Gait Games

The SteamOS 3.8.0 update is available to try now on the Preview branch, and it’s the first to bring “initial support for the upcoming Steam Machine hardware.” That is, of course, merely a passing mention of Valve’s reborn PC box in the 3.8.0 patch notes. Am I going to engage strong, some might say excessive optimism that this suggests its recent delay and subsequent release date uncertainty aren’t as damning as they look? Sod it, it’s Friday.

Those in search of more practical updates, and presumably own a Steam Deck, have much more to chew on. This is a wide-ranging patch, spanning a new graphics driver, improved support for OBS and Discord, better frame pacing with Variable Refresh Rate (VRR) tech, crash fixes, and a bunch of tune-ups for non-Valve handheld PCs, with plenty more besides. I’m most intrigued by the bullet point that promises “Preliminary support for hibernation,” which – assuming it works like hibernation on a Windows laptop – would drastically reduce the frequency with which I pick up my Deck to find its battery dead, drained to emptiness by my thoughtless misuse of Sleep mode. Yes, Valve. Continue to enable my shortcomings.

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**The Last of Us HBO Series Cast Announcements: A Contentious Selection for Lev and Yara**

As enthusiasts of the highly praised video game series *The Last of Us* eagerly anticipate the forthcoming third season of its HBO adaptation, the latest casting revelations have ignited controversy within the community. Kyriana Kratter and Michelle Mao are set to take on the roles of Lev and Yara, respectively. This choice has prompted a discussion regarding representation, especially regarding Lev’s gender identity as a transgender character.

Lev, a trans boy in *The Last of Us Part II*, holds a crucial position in the storyline, emphasizing themes of identity and acceptance. The decision to cast cisgender actress Kyriana Kratter in this part has provoked worries about the wider implications of representation in media. While Kratter may offer a captivating performance, critics of the casting contend that this decision undermines the authenticity of Lev’s character and neglects the significance of trans representation, especially in a narrative that openly explores these themes.

In recent times, the dialogue surrounding cis actors playing trans characters has been heated. While some performers, like Hilary Swank and Eddie Redmayne, have gained acclaim for their roles, critics assert that this frequently leads to missed opportunities for trans actors. The performances of cisgender actors can illuminate varied experiences, yet they also inadvertently reinforce systemic barriers that restrict the visibility and chances for trans individuals within the industry.

The producers defended their choice, claiming that Kratter “best embodied” the character, indicating a dedication to quality storytelling. However, this justification does little to ease concerns from fans who believe that casting decisions should mirror the identities of the characters depicted, particularly in a narrative with trans-inclusive themes. The casting of a trans actor, like Ian Alexander, in the original game set a standard that many hoped would be adhered to in the series.

Moreover, the involvement of showrunner Craig Mazin has faced scrutiny from fans who feel that his interpretation of the source material has often fallen short. With Neil Druckmann, the director of the games, reportedly not participating in the third season, some fans worry that additional deviations from the original storyline and character insights could occur, particularly concerning Lev’s vital journey of self-discovery and acceptance.

The excitement surrounding Kratter and Mao’s casting has reignited debates about the obligation of creators in accurately representing marginalized groups. As HBO continues to adapt this cherished franchise, the hope persists that the series will respect the depth of its characters and their narratives, ensuring that all voices are acknowledged throughout the process. As the premiere approaches, it will be essential to observe how these adaptations develop and whether they can navigate the intricate landscape of representation with greater consideration.

Crimson Desert‘s controls aren’t a pain in the bum. You just need to get used to them. You also need to get used to not being able to run the game if you’ve got an Intel Arc graphics card. You instead need to get used to asking for a refund on this game you can’t run. These are all things Pearl Abyss have said about their huge MMO-ish RPG today, March 20th.

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### Nvidia Introduces DLSS 5: A Divisive Advancement in Visual Upscaling Technology

Earlier this week, Nvidia revealed the debut of DLSS 5, branding it as an “AI-driven innovation” in visual upscaling technology. This updated iteration of Deep Learning Super Sampling (DLSS) purports to utilize a game’s color and motion vectors as input for every frame, augmenting the visuals with lifelike lighting and material effects. Nevertheless, the response from online audiences has been largely unfavorable, with many dubbing the technology as an “AI-gen slop filter.”

