Gait Games

It’s well and truly not summer now. I’m writing this with the lights on because the screen’s backlight is suddenly too bright for these eyes grown weak and lazy by the abundance of natural illumination.

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**The Future of Advertising: McDonald’s Drive-Thru Experience**

In a daring step towards optimizing earnings, McDonald’s is trialing advertising on digital menu displays at its drive-thrus, where customers frequently find themselves waiting idly for their meals. This venture signifies a notable transformation in how consumers interact with fast food services and reflects a burgeoning trend in the marketing field.

**The Concept of Drive-Thru Advertising**

As reported by Bloomberg, McDonald’s is launching a program to showcase advertisements from diverse brands on screens set outside their establishments, particularly targeting customers after they place their orders. These advertisements are thoughtfully positioned during the waiting time, seizing the attention of consumers who cannot easily divert their focus. This deliberate placement seeks to capitalize on the captive audience during a moment when they are relatively uninvolved with other distractions.

**Corporate Justification and Profit Motivation**

A spokesperson for McDonald’s emphasized the rationale behind this strategy, presenting it as an initiative to provide “post-purchase content that customers might find useful, pertinent, or engaging.” However, market analysts propose that this action is chiefly motivated by economic necessity. With escalating operational expenses and stagnant sales—linked to increasing food costs and labor difficulties—McDonald’s is aiming to broaden its revenue channels. The fast-food leader is allegedly also enhancing food quality and the overall customer experience, but the current strategy seems to prioritize immediate income generation via advertising.

**The Consumer Experience**

For numerous patrons, the waiting experience is already charged with anticipation, and the prospect of being inundated with advertisements during this interval may evoke mixed reactions. While some might take an interest in the ads or even stumble upon new products, others may perceive it as an annoyance, detracting from the drive-thru experience. The idea of ‘consuming’ advertisements in an area traditionally centered on service and meal fulfillment prompts inquiries regarding consumer tolerance and brand authenticity.

**The Increasing Role of Advertising in Daily Life**

This trend signifies a wider shift in advertising tactics, wherein every facet of consumer existence is progressively commodified. The concept that every idle moment may soon incorporate exposure to advertisements is materializing as companies strive to enhance engagement and revenue in a highly competitive market.

**Conclusion**

The addition of ads in McDonald’s drive-thrus marks a notable transformation not only for the fast-food chain but also for consumer culture as a whole. As businesses persist in weaving marketing into every conceivable area, it raises a crucial discussion about finding the equilibrium between profitability and customer experience. As we gaze into the future, it remains to be determined how these alterations will redefine the realm of dining and advertising, ultimately influencing consumer behaviors and anticipations.

People Playground, a Steam sandbox game about torturing or otherwise messing with innocent ragdolls that work like crash test dummies, has had its Steam Workshop disabled over a “malicious mod” peddling malware. That’s according to the game’s developer Mestiez, who’s urging anyone who played the game with mods on September 21st to run virus scans and has told everyone not to fire People Playground up until they’ve announced it’s safe to do so.

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**Mark Darrah’s Views on the Dragon Age Franchise: An Analytic Perspective on The Fade and Game Mechanics**

Mark Darrah, a prior producer and director at BioWare, has recently expressed his frank thoughts on the cherished yet debated segments of the Dragon Age franchise, particularly focusing on *Dragon Age: Origins*. His insights have ignited discussions among dedicated fans as he pointed out a specific component of the game that has frequently faced criticism: The Fade.

In a recent TikTok video, Darrah discussed what he would modify or remove from each title in the series. His foremost mention for *Dragon Age: Origins* was the Fade, which he characterized as “poor content.” Darrah conveyed a wish to either remove this section entirely or condense it into more digestible parts. His opinion resonates with many players who perceive the Fade as burdened with unnecessary complexity and often monotonous gameplay.

The Fade represents a crucial aspect of the Broken Circle quest in *Dragon Age: Origins*, where players are ushered into a dream realm after being lulled to sleep by a demon. This segment necessitates players to detach from their group, traverse a bizarre environment, and acquire shapeshifting abilities to advance. Its divisive nature has sparked much discussion within the gaming community, placing it among the most analyzed components of the franchise alongside *Dragon Age II*’s Deep Roads and the Hinterlands of *Inquisition*.

In contrast to his views on The Fade, Darrah expressed a wish to improve the game by incorporating an Avvar origin. He depicted the Avvar as resilient individuals with a heritage of big-game hunting. Although this addition would incur significant costs, Darrah believed it would enhance the game’s narrative richness, given the Avvar’s appearances in the series, especially in the *Jaws of Hakkon* DLC for *Inquisition*.

Darrah’s critiques were not confined to *Origins*. He also focused on *Dragon Age II*, particularly its contentious conclusion. Protagonist Hawke faces a dilemma between supporting mages or templars, but Darrah identified a critical flaw in that choice. No matter the player’s selection, the outcome generally depicts both factions unfavorably, yielding a disappointing resolution to a critical conflict. Darrah suggested a remedy: if a player allies with the mages, they should not encounter Orsino, the First Enchanter, offering a clearer narrative path.

