Gait Games

**Control Resonant: Responding to Dialogue Critiques Amidst Anticipation for the Sequel**

Last month, at Sony’s prominent State of Play event, Remedy Entertainment revealed fresh gameplay footage from their eagerly awaited sequel, *Control Resonant*. The announcement was celebrated by fans keen to delve into the next installment of the beloved franchise. However, some parts of the gaming community expressed concerns regarding the dialogue present in the demo, which they believed echoed the criticisms of simplistic and contrived writing often linked with AAA titles, particularly reminiscent of the viral “Focus, M” clip.

*Control Resonant* is poised to build on the semi-open-world structure introduced in its predecessor, *Control*, offering players a significantly larger NYC environment and a greater focus on dynamic, aggressive combat. During a recent preview event, prominent developers, including creative director Mikael Kasurinen and lead gameplay designer Sergey Moho, carefully guided journalists through an exciting gameplay segment, highlighting the game’s innovative mechanics and captivating world.

In a following Q&A session, a question was raised regarding the aforementioned critique of the dialogue from the State of Play. A prominent tweet highlighted a moment between the main character Dylan and an off-screen handler, implying it fell prey to the sort of “AAA dialog” scrutiny directed at mainstream games for their frequently formulaic banter. Addressing the concern, communications director Thomas Puha indicated his initial unawareness of the meme, stating, “We’re kind of busy working on the game. Ultimately, I would think [we here at Remedy] know how to write good dialogue…and narrate a compelling story.”

The original tweet pointing out the dialogue issue gained traction soon after the State of Play, prompting Puha to respond with confusion as players compared the exchanges to the dialogue style found in superhero films. He stated, “Okay…I really don’t comprehend this, it’s all very reasonable dialogue and not some enigma being unraveled, but okay, taking the feedback in. Apologies for the delayed response.”

Two weeks later, while responding to further questions, Puha recognized the feedback but stressed that the dialogue displayed in the gameplay was not indicative of the entire narrative experience. He countered assertions about the writing’s quality by mentioning that much of what was heard in the presentation was “placeholder” text. He added, “Not to downplay people’s opinions on this, but you’re witnessing an isolated conversation from an experience that is very lengthy.”

Mikael Kasurinen, when asked if he had anything to add, reinforced Remedy Entertainment’s dedication to narrative integrity: “We at Remedy, of course, care profoundly about the characters and stories we wish to tell, and we want everything that serves the player [to] feel significant and important and so forth. That will be the case with *Control Resonant* as well.”

With its release expected later this year on PS5, Xbox Series X/S, and PC, *Control Resonant* seeks to achieve a balance between engaging gameplay and substantial storytelling, aiming to reassure fans that both the narrative and character interactions will be carefully crafted. As anticipation builds for the sequel, it will be intriguing to observe how Remedy handles both expectations and criticisms as the launch approaches.

Following a major shift in leadership within the Assassin’s Creed franchise, Ubisoft has disclosed its vision for the series, shedding light on upcoming games, providing updates on the Netflix adaptation, and officially announcing the eagerly awaited remake of Assassin’s Creed IV: Black Flag.

On March 4, Ubisoft published a detailed blog outlining the future trajectory of Assassin’s Creed. In the post, it was confirmed that the remake of Assassin’s Creed IV: Black Flag is indeed in development. This revelation came alongside a piece of concept art for the new title, Assassin’s Creed Black Flag Resynced. The title had previously surfaced through ratings last year.

Jean Guesdon, the head of content for the franchise, hinted at the ambitious nature of the remaking process. He stated, “Nothing is true. Everything is permitted.” However, the blog emphasizes that fans should anticipate significant changes, which have sparked discussions within the community. Additional details will emerge as development advances.

### Upcoming Titles: Codename Hexe and More

In the same blog post, Ubisoft provided updates on two more titles, notably Codename Hexe, which is expected to be the next primary series entry. Set against the backdrop of the witch trials in the Holy Roman Empire, the game is under development by Ubisoft Montreal. Guesdon will assume the role of creative director, following the departure of the previous lead, Clint Hocking, from the project. The blog does not delve into Hocking’s contributions to Hexe or any other titles.

