Gait Games

Here is what I think happened: at some point circa 2020, a cabal of game developers with very long fingernails and offputtingly white teeth got together in a backroom beneath a hideous effigy of a concerned ape, sacrificed a few ‘doves’, and declared in voices like slamming coffin lids that henceforth, all the descendants of Stardew Valley and Harvest Moon shall be horror games. It’s the only rational explanation for today’s strange glut of creepy ploughing simulators.

The latest to catch my eye is Besmirch, out in early access right now, in which you’ve been hired by some Baron (I see what they did there, etc) to work the tiles of a cursed town. Here is a trailer. For the good of your soul, please only watch it in a silver mirror at the crossroads when the bells strike 13.

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**Honoring Ten Years of Uncharted 4: A Thief’s End**

May 10 signifies the 10-year milestone of *Uncharted 4: A Thief’s End*, an important achievement for one of the PlayStation 4’s most celebrated games. The sequel effectively wraps up the thrilling journey of Nathan Drake, yet speculation about a possible fifth installment continues to thrive among fans.

The creation of *Uncharted 4* was distinctly tumultuous, particularly following the exit of creative director Amy Hennig in 2014. Over time, various insights have surfaced regarding the original vision for the title, and recent work by YouTuber Thekempy has provided fresh perspectives on its initial phases. Through an extensive feature-length video, Thekempy assembles various files, behind-the-scenes footage, and early development snippets, offering a fascinating look into what could have been.

Notable highlights from Thekempy’s video consist of a chronological recap of the story’s development from Hennig’s initial idea to Neil Druckmann’s final adaptation in 2016. The video discloses that characters like Victor “Sully” Sullivan and the infamous 17th-century pirate Henry Avery were originally set to be playable at select moments in the plot. Furthermore, it includes several minutes of motion capture scenes from the game’s early versions, featuring actors Alan Tudyk, Todd Stashwick, and Graham McTavish, none of whom appeared in the finalized game.

The development process of *Uncharted 4* has been labeled as “notoriously troubled,” making it captivating to revisit earlier promotional content that showcases a considerably different atmosphere. For example, the original announcement teaser displayed Stashwick as a character who would later transform into Sam Drake, voiced eventually by Troy Baker. Although Thekempy’s video doesn’t encapsulate every detail of Hennig’s vision, it undoubtedly stands as the most comprehensive retrospective of the concept that never fully came to fruition.

Currently, Naughty Dog is concentrating on its forthcoming project, *Intergalactic: The Heretic Prophet*, while also hinting at a potential third installment in *The Last of Us* series. The destiny of Nathan Drake and the *Uncharted* franchise remains ambiguous, keeping fans eagerly awaiting any updates about the beloved treasure hunter’s potential comeback.

The Gunstar Scimitar, one of the few battleships to escape the Cylon attack on Caprica, has a problem. Yes, it is the only military vessel standing between a pursuing robot army intent on wiping out the last of humanity and an unarmed civilian fleet, but the safety of the civvie ships that cluster around the Scimitar like pilot fish to a whale shark isn’t the immediate worry. Nor is it the imposter robot hiding among the command crew, planting bombs across the fleet and sewing seeds of discontent at every opportunity. It’s STDs. The colonial marines crewing the gunship are riddled with them. Charitably, you could say the soldiers saw it as their duty to restart the human race. Whatever the case, as the commander of the Scimitar, I have to choose whether to spare the marines their blushes and let the infections continue to spread or step in with some prophylactics and a lecture on safe sex.

If you choose to avoid embarrassment, the healthcare level of the entire fleet will drop, as infection spreads unabated through the amorous crew. Step in with condoms and talk of birds and bees and your relationship with the now-chastened military will deteriorate. Not every decision in Battlestar Galactica: Scattered Hopes, the roguelike FTL take on the sci-fi TV series, is to do with the nighttime antics of your crew, but they do all carry consequences.

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### The Convergence of Wrestling and Gaming: Cody Rhodes and the Triforce Dispute

Cody Rhodes, a prominent figure in professional wrestling and currently the WWE Undisputed Champion, recently found himself embroiled in a legal issue with Nintendo. While it may appear strange for a wrestler to engage with a gaming powerhouse, the situation brings to light the complex interplay between popular culture and the protection of intellectual property.

#### The Triforce Emblem and Its Importance

The Triforce, a well-known emblem from Nintendo’s cherished series *The Legend of Zelda*, symbolizes three core tenets: power, courage, and wisdom. Each facet is embodied by characters within the franchise: Ganon represents power, Link signifies courage, and Princess Zelda illustrates wisdom. A devoted Nintendo enthusiast, Rhodes felt a personal connection to the values of the Triforce, believing they mirrored his persona and principles as a professional wrestler.