Ultimately, his insights on *Inquisition* revolved around pacing rather than storyline. Darrah criticized the game’s power mechanics, which force players to attain specific thresholds before they can engage in story missions. He deemed this design unnecessary and suggested that lessening these requirements could improve the overall flow of the game.

Darrah’s observations provide a window into the development hurdles and creative choices that shape the games we admire. His thoughts on The Fade, the contentious plots of *Dragon Age II*, and the pacing of *Inquisition* underscore the tension between player contentment and narrative aspiration. As fans of the series keep discussing its various aspects, Darrah’s viewpoints contribute meaningfully to understanding the ongoing progress of the Dragon Age franchise.

Control Resonant is almost everything I wanted from a Remedy-flavoured character action game, including several sub-things I didn’t initially believe it would pull off. However, one particular ambition has failed to come good: the ability for me to play it in bed. Despite previously expressed plans for Steam Deck support, alas, Resonant needs to render just a bit too much paranturally skew-wiff Manhattan for it to comfortably run on Valve’s handheld.

The bigger, beefier Steam Machine is a different story, which is good, because otherwise this would be a very short article. But with Control Resonant lacking any public SteamOS hardware compatibility ratings just a day before release, consider this a warning: it’s a damn fine game, on almost any modern PC that isn’t a Deck.

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### The Reorganization of Xbox: Obsidian Entertainment’s New Position Under Bethesda

The gaming sector is experiencing substantial changes as Xbox embarks on a comprehensive overhaul, characterized by a reconfiguration of its internal studios. A key milestone in this reorganization is the transfer of Obsidian Entertainment, a renowned entity recognized for its role-playing games (RPGs), now positioned beneath the Bethesda umbrella. This change prompts inquiries regarding the future independence of Obsidian and the potential impact on its creative endeavors.

#### Obsidian Entertainment’s Integration into Bethesda

Obsidian Entertainment, known for celebrated titles like *Avowed* and *The Outer Worlds*, formerly functioned autonomously within the Xbox structure. With the recent reorganization, they are now under the direct leadership of Jill Braff, the president of Bethesda and Casual Games. Braff assured that the studio’s distinctive creative essence will persist, remarking, “The creative identity and strengths that make Obsidian distinct will remain at the core of their studio and work.”

Even with the reassignment, it has been verified that the leadership team, including CEO Feargus Urquhart, will still be guiding Obsidian. Nevertheless, the association with Bethesda introduces the possibility of Obsidian evolving into a support studio, especially concerning the *Fallout* franchise, which is directly managed by Bethesda Game Studios.

#### The Franchise-Oriented Framework

The reorganization is in line with Xbox’s strategic shift towards a “franchise-oriented framework.” Traditionally, Xbox’s leadership promoted a hands-off model, allowing studios creative liberty to craft games according to their visions. In this earlier structure, Obsidian flourished, delivering not only sequels and spiritual successors but also original innovative titles like *Pentiment*.

The transition to prioritizing established franchises, such as Bethesda’s *The Elder Scrolls* and *Fallout*, raises a crucial question: Can Obsidian sustain its unique creative voice while also working on franchises predominantly overseen by Bethesda? Xbox’s dedication to this new arrangement signifies a concentrated effort to enhance the potential of its established properties, but it raises apprehensions regarding the viability of distinct studio identities within this paradigm.

#### Industry Comparisons and Market Consequences

To comprehend the ramifications of the “franchise-oriented framework,” one may consider similar models within the industry, particularly Activision and Blizzard. Activision’s yearly *Call of Duty* releases function through various studios collaborating under a shared vision, frequently at the expense of their independent identities. In contrast, Blizzard maintains separate teams for its franchises, fostering focused creativity but within a tightly regulated environment.

Both approaches raise queries about creativity versus financial viability. While pooling resources under prominent franchises often results in monetary success, it risks diminishing the unique traits that individual studios contributed to their projects. This compromise remains a salient issue, particularly as Xbox navigates this wave of layoffs that has affected many in its workforce, including those at Obsidian.

#### Conclusion

As Xbox reshapes its operational strategy, the future of Obsidian Entertainment under Bethesda merits careful scrutiny. The studio’s capacity to innovate while contributing to a major franchise will be pivotal in defining its direction ahead. The challenge of balancing a unique creative identity with a franchise-centric model continues for Obsidian and other studios within the Xbox ecosystem as they adjust to this changing landscape in the gaming sector.

Sundays – well, very early Sunday mornings – are for watching a whole queue of hungry wild animals pass your kitchen window, because a neighbour has decided to leave a bollard-sized catfood dispenser outside the block entrance while they’re away on holiday. I’m pretty sure the neighbour’s cat wouldn’t eat from the dispenser even if there wasn’t a badger wedged eagerly inside it. She’s an aloof and disdainful creature, who hates going near the front door because that’s where those stinky humans come from.

