How Arc Raiders’ Generative AI Sparked a Battle for the Future of Gaming

Arc Raiders stands as a strong contender for game of the year, especially in late-game discussions. Set in a multiplayer environment teeming with hostile drones and military robots, players must navigate a world where trust is scarce—will you risk cooperating with other raiders trying to return to humanity’s underground safety, or will they ambush you for your hard-earned spoils? Interestingly, the majority of gamers I’ve spoken to suggest that humanity is, for the most part, choosing unity over conflict.

In a recent Game Spot review, Mark Delaney offers an intriguing perspective on Ark Raiders’ capacity for narrative and camaraderie, noting its unexpectedly optimistic outlook when compared to other multiplayer extraction shooters. “In Ark Raiders, while players can eliminate one another, it’s not indicative of a grim future for humanity; the fact that most choose to help each other instead is a testament to its greatness as a multiplayer experience.”

However, it’s worth noting a layer of irony within the narrative of humanity banding together against machines. The game utilizes AI-generated text-to-speech, developed from real actors’ performances, and also employs machine learning to refine the enemy robots’ behavior and animations. Writer Rick Lane voiced ethical concerns over this: “For Ark Raiders to capitalize on human social instincts while simultaneously reassembling the human voice through technology, disregarding the essence of human interaction, reflects a troubling lack of artistic integrity,” he wrote in an Eurogamer article.

The increasing use of generative AI in game development has become a contentious issue among players (though gauging actual feelings remains challenging). Many players, including myself, find this trend uncomfortable. Last week, the latest Call of Duty faced backlash for allegedly using AI-generated art, which has drawn significant ire. Advocates for generative AI argue it empowers smaller developers; however, Call of Duty is a multibillion-dollar franchise that can afford to employ skilled artists. The same logic applies to the AI-generated voice lines in Ark Raiders.

This raises existential questions for those within the gaming industry—artists, writers, voice actors, and programmers alike may face obsolescence due to technology that replaces expensive talent with cheaper, less capable machines. EA has mandated that its employees utilize in-house AI tools. Such policies are widely criticized. Krafton has boldly branded itself as an AI-first developer while offering voluntary resignation to its South Korean employees. Voluntary layoffs have been introduced as well.

Controversy ensues… Call of Duty: Black Ops 7 has faced accusations of using AI-generated art. Photo: Activision

Interestingly, those defending generative AI in gaming predominantly belong to the corporate sector rather than everyday players or developers. Tim Sweeney from Epic Games (notably wealthy) expressed his thoughts on Eurogamer’s Ark Raiders review on X, lamenting the infusion of “politics” into video game evaluations, and suggesting a future where games utilize endless personalized dialogue crafted from human performances.

Personally, I prefer human-crafted dialogue over AI-generated lines. I want characters to express sentiments that resonate with human experiences, delivered by actors who grasp the emotional depth. Award-winning voice actor Jane Perry remarked in an interview with GamesIndustry.biz, “Will a robot be on stage accepting the Best Performance award at the gaming or BAFTA awards? I believe audiences would overwhelmingly favor authentic human performances. However, the ambition to replace humans with machines is a powerful driving force among the tech elite.”

Through years of covering this industry, I’ve realized that the dynamics in the gaming world often reflect broader societal trends. A few years back, there was a spike in investments in Web3 and NFT gaming, which ultimately led to a collapse due to their unattractive, computer-generated aesthetics. When big tech latched onto the “metaverse” concept, gaming companies had already been developing improved iterations for years. Additionally, Gamergate illustrated how to weaponize discontented youth, influencing both political strategy and current cultural conflicts. Hence, anyone concerned about AI’s ramifications on work and society should remain vigilant to the waves the technology creates among players and developers alike—these could serve as intriguing indicators.

What we’re witnessing appears to be a familiar clash between creators and those who benefit from their work. Moreover, players are beginning to challenge whether they should pay the same price for games that feature low-quality, machine-generated visuals and sounds. New conversations are emerging regarding which applications of AI are culturally and ethically permissible.

