, while data acts as currency and corporations craft striking depictions of the futuristic realm of “cyberspace,” they are also vulnerable to cyberattacks. There’s something intriguingly enchanting within the backdrop of AIS that exists beyond our grasp.

Neuromancer birthed the cyberpunk genre and reshaped literature 40 years later, establishing itself as one of the most prophetic texts ever created. It aligns with the Apple TV+ series. In a world where many of us carry computing devices in our pockets, how does this narrative endure? Is time spent in cyberspace (a term popularized by Neuromancer) still relevant? I decided to revisit it.

Having not read it in over two decades, I initially found it challenging. The distinctive style and the claustrophobic narrative of a former hacker navigating barrooms and gang troubles made me question if the novel had aged well. After all, its imagery and concepts are no longer shocking, having been endlessly replicated in television, literature, and film, often outpaced by reality.

Yet, I was drawn back in. There’s a moment when our protagonist receives a call in a hotel lobby, only for the next call to be an AI—an incident that sends chills down my spine and echoes the profound influence on The Matrix.

As action unfolds in virtual spaces, we get an intimate glimpse of AI. Upon reading, I recognized that the major themes in the book are as pertinent and thought-provoking today as they were in 1984. For instance, the concept of a power referred to as “Turing” foreshadows the rise of AI.

Ultimately, I grasped why readers like author Adrian Tchaikovsky constantly revisit Neuromancer: it demands slow attention, yet remains a classic with profound insights. The lingering question is how Gibson envisioned this world when he relied solely on a typewriter.

Fortunately, he has reflected on this extensively over the years. “I wrote Neuromancer without any knowledge of computers,” he shared with the Guardian five years ago. “I dismantled the poetic language of those already in the field, eavesdropping at the Seattle Science Fiction Convention where early computer programmers discussed their work.”

He recounted how this eavesdropping informed various abstract elements of the narrative at a time when Gibson couldn’t simply Google what a modem was.

In summary, the novel remains astonishing. I hope that the forthcoming TV adaptation does it justice.

I would also recommend Emily…

Burning Chrome
William Gibson (Orion Publishing (UK); Gollancz (US))

Gibson’s short story collection is truly remarkable. It was one of my favorites and remains vibrant today.

Emily H. Wilson is the former editor of the New Scientist and author of the Sumerian trilogy set in ancient Mesopotamia. The final installment, Ninshuval, is now available. Visit her at emilyhwilson.com or follow her on X @emilyhwilson and Instagram @emilyhwilson1.

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Ursula Le Guin’s Son Explains Why Her Sci-Fi Classic “Forbidden” is His Favorite

Posted on August 29, 2025 by Igor Mitreski

Ursula K. Le Guin in 2005

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When a newcomer to Lugin asks where to begin, I seldom suggest It Was Confiscated. I do not encourage strangers to plunge into the deep end of the pool. The narratives intricately navigate the complexities of the mind, not just in terms of intellect if you’re astute, but also in how we engage mentally while reading. (Things can get tricky, especially if the author is your mother.) Other Lugin works are more grounded in the psyche, making them a safer recommendation for beginners. However, if pressed for my favorite Lugin book, It Was Confiscated, published in 1974, is frequently my response.

The writing decade kicked off in the early 1960s, encapsulating the essence of Earth’s narratives. The Left Hand of Darkness sits alongside It Was Confiscated. A bibliographic account cannot adequately convey the exhilaration and exhaustion of that period. She authored novels while juggling family obligations, giving birth to her third child (me), coordinating everything (plus cats), and even spent a year in London. Ursula later confided that even with a supportive environment, one can underestimate the toll that writing a novel takes on one’s physical state. I haven’t ventured into novel writing myself, so I can only squarely reflect on her last decade and say, yes, I can envision it.

It’s certainly true that Ursula had a preference for the genre structures of the era. It Was Confiscated. Indeed, we have a rocket ship, but also cultural nuances within both Urla and Anar, from attire to social customs. Ursula’s lifelong intrigue with the natural sciences is evident in her depictions of Shebeck’s profession and the theories leading to the existing technologies. Her academic background enriched her portrayal of institutional pettiness. Above all, political philosophy and practicality emerge—a framework for radical collective reimagining and a nuanced utopia, as indicated in the full title of the book.

This framework has remarkably resonated over 50 years. I would like to acknowledge at least one generation in gratitude, alongside certain academic circles, recognizing The Left Hand of Darkness and It Was Confiscated as foundational texts in discussions on gender, anarchism, and anti-capitalism. I consider these works akin to my cousins. They are distinct yet consistently challenge my preconceptions. However, in my view, The Left Hand of Darkness addresses gender politics without being a purely “political” narrative. I can imagine myriad political systems serving as the backdrop for Geten. Indeed, Ursula remarked in a 1997 interview, “Politics is [The Left Hand of Darkness] is not thoroughly considered.” Conversely, political philosophies and systems are at the forefront. It Was Confiscated may be considered a superior work—The Left Hand excels in alternative important aspects. Yet for those who appreciate the blend of intelligence, ethics, poetic expression, and the merging of mind and heart, It Was Confiscated is hard to surpass.

For a generation whose reading may pivot on this duo of texts, the perception of the author’s legacy as an early radical thinker is enhanced by viewing her 2014 National Book Foundation speech video, with anti-capitalist themes crystallizing across both novels. I do not mind this view of my mother, nor did she—being labeled a radical thinker is preferable to being called “The Grande Dame of SFF” or any other gender and genre bias. Nonetheless, the idea of Ursula as an eternal radical oversimplifies her life’s intricacies and condenses her journey of reconciling early romantic capitalist ideals with an understanding of the intersection of art, ethics, justice, and politics. The period I’ve mentioned in Ursula’s life, from her early 30s to early 40s, profoundly shaped this reconciliation.

As a young child during that time, Ursula seldom discussed her work, leaving me to ponder the process of her artistic evolution. With her triumphs and a supportive partner, her life finally allowed for deep introspection and exploration. The roles of child, spouse, and mother transformed dramatically after her father’s passing. The U.S. engagement in the Vietnam War, which Ursula fervently opposed, crystallized her thoughts on pacifism and systemic inequality. Much had shifted in the world—and in Ursula—from The World of Locanon (1966) to It Was Confiscated as she became ready to delve into alternatives to ongoing cycles of human injustice and brutality.

The New Scientist Book Club is currently reading Ursula K. Le Guin’s It Was Confiscated. Sign up and read with us here.

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Silent Hill F: The Return of a Horror Classic Set in a Foggy 1960s Town

Posted on August 13, 2025 by Igor Mitreski

A
The humidity in Tokyo has reached 35 degrees, and, unfortunately, so have the death tolls. Since the Edo period, summer in Japan has been tied to the emergence of supernatural entities. This season is notorious for a malevolent spirit’s presence. As temperatures rise, the boundaries between the living and the deceased start to dissolve, allowing trapped ghosts to potentially cross into our world.

Amidst this stifling atmosphere, I found myself exploring the mist-wrapped landscape of Japan in Silent Hill F. Set in the fictional town of Holy Island during the 1960s, players step into the dusty shoes of Hinako, a misunderstood teenage girl. Regardless of the summer season, Hinako’s journey begins in a dark setting as she escapes from her abusive, alcoholic father, wandering the intricately crafted streets of her homeland. Unable to live up to the beauty of her older sister, she faces ridicule from her peers.

“Gender is a central theme in the story,” hints series producer Motoi Okamoto. “We can’t delve into too much detail, but the 1960s marked the beginning of the women’s rights movement in Japan, which significantly influenced our choice of setting.”

Silent Hill F. Photo: Konami

Despite the town’s eerie ambiance, Evisugaoka presents a beautifully luxurious virtual environment. As we explore the streets, we’re compelled to inspect every cobblestone nook, slide open translucent bamboo doors, and admire the exquisite details of each Inazumi Shrine. This is a refreshing departure from the typical depictions of Japan in games, often portraying neon-lit Tokyo or the epic tale of an ancient samurai.