Will I try to feed the poor moggy, denied her dinner by a bunch of Farthing Wood rejects? No I will not, because I’m too busy reading articles about videogames, and things that are vaguely in the orbit of videogames. Here are a few of those articles. Look, please stop fretting about the cat. She’s perfectly plump and glossy, whereas that badger looks like he hasn’t had a square meal since August.

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Once a fictional town in Maine, Silent Hill has broken containment and become a transferable oral history mechanism, offered to videogame developers worldwide as a way of investigating, even celebrating local culture. I’m still in two minds about whether this licensing outreach project, begun with Silent Hill f, is more inspired than it is vampiric. I picture Konami’s invitation being pushed under the door of potential collaborators like Mary’s letter to James in Silent Hill 2: “in our restless dreams, we see that town… let’s touch base there sometime, expand our concepts further.”

There’s opportunity and peril for any studio who answers the letter: opportunity, because Silent Hill is an uncommonly rich way of thinking about the past, with its parallel realities, monster metaphors, and woozy grounding in both mysticism and psychoanalysis. And peril, because licenses have a way of engulfing licensees, forcing them into a straitjacket of tropes: fog, sirens, antagonists with geometric heads. Thankfully, Silent Hill: Townfall‘s creators Screen Burn (previously No Code) haven’t gotten lost in the murk, though I don’t think Townfall is their finest creation, not least because it’s overreliant on stealth. Like the makers of Silent Hill f, they’ve taken what they need from Silent Hill to tell a story of their own.

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**Undead Labs Secures Independence Amid Job Cuts and Ongoing Development of State of Decay 3**

In a notable development for Undead Labs, the studio recognized for its renowned zombie survival series, State of Decay, has become an independent, employee-owned organization. This transformation follows a series of significant changes within Xbox, although the road to independence for Undead Labs has been fraught with challenges. The studio confirmed that a “considerable” number of developers have departed since this transition, provoking worries about the future of their eagerly awaited project, State of Decay 3.

### A New Era for Undead Labs

The announcement shared on LinkedIn highlighted the studio’s dedication to crafting high-quality games while recognizing the tough reality of workforce reductions. Reports suggest that as many as 40 developers could have been let go as part of this reorganization, a notable blow for a team committed to the State of Decay series.

Leadership at Undead Labs emphasized their commitment to transparency and respect during this shift. Philip Holt, the head of the studio, reassured fans and stakeholders that the timeline for the development of State of Decay 3 remains intact despite the staff reductions. “The team continues its work as planned, and we are dedicated to providing the experience our community has anticipated,” Holt remarked in an interview with IGN.

### The Effects of Job Cuts

As the studio aims to maintain progress on State of Decay 3, the layoffs certainly represent a difficult chapter. John Gronquist, the FX director who has been with Undead Labs since its founding, shared his personal reflections on the layoffs, voicing his sorrow at being unable to contribute to the final phases of the game’s development.

The employees who were let go were integral to shaping the studio’s identity and achieving the successes of the State of Decay series. The departure of such skilled individuals raises concerns regarding the studio’s capacity to uphold its vision and innovate in gaming experiences moving forward.

### The Prospects for State of Decay 3

State of Decay 3 was first introduced during Xbox’s summer showcase in 2020 and has since been highly anticipated by fans. Despite the hurdles, the studio has pledged to initiate a closed beta testing phase by late 2026, ensuring continual updates on the game’s development. While various challenges have arisen during development, Holt’s reassurances strengthen the community’s optimism for a successful release.

Reports indicate that the studio will continue to receive support through post-divestment financing from Microsoft, as Undead Labs retains ownership of its intellectual property and back catalog, signifying a strategic decision that could encourage future expansion. Furthermore, the studio is reportedly in discussions with a new publisher, although specifics remain undisclosed.

### Conclusion

Undead Labs’s transformation into an independent studio showcases both the ambitions and obstacles developers encounter within the gaming sphere. As they progress with State of Decay 3, the studio faces the dual task of honoring past achievements while charting a course for cutting-edge game development. The community will be attentively observing as Undead Labs works to uphold its legacy, tackle existing challenges, and craft a cherished sequel that meets the series’ standards.

A new patent from Microsoft shows how they want to record your facial expressions, show them to an AI, and have it redesign the game you’re playing. It’s not only your face they want, but also any words you might be muttering, growls you might be making, or, dare I say, even purrs.

The broader technology described in the patent is a process for game designers to prompt an AI to build out the narrative elements of a game, including objectives, sidequests, NPCs, dialogue, and items. Rather than stop at that first pass, the process would continue when players are in the game, analysing how they’re playing to then generate new content based on their actions and reactions.

A quick peek behind the curtain: I, too, am using this technology and the rest of this article has been rewritten to match exactly the facial expression you are making right… now.

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