While specifics about Hexe remain limited, Guesdon reassured fans about the game’s ambitious design, suggesting that further information will be disclosed in due course. Ubisoft aims to ensure that community enthusiasm is duly acknowledged and utilized throughout the process.

### Multiplayer Innovations with Codename Invictus

Additional announcements included Codename Invictus, a new multiplayer spin-off being created by a dedicated team of For Honor veterans at Ubisoft Montreal. Unlike previous multiplayer experiences, Invictus promises a unique approach that departs from what fans might expect based on earlier games like Assassin’s Creed: Brotherhood. Guesdon highlighted that player feedback will be pivotal in shaping this new multiplayer adventure.

### Project Jade and Co-op Features

Project Jade, another operational title revealed in 2022, received a brief update confirming its ongoing development. The mobile-only game, set in third-century China, was initially anticipated to launch in 2023, but this has since shifted due to undisclosed delays. Additionally, Ubisoft hinted at a potential return of cooperative gameplay. Guesdon acknowledged earlier reports regarding the scrapping of co-op features but expressed optimism about learning from the experience for future endeavors.

### Insights on Netflix Adaptation and Game Updates

Ubisoft is also gearing up for a highly anticipated live-action Assassin’s Creed series on Netflix, with indications that more casting news and details will be shared shortly. Fans are eagerly anticipating insights into the nature of this adaptation.

Moreover, the company announced a 60FPS patch for Assassin’s Creed Unity, set to be released on Xbox Series X/S and PlayStation 5. This update aligns with Ubisoft’s ongoing trend of upgrading older titles to effectively utilize newer hardware capabilities.

In conclusion, with the significant leadership changes and the promise of new content across various platforms, Ubisoft is guiding the Assassin’s Creed franchise toward a future filled with excitement for both long-time fans and newcomers alike.

**Title: Pombon and the Evolution Discourse in Pokémon Winds and Waves**

The announcement of Pokémon Winds and Waves by Game Freak has sparked vibrant debates among fans, especially concerning the future of one of its starter Pokémon: Pombon, the Pomeranian fire puppy. The pivotal question capturing the community’s interest is whether Pombon will transform into a bipedal figure akin to the Weregarurumon design, a notion that arises from a deep-rooted tradition in the Pokémon franchise where starter Pokémon evolve into progressively sophisticated forms.

Since its introduction, Pombon has generated numerous memes and discussions revolving around its charming design. Enthusiasts have passionately deliberated on the possible evolution paths for this delightful fire type. Traditionally, many starters begin as small, lovable creatures and later evolve into more powerful and often bipedal shapes. This artistic approach has resulted in some Pokémon adopting designs that align with a more anthropomorphic look, evoking a blend of intrigue and apprehension among fans.

As mentioned in the recent episode of the Pokémon podcast “It’s Super Effective,” the evolution into bipedal forms from starter Pokémon raises concerns regarding the equilibrium between preserving the core characteristics of a Pokémon and the inclination for more human-like features. Classic Pokémon such as Charizard and Blastoise stayed true to their monstrous origins while evolving into bipedal forms. Conversely, newer designs like Delphox, Cinderace, and Incineroar have faced backlash, as these Pokémon often encapsulate human traits that some fans find less attractive, partly due to a latent anti-furry sentiment within the community.

The matter is further complicated by the statistical composition of starter evolutions. Of the 27 final forms historically, only seven are quadrupedal, with a significant majority adopting a bipedal form. As fans eagerly anticipate Pombon’s potential evolution, concerns arise that another bipedal fire-type Pokémon may simply replicate earlier designs. With nostalgia for prior generations, the community is cautious of repetitive ideas in starter evolutions, especially for fire types.

Speculative designs for Pombon’s evolution have started to emerge, with some fan concepts focusing on a Cerberus-inspired theme. This direction could provide a refreshing twist that veers away from conventional bipedal trends and introduces an entirely new notion of a three-headed creature. The success of such a design might depend on preserving Pombon’s four-legged status after evolution, which would defy current expectations.

No matter the outcome, it appears fans will remain captivated by Pombon in the forthcoming gameplay of Winds and Waves. Their excitement stretches beyond the possibility of familiar evolution patterns to a yearning for innovation from Game Freak. With trends evolving towards more diverse and creative designs, the community is keen for surprises that transcend traditional molds instead of revisiting established archetypes. The evolution of Pombon could symbolize a larger narrative about development and transformation within the Pokémon universe, resonating with what players desire in the continually changing realm of Pokémon design.