What to play

A plot with few travelers… Goodnight Universe. Photo: Nice Dream/Skybound Games

From the creators of the poignant ‘Before Your Eyes,’ Goodnight Universe allows you to experience the world through a super-intelligent six-month-old baby endowed with extraordinary abilities. The narrative unfolds through the baby’s internal dialogue. Young Isaac believes he possesses wisdom beyond his age, yet struggles to convey his thoughts and emotions to his family. Soon, he discovers telekinetic powers and the ability to read minds, catching the unwanted attention of others. If equipped with a webcam, players can interact by looking around and blinking. This game delivers an emotional narrative and explores themes that resonate deeply, refreshing nostalgic memories of my own children as infants.

Available: PC, Nintendo Switch 2, PS5, Xbox
Estimated play time:
3-4 hours

What to read

A first look… Benjamin Evan Ainsworth as Link and Beau Bragason as Zelda in the upcoming “The Legend of Zelda” movie set for 2027. Photo: Nintendo/Sony
  • Nintendo has shared the first image from the forthcoming Legend of Zelda movie, featuring Beau Bragason and Benjamin Evan Ainsworth enjoying a serene moment in a meadow. Here, Link bears a striking resemblance to his Ocarina of Time appearance. I was pleased to see that Princess Zelda wields a bow, suggesting she will be an active participant in the action rather than a mere damsel in distress.

  • Nominees for the upcoming Game Award include Ghost of Yorei, Claire Obscur: Expedition 33, and Death Stranding 2. (Traditionally, The Guardian has been the voting platform, but a change will occur this year.) As we reported last week, the annual event has recently discontinued its Future Class program for emerging developers, which felt more like a marketing tactic.

  • A team of modders has revived Sony’s notorious failed shooter Concorde from the dead – however, the company issued a takedown notice for gameplay footage shared on YouTube, even though the server continues to operate.

Skip past newsletter promotions

What to click

Question block

A fantasy realm… The Elder Scrolls: Cyrodiil from Oblivion. Photo: Bethesda Game Studio

This week’s question from leader Jude:

“I recently started playing No Man’s Sky. This is the first game that has felt like it could actually happen. Ready Player One, combined with the now ubiquitous Japanese isekai genre where characters enter alternate worlds. Does anyone else play this game? Can I actually live there?”

I had similar feelings when I first explored Oblivion two decades ago. It might sound amusing now that I play the remastered version, but at that time, it contained everything I desired: vibrant towns, delicious food and literature, interesting characters, magical creatures, and the allure of combat. If given the chance, I would absolutely reside in Cyrodiil from The Elder Scrolls (shown above). Although smaller compared to modern open-world titles, I find there’s no need for an overwhelmingly vast world while immersing in a fantasy escape—we seek an engaging experience without excessive complexity.

There are definitely virtual realms I would not want to inhabit—like the perilous lands of World of Warcraft’s Azeroth, or the chaotic Mushroom Kingdom, not to mention Elden Ring’s vibrant yet overwhelming Land Between. Meanwhile, Hyrule feels rather desolate, while the engaging nature of No Man’s Sky arises from its player interactions.

I’ll throw this question out to my readers: Is there a video game world you’d like to call home?

If you have questions for the Question Block or feedback on the newsletter, please reply or email us at pushbuttons@theguardian.com.

Source: www.theguardian.com

I Felt It Was My Destiny: Social Media Rumors Sparked Pregnancy Speculation, Leading to Unforeseen Consequences

I cannot recall the exact moment my TikTok feed presented me with a video of a woman cradling her stillborn baby, but I do remember the wave of emotion that hit me. Initially, it resembled the joyous clips of mothers holding their newborns, all wrapped up and snug in blankets, with mothers weeping—just like many in those postnatal clips. However, the true nature of the video became clear when I glanced at the caption: her baby was born at just 23 weeks. I was at 22 weeks pregnant. A mere coincidence.

My social media algorithms seemed to know about my pregnancy even before my family, friends, or doctor did. Within a day, my feed transformed. On both Instagram and TikTok, videos emerged featuring women documenting their journeys as if they were conducting pregnancy tests. I began to “like,” “save,” and “share” these posts, feeding the algorithm and indicating my interest, and it responded with more content. But it didn’t take long for the initial joy to be overtaken by dread.

The algorithm quickly adapted to my deepest fears related to pregnancy, introducing clips about miscarriage stories. In them, women shared their heartbreaking experiences after being told their babies had no heartbeat. Soon, posts detailing complications and horror stories started flooding my feed.

