Rare Artifacts Discovered in Sweden Illuminate Iron Age Metal Trade Between the Atlantic and Baltic Seas

A recent study by archaeologists investigated round heavy metal objects from Seldal, located in the Haland region of western Sweden. Initially thought to be Bronze Age artifacts due to their shape and size, these objects were determined to be composed of copper-zinc-tin-reed alloys typical of the Iron Age and later periods.

Plano Convex Ingots from Seldal in Harland, Sweden. Image credit: Sabatini et al., doi: 10.1016/j.jasrep.2025.105312.

The ancient ingots were uncovered in the village of Seldal on Sweden’s west coast during the fall of 2022.

This artifact has been identified as a Plano-Convex Ingot.

“Plano-convex ingots, commonly known as ‘bread’ ingots or ‘casting cakes,’ were prevalent during the Bronze Age, though they vary in size, shape, and composition,” explains Serena Sabatini, a researcher at the University of Gothenburg.

“These artifacts are typically round with flat top surfaces and various inflated convex bottoms.”

“They are created by pouring molten metal into shallow molds or cavities in the ground.”

“Most of these ingots exhibit a rough, ‘bubbly’ top surface, indicating they were poured into an open casting mold, while the bottom remains smooth, as it was not exposed to air during production.”

“Due to their straightforward manufacturing process, they are widely found across Eurasia and were utilized both in prehistoric and historical periods.”

The Särdal Ingot measures 14-15.3 cm in diameter, approximately 2.5 cm thick, and weighs 1223.5 grams.

Notably, the ingot’s surface displays significant corrosion, especially on the rough, raised area.

The overall dimensions and weight of the ingot initially suggested it could be a Bronze Age find.

“At first, we believed the Seldal Ingot dated back to the Bronze Age,” the archaeologist noted.

“However, since it was found alone and not dated within an archaeological context, we opted for isotopic and chemical analysis to determine its composition and estimate a time frame.”

The analysis yielded surprising results, revealing that the ingot was made from copper-zinc-tin-reed alloys typical of the Iron Age and later.

“The findings emerged thanks to the collaborative spirit of the international scientific community exploring archaeological topics, allowing us to identify the isotopic and elemental characteristics of the Seldal ingots, which closely resemble artifacts from two sites found in the Iwawa Lakeland region of northeastern Poland.

Research into the Baltic Sea area, which had a robust network connected to western Sweden and southern Scandinavia during the Roman Iron Age, indicates that the alloys from both Seldal and Iwawa Lakeland were present in the region during the latter half of the 1st millennium BCE.

“Thus, we propose that the Plano Convex Ingots from Harland and the ingots from Poland represent the outcomes of a metallic maritime trade linking Scandinavia, the Baltic Sea, and the Iberian Peninsula.”

Their paper will appear in the October 2025 edition of Journal of Archaeological Science: Report.

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Serena Sabatini et al. 2025. Iron Age Metals Trade between the Atlantic and the Baltic Sea: New insights from the first complete Plano-Convex Ingot found in Sweden and Ingot Rod in Iwawa Lakeland, northeastern Poland. Journal of Archaeological Science: Report 66:105312; doi:10.1016/j.jasrep.2025.105312

Source: www.sci.news

Can Every Metal Be Recycled from a Scrap Car?

Scrap vehicles are composed of various metal alloys, posing recycling challenges.

Mark Hill/Alamy

Innovative recycling methods for metals extracted from scrap cars can potentially eliminate millions of tons of waste annually while decreasing carbon emissions associated with the production of new aluminum.

Historically, a significant portion of scrap aluminum from cars has been repurposed into lower-grade cast alloys for engine blocks in traditional combustion engines. Yet, as the auto industry shifts towards electric vehicles, this low-grade metal no longer has utility.

Without effective strategies, there is a risk of generating millions of additional tons of carbon dioxide by accumulating “mountains” of unusable scrap and increasing the production of virgin aluminum for new vehicle manufacturing, warns Stephen Pogatcher from Leven University in Austria.