“Japanese horror games set in Japan haven’t seen any significant releases in the last decade,” claims Okamoto. “While Silent Hill has traditionally blended Western and Japanese horror, I’ve noticed Japan’s essence slowly diminishing. This is why Silent Hill F aims to enhance the Japanese theme more robustly.”

It doesn’t take long for the town’s unsettling charm to devolve into pure terror. As fog envelops Evisugaoka, Hinako is pursued by a puppet show, chasing the strikingly beautiful red tendrils sprouting from the ground. These crimson flowers can ensnare your feet during battles, leaving you helpless as a mannequin-like monster gazes upon you with judgment.

Dust coating…Silent Hill F. Photo: Konami

Notably, Silent Hill F does not feature firearms; instead, Hinako wields various makeshift weapons: daggers, baseball bats, and even magic. The gameplay consists of intense melee combat, with perfectly-timed dodges and counters replenishing Hinako’s stamina for follow-up attacks, evoking a dark, Souls-like survival horror atmosphere.

“One of my early goals for this game was to incorporate more action,” explains Okamoto. “However, being a horror game, we can’t fully commit to action without balancing it with tense moments. I believe we’ve achieved a delicate equilibrium.”

At first, I was doubtful. The initial hour of Silent Hill F felt cumbersome and repetitive, with attacks and dodges that lacked precision, resulting in disorienting early deaths. But as I persevered through the frustrations, I eventually found myself more engaged during a heightened battle—a sign that the combat rhythm is there. While the uneven difficulty in this preview build may need adjustments before release, I’ve experienced a late demo boss that killed me over 30 times, yet the brutal battles meld seamlessly with survival horrors.

Stress built into the system…Silent Hill F. Photo: Konami

“Many people say they enjoy the thrill of horror games, but I believe what they truly appreciate is the tension,” remarks Al Yang, the game director from Neobaldo’s Konami. “The fear of the unknown is one aspect, but constant jump scares quickly become tiresome.”

Instead, Silent Hill F embeds stress into every system. Drawing from Lovecraftian elements, players must monitor a sanity meter and make offerings at shrines to stabilize Hinako’s mental state. “You need to keep track of how close your candle is really,” Yang emphasizes. That creates tension.”

As I navigated through the compact alleys, the tightly arranged streets transitioned into misty rice fields and eerie abandoned farms. Yet, despite the horrors lurking in Evisugaoka, every monster carries a relatable human thread in Silent Hill F. As the town descends into chaos and Hinako searches for her friends, flashbacks and poignant dialogues keep players invested in her journey across time. Like previous installments, each encounter possesses a dream-like quality, further grounded by the meticulously crafted 60s setting.

“When navigating historical periods, if you delve too deeply, it can become disconnected from our familiar reality and veer into fantasy,” states Ryukishi07, the screenwriter for Silent Hill F, regarding the 60s setting. “While rooted in reality now, there’s little space for interpretation. I’ve always appreciated the possibilities that arise from the interplay between past and present—that’s right where fantasy and reality converge.”

It feels fitting to revisit Silent Hill during Japan’s equivalent of Halloween. This franchise, once thought to be lifeless and buried, now rises again, much like the spirit of Japan.

“When I became involved with Silent Hill, my vision was to deliver more than just a remake,” Okamoto shares. “We could have merely appeased old fans with nostalgia, but I was hopeful for progression. I believe fans can place more faith in Silent Hill’s revival…and that this journey will continue.”

Silent Hill F is set to release on PC, PS5, and Xbox on September 25th.

Five Years Later: How Have the Developers of the Sci-Fi Cult Classic Evolved?

Posted on August 4, 2025 by Igor Mitreski

Forest (Nick Offerman) is the CEO of Quantum Computing Firm Amaya

Album/Alamy

Developer
Alex Garland
FX Hulu, Disney+

March 2020 was an awkward period for many. This might explain why Developer, an eight-part sci-fi series by Alex Garland, premiered during a global lockdown and struggled to garner a wide audience; I, too, unfortunately, missed it.

There are various reasons I decided to catch up on it now: Garland’s works had lingered in my mind after enjoying 28 Days Later, and the darkly captivating worlds of Developer felt like a welcome escape from the heatwave. However, mainly, I was curious about how it had aged five years after its debut.

In Developer, Lily Chan (Sonoya Mizuno) works as an engineer for Amaya, a quantum computing firm based in San Francisco. Each day, she collaborates with her boyfriend and colleague Sergei (Karl Glassman), who is involved in Amaya’s AI division. After being invited to join the secretive Devs program, Sergei disappears nearly immediately, leaving Lily convinced that Amaya and the enigmatic Devs project played a role in his vanishing.

Everything in Developer feels cold yet beautiful. The score and sound design are haunting, punctuated by jolts of static and dialogue. The performances reflect this chill, particularly Mizuno’s compelling portrayal of Lily. Meanwhile, Allison Pill shines as Katie, a scientist at Amaya. The company’s campus is an ethereal setting of glass and refined concrete enveloped by pine trees and illuminated by glowing halos, all under the watchful gaze of a towering young girl statue.

The Devs compound feels like entering a Byzantine mosaic, transformed into a secular, three-dimensional space.

Yet, the stunning DEVS compound overshadows everything else; it feels like stepping into a Byzantine mosaic, now rendered secular and three-dimensional. This space serves as a meticulously organized sanctuary for clandestine research, immersed in lavish gold while floating within an electromagnetic field inside a Faraday cage.

The nature of this research prompts a profound shift that delves deep into human impulses, despite the risks of redefining humanity itself. Forest posits that the project is fundamentally tied to all that is valuable. It boldly explores the extent of incredible technological advancements that might arise—or be stunted—due to the personal philosophies of privileged figures like himself.

Watching Developer at its peak feels akin to being enveloped in a soothing sound bath, the slow reverberations drawing you in. At its least inspired, it can seem self-indulgent. Still, it offers an intellectual experience, addressing fascinating concepts such as the multiverse. However, Lily’s pursuit to unravel the truth about Sergei gets sidelined in favor of Amaya’s overarching mysteries, causing the series to spiral into self-importance.

In a twist of life’s quirks (light spoilers ahead), the show’s most insightful theme might revolve around the desire to revisit the past and what we gain or lose along the way. Interestingly, such reflections may prove more compelling than lofty visions about our technological future. I’m glad I finally watched Developer five years post-release; despite some indulgent tendencies, it left me with plenty to appreciate. Even if Forest and his counterparts might not find full success, Developer still resonates deeply with me.

I also recommend…

Ex Machina
Alex Garland

In Garland’s directorial debut, programmer Caleb (Domhnall Gleeson) is tasked by his boss with evaluating whether Ava, an artificial intelligence, possesses true sentience. The film delivers a chilling psychological exploration.

Never Let Me Go
Mark Romanek

This adaptation of Kazuo Ishiguro’s novel features a rare boarding school depicted through a haunting lens; it’s flawed yet captivating and definitely worth the watch.

Bethan Ackerley is a sub-editor at New Scientist, with a passion for science fiction, sitcoms, and the eerie. Follow her on Twitter at @inkerley

The Arts and Science of Writing Science Fiction

Dive into the world of science fiction writing this weekend, exploring the art of building new worlds and narratives.

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10 Must-Play Classic Seaside Arcade Machines: Punch Bag, Penny Pusher, and Hillbilly Shootout

Posted on August 1, 2025 by Igor Mitreski

This beach excursions remain a vital part of school summer vacations. While the sprawling beachfront arcades have evolved considerably over the last ten years, they still attract young children and nostalgic adults eager to find the classic space invader cabinets tucked away in the back. Growing up in the 1980s, I was entranced by Coinop’s video games, but it was the electromechanical phenomena of that digital era that truly captivated me. Here are my top ten picks—feel free to share yours in the comments!