**The Effect of Cultural Allusions in Gaming: A Study on Helldivers 2 and the War Horse Armor Set**

On February 17, 2023, Arrowhead Games formally unveiled the War Horse armor set for their acclaimed title, *Helldivers 2*. This reveal was shared via a trailer featuring audio in Mandarin, coinciding with the celebrations of the Lunar New Year. This festive time provided the game developers an opportunity to connect with their audience in a culturally significant way, as indicated by the trailer’s tagline—“send super Spring Festival greetings to the Cyborg army.”

At first sight, this announcement seemed unremarkable to many gamers; however, an unforeseen occurrence soon followed. The comment section of the trailer post on X (formerly Twitter) was overwhelmed with over 860 replies, primarily highlighting a fan-created image of the Tank Man, a historical figure from the Tiananmen Square protests of 1989. The sudden surge of this image drew attention and sparked conversations about its significance.

**The Meme’s Source**

The revival of the Tank Man imagery first surfaced on Reddit’s *r/Helldivers* subreddit on February 3, 2023, in a post ominously named “Liberty Square Massacre.” This post coincided with the release of the *Helldivers 2* patch “Into the Unjust: 6.0.1,” which notably introduced the TD-220 Bastion Mk XVI tank. The original post was later locked by moderators due to inflammatory remarks that violated subreddit guidelines.

The choice to remove the post and its related comments inadvertently amplified debates surrounding censorship and political sensitivity, specifically regarding Arrowhead Games’ connection with their Chinese playerbase. The resulting scrutiny highlights the interplay of cultural and historical references within gaming communities and how sensitive topics can quickly intertwine with corporate choices.

**Cultural and Political Landscape**

*Helldivers 2* enjoys a considerable fanbase in China, attracting players who creatively defended in-game areas like Equality-on-Sea, drawing parallels to real-world socio-political issues. The game’s appeal to the Chinese audience became apparent when the official Chinese Embassy in the United States publicly recognized the “human connection” cultivated by the game’s community.

Adding complexity, Tencent, a prominent force in the gaming sector and major shareholder in Arrowhead Game Studios, has faced criticism for its impact on global gaming trends. This scrutiny heightened amidst allegations that Arrowhead Games might be sacrificing artistic integrity to conform to Tencent’s interests, particularly given the unrest surrounding censorship in gaming narratives.

**The Consequences of Censorship Claims**

The repetitive posting of the Tank Man image in reaction to the War Horse trailer may originate from perceived political pressures regarding Arrowhead’s content moderation choices. After an initial comment referencing the Tank Man image faced rapid removal, the backlash acted as an unintended reinforcement of allegations connecting to censorship imposed by the Communist Party of China.

Though Arrowhead sought to foster a healthy community by minimizing spam around sensitive subjects, their measures were viewed as yielding to the same pressures they were accused of succumbing to. This irony underscores the fragile balance developers must maintain in catering to diverse audiences while suppressing potentially disruptive content without appearing to impose censorship.

**Conclusion**

The convergence of culture, historical references, and gaming communities often results in unforeseen outcomes, especially in a politically charged environment. The uproar surrounding the launch of the War Horse armor set for *Helldivers 2* exemplifies how developers can find themselves entangled in broader dialogues about censorship, public perception, and the intricacies of international gaming communities. Arrowhead Games’ experiences act as a cautionary example of the difficulties that emerge when creative expression intersects with socio-political narratives, illuminating the complex dynamics that shape contemporary gaming culture.

### The Great CEO Burger Showdown: A Viral Fast Food Contest

Recently, the fast-food scene was electrified as Chris Kempczinski, the McDonald’s CEO, unexpectedly became a viral hit. His short video highlighting his initial taste of the company’s new Big Arch burger ignited a storm of memes, social media discussions, and a distinctive corporate rivalry that has gained momentum.

The Big Arch burger presents a striking appearance, packed with sauces and toppings. Yet, it wasn’t the burger’s impressive look that drew the internet’s interest, but Kempczinski’s awkward first bite. The CEO’s nearly humorous, small nibble prompted widespread ridicule, as users criticized not only the bite but also the quality of McDonald’s famed menu items. The response rapidly developed into a comprehensive debate about fast food culture and marketing, reminiscent of the digital era’s obsession with corporate missteps and meme culture.