One night, after watching a woman document her painful birthing experience with a stillbirth, I uninstalled the app amidst tears. But I reinstalled it shortly after; work commitments and social habits dictated I should. I attempted to block unwanted content, but my efforts were mostly futile.

On TikTok alone, over 300,000 videos are tagged with “miscarriage,” and another 260,000 are linked under related terms. A specific video titled “Live footage of me finding out I had a miscarriage” has garnered almost 500,000 views, while fewer than 5 million have been dedicated to women giving birth to stillborns.

Had I encountered such content before pregnancy, I might have viewed the widespread sharing of these experiences as essential. I don’t believe individuals sharing these deeply personal moments are in the wrong; for some, these narratives could offer solace. Yet, amid the endless stream of anxiety-inducing content, I couldn’t shake the discomfort of the algorithm prioritizing such overwhelming themes.


“I ‘like,’ ‘save,’ and ‘share’ the content, feeding it into the system and prompting it to keep returning more”…Wheeler while pregnant. Photo by Kathryn Wheeler

When discussing this experience with others who were also pregnant at the same time, I found shared nods of understanding and similar narratives. They too recounted their personalized concoctions of fears, as their algorithms zeroed in on their unique anxieties. Our experiences felt radical as we were bombarded with such harrowing content, expanding the range of what is deemed normal concern. This is what pregnancy and motherhood are like in 2025.

“Some posts are supportive, but others are extreme and troubling. I don’t want to relive that,” remarks 8-month-pregnant Cerel Mukoko. Mukoko primarily engages with this content on Facebook and Instagram but deleted TikTok after becoming overwhelmed. “My eldest son is 4 years old, and during my pregnancy, I stumbled upon upsetting posts. They hit closer to home, and it seems to be spiraling out of control.” She adds that the disturbing graphics in this content are growing increasingly hard to cope with.

As a 35-year-old woman of color, Mukoko noticed specific portrayals of pregnant Black women in this content. A 2024 analysis of NHS data indicated that Black women faced up to six times the rate of severe complications compared to their white counterparts during childbirth. “This wasn’t my direct experience, but it certainly raises questions about my treatment and makes me feel more vigilant during appointments,” she states.

“They truly instill fear in us,” she observes. “You start to wonder: ‘Could this happen to me? Am I part of that unfortunate statistic?’ Given the complications I’ve experienced during this pregnancy, those intrusive thoughts can be quite consuming.”

For Dr. Alice Ashcroft, a 29-year-old researcher and consultant analyzing the impacts of identity, gender, language, and technology, this phenomenon began when she was expecting. “Seeing my pregnancy announcement was difficult.”

This onslaught didn’t cease once she was pregnant. “By the end of my pregnancy, around 36 weeks, I was facing stressful scans. I began noticing links shared by my midwife. I was fully aware that the cookies I’d created (my digital footprint) influenced this feed, which swayed towards apocalyptic themes and severe issues. Now with a 6-month-old, her experience continues to haunt her.

The ability of these algorithms to hone in on our most intimate fears is both unsettling and cruel. “For years, I’ve been convinced that social media reads my mind,” says 36-year-old Jade Asha, who welcomed her second child in January. “For me, it was primarily about body image. I’d see posts of women who were still gym-ready during their 9th month, which made me feel inadequate.”

Navigating motherhood has brought its own set of anxieties for Asha. “My feed is filled with posts stating that breastfeeding is the only valid option, and the comment sections are overloaded with opinions presented as facts.”

Dr. Christina Inge, a Harvard researcher specializing in tech ethics, isn’t surprised by these experiences. “Social media platforms are designed for engagement, and fear is a powerful motivator,” she observes. “Once the algorithm identifies someone who is pregnant or might be, it begins testing content similar to how it handles any user data.”


“For months after my pregnancy ended, my feed morphed into a new set of fears I could potentially face.” Photo: Christian Sinibaldi/Guardian

“This content is not a glitch; it’s about engagement, and engagement equals revenue,” Inge continues. “Fear-based content keeps users hooked, creating a sense of urgency to continue watching, even when it’s distressing. Despite the growing psychological toll, these platforms profit.”

The negative impact of social media on pregnant women has been a subject of extensive research. A systematic review examining social media use during pregnancy highlights both benefits and challenges. While it offers peer guidance and support, it also concludes that “issues such as misinformation, anxiety, and excessive use persist.” Dr. Nida Aftab, an obstetrician and the review’s author, emphasizes the critical role healthcare professionals should play in guiding women towards healthier digital habits.