Electric Machine Driving Game

Before the era of computer chips and CRT screens, arcade driving games used projected imagery and scrolling paintings to create the illusion of movement along a road. The first iterations appeared in the 1930s, with various models populating seaside arcades up until the 1980s, including iconic titles like Chicago Coin Speedway and Sega Grand Prix. I distinctly remember playing Casco’s incredible 1979 arcade game, The Driver, on the Blackpool pier, featuring actual 16mm footage of real races to immerse you in the action.

Air Hockey

The sharp sound of plastic pucks against tables echoed throughout larger arcades, providing a constant backdrop. Air hockey emerged in 1969, created by US-based Brunswick Billiards, and quickly spread worldwide as a thrilling alternative to traditional pool and foosball. You can still find these nostalgic tables in retro arcades, especially in classic seaside destinations like Great Yarmouth, Blackpool, and Southend.

Derby Game

These grand setups feature tin horses lined up on a racetrack. Six to eight players position themselves in front of the course, tossing balls at targets to guide their horse racers across the finish line, with accuracy determining the winner. The original iteration, the Kentucky Derby, was reportedly introduced to Blackpool Pleasure Beach in the 1920s by Irish-American soldiers and concessionaire George Valentine Toner. Over time, variations replaced horses with donkeys and camels. The Whittaker Brothers’ derby, a smaller variant, allowed multiple players to place bets on the outcomes of automated horse races for modest winnings.

Egg Vending Machine

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Vending machines for toys became common in American shops in the 1930s, although the first documented egg machine was established in 1965 in Tokyo by Ryuzo Shigeta. These machines dispense products in adorable plastic capsules, a concept that gained immense popularity. Many seaside arcades in the UK, often referred to as egg machines, feature these enticing devices near their entrances. Glendale orange and lemon machines distribute prizes from whimsical crumpled chickens that spin.

Basketball Hoop

You often find a row of these sizable machines at the back of arcades, where players shoot basketballs through hoops. The setup typically includes an enclosed play area to capture wayward shots. Classics like Hoop Shot, Triple Jam, and Full Court Fever feature elements such as moving hoops and multiplayer capabilities, making these machines hot spots for energetic teens.

Fortune Teller’s Machine

“I want to grow up”… a fortune-telling arcade machine in Zoltal, Coney Island, New York. Photo: Edward Westmacott/Aramie

These boardwalk-style entertainment machines trace their origins back to the late 19th century and typically feature animated automata, often depicted as gypsies, witches, or ancient royalty. After inserting coins, users can watch as the characters move and predict their fortunes, sometimes aided by special effects like a sparkling crystal ball or cards detailing the player’s traits. Notable machines include Mrs. Zita, an eerie 1977 creation, and Morgana, which features a video projection onto a non-characteristic form, as well as Zoltar, which inspired the movie Big in 1988. Other automaton machines often feature dancing puppets and unsettling laughing clowns.

Punch Ball

A favorite among young men looking to prove their strength, punch ball machines have been around since at least 1900, initially released by Mills Novelty Co. from Chicago. Modern iterations boast digital displays for measuring strength, but the goal remains to hit the punching bag as hard as possible. Variants like the MR Muscle machine from Italian maker Zamperla have also gained popularity.

Crane Grabber

“I want a teddy”… Duchess of Cambridge plays crane grabber games at Island Leisure Amusement Arcade on Bally Island Photo: Ben Birchall/PA

Commonly known as claw machines, these remain a quintessential part of arcades. Insert coins and maneuver a joystick to guide the grabber to your desired toy. Often, the claw makes a futile attempt to grip before dropping the prize just shy of the chute—mainly because it’s set to grasp with minimal strength for just a few tries. Historically, the first commercial claw machines are thought to have originated in the U.S. during the 1920s, with many notable examples produced by Sega and Barry. The 1980s introduction of UFO catcher machines revolutionized the scene, providing larger prizes and a more colorful appearance, which continues to attract players today.

Lightgun Shooting Gallery

Every arcade in the ’70s and ’80s featured a Lightgun Shooting Gallery. My favorite installation had expansive scenes to shoot at, located—if I recall correctly—in the Coral Island Arcade in Blackpool, where players engaged in Hilly Billy Moonshine. Players shot at life-sized mannequins in overalls, a large copper still, and an array of barrels and creatures. If you dared to shoot at Billy’s on the hill, they returned fire with water pistols! You can still stumble upon these gems at the Coinophouse, which is definitely worth the visit.

Coin Pusher

Cost Recovery… Penny Falls Machine. Photo: Alastair Balderstone/Alamy

Invented in 1966 by the Ramsgate-based manufacturer Crompton (albeit with earlier variations), the Coin Pusher game reigns supreme in seaside arcades, captivating players as they navigate the mountainous piles of glittering treasures. Originally named Penny Falls, hundreds of variations now exist, including a virtual coin pusher that transitions the action onto screens with a slew of special effects. My summer days spent exploring the arcades in Blackpool and Morecambe are filled with memories of scrutinizing these tempting machines, having two plastic cups in hand. “Penny Pushers are pivotal to the success of British entertainment arcades,” notes historian Alan Meads, author of a social history on British amusement arcades. “They, alongside fruit machines, are where arcades generate revenue. Penny Pushers can endure for decades—they’ve been adjusted for currency changes and continue to yield profits time and again.”

Imposter Alert: Thief Swipes Classic TikToks for Mass-Produced Merchandise

Posted on June 22, 2025 by Igor Mitreski

Sure! Here’s the rewritten content while retaining the HTML tags:

IThis April, Daisy Elicek stumbled upon something peculiar while browsing TikTok. She discovered videos featuring her 84-year-old father, George Tsaftarides, who operates a small tailoring business in Ohio. However, the video she encountered did not originate from Tsaftarides’ official page, but rather from an account claiming to be a “sad old man” at risk of losing his cat sanctuary, boasting nearly 41,000 followers.

The video text expressed, “I poured my love into my life because I couldn’t bear to close the cat shelter,” suggesting that the sanctuary would sell slippers to raise extra funds. This plea resonated with many viewers, leading to comments from millions and tens of thousands of users. One commenter wrote, “I just ordered two! Sending love to these kittens.” Another added, “Thank you for everything you do for these babies.” Others inquired about a GoFundMe link to donate directly to the cat shelters.

Yelichek and her father were taken aback. Tsaftarides does not operate any shelters. The accounts promoting these funding requests appear to be part of scams aimed at selling mass-produced slippers. Some followers who actually ordered the slippers received fuzzy footwear labeled “Made in China,” indicating they were not handmade by an elderly man running a struggling cat sanctuary.

“These individuals are using my identity for profit, but I can’t understand why,” Tsaftarides stated. “It’s theft, it’s dishonest, and it’s wrong.”

Tsaftarides isn’t the only TikTok user to have their likeness misappropriated. Charles Ray, an 85-year-old retiree from Michigan, has also been targeted by accounts using doctored video clips of his portrait. He began his own TikTok account in January to share jokes with his followers.

“At the start of the year, my pastor made a joke about a frog, and I thought, ‘This should make people smile,’ so I found a way to create an account and made a joke, and it took off from there,” he recounted.

Ray’s videos all follow a similar formula. Shot in selfie mode, he delivers a quick joke. He was disheartened to discover his content was used not only to “spread joy” but also to exploit and scam others. In one clip, he appears to be rubbing his eyes, while another repost suggests he is crying. One video uses a clip of a woman sobbing about an unrelated topic, while another includes a user in a hospital bed.

Since Yelichek first identified the misuse of her father’s image, she has cataloged over 100 accounts using unrelated videos to promote mass-produced items like slippers, headphone cases, and blankets. According to a list compiled by Yelichek and analyzed by the Guardian, around 20 accounts can be traced across Instagram and YouTube, employing similar tactics.

