Gait Games

**Human vs. Automation: A Strange Encounter with a Waymo in Los Angeles**

During the weekend, an unusual event took place at a bustling intersection in Los Angeles when a man tried to physically assault a Waymo, the self-driving car service. The incident was recorded on video, highlighting the individual fervently attempting to dismantle the autonomous vehicle with his bare hands, reminiscent of fictional dystopian narratives.

As reported by ABC 7 News, the footage from the Citizen App showed a shirtless man standing on the shattered windshield of the Waymo, brandishing a bent windshield wiper and venting his frustration toward the car’s sensor. As the disruption intensified, traffic came to a halt, necessitating police involvement and resulting in the man’s arrest for vandalism. This event contributed to a collection of odd incidents involving Waymo cars, including a separate case where teenagers were caught drinking underage and firing Orbeez gel blasters during a ride.

The emergence of self-driving vehicles became evident as many started to notice their increasing presence. A contributor recounted their experience of observing Waymos while attending the Game Developers Conference in San Francisco in 2026, likening them to something out of an ’80s sci-fi film. This awareness of driverless technology appeared to grow during later travels, especially in Los Angeles, where the interaction between human-driven and autonomous vehicles was evolving into a regular occurrence.

This encounter prompts significant inquiries about our progressively automated society and encourages contemplation of the ramifications of technology that functions without human intervention. Amid the lively urban environment, the clash underscored a broader societal dissatisfaction, with one observer on Bluesky commenting that “the entire world economy is being guided toward producing as many of this type of individual as possible.” This perspective echoes concerns of a future overshadowed by technology, where genuine human experiences are eclipsed by algorithmic choices.

As society moves toward a future entwined with automation and artificial intelligence, the events at that Los Angeles intersection act as a poignant reminder of the mental, emotional, and cultural effects such changes can impose on people. While some members of the public may find humor in the situation, the underlying tensions regarding human existence in an increasingly machine-dependent world remain significant and urgent.

Dragon’s Dogma 2‘s fast travel system is a pain in the ass, and depending on who you ask and even when you ask it, this is a good, bad, fine, annoying, interesting, frustrating, clever thing. But as part of a recent free update that has arrived in the leadup to the game’s Dark Arisen expansion, it is now less of a pain in the ass. And for the expansion’s producer Naoto Oyama and director Kenta Kinoshita, it’s about giving people more choices.

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**The Future of Gaming Hardware: A Critical Junction for Consoles**

Gaming hardware has traditionally been regarded as an essential medium for accessing content within the gaming ecosystem rather than a direct revenue generator. This viewpoint, emphasized by insights from industry experts like Peter Moore, the former president of Sega of America, illustrates the delicate balance that console manufacturers must maintain concerning pricing, production expenses, software selections, and market needs.

### The Pricing Dilemma

Discussions surrounding console pricing have escalated as manufacturers struggle with significantly rising expenses, especially due to the surging demand for semiconductors spurred by the AI surge. As Moore observes, “Chips are now priceless,” highlighting that the gaming industry encounters major difficulties in sourcing the required hardware elements to create competitive consoles. This scarcity not only affects production expenses but also raises questions about how these costs will be transferred to consumers.

The cost of consoles may rise to levels that could drive away potential customers. Industry figures like Shawn Layden, the former CEO of Sony Interactive Entertainment America, stress that a hefty price could severely dampen adoption rates, particularly if new systems debut with a limited selection of games available.

### The Demand for Creativity

Both Moore and Layden concur that creativity is essential for maintaining the gaming audience amidst escalating hardware expenses. However, they differ in their views on the source of this creativity. Layden contends that the emphasis should shift to software development, arguing that a wider array of game genres is necessary to draw in new players. He voices concerns about a tendency to focus on established franchises, which could potentially alienate broader audiences.

Layden compares the progression of gaming to other artistic formats, asserting that variety in game types will be crucial for engaging new demographics. He champions a broader creative perspective toward game design, moving away from repetitive genres that may only attract devoted gamers.

Conversely, Moore emphasizes the need for shifts in business models rather than just hardware improvements. He proposes that bundling services or implementing subscription-based models could present a feasible pathway ahead, akin to the razors and blades approach seen in other technology fields. This method can alleviate the financial strain on consumers by making high-cost hardware more attainable while generating revenue through software and service sales.

### The Final Console Generation?

Amidst these challenges, a significant question looms within the gaming community: Is this the final console generation? While historically, hardware has been viewed as indispensable, Moore suggests that with technological advancements, including potential integration into smart TVs and enhanced cloud gaming options, the traditional console may no longer be required.

He theorizes that if the gaming industry does not adapt and innovate promptly, players may shift towards alternative platforms, such as PCs or streaming devices, effectively bypassing dedicated consoles entirely. This transition could redefine what it means to “play a game,” changing the landscape from hardware-dependent experiences to more fluid and accessible gaming formats.