Pregnant women may not only be uniquely vulnerable social media consumers, but studies show they often spend significantly more time online. A research article published in midwife last year indicated a marked increase in social media use during pregnancy, particularly peaking around week 20. Moreover, 10.5% of participants reported experiencing symptoms of social media addiction, as defined by the Bergen Social Media Addiction Scale.

In the broader context, Inge proposes several improvements. A redesigned approach could push platforms to feature positive, evidence-based content in sensitive areas like pregnancy and health. Increased transparency regarding what users are viewing (with options to adjust their feeds) could help minimize harm while empowering policymakers to establish stronger safeguards around sensitive subjects.

“It’s imperative users understand that feeds are algorithmic constructs rather than accurate portrayals of reality,” Inge asserts. “Pregnancy and early parent-child interactions should enjoy protective digital spaces, but they are frequently monetized and treated as discrete data points.”

For Ashcroft, resolving this dilemma is complex. “A primary challenge is that technological advancements are outpacing legislative measures,” she notes. “We wander into murky waters regarding responsibility. Ultimately, it may fall to governments to accurately regulate social media information, but that could come off as heavy-handed. While some platforms incorporate fact-checking through AI, these measures aren’t foolproof and may carry inherent biases.” She suggests using the “I’m not interested in this” feature may be beneficial, even if imperfect. “My foremost advice is to reduce social media consumption,” she concludes.

My baby arrived at the start of the year, and I finally had a moment to breathe as she emerged healthy. However, that relief was brief. In the months following my transition into motherhood, my feed shifted yet again, introducing new fears. Each time I logged onto Instagram, the suggested reels displayed titles like: Another baby falls victim to danger, accompanied by the text “This is not safe.” Soon after, there was a clip featuring a toddler with a LEGO in their mouth and a caption reading, “This could happen to your child if you don’t know how to respond.”

Will this content ultimately make me a superior, well-informed parent? Some might argue yes. But at what cost? Recent online safety legislation emphasizes the necessity for social responsibility to protect vulnerable populations in their online journeys. Yet, as long as the ceaseless threat of misfortune, despair, and misinformation assails the screens of new and expecting mothers, social media firms will profit from perpetuating fear while we continue to falter.

Do you have any thoughts on the issues raised in this article? If you would like to submit a response of up to 300 words for consideration in our Letters section, please click here.

Source: www.theguardian.com

Cat Video Fest: How Adorable Kitten Clips Sparked a Million-Day Film Franchise | Cats

Title: Cat video.

Year: 131.

Genre: Authentic entertainment.

Wait a second, Is the cat video really 131 years old? Clearly, you haven’t seen Boxing Cats, a 20-second clip featuring two cats in boxing gloves fighting in tiny rings. Created in 1894 by Thomas Edison’s studio, it is preserved at the Library of Congress.

So you’re suggesting that humanity has not progressed Significantly in nearly a century and a half? No, I assert that there’s something vital about the charm of cat videos and their concurrent evolution.

But also … Indeed, humans have always had a knack for simple pleasures.

Now that we’ve established this, why are we discussing them today? Ah, because CatVideofest 2025 is on the horizon.

What is CatVideofest? Keep your finger on the pulse. Since 2016, Will Braden has meticulously curated online videos and public submissions into CatVideofest.

Seriously, is this a thing? Not only is it a thing, but it’s also a massive hit. The 2021 edition grossed $94,000 at the box office, while last year surpassed $1 million. If the trend continues, CatVideofest 2036 could become the most successful film ever.

So is there any merit? Sort of. Anyone who took children to CatVideofest 2024 will remember the relentless wave of cat videos that kicked off with an extraordinary 20-minute segment.

Which cat videos are featured in the movie? Ah, all the fan favorites. You can expect to see videos of cats sneaking across people, a cat knocking items off a table, and cats climbing things.

What about the toilet cat video? Ah, a classic of the genre. I didn’t realize I was discussing this with enthusiasts.

Of course. When I miss the 2011 classic, the day just barely goes by without “Cats walking on two legs 2.” Yes, what’s my favorite part…are we actually linking to cat videos now? I thought this was a serious discussion.