In a turn that showcases the competitive aspect of fast food marketing, Burger King promptly reacted to McDonald’s viral incident. The brand utilized TikTok to feature their president, Tom Curtis, confidently enjoying a Whopper. After taking a generous bite and wiping sauce from his face, Curtis made a quip that appeared to target his McDonald’s counterpart. This lighthearted jab highlighted the ongoing rivalry between these two fast-food behemoths, effectively transforming their respective CEOs into not just corporate figures, but characters within a digital narrative that engages viewers.

Not wanting to be left out, Wendy’s joined the fun rivalry. Pete Suerken, Wendy’s president, posted a video of himself relishing a burger from the chain, not only taking a hefty bite but finishing the entire item. In a surprising twist to conclude his meal, he dipped fries into a milkshake, reinforcing Wendy’s brand image as the fun-loving alternative in the fast-food market.

McDonald’s, aware of the humorous angle of the situation, capitalized on the uproar before Burger King’s reply. On the same day as Burger King’s TikTok post, they shared an image of the Big Arch burger with a cheeky caption that alluded to Kempczinski’s viral moment. This recognition demonstrated the brand’s knack for navigating and utilizing the meme environment to its advantage, turning mockery into a marketing chance.

The rise of phrases like “burgermogging” on social media captures the playful yet serious nature of this ongoing contest. One tweet, which gained notable traction, expressed how Curtis and the Burger King brand showcased their superiority over McDonald’s in this lighthearted competition, illustrating a change in how brands interact with one another and their consumers in this digital era.

As the burger-munching CEO clash progresses, onlookers speculate about possible entries from other fast-food brands like Arby’s or Whataburger. The enthusiasm surrounding this event underscores the influential power of social media, where a simple video can ignite widespread interaction across platforms, attracting attention from both loyal fans and casual onlookers alike.

This continuous war of bites not only amuses but also mirrors the evolving dynamics of brand competition, where personality, humor, and viral capability have become essential elements of corporate marketing strategies. Whether viewed as a serious contest or a humorous display, the grand CEO burger showdown exemplifies how the digital age can elevate ordinary marketing moments into cultural sensations, compelling all, including the CEOs themselves, to adapt or risk becoming obsolete in the algorithm-driven environment.

On February 28, the U.S. and Israel commenced military airstrikes against Iran, leading to the fatalities of more than 1,000 civilians. This disturbing event has ignited fervent debates and forecasts concerning possible future military operations, especially regarding the use of nuclear arms. Concurrently, participants on the crypto-centric trading and prediction market site, Polymarket, started placing wagers on when the next nuclear bomb might explode.

The link between these incidents has garnered attention, especially after numerous anonymous users on Polymarket accurately forecasted the timing of the February 28 strikes on Iran. This foresight has stimulated greater interest in the platform’s betting opportunities related to military confrontations. In a daring editorial, Polymarket justified its choice to permit users to bet on such serious matters, claiming that the capacity to gamble during troubling times is “especially invaluable.”

Recently, Polymarket unveiled a new bet titled “Nuclear weapon detonation by…?” This wager fell under “Geopolitical” and “Ukraine” categories, offering three possible dates for a nuclear explosion: March 31, June 30, and “Before 2027.” The market would declare a win if a nuclear weapon were detonated anywhere worldwide between December 17, 2025, and March 31, 2026.

Nonetheless, after journalist David Sirota became aware of this new bet, Polymarket seemed to reassess its stance. Currently, the wager has been eliminated from the platform. Users trying to access the related page will see a message stating that the event has been archived, indicating the platform’s attempt to distance itself from the contentious betting market.

No official statement from Polymarket has been made regarding the withdrawal of the bet. However, those still keen on wagering can participate in other markets, such as the bet on whether the Iranian regime will collapse by June 30, with considerable amounts already invested in this wager, totaling over $7 million.

The ramifications of such prediction markets provoke ethical dilemmas about the commercialization of life-and-death situations and the societal effects of betting on calamities. While some contend that these markets reflect public sentiment and possible outcomes, others view them as a disconcerting reflection of how conflicts are perceived in an era where information and speculation can rapidly disseminate.