At one point, Yelichek reached out to the account, which had manipulated her father’s image, pleading for them to cease their actions. The individual behind the account claimed to be a struggling 17-year-old boy in Greece.

“I understand your situation, but I hope you can understand mine as well,” he responded.

This scam resembles a video trend on TikTok that has successfully promoted sales for small businesses through heartfelt messages about struggling local shops and eateries. A typical post imitates a community appeal for support.

In the case of Yelichek’s viral video, many commenters moved by the fabricated tale attempted to amplify it, mentioning the names of celebrities and generating further engagement that TikTok seems to prioritize. One comment noted, “Fun fact,” regarding another similar video claiming to support a diligent cow sanctuary. “If you engage, you’ll receive more replies! See other popular channels like Chapel Lawn and Taylor Swift to reach more people.” The video states that these accounts also recontextualize clips from genuine TikTok users to create misleading narratives before deleting them, which amassed 1.4 million likes and 26,000 comments.

Tsaftarides feels particularly frustrated, as his own content, which he intended to promote small businesses—including his own—has been co-opted to market mass-produced products.

“We aim to showcase our store and educate people about sewing,” he explained. “I won’t profit from my TikTok account.”

Yelichek mentioned that she and her father filed a police report with the Jackson Township police in Ohio. The local police have been actively working to liaise with social networks to address the issue of identity theft and remove the stolen content. While Yelichek noted that Instagram has removed several of the profiles she reported, TikTok—a platform grappling with a more significant issue—has been less responsive.

“When we comment on [these videos] and label them as spam, our comments are often swiftly deleted, leading TikTok to assert they’re not violating their community guidelines,” Yelichek shared, along with a screenshot of the message.

TikTok users who are wise to the scheme have taken to commenting on the videos to label them as scams. Like Yelichek, some users have noted that TikTok has responded to their reports by claiming the content doesn’t violate community guidelines.

In an official statement, TikTok emphasized that their community guidelines prohibit any accounts or content that infringe upon others’ intellectual property rights. Reports of copyright infringement may require proof of ownership, such as links to the original content or evidence of the infringing material. Meta echoed similar sentiments, stating the same Terms of use on Instagram prohibit posting content that violates intellectual property rights, including copyrights and trademarks, and such infractions can be reported on Instagram. For more information, please visit their Help Page.

Ray, the 85-year-old jokester, also attempted to report the fraudulent video but received a response indicating that the flagged content did not violate TikTok’s community standards. Like Yelichek, he has faced frequent removal of his comments cautioning followers against scams, lamenting that he “hasn’t received any assistance from TikTok” and is unsure how to communicate further with the platform.

In a statement, TikTok reiterated its commitment to combating copyright violations, noting that 94% of content removed for breaching community guidelines regarding fake engagement in the last quarter was removed in response to reports.

Meanwhile, some users are becoming increasingly aware of this specific type of emotional manipulation. In recent viral videos, warnings about fraudulent posts claiming to support cat shelters, cow farms, and other heartbreaking narratives are spreading like wildfire.

While awareness increases, misleading videos continue to circulate. Instead of being disheartened, Ray has opted to create a video, recalling that many of his 13,000 followers express anticipation for his daily posts.

“Everything going on today makes people need a reason to smile,” he stated. “If my followers can smile, even briefly forget their troubles, then that’s all I hope to achieve—making people smile. This isn’t going to stop me.”

Feel free to let me know if you’d like any further changes!

Larry Niven’s Ringworld: Our Take on the Sci-Fi Classic – Impressive Math but Disappointing Teela

Posted on May 30, 2025 by Igor Mitreski

Book Club shares their thoughts on Larry Niven’s Ringworld

Eugene Powers/Alamy

Experiencing the vibrant world created by Michel Nieva in his dystopian vision was something special—even more so while exploring Larry Niven’s classic science fiction work, Ringworld. Initially published in 1970, it reflects the hallmark traits of that era’s science fiction writing. While not a negative experience, it certainly offers a jarring shift for the New Scientist Book Club. Revisiting Ringworld as an adult from my teenage years prompted me to reflect on how it held up over time.

It’s important to note that much of what I cherished from Ringworld remains intact. The novel still evokes a sense of wonder, showcasing the depth of imagination, the expansive scale of its universe, and the cosmic distances it portrays. I fondly remember our protagonist, Louis Wu, at the brink of a distant planet, captivated by the Longfall River cascading into the highest waterfall in known space. His gaze followed it through the foggy mist, enthralled by the allure of the unknown.

Its grand scope is a significant aspect of why science fiction resonates with me. What insights can one gain, and what remains uncharted? The haunting imagery of razor-sharp sunflowers on Ringworld—the crew’s exploration of its vastness—created indelible impressions. Ringworld encapsulates that sense of wonder perfectly with lines like, “Men can lose their souls among the white stars… They call it A distant look. It’s perilous.”

Furthermore, I appreciated Niven’s ability to weave historical breadcrumbs into the narrative, referring to influential figures like Freeman Dyson, who inspired the concept of the Dyson sphere, as “one of the ancient natural philosophers, predating even the atomic age.” Such details are enjoyable nuggets to uncover. Additionally, Niven’s portrayal of aliens—from speakers to creatures—brilliantly evokes their essence through clever naming and design, particularly the inspiring vision of the speaker as a colossal version of our domestic cat.

As I previously mentioned, the prose does feel distinctly rooted in its time—somehow dated—with sexist undertones amidst the engaging scientific elements and intricate mathematics. The characters tend to lack depth; Louis Wu, for instance, can be quite off-putting, while Teela, our sole female character, deserves more agency. The narrative often drifts rather than following a tightly plotted journey, with characters simply moving from one event to the next without clear direction.

Intense discussions have emerged within our Facebook group, with many sharing similar sentiments. “I found enjoyment, yet felt distracted by the slow progression and the scientific facets overshadowed by the pervasive sexism,” remarked Eliza Rose, who likened it to early spy films where attractive women exist merely as accessories to the male protagonists.

Alain Pellett expressed distinct discomfort regarding Louis Wu’s treatment of women, noting that his interactions come off as unsettlingly superficial.

Gosia Furmanik, who grew up during Niven’s era, pointed out the challenge faced by non-male authors in finding supportive literary spaces. She stated, “Returning to science fiction after discovering works by authors beyond this genre’s prevalent pitfalls has been crucial,” reflecting on Ringworld in her review.

Undoubtedly, the arc of Teela’s character drew significant criticism from many readers. “I was frustrated with the conclusion of Teela’s storyline, which suggested women can only achieve significance through male figures,” wrote Samatha Lane.

Samantha also addressed a pivotal critique regarding the notion that “human males stand as the most astute beings in the universe.” This hubris roots itself in traditional humanism, positioning humanity at the center of all. This echoes the ongoing narrative surrounding our historical conquests in space—just a year after landing on the moon.

On a positive note, Niall Leighton spoke highly of the sheer scale of the novel, noting it hasn’t aged as poorly as some science fiction from that time.

Some readers appreciated Niven’s rigorous incorporation of mathematics into the narrative, stating it added an enjoyable layer to the experience. Linda Jones noted, “It has certainly enriched my enjoyment,” whereas Darren Rumbold found Klemperer Rosettes “particularly appealing.” However, not all shared this enthusiasm, as Phil Gersky commented, “I was eager to delve into this classic sci-fi novel. Unfortunately, the technobabble often marred my experience.”

Ultimately, I believe our Book Club’s exploration of this science fiction classic serves as a fascinating exercise capable of resonating with modern readers. I’m contemplating a journey into another classic soon, with suggestions pouring in from members eager to explore works by Ursula K. Le Guin, NK Jemisin, and Joan D. Vinge.