“As engine blocks become obsolete with electrification, we lack current paths for scrap utilization,” he cautions. “This constrains our recycling capabilities.”

Pogatscher and his team have developed a novel approach for recycling metals from scrap vehicles, which could convert approximately 7-9 million tons of waste annually into high-quality aluminum alloys suitable for various components of new cars.

The key lies in generating new products by harnessing a variety of alloy materials sourced from scrap vehicles, he elaborates.

Typically, when a car is discarded, its materials—plastic, fabric, steel, and aluminum—are processed separately. Moreover, as many as 40 different aluminum alloys are extracted from each vehicle across various recycling streams. Any non-separable components tend to blend into the engine block, associated with combustion engines.

The innovative recycling method pioneered by Pogatscher’s team involves melting all the scrap aluminum from the car simultaneously.

This results in a block of highly brittle material that resembles a metal ceramic, according to Pogatscher. Interestingly, the team found that reheating this block at approximately 500°C for 24 hours can restructure the metal, enhancing its strength and toughness. “Ultimately, it offers improved mechanical properties compared to conventional alloys,” he notes.

The team asserts that this new material rivals traditional automotive alloys, featuring “impressive” strength and versatility for fabricating various car components, including chassis and frames. Pogatscher emphasizes that it can be produced using standard industrial practices and has the potential for rapid scalability. While he recognizes the challenges in mainstream adoption of new alloys within the conservative manufacturing sector, discussions with industry partners regarding process development are already underway.

Jeffrey Scamans at Brunel University in London finds the concept “very intriguing,” but he stresses that further validation is essential, particularly to ensure the new alloy meets the stringent testing requirements for automotive applications.

He also cautions that achieving consistent high-quality alloys may be difficult since vehicles are discarded in a varied manner, not according to specific types. “It’s challenging to envision how to collect individual alloy compositions practically,” he remarks. “Scaling from laboratory experiments to full-scale metal production is notoriously complex.”

Mark Schlesinger at the Missouri University of Science and Technology states that commercial production must delineate and manage the composition of the new alloy. “Randomly mixing scrap in the furnace won’t yield acceptable results,” he says. “This necessitates precise scrap chemistry assessments, which subsequently raises handling costs.”

Topics:

  • Electric Vehicles/
  • Recycling

Source: www.newscientist.com

Metal Gear Solid Delta: Snake Eater Review – Cold War Chaos Revived with Cinematic Flair | Games

A wise fictional character once remarked that war never changes, and if you experience Snake Eater, it’s hard to disagree. Konami has reimagined the 2004 Cold War PS2 classic, swapping “three” with “Delta,” but this remains the jungle adventure you remember. Without Kojima, Konami has maintained the essence of this chaotic masterpiece while channeling its energy into stunning visuals and smooth, modern controls.

In terms of PS2 titles that feel like contemporary releases, Metal Gear Solid 3 tops the list. Transitioning the series into vast outdoor settings, Kojima maximized the aging power of Sony’s console. To modern players, these environments were expansive. However, revisiting the water-logged swamps of Tselinoyarsk in today’s open-world gaming landscape, the once seemingly endless jungle feels rather quaint.


A potential playfulness… Metal Gear Solid Delta: Snake Eater. Photo: Konami

Thankfully, the charm and vibrant characters inhabiting these mosquito-infested playgrounds remain as plentiful as ever. Every path you tread is filled with playful opportunities. The snake slithers through the mud, sniping wasp nests and dispatching nearby patrols before leaping from cliffs. Vultures descend on foes under the scorching desert sun, and you can even shoot the transceiver of a guard to thwart a backup call. It’s these intricate systems and ambitious narratives that lend a grander feel to the modest maps.

As for the narrative, Snake Eater retains its edge, interspersing real-world historical footage from the Cold War before pitting you against various foes. Long-time fans la-li-lu-le-lo aside, newcomers might find the relentless opening cutscene somewhat intrusive. The prologue periodically takes control from the player, inundating you with tutorial text between short playable segments, but it ultimately culminates in a barrage of fitting nouns.