No, this is a discussion about how cinemas are learning to adjust to fresh audiences during widespread industry contraction. Very insightful. Almost as clever as a cat opening the door for its owner who forgot their key.

What does this reveal about us as a society? Well, the world is chaotic. Let’s unwind with some cat videos.

Say: “CatVideofest will be our salvation.”

Don’t say: “Not worse than the Smurfs.”

Source: www.theguardian.com

How Apple Sparked Legal Confusion in Its Courtroom Victory

Weeks after a federal appellate court mandated that Apple loosen the reins of CEO Tim Cook, his senior associate deliberated on the next steps.

For over ten years, Apple has insisted that apps utilize the App Store payment system, collecting a 30% commission on sales. However, in 2023, the court ruled that apps could bypass Apple’s payment system and allow users to purchase directly. Cook sought clarity on whether Apple could still impose fees on these sales without breaching the court’s directive.

Phil Schiller, responsible for overseeing the App Store, expressed concerns that the revised fees might be unlawful. He supported direct online sales without Apple’s commission. Luca Maestri, the company’s financial head, disagreed, advocating for a 27% commission to safeguard the business.

Ultimately, Cook sided with Maestri, attempting to rationalize this decision. A federal judge criticized the company in a recent ruling, accusing it of fabricating independent economic research to validate its choices and withholding thousands of documents under claims of attorney-client privilege. Furthermore, at least one executive allegedly misled the court.

The judge’s ruling, alongside witness testimonies this year and company documents disclosed Thursday, highlights the extreme measures Apple has taken to maintain every cent accrued from the App Store. Judge Yvonne Gonzalez Rogers, who presided over the initial lawsuit from Epic Games in 2020, could inadvertently impact Apple’s operations and hurt its credibility as scrutiny around the business intensifies.

Additionally, the company faces multiple legal challenges, including an antitrust lawsuit from the Department of Justice, which accuses it of maintaining a monopoly with its iPhone. Class Action Lawsuits from U.S. app developers and regulatory scrutiny from the U.K., Spain, and potentially China.

Mark A. Remley, a professor at Stanford Law, noted, “If you lose credibility with the court, the next judge may be less forgiving.” This situation could prompt future judges to suspect dishonesty during Apple’s subsequent cases.

Google’s corporate dealings have similarly cast a shadow over its legal processes. A recent judge noted in an antitrust case regarding Google’s advertising technology, the company’s attempts to obscure communications raised concerns about its adherence to court mandates.

In response to Judge Gonzalez Rogers’ ruling, Apple plans to appeal, asserting that the findings were “unjust” and deeming delays to the court order necessary. The company declined to provide further comments on this report.

In 2020, Epic, the creator of Fortnite, filed a lawsuit against Apple, alleging antitrust violations related to the mandated use of the App Store payment system. Although Judge Gonzalez Rogers ruled in Apple’s favor, asserting it wasn’t a monopoly, she highlighted that Apple breached California competition laws by requiring developers to use the App Store for software and services.

To comply with the court’s orders, Apple initiated a project termed “Wisconsin.” Two solutions were explored: one that would allow apps to include links for online purchases at designated locations without fees, and another that would require the app to charge a 27% commission for providing those links.

Without commissions and fees, Apple estimated potential losses totaling hundreds of millions, even exceeding a billion dollars. Opting for the 27% fee would minimize their losses.

In a June 2023 meeting, Cook evaluated commission options ranging from 20–27%. He reviewed analyses indicating that with a 27% commission, Apple could potentially lose its payment system while ultimately endorsing a plan that limited where app links for online purchases could be placed.

Consequently, Apple enlisted an economic consultancy to author reports to substantiate these fees, concluding that its developer tools and distribution services exceed 30% of an app’s revenue.

Apple also instituted a warning screen for online purchases. Cook instructed the team to enhance the warning to emphasize Apple’s commitment to privacy and security. “Rather than terminating their relationship with Apple, the company cannot be held accountable for the privacy or security of transactions made online,” he stated.

After introducing the 27% commission in January 2024, Epic brought Apple back to court, arguing it was not complying with the judge’s orders. Judge Gonzalez Rogers summoned both Apple and Epic to court, where Treasury VP Alex Roman testified that the commission had been finalized on January 16, 2024. Executives revealed that the consultancy report influenced the commission fee setting.