**Cultural Convergence of Combat and Gaming: Examination of the White House’s Polarizing Video**

In the shifting arena of political dialogue, the merging of popular culture, especially video game elements, has begun to influence the narrative of official government communications. A recent event illustrating this trend occurred shortly after the United States, in alliance with Israel, carried out airstrikes on Iran, which reportedly resulted in numerous fatalities, including many innocent bystanders. In a daring and contentious action, the official White House Twitter account released a video on March 4 featuring a killstreak animation from the well-known game *Call of Duty: Modern Warfare 3* (MW3), inciting widespread backlash.

**Video Overview**

The one-minute clip shared by the White House opens with footage from *Modern Warfare III*, highlighting a player triggering an MGB killstreak—an ultimate gameplay feature that calls in a devastating strike capable of concluding the match. The official post included the phrase “Courtesy of the Red, White & Blue,” commonly used in various nationalistic situations. This combination of military imagery from actual strikes against Iranian targets alongside a gamified interpretation of warfare has faced criticism not only for its insensitivity but also for trivializing the humanitarian disaster stemming from the conflict.

The airstrikes have resulted in considerable civilian loss and have attracted intense international scrutiny. One of the most tragic incidents involved the missile attack on the Shajareh Tayyebeh girls’ elementary school on February 28, which led to numerous young civilian deaths. In the context of these events, employing a video game animation to depict military actions raises ethical concerns regarding the representation of warfare in government communications.

**Official Responses**

U.S. Secretary of State Marco Rubio addressed the issue, stating, “All that I know is that we’re investigating that. Of course, we never target civilians, but we’re taking a look at investigating that.” His comments emphasize the administration’s effort to navigate the complex moral and ethical challenges surrounding military actions while facing scrutiny regarding civilian deaths.

**Recurring Usage of Gamer Culture in Politics**

This video is part of a larger pattern; it mirrors a wider trend within the Trump administration’s interactions with gaming culture. In September 2025, the Department of Homeland Security (DHS) unveiled a video depicting armed personnel apprehending individuals, set to music from *Pokémon*. In addition, subsequent posts from DHS showcased imagery from the *Halo* series that compared immigrants to fictional foes, reinforcing a combative political narrative.

Critics, including prominent figures from the gaming industry, have voiced their apprehension regarding this trend. Marcus Lehto, co-creator of *Halo*, denounced the incorporation of gaming stories into political communication by asserting that it is “absolutely abhorrent.” Such responses reflect the unease stemming from linking entertainment platforms with serious and often tragic real-world scenarios.

**Final Thoughts**

The fusion of combat visuals with gaming culture not only raises red flags regarding the depiction of violence and its consequences but also points to a broader communication strategy that resonates with younger demographics. As the boundaries between entertainment and real-life implications blur, it is essential to reflect on the effects of illustrating sensitive topics within a gamified framework. The response to the White House’s recent video stands as a notable case study in the ongoing discourse regarding ethics, representation, and the influence of culture on public conversation.

### Highguard’s Unforeseen Conclusion During Last Update Launch

In under two weeks, the hero shooter **Highguard** is poised to shut down, signaling a sudden termination of a game that has scarcely survived for two months. Prior to the servers going offline, the Wildlight Entertainment team unveiled what is regarded as the game’s most pivotal update. This ultimate update brings a new character, a fresh weapon, and an extensive skill tree aimed at enhancing the gameplay experience. Despite the unfortunate timing, creative director Jason McCord recognized the contributions of the remaining developers, stating they were driven to provide a memorable finale for the player community, albeit with constraints.

#### The Final Significant Update

The last update, released just days ago, includes various crucial improvements, such as an XP system that facilitates leveling up and a skill tree for character progression. Players now have the option to select from multiple subclasses, including Raider, Harvester, Treasure Hunter, and Protector, enabling personalized gameplay approaches. The addition of Koldo, a tank character, and the Switchback marksman rifle presents further choices for players to explore prior to the game’s permanent shutdown.

McCord shared the reasoning behind the late introduction of these features, highlighting that much of the content remained unfinished at the game’s launch. The team dedicated considerable effort during the final weeks leading up to the shutdown to provide what they could, concentrating on elements that were closest to completion.