In reaction to the criticism, Nvidia CEO Jensen Huang took to a live event to address the concerns, insisting that describing DLSS 5 as simply a post-processing effect is fundamentally erroneous. Huang asserted that the advancement is not just altering the visual output based on elementary data but involves sophisticated control over the game’s graphical characteristics. He explained that DLSS 5 utilizes “generative control at the geometry level,” differentiating it from conventional post-processing techniques.

Despite Huang’s passionate claims, new details shared by Nvidia’s “GeForce Evangelist,” Jacob Freeman, appear to contradict these assertions. When questioned if DLSS 5 employs a single 2D frame along with motion vectors to generate the output frame, Freeman acknowledged that it does — suggesting that DLSS 5 operates by analyzing a solitary frame to interpret complex scene components like characters, hair, fabric, and ambient lighting conditions.

This discrepancy raises significant concerns about the actual operation of DLSS 5. While Huang contends that the process incorporates comprehensive data, including 3D geometry, Freeman’s remarks suggest it largely depends on a single frame as a reference, thus resembling a generative AI filter rather than the more intricate rendering technology Huang advocates.

The variance in narrative has created confusion and frustration among gamers and industry analysts. For many, it seems that DLSS 5 may simply impose a filter over a snapshot, reinforcing the views of critics who argue that the technology doesn’t signify a substantial advancement. PC gaming YouTuber Daniel Owens summarized this apprehension, indicating that DLSS 5’s capabilities are being exaggerated and comparing it to the basic functions of standard generative AI filters.

Furthermore, skepticism regarding DLSS 5’s effectiveness has intensified the backlash following Nvidia’s initial demonstration, where some experienced lackluster lighting effects that appeared to mirror the technology’s limitations. With numerous users questioning whether DLSS 5 transcends the abilities of current AI solutions, accusations have surfaced online claiming that Huang has mischaracterized the technology’s potential.

As discussions about DLSS 5 progress, it remains uncertain if Nvidia can effectively address these issues and clarify the confusion surrounding the actual functionalities of their latest innovation. For the time being, the tech community observes closely, with opinions sharply divided on the future of generative AI in gaming graphics.

This much is certain: I am a raccoon, somewhere in Norwich, and I am trying to catch a train. The trains are regular but they move past at such speed I can barely see them. I attempt to board and am launched like a squashy varmint bullet, hurtling beyond the level boundary into oozy pink checkerboard oblivion. The drunken background music alternates between welcoming me to the Water Zone and telling me to get the fuck out. The Easter Island head on the platform grumbles at me, so I hurl it into the sea.

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Just shy of a month ago, Saber Interactive launched a complimentary update for its popular 2024 third-person shooter, *Warhammer 40K: Space Marine 2*, and paired it with a $5 DLC that incorporated a significant amount of new voice performances for various characters in the game. While the game is commended for its sustained support two years post-launch, the spotlight on this update was largely eclipsed by the negative feedback regarding the paid voice pack, which overshadowed the debut of a new Techmarine class and a fresh co-op mission.

The Chapter Voice Pack 1 was promoted as a notable upgrade, boasting 450 new dialogue lines for players’ beloved characters. However, it was unexpectedly released as a standalone $5 DLC, instead of being included in the game’s season passes. Reports suggested that the DLC did not completely overhaul character dialogue, often resulting in characters reverting to their original voice lines during gameplay, creating a disjointed and humorous experience. Many players lamented that the content mainly comprised new grunting sounds, and there was speculation that the count of 450 lines was a cumulative total across all languages rather than per language.

As a result, the DLC garnered an “Overwhelmingly Negative” rating on Steam, with merely 16% of the 672 current user ratings being favorable. Players voiced their discontent, highlighting that the DLC appeared to be the first in a series and that only three out of seven classes received updated voice lines. In reaction to the outrage, Focus Entertainment recognized the input on social media, conceding that the DLC had fallen short of player expectations and reiterating their dedication to providing quality content, whether free or paid.

In response to the overwhelmingly adverse feedback, Focus declared that all buyers of the DLC would be issued a refund, and the voice pack would subsequently be made available at no cost. This announcement was conveyed on social media, where Focus expressed appreciation to players for their backing of the game and commitment to addressing the situation.