Judge Gonzalez Rogers expressed skepticism about Apple’s honesty and demanded documentation regarding their compliance. Apple submitted 89,000 documents, a third of which were marked confidential. The court dismissed these claims as “baseless,” stating Apple pressured them into concealing more than half the documents.

The findings indicated that Rome lied under oath, that the consultancy report was “deceptive,” and that Apple “willfully” ignored the court’s directives, as termed by Judge Gonzalez Rogers. She characterized this as “concealment.”

Her ruling may empower prosecutors, regulators, and judges in similar ongoing cases against Apple across the globe, according to various antitrust professors and lawyers.

When the company attempts to edit or conceal documents, it may draw the attention of prosecutors and judges to strategize against such “tactics to delay litigation,” especially in the Epic Games case. During testimonies, the credibility of Apple executives was called into question as it became apparent the company “conceals the truth.”

In other cases regarding Apple, such as the Department of Justice antitrust lawsuits, Colin Kass, an antitrust attorney for Proskauer Rose, indicated that the process will begin with a firm statement against Apple’s past tactics. “I won’t entertain any games they’ve played before,” he stated.

The company remains cautious regarding both the Justice Department’s lawsuit and its defense, noted Vanderbilt University law professor Rebecca Ho Allensworth, who studies antitrust. Apple previously claimed that green bubbles in messages from Android users were due to safety concerns. However, she suggested such claims may now be viewed skeptically following the recent ruling.

Allensworth remarked that the judges’ opinions could influence App Store practices, leading to enforced resolutions akin to those from the European Union, the U.K., and Spain—to guarantee regulatory and court confidence.

“Apple behaves as though it operates above the law,” she asserted. “This sends a clear message that such behavior is unacceptable.”

Source: www.nytimes.com

Volcanic eruptions may have sparked life on Earth through lightning

Volcanic lightning, which occurs within the clouds of volcanic ash released during some volcanic eruptions, may be a source of nitrogen.

Mike Rivers/Getty Images

Analysis of volcanic rocks revealed large amounts of nitrogen compounds, almost certainly formed by volcanic lightning. This process may have provided the nitrogen that the first life forms needed to evolve and thrive.

Nitrogen is a key component of the amino acids that are linked to make the proteins on which all life depends. Nitrogen gas is abundant, but plants cannot convert it into usable forms like carbon dioxide.

Instead, plants get most of their nitrogen from bacteria that can “fix” the gas by converting it into nitrogen compounds such as nitrate.But nitrogen-fixing bacteria didn't exist when life first evolved. Suliman Becchi There must have been non-biological sources early on, as it was at the Sorbonne University in Paris.

Lightning from thunderstorms is one possible cause. Currently, this produces relatively small amounts of nitrate, but it may have been important early in Earth's history. The famous Miller-Urey experiment of the 1950s demonstrated that nitrogen compounds containing amino acids could have been produced by lightning in Earth's early atmosphere.

Now Becchi and his colleagues show that another source may be lightning that occurs in ash clouds during volcanic eruptions.

When researchers collected volcanic deposits from Peru, Turkey, and Italy, they were initially surprised to find large amounts of nitrate in some layers. Isotopic analysis of these nitrates showed that they were originally present in the atmosphere and were not emitted by volcanoes. But Becchi says that amount is too much to be produced by lightning during thunderstorms. “It was an amazing amount of money,” he says. “It's really huge.” That means the nitrate was probably produced by volcanic lightning.

“When we looked at the various possibilities, volcanic lightning was the most likely,” Becchi said. “We know that when large-scale volcanic eruptions occur, a lot of lightning occurs.”

Tamsin Mather Researchers at the University of Oxford say their team's conclusions make sense. “Volcanic eruptions like the one studied in the paper would be expected to produce significant lightning, so it's quite possible that volcanic lightning generated this signal,” she says.

Life is thought to have first evolved around volcanoes, and the team's findings indicate that this environment may have been rich in nitrogen compounds, Becchi said.

The idea that volcanic lightning played an important role in the origin of life is not new. Jeffrey Bada Researchers at the Scripps Institution of Oceanography in California have previously shown that volcanic lightning passing through volcanic gases can produce molecules such as amino acids. “This paper just reinforces what I've published,” he says.