### The Path Forward

As the gaming hardware market traverses this crucial juncture, the equilibrium between pricing, innovation, and consumer expectations will shape its future. Both Layden and Moore highlight the pressing need to adjust strategies in light of rising costs and evolving consumer behaviors. Without actionable reforms, the industry risks further alienating potential players, constraining growth, and perhaps even transforming the very framework of gaming as we understand it.

In summary, the convergence of escalating costs, technological progress, and the desire for innovative game offerings presents a complicated challenge for the gaming hardware industry. How developers react in the upcoming years will likely determine the viability of consoles and the overall gaming landscape, as they strive to engage a wider audience while contending with production and pricing limitations.

Another step forward has been made by IWGB Game Workers in their efforts towards calling for Grand Theft Auto 6 developer Rockstar Games to formally recognise the studio’s union. A new letter addressed to Rockstar studio director Jennifer Kolbe and head of HR Rob Spampinato has been signed by 22 trade union leaders joining in the call for the developer to start bargaining with the IWGB.

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**Examining Benjamin Evan Ainsworth’s Portrayal of Daeron Targaryen and Its Significance for the Upcoming *Legend of Zelda* Film**

This week’s installment of *House of the Dragon* not only propels the complex narratives of Rhaenyra Targaryen and her rivals within the Hightower but also subtly hints at the anticipated *Legend of Zelda* film. Featured prominently throughout the episode is the remarkable performance by Benjamin Evan Ainsworth, the actor selected to play Link in the forthcoming adaptation.

Ainsworth’s interpretation introduces the audience to Daeron Targaryen, fondly referred to as Daeron the Daring, portrayed as the youngest offspring of Queen Alicent and the late King Viserys. Shielded from the perilous maneuverings of royal politics, Daeron was relocated to be with the Hightowers. His mother intended to protect him from the corrupting forces that affected his siblings, believing that separation would cultivate a noble demeanor. The early portrayal of Daeron shows him as an inherently honorable and kind-hearted person, with a deep bond to his dragon. Nevertheless, the underlying tone of *Game of Thrones* implies that even those removed from courtly aspirations can be impacted by its more sinister aspects.

Ainsworth’s introduction in this role holds notable significance, especially as it marks the audience’s initial glimpse of the actor prior to his transition into the more iconic character of Link. With previous credits that include prominent genre productions like Netflix’s *The Haunting of Bly Manor*, this performance provides him with the opportunity to demonstrate his skills within one of contemporary fantasy’s most recognized franchises before moving into a cherished video game series.

Critics have noted that Ainsworth captures Link’s essence effectively, mainly through his non-verbal acting that focuses on emotional portrayal rather than spoken lines. His scenes skillfully express a range of emotions—from unease to warmth, and eventually, to pure fear. This layered performance raises expectations for his depiction of Link, particularly if the character remains true to the silent protagonist generally represented in the *Legend of Zelda* games. Speculation continues regarding the possibility of Link having dialogue in the film; however, many fans hope that the script will keep conversations minimal to preserve the character’s spirit. Ainsworth’s proven talent in conveying intricate emotions with limited dialogue is vital for authentically bringing Link to life.

As audiences look forward to the *Legend of Zelda* film, Ainsworth’s enactment of Daeron Targaryen amplifies excitement over how he will interpret the role of Link, a character grounded in silence and emotional richness. His performance in *House of the Dragon* establishes a promising foundation, suggesting that he has the skillset required to transition Link’s iconic presence from video games to cinematic storytelling effectively.

Those of you that have been playing Slay the Spire 2 in its current early access form will have seen that some of the placeholder art looks, well, arguably bad. I am not necessarily making this argument! But it could be made. As it turns out, according to Mega Crit co-founder Casey Yano, this is very much the point, and has more purpose behind it than just being easier to do.

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### The Nostalgia of Console Wars: A Reflection on Xbox’s Decline

The period referred to as the “console wars” is frequently perceived as a piece of gaming history, an entertaining segment that many now reflect on with humor. However, in the current scenario, where Xbox seems to be facing considerable difficulties, it is understandable to feel a longing for the days when Xbox was a formidable rival to Sony, creating authentic options and chances for both players and employees.

Recent remarks from Shawn Layden, former CEO of Sony Interactive Entertainment America, highlight the repercussions of Xbox’s ongoing struggles and the wider consequences of such disarray in the gaming sector. In a recent interview, Layden discussed several topics, including increasing hardware costs and the possibility of PlayStation halting disc sales by 2028. Yet, his remarks shifted to the troubling news of Xbox’s recent plan to lay off around 3,200 employees as part of a major restructuring amid falling profits.

This restructuring, described by Layden as a sign of the industry’s increasing risk aversion, emphasizes a notable trend: as firms grow, they generally pursue large, blockbuster successes. When these initiatives fail, the repercussions are profound—not just in terms of monetary losses but also through the human toll of job eliminations.