#### A Disheartening Odyssey

Highguard’s path has been rocky since its debut. Even though it garnered nearly 100,000 concurrent players on PC within the first 24 hours, this initial surge did not last. After facing a barrage of negative feedback and critiques following its unveiling at The Game Awards 2026, player retention declined. It became yet another entry in the extensive list of unsuccessful live-service games, as Wildlight Entertainment confronted substantial obstacles, including significant layoffs and funding reductions from Tencent.

The game faced backlash that some experts believe arose from anti-live service sentiments, leading to a negative environment that impacted its reputation. Chad Grenier, studio head and game director, dismissed notions attributing the game’s downfall to insufficient internal evaluations, asserting that the team consistently critiqued their own work. He reiterated that errors were made during development, resulting in a final product that did not connect with players as their earlier successes had.

#### Conclusion

As Highguard gets ready for its final curtain call, the launch of this significant update reflects a bittersweet adieu to a title that failed to fulfill its grand ambitions. With its servers set to shut down permanently soon, the legacies of both the development team and the game itself will almost certainly be examined and debated. While the final update seeks to leave a favorable impression on the few dedicated players who persisted, the overarching narrative serves as a cautionary lesson in the continually changing landscape of the gaming industry.

**Title: Organized Espionage and Corporate Sabotage: Build a Rocket Boy’s Disturbing Times**

March 4, 2026, signifies another difficult day for Build a Rocket Boy, the studio responsible for the highly awaited game MindsEye. Co-CEO Mark Gerhard has openly revealed a new series of layoffs at the studio, attributing these unfortunate choices not to internal mismanagement but to claims of organized espionage and corporate sabotage.

In a poignant post shared on LinkedIn, Gerhard conveyed his regret regarding the layoffs, recognizing the skill and enthusiasm that those laid off brought to the studio’s vision. He stressed that such choices are never straightforward and underscored the profound effect on the employees affected and their families, as well as the larger community linked to the studio.

Nevertheless, Gerhard redirected the narrative, stating that these layoffs stem from “criminal activities” that have obstructed MindsEye’s launch. According to his remarks, the studio has been working with outside partners and legal teams to probe these supposed criminal acts. Gerhard asserts that this lengthy investigation has revealed significant evidence of organized espionage and corporate sabotage aimed at MindsEye. Due to the upcoming prosecution connected to this matter, he declined to share specific details publicly.

The erosion of internal trust seems to be exacerbated by recent disclosures concerning a leaked internal meeting reported by Insider Gaming. In this meeting, Gerhard reportedly accused members from a relatively small PR agency, Ritual Network, of coordinating a smear campaign against MindsEye. Gerhard characterized these individuals as part of a “bunch of gangsters” linked to a “very big American company.” This depiction appears to contradict the reality of Ritual Network, which primarily caters to TikTok and YouTube creators from its headquarters in Scunthorpe, England.

Moreover, controversies have surrounded Gerhard himself. Just days prior to the latest layoffs, on January 31, he threatened action against the YouTuber Cyber Boi, issuing a “cease and desist” after the YouTuber uploaded a contentious video implicating Leslie Benzies, a prominent figure in the gaming sphere, in the Epstein scandal. This move ignited discussions on social media platforms, especially considering Cyber Boi’s previous ties to Ritual Network.

As the situation progresses, the repercussions of these allegations and their effects on Build a Rocket Boy remain to be seen. The studio’s future, along with the destiny of the MindsEye project, hangs in the balance. The claims of espionage and sabotage, if validated, could destabilize the foundations of corporate trust throughout the gaming industry, exposing the sometimes murky dynamics of competition within this advancing sector.

The highest legal authority in the USA has refused to take a case involving a Missouri computer scientist who wants to copyright art created by his own generative AI system. The compsci guy in question, Dr Stephen Thaler, appealed to the Supreme Court justices after lower courts upheld a US Copyright Office decision that his art doesn’t make the cut for copyright protection, because it wasn’t created by a human.

As reported by Reuters, Thaler’s generative AI tech is the winningly dorkish “Device for the Autonomous Bootstrapping of Unified Sentience”, aka DABUS. He applied for a US federal copyright registration in 2018, asking for DABUS to be recognised as the author of a picture of a train tunnel surrounded by mucky green and purple vegetation, called “A Recent Entrance to Paradise”.

Read more