Fortunately, once gameplay begins, Snake’s Soviet journey feels exhilarating. Purists can opt for classic top-down views through legacy modes, but modern controls provide a truly revolutionary experience, transforming the once-clumsy snake into a lethal killing machine.


Despicable Shenanigans… Metal Gear Solid Delta: Snake Eater. Photo: Konami

Moreover, there are some exciting new features for seasoned veterans. The newly introduced optional compass efficiently points toward your target, while pressing the D-PAD allows for quick access to the codec and camouflage adjustments on the fly.

Speaking of camouflage, the survival system in Snake Eater is perhaps its most significant legacy. Kojima’s groundbreaking hunting and injury treatment mechanics continue to influence modern games, setting the groundwork for today’s popular survival genres. Though some elements may feel dated compared to current standards, they add an appreciated layer to Snake’s escapades.

The island’s playful meta-narrative continues to thrive, offering engaging gameplay choices. From the ability to eliminate an early boss long before their intended encounter to a boss fight that revolves around your accumulated bloodlust results, few modern titles embrace this level of interactive storytelling.

Despite its cinematic aspirations, Snake Eater excels in its quirks and video game absurdities. Items drop from defeated soldiers, hidden frogs leap as you shoot, and camouflaged rubber ducks lurk in every nook and cranny of the environment.

Delta serves as a stunning showcase for the PS5 Pro, becoming one of the few graphical highlights amidst Sony’s high-priced offerings. The cinematic splendor of last year’s memorable sequences comes alive with breathtaking 4K visuals. Still, not everything has aged gracefully, particularly Eva’s cleavage cutscene, which reveals the game’s roots in 2004.

Some elements could benefit from a revision. While players will not soon forget the iconic final confrontation, the rushed ending feels like a missed opportunity to cohesively tie up loose threads, suggesting Konami’s interference in this critical area and leaving it feeling anticlimactic.

Outside the primary gameplay, there’s a fun monkey escape mode and an additional secret feature that I won’t spoil. The only entirely new mode, the Foxhunt multiplayer component, has unfortunately arrived post-launch and currently feels somewhat unfinished.


Snake Eater is a refined and slick chapter in the Metal Gear saga, resembling a Cold War caper fit for a James Bond film, replete with apocalyptic undertones. Kojima’s affection for Hollywood is evident, often spilling over into unwieldy epic narratives, yet this game remains his most cinematic achievement. It’s silly, tightly packed, and delightfully campy, meandering toward absurdity with sublime stealth. The legendary voice acting seamlessly merges Cold War fantasy with anime-inspired antics.

If you reminisce about the Metal Gear Online glory days when the free Foxhunt mode launches later this year, it could elevate your score. If not, Snake Eater remains a melodramatic joy and serves as a fantastic introduction to one of gaming’s most illustrious masterpieces.

Metal Gear Solid Delta: Snake Eater is set to release on August 28th.

Source: www.theguardian.com

Twenty Years Later, I’m Still Emotional: The Timeless Brilliance of Metal Gear Solid 3: Snake Eater | Games

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It’s unforgettable—the first time you play a Metal Gear game. Among them, Konami’s iconic stealth series is epitomized by the 2004 installment, Snake Eater. This initial chapter and its sequel acted as a reboot. Initially aimed for the PS3 due to its ambitious technology, it was eventually released on the PS2. The writer-director, Kojima, sought to take the gravelly-voiced protagonist, Solid Snake, out of the shadowy military bases and into the great outdoors. With elements like food hunting and broken bones that could be reset, Snake Eater felt far more grounded and immersive compared to PlayStation games of the 2000s.

Despite Snake Eater’s significant transformations, one classic aspect remains unchanged—stellar voice acting. In Konami’s upcoming remake, Metal Gear Solid Delta: Snake Eater, all the iconic, absurd lines from the original script are preserved. Enhanced with modern controls and stunning new graphics, Delta more closely resembles a 4K restoration of a beloved film than a standard remake akin to the latest Resident Evil titles.

“To their credit, Konami wanted to maintain the authentic experience,” says David Hater, the voice of Solid Snake. “They aimed to ensure it felt like the original, while still leveraging today’s technology.”