Next, we’re diving into a more contemporary read: Karian Bradley’s bestselling time travel novel, Time Saving. Yes, it features a female lead, and indeed, it passes the Bechdel Test. You can visit Karian’s site to read more about her novel and explore the intriguing opener. Join us for the discussion and share your thoughts over at our Facebook page.

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https://www.youtube.com/watch?v=a10qyat-oy8

Interview with Larry Niven: A Conversation with the Ringworld Legend on His Classic Science Fiction Novels

Posted on May 16, 2025 by Igor Mitreski

Larry Niven, author of Ringworld, 2021

Eugene Powers/Alamy

Larry Niven is a towering figure in the realm of science fiction, and I felt honored to interview him via Zoom from his home in Los Angeles. His seminal 1970 novel, Ringworld, is this month’s selection for the New Scientist Book Club. However, his literary contributions span numerous novels and short stories, including one of my personal favorites, An outdated world. At 87, he continues to write, and we discussed his insights on Ringworld, the projects he’s currently working on, and his thoughts on humanity’s potential to venture beyond our solar system. Below is an edited transcript of our conversation.

Emily H. Wilson: Larry, thank you for participating in this interview and for being part of the New Scientist Book Club. It is a tremendous honor to speak with someone so central to the evolution of this genre.

Larry Niven: Thank you.

EHW: What inspired you to become a science fiction writer?

LN: I was immersed in science fiction during my early adulthood, but I only discovered the fandom when I started selling my stories. That connection was invaluable for me.

EHW: What was the genesis of the idea behind Ringworld?

LN: The concept of the Dyson sphere—hypothetical megastructures in space—was introduced to me by another writer, possibly Paul Anderson. Intrigued by the idea, I realized we could observe other civilizations based on their energy usage. But to harness that energy, one needs a way to block sunlight. I envisioned using rotational gravity for the Dyson sphere, focusing on its equatorial regions, and thus conceptualized the “poor man’s Dyson sphere.”

EHW: A book club member noted that Ringworld evokes a sense of awe and wonder.

LN: My choice to depict a grand structure, despite the risk of ridicule, contributed to my success. Ringworld serves as a knowledge playground where readers can engage with its complexities and even rediscover my oversights.

EHW: Reflecting back from 2025, it seems like it was an immediate success, altering your career trajectory.

LN: That’s absolutely true.

EHW: You mentioned in your writings that New Scientist highlighted how students and scholars engaged with physics concepts in Ringworld post-publication. How did that affect you? Do you think we will see such global interaction today?

LN: Science fiction permeates various media like film and comics. While Ringworld remains significant, capturing the attention of mathematicians isn’t straightforward.

https://www.youtube.com/watch?v=xifbspaz83u

EHW: What is the essence of science fiction?

LN: It’s about envisioning the future. Things are in flux, and science fiction highlights the notion that minds can think similarly but are fundamentally different.

EHW: Why did you write Ringworld Engineers as a sequel? One book club member mentioned that it was their first introduction to your work.

LN: I aimed to improve upon Ringworld since its inhabitants were not fleshed out enough. Robert Heinlein told me that the two books together formed a significant narrative.

EHW: The universe in Ringworld set in known space led to extensive narrative weaving. How did that come about?

LN: It seemed logical to create interlinked stories within the universe I had built. This web of narrative has been evolving for over 60 years.

EHW: If you were to rewrite Ringworld today, would it differ from the original?

LN: I’ve often thought that if I were to begin anew, I would focus on the barriers of interstellar travel. Building a ring world implies challenges in reaching other stars.

EHW: At what point in your career did you become a full-time science writer? Did you ever balance it with other jobs?

LN: I was a science enthusiast, particularly in astrophysics and astronomy. At 24, I realized my options were limited, which led me to start writing.

EHW: How is science fiction perceived today?

LN: I’m not as engaged with the field nowadays. I often buy books online for my Kindle, but that doesn’t mean I make the most of the current offerings.

EHW: One of my favorites of yours, An outdated world, isn’t widely read despite being a fantastic story told concisely. What can you share about writing that book?

LN: Initially, it was a dystopian tale about people frozen for the future, struggling with their wishes when they were revived—without civil rights. I encapsulated that in a short story called Rammer, which turned into the first chapter of An outdated world. I eventually continued that narrative as I became comfortable exploring the future.

EHW: You were known for your collaboration on The Mote in God’s Eye with Jerry Pournelle. How do two authors co-write a novel?

LN: Jerry and I collaborated on roughly nine novels. When he proposed the idea to co-write, I accepted without knowing where it would lead, and it turned out to be both fun and challenging. Our involvement with the Los Angeles Science Fantasy Association helped shape the narrative over three years and even earned us an award for the best unfinished novel.

EHW: Before this interview, you mentioned your book Draco’s Izakaya, a collection of short stories. I approached it hesitantly, as I’m not a short story person. It uniquely merges narratives, introducing readers to aliens through the bartender’s character. It felt more like a novel than a traditional collection. What was your aim in writing it?

LN: I started writing short stories knowing they needed substance beyond mere glimpses. My goal for Draco’s Izakaya was to convey wisdom within a lean structure, crafting a narrative that felt unified despite its brevity.

EHW: If you were to recommend four other books alongside Draco’s Izakaya, which would you choose?

LN: Depending on the individual asking, I might suggest: Lucifer’s Hammer for casual readers, Scaffold for military personnel, Ringworld for true fans, and Destiny’s Road for general audiences as well.

https://www.youtube.com/watch?v=vg3u-set38c

EHW: What are you currently working on?

LN: I’m collaborating with Stephen Burns on a space novel featuring Gil “Arm” Hamilton. We’ve begun an anthology project, and our short story, The Sacred Cow, which features Gil, won an award from Analog Magazine. Now, we’re encouraged to produce more content.

EHW: A few quick questions: What is your favorite science fiction book that you didn’t write?

LN: I truly enjoy Nova by Samuel R. Delany.

EHW: What is a favorite book in a genre you haven’t ventured into?

LN: I believe it must be The Wizard of Oz.

EHW: What is your favorite science fiction television show?

LN: Star Trek, but I’m not as caught up with it.

EHW: What is your all-time favorite sci-fi film?

LN: I have a fondness for Destination Moon and admire ambitious works like 2001: A Space Odyssey and Rollerball for their ambition.

EHW: What advice would you give to aspiring science fiction writers today?

LN: Simplify your approach, much like I did.

https://www.youtube.com/watch?v=llzdlkwgdpo

EHW: Do you still wish to meet aliens?

LN: I think I’m prepared to encounter the puppeteers from my works or the Mediator.

EHW: And do you think humanity will eventually leave this solar system?

LN: We’re making advancements, though not as quickly as we imagined. Initially, we thought reaching the moon would be simple, and it has proven quite challenging.

Larry, thank you for this enlightening conversation. It has truly been a privilege.

LN: You’re welcome. I always enjoy speaking with New Scientist. Be sure to read and savor!

Larry Niven’s Ringworld is the latest selection for the New Scientist Book Club. Join us to read along!

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New Scientist Book Club

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Atomfall: A survival game inspired by classic British science fiction | Games

Posted on March 7, 2025 by Igor Mitreski

tHis year was 1962 and you just woke up in the shadows of the Cumbria Front Scale (now Seller Field) nuclear power plant five years after a devastating meltdown. They are trapped in a considerable isolation zone surrounding the accident scene, so they must remain alive long enough to understand how to escape. A rather challenging task by the presence of aggressive cultists, illuminated monsters, and very territorial terrorist bees. Imagine a stalker. But set in northern England, an Oxford-based developer rebellion heads towards what’s in storefronts.