Although Layden did not express pleasure over Xbox’s difficulties, he articulated a sincere hope for the company to reclaim its competitive edge in the console marketplace. He reflected on the lively rivalry of the PlayStation 3 and Xbox 360 days, characterizing it as a period when competition energized the sector, akin to epic boxing bouts between Muhammad Ali and Joe Frazier. It created a vibrant atmosphere where players rallied behind their chosen platforms, infusing a distinct energy that motivated both companies to innovate and advance.

Layden’s musings serve as a reminder that in the absence of a strong competitor, the industry may lean towards stagnation, eroding the uniqueness and creativity that innovation fosters. He pointed out that as the gaming landscape becomes more uniform, companies grow increasingly reluctant to embrace risks, narrowing the range of games that reach the market.

This reluctance to experiment is especially alarming as the industry nears the next generation of consoles. Soaring costs challenge consumers’ justifications for investing in new gaming hardware, making it essential for companies to present convincing reasons for their product’s worth. Without the motivations provided by vibrant competition, the future of gaming could starkly contrast with the lively contests that defined Layden’s recollections of the console wars.

As Xbox continues to tackle its present difficulties, the question lingers whether it can regain its footing and emerge as a significant player in an industry that flourishes through diversity and competition. The sentimental longing for the days of strong rivalry encapsulates a wider aspiration for renewed innovation and engagement in the gaming sphere.

# The Progression of GenAI in Filmmaking: Perspectives from Ash Koosha’s “Odysseus: The Fall”

As generative AI (genAI) technology evolves, the filmmaking landscape is undergoing a significant shift, redefining visual accuracy and narrative techniques. Recently, productions such as Ash Koosha’s *Dreams of Violets* and the forthcoming *Odysseus: The Fall* underscore both the possibilities and constraints of this pioneering technology.

## GenAI’s Present Landscape

The advancements in genAI filmmaking are clear, with methods approaching what can be considered immersive visual experiences. Despite the remarkable technology supporting these films, the outcomes frequently remain shallow in quality, exposing the persistent challenges within the medium. *Dreams of Violets*, featured at the Tribeca Film Festival, illustrates these obstacles, gaining recognition for its astute management of genAI’s restrictions in object permanence. This 74-minute vignette-style production maneuvered around the current limitations of AI in sustaining continuity in visual representation, displaying a series of surreal sequences instead of a unified storyline.

This hinderance arises from the intrinsic characteristics of existing genAI technologies, which are unable to recall or recognize previously generated elements. This results in discrepancies that detract from the viewer’s immersion, particularly in scenes necessitating character interactions or intricate movements.

## The Debut of “Odysseus: The Fall”

In the wake of the mixed response to *Dreams of Violets*, Koosha, the visionary behind the production company Fountain 0, is preparing to launch *Odysseus: The Fall*, an ambitious 135-minute endeavor promoted as a budget-friendly alternative to lavish Hollywood productions. While the film’s budget is said to be in the mid-five-figure range, significantly lower than the expected $250 million allocated for Christopher Nolan’s upcoming *The Odyssey*, many are left questioning whether the lesser financial investment corresponds with a decline in overall quality.

The trailer for *Odysseus: The Fall* showcases a visual spectacle that initially impresses but uncovers noticeable inconsistencies upon closer examination. Characters and settings shift dramatically between scenes—an indication of the current limitations of AI-generated imagery. This inconsistency raises apprehensions about the film’s coherence and overall viewer satisfaction upon its release.

## The Technology Underpinning the Art

As is common with many projects utilizing genAI, *Odysseus: The Fall* acts not only as a film but also as a showcase for the underlying technology. While some creators may be drawn to the AI film sector in pursuit of artistic expression, the majority appear more focused on demonstrating and marketing the software capabilities behind their works.

A significant viewpoint from tech expert Dylan Beattie succinctly captures this sentiment. He emphasizes that innovators who have created groundbreaking technology are likely to concentrate on optimizing its potential rather than merely endorsing it. This notion is particularly pertinent in discussions surrounding genAI, where the emphasis frequently transitions from storytelling to the functionality of the technology itself, inviting doubts regarding the artistic motives behind these films.

## Conclusion

As the film industry navigates the genomic evolution of AI, projects like *Odysseus: The Fall* embody the dual-edged nature of this transformation. The striking visuals and low-budget appeal may draw in audiences; however, the inability of AI to uphold consistency in storytelling raises fundamental inquiries about the role of creativity and artistry in the technological era. As genAI tools continue to advance, filmmakers and viewers alike are left contemplating what the future entails for cinematic storytelling.

Now put your phone in rice to dry it out.

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Following the release of Assassin’s Creed Black Flag Resynced, an undertaking by a bunch of Ubisoft studios based all over the world, union protests at one of said studios have kicked off over plans to lay off staff now the remake’s out of the door. Ubisoft Barcelona, the studio in question, were reported last month to be set for a restructure that’d see them focus solely on Rainbow Six games going forwards.

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