“Very cinematic”… Metal Gear Solid Delta: Snake Eater. Photo: Konami

Hater, who also penned the scripts for the 2000s X-Men films, takes immense pride in his portrayal of Solid Snake, a role achieved through the unique recording process of his eccentric performances. “For my first Metal Gear Solid, I recorded in an unusual house in Hollywood,” he reflects. “There were five microphones set up and it was just me and the other actors.”

This atypical setup was in stark contrast to the usual individual recording method, where voice actors would record separately, and their performances would be pieced together afterward. Hater found this collaborative approach to be incredibly effective. “I insisted my contract required me to record in this manner for all the Metal Gear games; I’d be in the booth alongside other top voice talents for months at a time.”

By the time the actors recorded their roles for Metal Gear Solid, the storyline was nearly finalized. However, for Snake Eater, they received only cues, leaving much of the visual imagination to the voice talent. “We had no visuals,” says Hater. “It was challenging to grasp the full impact of what we were creating at the time.”




“I know why you go back to it over and over again”… Metal Gear Solid 3: Snake Eater. Photo: Konami

This shared experience resonates with Lori Alan, who voices The Boss, a key character in Snake Eater. “This is where the voice director showcased his remarkable skills,” Alan shares. “The recording sessions were intense. After a session, you’d exit saying, ‘What a ride!’ as the director would quietly remind you, ‘You love him. You trained him. You’ll betray your country!’ It was astonishing, and left you feeling completely drained.”

As Alan departed the booth while Hater was recording, she didn’t fully grasp the impact of the character she embodied. “I have a devoted fan who once sent me a clip, but I’ve never played it,” Alan admits. Over two decades later, she finally experienced the iconic role she helped create. “We were filming promotional videos for the remake,” Hater recalls. “Lori mentioned she wanted to know what we did back then, but it was hard to convey! So, I sent her the complete cutscene from the game… A couple of hours later, I received an emotional call from her. She was in tears, saying, ‘Oh my god! I didn’t understand before, but now I get it.'”

“It’s incredibly cinematic,” Alan adds. “The depth of the relationships stands out, giving me chills. I found myself completely engaged in the storytelling, as one would when reading a captivating novel or watching a compelling film.”




“We didn’t need to change anything great from the original”… Metal Gear Solid Delta: Snake Eater. Photo: Konami

Beyond some audio refinement and adjustments to fit the new control system, the cast confirms that no additional material was introduced in Delta. “I like to think I’ve become a better actor since then,” Hater muses. “Yet, these recordings had to align perfectly with the original, making it surreal to step back into the booth and reprise the same role after 20 years.”

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Hater and Alan aren’t alone in revisiting the jungle—Cynthia Harrell, the original singer of Snake Eater’s theme, has re-recorded the iconic anthem for the remake. Harrell noted that she recorded her vocals with little direction. “That final scene, with the song playing as she dies, the red petals falling… I still cry 20 years later.”

Decades later, that moment remains powerful. Following an emotional climax, players are given the choice to pull the trigger. “I wished there was an option to shoot her in the leg instead,” Hater admits.

The ongoing separation between Kojima and Konami means that the original Snake Eater director isn’t involved in Delta, yet the publisher has engaged and retained members from the original development team. “For me, that thrill and surprise felt like the first time I played, 21 years ago, and that’s the experience we aimed to replicate,” shares Yuji Korekado, a producer on Delta and a former team member. Fellow producer Okamura Noriaki emphasized the intention to maintain creative integrity: “We concluded that adding twists or new plot elements was unnecessary; the original was already exceptional.”