Fallout may seem like another obvious inspiration in this illuminated game world, but after playing the two-hour demo, it is clear that the game will draw more charm from the classic British sci-fi. Here, lush woodlands, the Rugoro River and dry stone walls are trapped in the picturesque Lake District. But around you are 1960s cars and tanks, abandoned farm buildings, burnt-out ruins of strange sounds and symbols that suggest something very ominous is happening. The development team can see it in the dirty, dislocated scenes around you about Dr. WHO, Wicker Mann, with John Wyndham’s novel as a key inspiration. As you approach the phone booth and pick up the ringing handset, you may hear unembodied voices warning you about the obviously friendly characters you encounter on the road. You will get lost in caves and ghostly monsters and infect you with a delusional mental virus. This is so many Quatermass John Partwee Ella.

Something ominous is happening…Atomfall. Photo: Rebellion development

It’s a while before you hit a gang of druids stalking the undergrowth and suddenly enter into battle. But in other survival games like the stalker spirit and escape from Tarkov, I have to resort to cricket bats, magical improvised melee weapons, or rusty guns that don’t matter whether I fire a few successful ammunition. The developers say they want the game to come back to life badly. You are not a Super Soldier. Everywhere, there are small trinkets to clean, from apples to machine parts.

When the character isn’t trying to get you tattered with bats, they may provide you with information and trading opportunities. It appears that they can wander freely through the overgrown farms and desolate industrial buildings looking for clues as to what happened here. Beware of the shining green blue bee nests hanging from the tree – those people Really territory. And toxic.

Here hell is looking for clues as to what happened… Atom Fall. Photo: Rebellion development

Even my short demonstrations have a lovely ominous tension in the air. Relying on the false handgun and explosive device you stuck together, the blue Peter style, adhesive tape on both sides, and what you find at abandoned military checkpoints adds a sense of despair and disaster.

I have found some of the menu and weapon choices tricky. For games that rely heavily on stealth, it’s very easy to accidentally ruin the shotgun because you haven’t loaded it in advance. But this is from a survival game. Often it’s better to wander around in the grass longer than engage with enemies (though it may not be clear where you are covering and where you are not). Many.

Atomfall looks like an interesting amalgam of a stalker. , Resistance: Human Falls, everyone went to joy. Several role-playing elements are lobbed. I think there’s a lot to depend on what happens to the mystery at the heart of the game.

What does it mean that apocalyptic adventure takes place in the countryside of England? To capture the horrifying dignity of ’70s public relations films about playing Triffids, Daemons, or Frisbee near an electric substation, you need more than a quaint cottage with local accents. But the fact that we have a survival adventure in the Lake District is something that excites us as its beautiful, supernaturally recharged environment.

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I Thought of Taxis as Magical: Sega’s Pop Punk Classic Crazy Taxi Celebrates 25 Years | Games

Posted on February 26, 2025 by Igor Mitreski

kEnjikanno, director of Sega’s legendary driving game Crazy Taxi, recalls the pivotal moment when he realized the game had made an earthquake-like impression. “I was heading to Las Vegas for promotional work,” he recounts. “I got into a taxi, the driver sped me off quickly and promptly reached my destination. Finally, he chuckled and said, ‘I’m a truly crazy taxi!’. It was a bizarre experience.”

Originally launched in arcades, The Zany, Pop-Punk Drive-Em’ -Up, is commemorating its 25th anniversary this month. Crazy Taxi was an addictive coin-operated thrill ride. The quirky nature of the game consistently exclaimed, “Are you ready to have some fun?” and “Crazy time is money!” with a plain, ordinary face amidst the chaos of just wanting to drive to Pizza Hut. Racing a green-haired Axel Yellow 1960 Cadillac El Dorado so swiftly that the front bumper crashed into a concrete hill in Sunny San Francisco. (My mom’s favorite character was Jenna, who drove the Ford Mustang.)

I can still recall spending the entire summer trying to master the “crazy dash” technique instead of playing outside with my friends. The subsequent ports on PlayStation 2, GameCube, and Xbox 360 were a hit, drawing millions of Crazy Taxi sales, proving that creating a hit wasn’t a walk in the park back then.

A memorable experience for everyone who played… a crazy taxi. Photo: Sega

The rock band The Offspring contributed a turbo-charged guitar riff to the Crazy Taxi soundtrack, a time capsule from the turn of the millennium. The game captured the carefree hyperactivity of America pre 9/11 in the late ’90s/early ’00s. The era when the biggest concern for many youngsters was whether Stone Cold Steve Austin would retain the WWE World title.

Despite its successful cross-over, Crazy Taxi faced opposition from many early critics, as recalled by Kanno. “During the initial stages of development, more than half of the project team vehemently opposed the idea of a game centered around taxi drivers,” he reminisces.

“What I wanted to express most about the craziest taxi was the dynamism of the movie car chase.” Photo: Sega

Yet, Kanno was intrigued by the challenge of transforming the ominous taxi driver stereotype, prevalent in the 1998 Luc Besson action comedy film Taxi, into a more endearing figure. The crazy taxi driver is clearly not sinister. Kanno aimed to do for the taxi driver what Paperboy did for paperboys. “I told the team: ‘I believe it’s the responsibility of game creators to make mundane work appear cooler! We might be envisioning something unprecedented, but we have to do it.’

Recounting his childhood, Kanno describes taxis as somewhat magical. “In Japan, taxi doors open automatically. As a child, I pondered why the taxi doors opened upon approach while our family car doors remained shut. This intrigued me so much that I began to view taxis as these enchanting entities.” As he matured, Kanno delved into old Hollywood films, aspiring to capture the same thrill and glamour showcased in iconic driving sequences like the Italian Job and French Connection. Locations such as San Francisco were ideal. “What I most wanted to convey about Crazy Taxi was the dynamic feel of a movie car chase, as San Francisco, with its numerous undulations, always allows for such action to be expressed.”

Unlike most racing games, Crazy Taxi demands quick decision-making on your feet rather than memorizing the track. (This ethos of a chaotic approach can be seen in Simpsons: Road Rage, which essentially adopted the crazy taxi concept in the Springfield setting.) “It’s a game that constantly challenges players to make split-second decisions in evolving scenarios,” Kanno explains. “Therefore, I made other vehicles obstacles. The design isn’t about mastering all the routes and finding the perfect line, but about maneuvering through ever-changing traffic.”

Technical limitations at the time curtailed the planned multiplayer mode. Nonetheless, the leaderboard enabled competitive battles among friends. For those struggling to surpass the 2-minute mark while playing Crazy Taxi (FYI: One rooftop shortcut is a game-changer), is there a possibility of a modern multiplayer-enabled sequel? “I can’t divulge much,” Kanno responds. “But Crazy Taxi will soon have you grinning ear to ear once again!”

Review of Riven: A modern, intense reimagining of the beloved 90s island adventure classic

Posted on July 16, 2024 by Igor Mitreski

TThe best-selling PC game of 1997, Riven It now seems like a relic of a lost creative era. Set on a sunlit archipelago that would be swarming with Instagram influencers if it were real, the game combines computer-generated stills from postcards with live-action footage to create an elaborate island-scale escape room. Packed across five CDs, the game is a technical marvel, but its depths were only understood by those with the tenacity and tenacity to master lateral thinking. Few designers have come close to matching ingenuity or ability since. Riven– Similarities; the memory sank like a pebble in a still ocean.

After 30 years, this remake is back Riven The mysterious and enchanting world of Islands is recreated as a fully realized destination. To explore these islands, you walk over scorched cliffs and through stone-cold tunnels, rather than clicking through richly rendered still images (there’s also the option to play with a VR headset, for those ready and equipped for it). The basic beats and rhythms will be familiar to fans; you’ll still be playing with a mouse in one hand and a notebook in the other, cracking codes and figuring out how the world’s creaky underlying mechanisms fit together. But much has also changed, including the solutions to some of the puzzles. And there are new characters, including a star-studded appearance by real-life investigative journalist Ronan Farrow (who, along with his mother, actor Mia Farrow, is an avid fan of the islands). Riven And its predecessor mist).