In 2013, Rhodes incorporated the Triforce symbol into his wrestling boots, showcasing his fondness for the game. In a recent episode of Kit Wilson’s podcast, *What Do You Wanna Talk About*, he expanded on this decision, detailing how the Triforce’s principles mirrored his own path in wrestling. “I thought the principles of the Triforce… were just applicable,” he shared, implying that wisdom gained through experience can propel ambition and power in one’s craft.

#### The Legal Notification from Nintendo

Despite the seemingly harmless nature of Rhodes’ homage to *Zelda*, Nintendo’s diligent legal team raised concerns regarding the use of their intellectual property. Rhodes disclosed that he had received a “kind” cease and desist letter from Nintendo, requesting the removal of the Triforce from his boots. He remarked that the correspondence was courteous and non-threatening, a rarity in legal matters, particularly with high-stakes companies.

Rhodes’ situation highlights a recurring challenge faced by creators and fans who aspire to honor their favorite franchises. While passion and appreciation for a brand may compel individuals to blend symbols into their own creations or personal narrative, corporations like Nintendo are compelled to vigilantly guard their intellectual property. This often leads to conflicts that can discourage both fans and creators.

#### Individual Expression and Corporate Ownership

Notably, Rhodes also features a Triforce tattoo on his finger, prompting speculation on whether this personal emblem might similarly attract Nintendo’s legal scrutiny. His dual representation of the Triforce through both footwear and body ink exemplifies the strong bond many individuals share with video game culture, yet it also poses questions about the boundaries of personal expression in a corporate-centric environment.

#### Conclusion

Cody Rhodes’ experience with Nintendo sheds light on the often intricate relationship between fandom, creativity, and the stringent enforcement of intellectual property rights. As the lines between various entertainment mediums continue to intertwine, personalities like Rhodes exemplify the fervor that drives individuals to integrate their identities with the beloved media they enjoy. Nonetheless, it also serves as a reminder of the legal realities tied to intellectual property, which can occasionally stifle the spirit of tribute and expression within the gaming and entertainment fields.

“Mon dieu…LOOK AT ZE SIZE OF ZAT PARMIGIANO!” shout the rats as they shuffle in graceful yet unquestionably hip fashion. They’re right. The giant cheese wheel I’m trying to roll past them to the safety of a fellow named the Mouseman isn’t small. That’s probably why its sheer girth is being conveyed by a handy circular status indicator which draws its form from The Elder Scrolls 4‘s infamous persuasion wheel. This is just one way the devs taking part in the latest Wheeljam have managed to shoehorn Oblivion’s unique minigame interfaces into their own little projects.

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**Casting Choices in HBO’s “The Last of Us”: A Contentious Decision for Lev**

Casting decisions in film and television frequently elicit a range of responses, especially when cherished characters from games or literature are brought to life on screen. HBO’s live-action rendition of “The Last of Us” continues to spark dialogue, particularly after the announcement that Kyriana Kratter, a cisgender girl, will portray Lev, a transgender boy character from “The Last of Us Part II.” This choice has prompted considerable discussion regarding representation and authenticity in casting.

The announcement of Kratter’s casting arrived amidst a surge of hopes from fans that HBO might reevaluate based on community input. Despite the excitement building towards the third season’s release, the decision remains firm, and the production is advancing with its plans. Recent images from the Vancouver set reveal Kratter with Kaitlyn Dever, who portrays Abby, navigating through a meticulously designed representation of Seattle, recognized for its post-apocalyptic decay, reminiscent of the game’s aesthetics.

As the storyline of “The Last of Us” unfolds, the third season seems set to concentrate mainly on the interconnected narratives of Abby and Lev following the second season’s adaptation of Ellie’s journey, which faced significant backlash. Fans voiced their dissatisfaction with the portrayal of Ellie’s character arc, leaving many inquisitive about how this season will handle Lev and Abby’s storyline.

Despite the critiques, Kratter’s outfit closely resembles Lev’s character design from the game, featuring essential elements like the signature Seraphite coat and hairstyle. However, Abby’s casting has also stirred debate. Kaitlyn Dever, celebrated for her impressive acting abilities, does not physically reflect the imposing presence essential to Abby’s character in the game. The showrunners, Craig Mazin and Neil Druckmann, have attempted to rationalize the casting by arguing that physical traits central to gameplay—such as the strength disparity between Abby and Ellie—are less critical in a television adaptation.