As a new generation grows up unaware of the significance of Revolver Ocelot, Hater views Snake Eater Delta as the ideal reintroduction to one of gaming’s most revered franchises. “Someone asked me last night why they started remastering with No. 3,” he mentions. “That’s because it’s the best, you know? The characters are incredible, and the storylines are profound. These are some of the most tragic and beautiful moments in gaming history. It’s akin to living through a cinematic masterpiece for 60 hours.”
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Metal Gear Solid Delta: Snake Eater will launch on PC, PS5, and Xbox on August 28th

Source: www.theguardian.com

Maximize Metal Resources for Clean Energy Without New Mining Operations

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Open-pit mining at the Kennecott Copper Mine, also referred to as the Bingham Canyon Mine in Utah

Witold Skrypczak/Alamy

The leftover ore discarded by the rice mines is rich in vital minerals. This resource is sufficient to furnish all the necessary components for clean energy technologies. By reclaiming a portion of these minerals, we can satisfy the country’s rising demand for green energy without relying on imports or creating new environmentally-friendly mines, although the process of extraction poses its own challenges.

“We must enhance our utilization of mining resources,” states Elizabeth Holly from the Colorado School of Mines.

Traditionally, most individual mines concentrate on extracting a limited range of minerals, such as copper and gold. This involves excavating and grinding the ore, followed by separating the primary product through various metallurgical processes. Ultimately, the residue is discarded as tailings. “It’s pointless to mine if we’re not utilizing all the resources,” says Holly.

These byproducts often contain additional valuable materials, including many crucial minerals identified by the US government as essential for military and energy technologies like solar panels, wind turbines, and batteries. However, certain supply chains for these minerals are controlled by China, raising urgent concerns for the US and its allies, prompting a search for alternative mineral sources, including mining byproducts and tailings.

Yet, many mining operations lack a clear understanding of what they are discarding. “Numerous minerals that are now deemed critical were seldom employed in the past, so they weren’t analyzed for recovery,” remarks Holly.


Holly and her colleagues examined thousands of ore samples and production data from mines across the US. They utilized this information to project the quantity of additional minerals that could be retrieved from 54 active hard rock metal mines should new purification steps be implemented.

In some cases, it was found that only 1% of the minerals contained in mining byproducts were recoverable. Other minerals necessitated recovery rates in the 10-90% range to replace imports. Additionally, certain metals, such as gold, platinum, and palladium, still require imports, even though 100% recovery is achievable from byproducts.

These findings imply that the US could fulfill the growing demand for critical minerals without the need for new mines, according to Holly. This strategy would help secure a stable supply chain and mitigate the environmental impacts of mining. “It makes more sense to optimize what we’re already mining,” she asserts.

According to Brian McNulty from the University of British Columbia in Canada, this presents “a significant opportunity,” although further research is required to transform estimates of mineral amounts into actual recoverable quantities. “We hope to not only engage government but also industry, encouraging a more thorough assessment of our mining practices,” he comments.

Identifying the whereabouts of these minerals isn’t the only challenge. Current purification technologies do not cater well to these small, complicated waste streams, and deploying the necessary technology is prohibitively expensive for many US mines. Megan O’Connor, from NTH Cycle, which specializes in extracting vital minerals from unconventional sources, highlights this issue.

Mines may also hesitate to invest in new mineral extraction methods when future demand remains uncertain. Whether concerning electric vehicle batteries or solar panels, “technological advancements occur significantly faster than changes in mining practices,” notes McNulty.

Despite skepticism regarding renewable energy, the Trump administration prioritized US mineral production as a key aspect of its agenda. Recently, the Department of Energy (DOE) announced nearly $1 billion in funding for unconventional mining initiatives, including $250 million aimed at mineral recovery from mining byproducts.

A spokesperson from the DOE asserts that the tailings at these mines represent “a significant opportunity within the nation” and could assist the United States in diversifying its sources of critical minerals and materials.

Nonetheless, this does not diminish support for new mines, as stated by the agency’s executive director, P. Wells Griffith III, during a DOE strategy workshop on August 20th. “We should never apologize for modern lifestyles and our abundant natural resources,” he affirmed.

Topic:

Source: www.newscientist.com

New Research Indicates Vesta Lacks a Metal Core

A recent analysis of data from NASA’s Dawn Spacecraft indicates that Vesta, the second-largest asteroid in our solar system, has not fully differentiated into a metallic core, silicate mantle, or basaltic crust.