Source: www.newscientist.com

The unexpected tale of Crash Bandicoot’s music and the laughter it sparked

‘WWhen people play video games, they want to have fun,” Josh Mansell, composer of Naughty Dog’s early Crash Bandicoot games, tells me. It’s a simple word, but one that laid the foundation for everything that PlayStation’s most famous mascot would represent. “Crash Bandicoot” was fun, even when players were banging their heads against CRT TVs in frustration when “Slippery Climb”’s paranoid, creepy music started playing his 100th time. And Mansell’s soundtrack was there to remind us of that from start to finish.

However, the characteristically eccentric, manic energy that fuels Crash’s reckless platforming adventures didn’t come out of nowhere. “When I was working on the game, I was throwing things at the wall to see what would stick,” Mansell says.

Crash wasn’t as fast as Sonic or as approachable as Mario. He was scruffier, edgier, and an underdog than his sanitized mainstream stablemates. And the music captured that. It was insistent, encouraging, and quirky. A witty little Looney Tunes cartoon about someone getting addicted to sugar and accidentally wandering into the third dimension. However, that cheerful Hawaiian surf rock atmosphere was almost something completely different.

Early drafts of the score for the first Crash Bandicoot game were ambient and drum-heavy, focusing on creating a sonic jungle around Crash. So you will feel like you are with him on this dangerous island, surrounded by plants as deadly as animals. . This music was actually very similar to one of Mansell’s earliest projects as a composer, his American Kraft cheese commercial. “This commercial is about a little kid going through a jungle, and it’s all animated, and even the beat I used there is very similar to one of the beats that ended up in ‘Crash.’ I did.

“The early, more ambient stuff works better. It draws you into the jungle and into the immersive nature of what games should be.”

Josh Mansell, Crash Bandicoot game soundtrack composer then and now Photo: Josh Mansell

But Crash Bandicoot is not Uncharted or The Last of Us. Mansell had worked with Naughty His Dog during his “punk” days, and created Crash as a rival (and parody) of Sonic the Hedgehog. Developer’s “Hollywood” days were still two generations ahead of him, and at this point the music needed to be weird and quirky, more akin to a Saturday morning cartoon than a prime-time TV show.

And it was Hog Wild, one of Crash Bandicoot’s most infamous levels, that provided Mansell with the inspiration he needed to fit firmly into Crash’s baggy jolt. “‘Hog Wild’ was a big turning point, especially in terms of the feedback I got regarding the music,” he says. “They were pointing me in the direction of creating a more ‘experimental’ score, using all the percussion and ambience. Environmental sounds. And I think the reactions were divided. ”

Some producers at publisher Universal were not convinced by this more experimental approach. Mansell has previously been quoted as referencing the likes of Aphex Twin and Juan Atkins in these early scores, but that is completely untrue. Mansell says he admires the way the musicians were able to create deep soundscapes with limited space and tools. And that’s what he wanted to do with the Clash, more than “imitate the kind of music they were making”. We weren’t going to get someone like Alberto Balsalme from Crash Bandicoot, right?

Crash Bandicoot – Hog Wild Level Photo: Universal Interactive

“Hog Wild’s music was more…I don’t want to make a pun and say Universal…more comical,” Mansell says. “People laughed at it, and I started to feel like there was an even more positive response. It didn’t sound like Mario music, but it sounded like our own version of Mario. It was more animated, more It’s going to be character-driven.”

“This is what it’s supposed to sound like” when you’re jumping over things on a pig’s back, Mansell points out. And he’s right. Both in music and gaming, Hog Wild is a solid introduction to what Crash Bandicoot is all about. This is where this game departs from its infamous 2D platforming cousins Mario and Sonic. Hog Wild is his eighth level in the game and represents what Crash needs to be: fun, fast, reckless, and stupid. The perfect mascot for Sony and his fledgling PlayStation console.

“[Hog Wild] It was an eye-opener. That’s when I started to see what this game was all about. You’re playing a comic. You are a cartoon character. The person who designed the character was involved with Looney Tunes, right? Charles Zembilas brought that sensibility to the game before I stepped in. ”

Mansell is first and foremost a drummer, and you’ll find that Crash Bandicoot’s melodies, from the first game all the way to Crash Team Racing, are all very percussive and assertive. Just as you can tell that Dave Grohl writes vocal parts from a drummer’s perspective, you can tell that Mansell has a rhythmic heart. Everything about Crash feels groovy, uplifting, and tireless. He specifically mentions Stewart Copeland of the Police as an influence in this regard (“one of my favorite drummers of all time”), and for him the Ruins level of Clash 2 is a true “hat”. ). This creates an interesting loop. Two years after the release of Crash Bandicoot, Copland began composing the music for the Spyro the Dragon series, which also happened to be fortuitous for Mansell.