The oppressive, murky pace won’t be to everyone’s tastes, and you’ll need a powerful machine to recreate the world as the author intended, but surprisingly, Riven‘s mystical powers have only grown stronger with each passing year. There’s nothing quite like it. As many of us count the days until summer vacation, it’s a destination without tourists, with lush scenery and tricky puzzles that, when solved, provide an invigorating, satisfying feeling.

New Hubble Space Telescope Images Reveal Classic Spiral Structure in NGC 3810

Posted on July 8, 2024 by Igor Mitreski

Astronomers have used the NASA/ESA Hubble Space Telescope to create a stunningly detailed image of NGC 3810, a spiral galaxy hosting a supernova.

This Hubble Space Telescope image shows NGC 3810, a spiral galaxy about 50 million light-years away in the constellation Leo. The color image is composed of infrared, visible, and ultraviolet observations from both the Hubble Space Telescope's Advanced Camera for Surveys (ACS) and Wide Field Camera 3 (WFC3) instruments. Nine filters were used to sample different wavelengths. Color is achieved by assigning a different hue to each monochromatic image associated with an individual filter. Image credit: NASA / ESA / Hubble / D. Sand / RJ Foley.

NGC 3810 It is located in the constellation Leo, about 50 million light years from Earth.

Also known as IRAS 11383+1144, LEDA 36243 and UGC 6644, the galaxy has a diameter of 60,000 light years.

NGC 3810 discovered It was discovered on March 15, 1784 by German-born British astronomer William Herschel.

The galaxy belongs to a small group of galaxies called the NGC 3810 group.

The bright central region of NGC 3810 thought Many new stars are forming and outshining the outer regions of the galaxy by a significant amount.

Even more distant galaxies show surprisingly abundant dust clouds along their spiral arms.

Far from the center, hot, young blue stars appear in huge clusters, with bright red giants scattered throughout the arms.

In 2022, a Type Ia supernova event called SN 2022zut was observed in NGC 3810.

“In early 2023, the Hubble Space Telescope will focus on this and several other galaxies to take a closer look at recent Type Ia supernovae,” Hubble astronomers said in a statement.

“These types of supernovae are produced by the explosion of a white dwarf star, and all of them maintain a very stable brightness.”

“This allows us to measure distances. We know how bright a Type Ia supernova is, so we can tell from how faint it appears how far away it is.”

“One uncertainty with this method is that intergalactic dust between Earth and the supernova will block some of the light.”

“How do we know how much of the light reduction is due to distance and how much is due to dust?”

“With the help of Hubble, we have a clever workaround: we can image the same Type Ia supernova in ultraviolet light, which is almost completely blocked by the dust, and in infrared light, which passes through the dust almost unaffected.”

“By carefully recording how much light is transmitted at each wavelength, we can calibrate the relationship between the supernova's brightness and distance, and take dust into account.”

“Hubble can observe both of these wavelengths of light in incredible detail with the same instrument.”

“That makes it the perfect tool for this experiment. In fact, some of the data used to create this beautiful image of NGC 3810 was focused on the SN 2022zut supernova, which you can see as a point of light just below the galactic nucleus.”

Source: www.sci.news

“Reflecting on 25 Years of Rollercoaster Tycoon: The Inspiration Behind a Classic”

Posted on March 22, 2024 by Igor Mitreski

‘I
“I remember rushing home from school just to play Rollercoaster Tycoon,” says Merlin Entertainments, the owner of UK-based theme parks including Olton Towers, Chessington World of Adventures, and Legoland Windsor. John Burton, senior creative lead at Yahoo! He is designing the 72-meter (236-foot) Hyperia roller coaster planned for Thorpe Park. “Then I went to sleep dreaming of being the next Walt Disney.”

As an adult, Burton looks back on the game with the excitement of a teenager on a sugar high. “I learned so much about how roller coaster systems work with block zones and even little tricks at theme parks like adding side cues and strategically placed restrooms,” he said, continued, confirming my suspicions that a Jumanji-themed jungle world was his idea. The piece, which Chessington helped design, has what he calls “subliminal similarities” to his Jolly Jungle scenario from the classic PC game. “When I have to go to a theme park overseas for work, I still load the original game onto the plane and sketch out ideas. I never really stopped playing.”

John Burton of Chessington World of Adventures…he grew up playing on rollercoasters and now designs real-life rides.

Released 25 years ago today, RollerCoaster Tycoon (the best-selling PC game of 1999) was a viral success before online virality was established, with users sharing their favorite real-world designs and recreations. It has inspired countless geosite forum communities. vehicle. These communities still exist, and one designer recently created a nightmarish existential roller coaster that took him 12 years to cringe. complete.

The 1999 theme park strategy game RollerCoaster Tycoon sold 700,000 copies in its first year and helped keep publisher Atari afloat. Today is its 25th anniversary. RollerCoaster Tycoon not only provided millions of fans with an endless toolbox of fun to build the theme park of their dreams (more on that later), but the entire adjacent theme park industry. He has solved the mysteries of men and contributed to reducing the male-dominated industry.

“I remember for many years I was the only woman working on roller coaster projects,” says Legoland Resort Executive Creative Director and creator of the world’s first vertical drop roller coaster at Alton Towers, says industry heavyweight Candy Holland, who helped design Oblivion. “But when Roller Coaster Tycoon came out, there was a sudden surge in young women applying for jobs. I think I had a deeper understanding.”

One of those young women was Flora Louie, a senior project manager for Merlin’s “Magic Creation” team in California. She argues that unlike many games of the time (Resident Evil, GoldenEye 007), Roller Coaster Her Tycoon attracted male and female players because it traded the fantasy of death and destruction for fun creativity. . “Playing Rollercoaster Tycoon was radical,” she says.

“Graphic styles are now seen as quirky and unique, rather than as outdated and restrictive as they were back then,” says Roller Coaster Tycoon designer Chris Sawyer. Photo: Atari

“I remember changing the color so that all the rides were pink. We spent a lot of time creating maze-like lines, making the customers laugh and confuse them, and even telling our parents that all the designs were different.” As a project manager, I have to consider the push and pull of the budget; the impact of increased visitor numbers; safety; managing the flow of guests and delivering the magic; As I’m participating, I’m thinking about all these things and remembering how Roller Coaster Tycoon set me on this path.”

From tranquil lush lakes to more exhilarating Haunted Harbor and Diamond Heights, each of the game’s 21 scenarios is a theme park where you can find quick solutions to dilemmas and give pixelated attendees the time of their lives was intended to create. “The success of this game really kept Atari in business,” admits Atari CEO Wade Rosen. “The fact that you can build these very complex roller coasters and you can completely ignore all of them and launch them. [customers] It was really genius to jump into the lake and see how many fish you could gag. ”

Rosen claims that everyone who played it had a “different experience” and said that the canvas of creativity that existed in Rollercoaster Tycoon was essentially a prototype for what would become Minecraft. He was a ruthless player in capitalism, he says. “I really liked the business side of it…When it was raining, I would put a price on an umbrella right away. It’s like $20 now. And I brought a lot of cash. Sho.”

Review: Commodore 64 Collection 3 – Classic games delivered in impressive style by retro console

Posted on February 29, 2024 by Igor Mitreski

IIt’s a strange feeling to have childhood memories constantly shot out of a game cartridge the size of a matchbox. That’s certainly been my experience with C64 Collection 3, the latest in a series of vintage game compilations put together by Blaze Entertainment for their Evercade retro console. Each of these little carts contains a dozen or so classic titles from various arcade manufacturers and home computers, all emulated to a fairly high standard. This is a must-see for me and probably many other C64 veterans as well. There are several reasons for this.

For one, it includes Paradroid, which I think is one of the best home computer games ever made. This is Hewson’s top-down, multi-directional sci-fi blaster with beautiful style and terrifying difficulty, one of the earliest examples of the now ubiquitous hacking mini-games.