NASA’s Dawn Spacecraft studied Vesta from July 2011 to September 2012. The towering mountains of Antarctica, more than twice the height of Mount Everest, can be seen at the bottom of the image. A set of three craters known as ‘snowmen’ can be found in the top left. Image credits: NASA/JPL-CALTECH/UCLA/MPS/DLR/IDA.

First discovered by Heinrich Wilhelm Olbers on March 29, 1807, Vesta is the only significant asteroid visible to the naked eye.

It completes a rotation in 5.34 hours, orbits the Sun in 3.63 years, and has an elongated shape with dimensions of 286 x 279 x 223 km.

Due to its substantial size, Vesta is regarded as a differentiated body with a core and mantle, similar to our own planet.

“There has been significant effort put into this research,” noted Dr. Seth Jacobson, a researcher from Michigan State University, along with his colleagues.

“One possibility is that Vesta has undergone incomplete differentiation, meaning it initiated the necessary melting process to create distinct layers such as a core, mantle, and crust, but never completed it.”

“Another theory suggests that Vesta is a fragment of a larger body that contributed to the formation of planets in the solar system.”

“The Jet Propulsion Laboratory has played a crucial role in this research,” explained Dr. Ryan Park, a senior research scientist and principal engineer at NASA’s Jet Propulsion Laboratory.

“After nearly ten years of advancements in calibration and processing technology, we have achieved remarkable consistency between the Dawn spacecraft’s Deep Space Network data and its onboard imaging data.”

“We were eager to see the strength of the data in revealing Vesta’s deep interior.”

“Our findings suggest that Vesta’s history is far more complex than previously thought, influenced by unique processes such as interrupted planetary differentiation and late-stage collisions.”

Celestial bodies with dense cores behave differently from those without cores.

With this newfound understanding, researchers assessed Vesta’s rotation and gravitational field.

The findings indicate that Vesta’s behavior contradicts previous notions about core formation.

“To confirm whether Vesta is an ancient remnant from a planetary formation, we need to develop more models and refine our analyses,” stated Dr. Jacobson.

“Scientists can also adapt their methodologies for studying Vesta’s materials to delve deeper into both hypotheses.”

“Further research can be conducted using innovative approaches to the Dawn mission data.”

“Our publications mark the beginning of a new research direction and could fundamentally alter how scientists perceive differentiated worlds.”

Read the paper published in the journal Natural Astronomy.

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RS Park et al. Vesta’s small core is inferred from Dawn’s observations. Nature Astronomy published online on April 23, 2025. doi:10.1038/s41550-025-02533-7

Source: www.sci.news

An AI Discusses Its Metal Origins with Michael Parkinson on a Podcast

If you ask anyone who regularly conducts interviews, they will tell you that being the one interviewed is a strange experience. It becomes even more bizarre when the interviewer has been deceased for a year and a half. Virtually Parkinson is a new podcast where celebrities are interviewed by an AI model trained to mimic the late Michael Parkinson. The announcement of this podcast last year caused quite a stir, with some calling it blasphemous and others questioning its purpose in the realm of AI innovation.

The podcast requires a team of engineers, researchers, and producers to ensure that the AI model accurately replicates Parkinson’s style of interviewing. However, despite the technological advancements, there are concerns about the ethical implications of using AI in this manner. The producers of Virtually Parkinson are conscious of these concerns and ensure that all interviews are conducted responsibly.

The podcast aims to explore the relationship between AI and humans, sparking discussions on the future of technology in entertainment. While some may find the concept exploitative, others see it as a way to preserve a national treasure’s legacy. The series continues to evolve, with each interview improving the AI model based on feedback.

During an interview with the AI Parky, the experience was both intriguing and uncanny. The AI model’s rigid format and lack of emotional response made the interaction feel artificial. Despite this, the interview showcased the potential of AI technology in the entertainment industry.

As technology continues to advance rapidly, the future of AI in entertainment looks promising. The creators of Virtually Parkinson are constantly refining the AI model to enhance the user experience. Whether you agree with the concept or not, it’s clear that the future is already here with AI-driven interviews like Virtually Parkinson.

