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.
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
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
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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.
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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.
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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.
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Question block
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