Playing in 2024, nearly 40 years after its original release, I’m amazed at how well the game has held up in terms of visuals and gameplay when viewed on my LED TV via an Evercade VS console. It looks vivid. Exploring this game’s vast spaceship again on a big TV in your living room, rather than just a dodgy PC emulator, was a far more emotional experience than you’d expect from a very old game about shooting robots.

There are also two more true classics here. The cave exploration puzzle game Boulder Dash and the multiplayer sports sim Summer Games II. Like Paradroid, these hold up well to 21st-century scrutiny, but the latter is nothing like the visual delight I remember from my school days. It’s nice to be able to go to the pause menu and change the aspect ratio or add the traditional CRT effect scanlines. And, I won’t lie, the built-in save feature is nice too.

Elsewhere, the selection of compilations is a bit more vague, but that’s a nice thing about Evercade’s compilations. Even fans like me can find something new to discover. There are a lot of titles by Hewson (one of the great British developers of the time) that I’ve never played before. Among them is Netherworld, another multi-directional scrolling game. Golden Ax style side-scroller Deliverance: Stormlord II. And Cybernoid II combines Contra and R-Type with a great SID chip soundtrack.

But the most unexpected treat is still the inclusion of Epyx’s breakdancing. It’s a street dance game (a forerunner of the rhythm-action genre) in which you have to imitate the movements of computer-controlled performers. It’s very kitschy and totally awful, but I remember buying it because I was into hip-hop. I played it a lot while repeatedly renting Breakdance: The Movie from my local video haven. It was so strange to encounter it again so many years later.

C64 Collection 3 is a strange, endearing, and scattered compilation that not only fills in the gaps left by its two predecessors but also mines strange nostalgic seams. Even if you never owned a computer in the ’80s, these games are worth checking out as museum exhibits. These games show how much the original home computer contributed to arcade culture but also how far it was moving away in the mid-1980s. Based on these prototypes, we are experimenting with new ideas. Yes, you can find most of these games online for free if you know how to download and use emulators and find ROMs. But I like the ease and convenience of the Evercade. I appreciate the save feature, and I love that the game looks fine even on my stupid TV. These games hold special memories for me and probably many others as well. If I’m going to go back anyway, I want to do it in style.

The Last of Us Part II Remastered: A Stellar Refresh of a Modern Classic – A Review | Games

Posted on January 18, 2024 by Igor Mitreski

IIt’s hard to believe that The Last of Us Part II was first released almost four years ago, right in the middle of the coronavirus lockdown period. There was a haunting irony in the idea of people stuck at home due to a global pandemic playing an apocalyptic video game about a global pandemic. Well, the coronavirus never went away, and neither did The Last of Us. In 2021, a free upgrade will allow new PS5 owners to play a tweaked version of the PS4 original, followed by the arrival of the critically acclaimed TV drama series and new You’ve got an audience. A desperate story of Ellie and Joel.

The Last of Us Part II Remastered is now available, an overhauled version of this great game. This adds a new fidelity mode that offers his 4K resolution at 30 frames per second, and a performance mode at 1440p, 60 fps. You’ll need a decent display to notice the difference from older PS5 upgrades, but the difference is there. Movement is smoother, the lighting is brighter, and the details of the scenery, especially the foliage, are brought to life, further increasing the immersion in this muddy, desolate world. What struck me most were the game’s epic battle scenes, which now feel completely fluid and intense, and the emotional cinematic moments that the game already achieved so well.

“Emotional movie moment”…The Last of Us Part II Remastered.

More importantly, the controls change with the complete implementation of the Dual Sense controller. Detailed haptic feedback and adaptive triggers make the differences in the feel of various weapons obvious, increasing the sheer physicality of combat. The addition of a guitar mode, where you can use the touchpad to strum Joel’s old acoustic, is a peripheral but very fun feature.

What really makes the game exciting is the abundance of bonus content. The new mode, named No Return, is a roguelike survival game where you aim to survive as long as possible through waves of multiple enemy attacks. You can choose a path through a series of procedurally generated stages. Each stage is based on an area from the main game. If you die, it’s game over. Once you reach the end, a huge boss battle awaits you.

This kind of “horde mode” isn’t new, but Naughty Dog has done a great job of transferring the main game’s narrative tension into these enclosed gunfights. Instead of just standing in the shadows and blowing up anything that moves, you’ll have to sneak through abandoned stores and backyards, listening for signs of enemies. Also, there are stages where you are dealing with infected people, and there are stages where human soldiers appear, and the tactics change accordingly. You get a fascinating mix of stealth and all-out action, and you can upgrade your weapons and items at the end of each stage. It’s also fun to play as different characters for the first time, such as Dina or Tommy, as each trait affects gameplay differently. Unfortunately, there’s no multiplayer co-op here. It would have been fun to share the experience with friends, The Last of Us’ problems online are well knownThat’s not surprising.

Stay alive as long as possible… No Return Mode in The Last of Us Part II Remastered.

However, my favorite addition is the Lost Levels, which are a selection of three playable stages cut from the game. There’s additional build-up to the Jackson party where Dina and Ellie kiss, an extended section of the Seattle sewers, and finally a final scene where Ellie hunts a boar. These short sequences are unfinished and understandably rough at times, but they offer a truly fascinating glimpse into the development process. This kind of content is rarely shared with players (or journalists, for that matter).

Every scene also has audio commentary from the lead designer, who explains how much detail goes into every little section of the game, from how the designer establishes the emotional context of a scene to determining the exact length of a fire escape ladder. Gain insight into how much thought and planning goes into it. , thereby emphasizing the player’s sense of security and escape.What I remember from Lost Level great story At the GameCity festival a few years ago, Uncharted lead designer Richard Lemarchand talked about the development of Uncharted 3. Game design students should jump at this learning opportunity.

The Last of Us Part II Remastered feels like the video game equivalent of a Criterion Collection Blu-ray, hand-picked to celebrate a groundbreaking release. Reliving this brutal adventure in a visually and haptically enhanced format was just as exhausting, moving, and exhilarating as my first playthrough. It’s nice to see a video game treated this way, but it’s also a reminder of how few studios and releases see this kind of respectful repackaging.i love that kind of thing Limited run game That will be the case with the physical release, but imagine if all the remasters and reboots show deleted scenes and developer insights. There’s so much nonsense about the game development process on forums and social media, and so many assumptions that are completely wrong. Improved access to the process will benefit everyone.

For those who have never played the game or experienced it on PS5, this is a must-have experience. This is the cutting edge of mainstream narrative gaming, lovingly reincarnated.

Becoming a Fluid Mechanics Expert: Crafting Four Classic Cocktails

Posted on December 19, 2023 by Igor Mitreski

Proteins come together to create the foam in gin fizz.

alex oberheiser

You may think that complex equations and alcohol don’t or shouldn’t mix. But when you make your favorite cocktail, you’ll unknowingly encounter one of the most complex processes in fluid mechanics, the study of how liquids flow.

When researchers try to predict how fluids move, bubble, and wave, they often encounter complex equations. The starting point for solving almost all of these problems is the Navier-Stokes equation, named after Claude-Louis Navier and George Gabriel Stokes. They invented it in the 1800s, which was also the golden age of mixology.

So what better way to learn about fluid mechanics than with a cocktail? From how to make bubbles to unusual cloud formations to supersonic jets of liquid, there are some great surprises hidden inside your drinks! . Roll up your sleeves and get out your cocktail shaker!

gin fizz

Experience the wonders of bubble miniatures

First, something squishy. Made with two parts gin, one part lemon juice, a splash of syrup, and a splash of soda water, gin fizz is easy to make without a layer of foam.

Bubbles challenge physicists. Sometimes they behave like solids. Sometimes it behaves like a liquid. When washing dishes, soap bubbles flow like water, but the hard foam from beer can be cut off in one go.

This difference is due to the bubbles. Bubbles form when bubbles gather. But how…