When Crash finds his feet, or “butt,” consider that during development it was called “Sonic’s Butt Game” because everyone kept paying attention to Crash’s polygonal butt. Mansell felt encouraged. According to the composer, Crash 2 (Cortex Strikes Back) and 3 (Warped) became more “musical” and he began drafting in a more personal style, taking liberties with this blossoming series (very Newly encouraged by its unexpected success in Japan) into the stratosphere.

Rage and frustration sparked by COP28 draft excluding fossil fuel phase-out

DUBAI, UAE – A draft COP28 climate change agreement that does not include a phase-out of fossil fuels has drawn widespread criticism from key stakeholders, highlighting deep-seated rifts on the final day of the international summit. There is.

The document, released by the United Arab Emirates, which hosts the climate summit, emphasized the need to reduce emissions but did not call for a complete phase-out of fossil fuels. Scientists believe that fossil fuels the single biggest factor Contributing to potentially life-threatening climate change.

Representatives from the United States, the European Union and countries vulnerable to climate change, including many in Africa and the Pacific Islands, have issued dire warnings about the draft agreement, putting it at odds with many oil-producing countries.

Wopke Hoekstra, the EU’s chief negotiator for COP28, told reporters that the draft was “clearly inadequate and inadequate to address the issues we need to address here.”

“It’s not because we want it, it’s not because the minister or I want it, it’s not because the Europeans want it,” Hoekstra said. “Because scientists clearly understand what is needed, and at the top of that list is the phasing out of fossil fuels. [correlation] Between doing so and ensuring we have the planet, we rescue people from danger. ”

Wopke Hoekstra, EU Commissioner for Climate Change.
Peter DeJong/Associated Press

US climate change envoy John Kerry expressed similar concerns, saying: Significant reductions are expected over the next 10 years. ”

“This is a war for survival,” he added.

The combustion of coal, oil, and gas accounts for more than three-quarters of the world’s greenhouse gas emissions. This is why so many people asked for the results of COP28 to show that “We are truly at the beginning of the end of the fossil fuel era.”

However, COP28 President Sultan Al Jaber said: faced a backlash last week He insisted there was “no science” behind calls to phase out fossil fuels and that such a move would not enable sustainable development “unless we want the world to go back into caves”. .

In response to the subsequent outcry, Jaber, who is also the chief executive of Abu Dhabi National Oil Company (ADNOC), said his team “very much believes in and respects science.”

A COP28 spokesperson told CNBC at the time that Al-Jaber was “steadfast” in saying that limiting global warming to 1.5 degrees Celsius requires action across many regions and sectors.

“We consider that there are elements in this document that are completely unacceptable,” Spain’s Minister of Environmental Transition, Teresa Rivera, told reporters after Monday’s publication of the draft, adding: “We believe there are elements in this document that are completely unacceptable.” How can we move forward in this important decade in the energy sector? ”

“I think it’s good to be clear about what we really want to create in this COP that the world needs, and whether we want this COP to create what it’s supposed to be: a turning point in the fight against climate change. ” she said. Added.

Meanwhile, German Foreign Minister Annalena Verbock said the text was misleading. “In this critical decade, there is a complete lack of need to urgently replace and reduce fossil fuels in the power sector. The language on coal is inconsistent with EU energy policy, and the construction of new coal-fired power plants is completely absent. “is tolerated,” she said.

“Above all, the context around fossil fuels is misleading the world. This suggests that fossils may continue to play a significant role in our future. and send a misleading signal to the market.”

The draft document outlines several options for countries to reduce emissions, including “to achieve net zero by, or before, 2050. It includes “reducing both the consumption and production of fossil fuels in a fair, orderly and equitable manner.”

COP28 President Jaber said on Monday that the nearly 200 countries taking part in the talks “still have a lot of work to do”.

“Progress is needed on many areas, including the language on fossil fuels,” he said, calling for “more flexibility” from stakeholders.

The UAE is a member of the powerful oil producing group OPEC and is among the top 10 oil producing countries in the world.

Source: www.nbcnews.com