Critics assert that this departure from the source material dilutes the depth of character development. While Dever’s talent is widely acknowledged, many believe the casting decisions could compromise the narrative’s integrity. They argue that by bypassing significant physical traits of Abby’s character, the adaptation may struggle to convey the full resonance of her role within the story.

With the forthcoming release of the third season potentially signaling the end of the “Last of Us” series, fans are left to speculate whether the adaptation has honored the source material they cherish. Some call for a succinct adaptation that captures the essence of “The Last of Us Part II,” arguing that this would better respect the game’s complex storytelling. However, with casting decisions firmly entrenched and the season in motion, fans can only await the impact of these choices on the series’ reception.

Hint: three of them are the best to roll for.

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Earlier this month, Stop Killing Games, the campaign group seeking to prevent online games being rendered unplayable when publishers shut down their servers, threw their support behind a Californian bill aiming to put a requirement that studios either take action to keep games running after server shutterings or provide full refunds into law. As said bill – dubbed AB 1921 – continues to meander through the lawmaking process, the Entertainment Software Association (ESA) have come out in opposition of it, arguing the proposal “doesn’t reflect how games actually work today”.

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### Graduation Speech Controversy at the University of Central Florida: Examining AI’s Influence on the Workforce Ahead

Graduation ceremonies frequently act as a venue for motivating orations, designed to instill hope and direction in newly minted graduates as they begin their careers. Nonetheless, the address given by Gloria Caulfield, Vice President of Strategic Alliances at Tavistock Development Company, during the University of Central Florida’s spring graduation on May 8, 2023, incited unforeseen criticism, primarily due to her comments regarding artificial intelligence (AI).

#### The Speaker’s Credentials

Although Gloria Caulfield is not a UCF graduate, she possesses significant qualifications and affiliations within the Florida community. She heads the Lake Nona Institute, an organization dedicated to pioneering technologies for healthier communities. Despite her impressive credentials, many questioned her appropriateness in addressing recent graduates, especially in light of the swiftly changing technological environment.

#### The Contentious Address

Caulfield’s address began with customary thanks to the university and encouragement for graduates to fully embrace the occasion. Yet, the atmosphere shifted drastically when she labeled AI as “the next Industrial Revolution.” This remark elicited immediate disapproval from the audience, a response that seemed to surprise her. Her surprise was notably palpable when she turned to her colleagues on stage and asked, “What happened?”

This audience reaction is telling, as Caulfield’s portrayal of AI as a transformative force contrasts sharply with the prevailing concerns regarding its impact on job stability and the workforce. Graduates—many of whom are entering a job market contending with AI’s disruptive prospects—perceived her characterization as misleading and out of touch.

#### Audience Response and Misreading

As Caulfield endeavored to address the unfriendly reception, she remarked that crowds often react to AI with “bipolar” sentiments. This terminology illustrates her misunderstanding of the graduates’ feedback. Disapproving of the possibility of AI taking over jobs while applauding the notion that AI posed no threat just a few years ago reveals a coherent anxiety over job displacement rather than an erratic response.

Caulfield proceeded to promote the idea of perceiving AI’s introduction like the initial reaction to the internet—overwhelming at first but ultimately a gateway to new prospects. However, this rationale fell short as it failed to consider the context of economic struggles and job security fears that new graduates are facing as a result of technological progress.

#### Disconnection and Misinterpretation

The overall vibe during the address underscored a significant disconnection between Caulfield and the audience’s feelings. Many graduates had commenced their university education amidst the escalation of AI, trained in an atmosphere that increasingly analyzes the effects of technology on job prospects. Her disconnection was further highlighted when she described the audience’s apprehensions as “passion,” rather than acknowledging the palpable dread concerning their futures.

In spite of the backlash, Caulfield later expressed her views on social media, calling the graduation an “extraordinary evening” intended to “spark optimism” in emerging leaders. However, this optimism appeared to overlook the graduates’ pressing realities, raising questions about the suitability of her message at such a poignant moment in their lives.

#### Conclusion

The occurrence at the University of Central Florida serves as a crucial reminder of the sensitive equilibrium needed when discussing economic and technological changes, especially in academic contexts. As the workforce continues to transform with innovations such as AI, the necessity of compassionate communication that aligns with the circumstances of graduates cannot be emphasized enough. The negative response to Caulfield’s address underscores the need for university speakers to interact more considerately with pertinent societal concerns, especially those that profoundly impact young professionals poised to enter the labor market.

No shoes, no soul, no service.

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