Source: www.theguardian.com

The Scottish warrior in me: Exploring the hack-and-slash game Tears of Metal

‘T“There’s a giant rock that fell from the sky on an island in Scotland. They call it Dragonstone,” Tears of Metal director Raphael Toulouse explains, “and the British send their general out to [a look]”
“But then the general finds the rock and goes a little rogue, a little bit like Apocalypse Now. He breaks ties with the English, takes control of the island, and the English start mining this giant rock to make weapons and armor, but it also affects their minds. So the Scots organize to take the island back. And that’s where you come in.”

In Tears of Metal, you play as the leader of a Scottish battalion, and your job is to get closer and closer to Dragonstone while cutting down breakaway English troops. But as you get closer to the supernatural meteorite, the beautiful green backdrop of the Scottish Highlands gradually transforms into a hellish world. “It gets weirder and weirder, and by the end it looks almost post-apocalyptic,” Toulouse says.

You start with around 10 soldiers, but you can recruit more, and they’ll get stronger over time. Tears of Metal is a roguelike, so if you’re defeated you’ll be sent back to the start of the game, but you’ll keep any troops you’ve gathered for your next playthrough. However, just like in the alien-fighting XCOM series, if one of your soldiers dies in battle, he’s lost forever. The stakes are high, and you may have to rush to rescue your favorite characters before they’re wiped out for good.




Sensitivity warning: imitation blood.

The game is reminiscent of Dynasty Warriors, a series in which powerful warriors mow down hundreds of enemies in fantastical re-enactments of historical battles. Toulouse acknowledges that the series was a “huge influence,” but says the game relies less on button mashing. Up to four players can play together, each with their own army.

Toulouse is CEO of Paper Cult, an indie studio he co-founded in Montreal, Canada, nearly a decade ago. Which begs the question: why a French-Canadian indie studio is making a game set in Scotland? “That’s a good question,” Toulouse says, adding that the game originally had a completely different setting. Settling on medieval Scotland was a marketing decision; they wanted something instantly recognizable. But there’s also the fact that Toulouse is partial to the movies of Mel Gibson.

“I was a huge Braveheart fan,” he says. “I would always watch the movie with my friends after school. I would watch it over and over again. I loved the action scenes, and the Braveheart soundtrack is amazing.”

Toulouse has no personal connection to Scotland, but says Paper Cult has “a lot of connections with Scottish people” and works with writers who visit friends in Scotland every year. “We’re really trying to involve Scottish people in the project,” he adds, noting that the dialogue, in particular, will be of interest to Scots who still remember the terrible tragedy. Narration of William Wallace’s election campaign Age of Empires II users will be relieved to hear this.

Paper Cult has been working on Tears of Metal for around four years, but the release date is still a long way off, slated for next year. But since the game was revealed at Summer Game Fest in early June, Toulouse has been amazed by the audience’s response. He says it has been added to wishlists on Steam more than 100,000 times. “Within the first few days, we had over 100,000 people added to wishlists,” he says. [after the announcement]we surpassed [our previous game] “This is my lifetime wish list for Bloodroots,” Toulouse says with a hint of excitement. “I’m super excited.”

Source: www.theguardian.com

Europe’s largest rare earth metal deposit discovered in Norway

Rare Earths Norway, a mining company, has made a groundbreaking announcement of discovering Europe’s largest proven deposit. This discovery of rare earth elements is highly regarded and could potentially be a game-changer for the Nordic countries and the broader region.

This continental Europe’s largest rare earth deposit, not controlled by China, presents a significant opportunity for Europe amid its oil crisis. The demand for rare earths and critical minerals is expected to grow exponentially as the transition to clean energy accelerates.

Rare Earths Norway revealed in a statement on June 6 that the Fen carbonatite deposit in southeastern India has an estimated 8.8 million tonnes of total rare earth oxides (TREO) with economically mineable prospects. The company also estimates 1.5 million tonnes of magnet-related rare earth elements that can be used in electric vehicles and wind turbines.

This discovery surpasses a significant rare earth deposit discovered last year in Sweden. Rare Earths Norway CEO Alf Rystad emphasized the importance of this discovery, stating that there is currently no mining of rare earth elements in Europe.

Going forward, Rare Earths Norway aims to contribute to mining at least 10% of the EU’s annual demand for rare earth elements by 2030. The company also plans to develop the Telemark rare earth deposit southwest of Oslo to strengthen Norway’s position in the European rare earths value chain.

The International Energy Agency highlighted the shortage of current supplies needed to transform the energy sector due to the geographic concentration of many energy transition elements. China, the world’s largest rare earth ore processor, plays a significant role in supplying rare earth elements worldwide.

Rare Earths Norway intends to continue exploration work at the site with further drilling planned for the coming month. The company aims to begin production by 2030 to contribute to Europe’s rare earth supply and reduce dependence on Chinese sources.

In a recent interview, Alf Rystad remarked that while the discovered resources are valuable, they won’t increase in value compared to oil and gas. He mentioned European Commission President Ursula von der Leyen’s belief that lithium and rare earth elements will become more important than traditional fossil fuels in the future.

Source: www.nbcnews.com

American thrash metal drummer takes down Elon Musk, costing him $56 billion

ERon Musk suffered one of the largest legal losses in U.S. history this week when Tesla’s CEO was stripped of $56 billion in compensation in a lawsuit brought by an unlikely opponent: a former heavy metal drummer. Covered.

Richard Tornetta sued Musk in 2018, when Tornetta, a Pennsylvania resident, owned just nine Tesla shares. The case ultimately went to trial in late 2022, and on Tuesday, a judge sided with Tornetta, invalidating his massive pay deal as unfair to him and all of his Tesla shareholders.

Mr. Tornetta could not be reached for comment, and his lawyer declined to comment.

Before Mr. Tornetta’s lawsuit, Mr. Musk had won a series of lawsuits accusing him of defamation, breach of duty to shareholders and violations of securities laws.



Judging by his online presence, Mr. Tornetta appears to be more interested in creating audio equipment for car customization enthusiasts than pursuing corporate excesses and fraud.

He posts light-hearted videos about his gadgets and mishaps, such as explaining how he burned his eyebrows.

Tornetta also appears in a video playing drums at the former legendary New York club CBGB with his now-defunct metal band Dawn of Collection, describing the sound as “steel-toed.” “It sounded like a quick kick in the face with a work boot.”

On social media, fans of Tesla and Musk seem to feel the incident is a travesty of justice, speculating about Tornetta’s intentions and political affiliations and wondering how investors with such a minuscule stake could He questioned whether he could wield such power.

Delaware’s corporate case law is replete with cases naming individual investors with small stakes that ultimately shaped American corporate law.

Eric Talley, who teaches corporate law at Columbia Law School, said many law firms representing shareholders have a steady stream of investors who can work with them to litigate cases. They may be pension funds with a wide range of stocks, but they are also often individuals like Tornetta.

Talley said it’s common for plaintiffs to sign the paperwork to file a lawsuit and then walk away. Investors won’t pay law firms to take on cases on a contingency basis, as lawyers did in the Musk case.

Mr. Tornetta, like other Tesla shareholders, stands to benefit from winning the lawsuit, saving the company billions of dollars that subordinate boards paid to Mr. Musk.

Business groups have long criticized lawsuits brought by individuals as a sign of potential abuse. A decade ago, Delaware was beset by lawsuits contesting merger deals and led by private investors who owned a minority stake. Cases were often quickly resolved with nonsensical settlements, which always included payments to the lawyers who brought the cases. Delaware judges and lawmakers eventually curbed the practice.

Experts said people like Tornetta are essential to policing the boardroom. Lawmakers and judges have long wanted big investment firms to take the lead in these corporate cases because of their ability to monitor lawyers’ tactics. But experts said fund managers did not want to jeopardize their relationships on Wall Street.

Therefore, it was up to Tornetta to face Mask.

“His name is now etched in the history of corporate law,” Talley said. “My students will be reading ‘Tornetta vs. the Mask’ for the next 10 years.”

Source: www.theguardian.com