At the time of this announcement, the transition to a free model had not yet come into effect, and the pack was still available for purchase on Steam. Despite this obstacle, *Space Marine II* remains celebrated for its gameplay, and it is currently offered at a 67% discount during Steam’s Spring sale, further cementing its reputation as a cherished title among fans.

When bosses have assessed my work over the years it’s usually taken the form of nervously watching their cursor bounce around a Google Doc. They would delete overwrought lines here, add detail to unclear statements there, and sometimes strike our intros that weren’t getting to the point – thank goodness I learned my lesson there. It’s a nerve-wracking and humbling experience (especially when you’ve managed to misspell ‘RTS’).

Naturally, every job has its own assessments, but the level designers working on Age of Empires at Ensemble Studios faced a novel one: studio head Tony Goodman’s lunch break.

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**Buzzfeed’s Bold Shift to AI-Driven Gaming: Introducing *Conjure***

Digital media leader Buzzfeed is embarking on an exciting adventure, redirecting its attention from conventional journalism and well-liked quizzes to the gaming sector, particularly focusing on AI-created games. This transformation is highlighted by the release of its first title, *Conjure*, which recently launched and draws inspiration from ideas echoing Nintendo’s inventive spirit.

### The Establishment of Branch Office

To lead this new gaming venture, Buzzfeed has formed a subsidiary known as Branch Office, under the leadership of Bill Shouldis. This strategic decision arises in light of the company’s recent financial difficulties and significant losses reported from the previous year. With increasing debts, Buzzfeed is relying on its gaming initiatives, including *Conjure*, to generate a new income source.

### What is *Conjure*?

*Conjure* is crafted as a mobile app game that captivates players in a distinctive manner. It encourages participants to upload daily pictures of real-world objects, which the AI assesses for approval. After submission, the app weaves strange creepypasta tales around the user-provided content, merging reality with fantastical narratives. Although the idea is compelling, initial user reviews have not been overwhelmingly positive.

### Inspired by Nintendo

In its announcement, Buzzfeed mentioned that its strategy was significantly influenced by Nintendo’s “lateral thinking with withered technology.” This concept underscores the value of innovatively utilizing available resources instead of creating entirely novel technologies. Buzzfeed’s intention is evident: to evaluate existing capabilities and convert them into genuinely enjoyable experiences without directly vying against major technology firms.

### Reception and Future Prospects

The first impressions of *Conjure* have been tepid, especially after its demonstration at SXSW, where it garnered more confusion than praise. Media coverage pointed out a lack of clarity and engagement from the audience, indicating that the game’s concept may require improvement. Furthermore, Shouldis proposed the notion of an “AI spirit for a CEO,” which added to the audience’s puzzlement regarding the app’s objectives.

Despite the mixed feedback, Buzzfeed maintains that *Conjure* will adapt, integrating new functionalities as user input is collected. This iterative approach will likely harness advancements from AI technologies, including Claude Code, with CEO Alex Peretti claiming that “software is the new content.” This viewpoint mirrors a larger trend within the industry where AI integration into content production is increasingly commonplace.

### Conclusion

As Buzzfeed ventures into the gaming domain with *Conjure*, the company is navigating a challenging environment. Balancing creativity with user interaction will be vital for its success. Whether Buzzfeed can rejuvenate its faltering business model through AI-generated games and draw in a loyal gaming audience is yet to be determined, but its ambitious shift is set to reshape its future within the digital media landscape.

Creative Assembly’s Total War games offer up a wide spread of factions, from rampaging Gauls to furtive and disgusting Wood Elves, but they’re all a little beholden to the ancient game of rock-paper-scissors: spears beat cavalry, cavalry beat swords, swords beat spears.

I think Creative Assembly generally do an impressive job of softening that triangular countering logic by means of terrain considerations, flanking, morale and other supporting mechanics. Cavalry won’t necessarily beat swords if the cavalry are all tuckered out and spooked. And then you have wildcards, like heroes and war machines, who can mess with the logic more dramatically: Rock paper Mortis Engine! Still, I can’t deny that I often feel drained on firing up a DLC-fresh Total War army and realising that, yep, I’m roshamboing again.

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### The Influence of Player Decisions in Dragon Age: The Veilguard

**Introduction**
Dragon Age: The Veilguard offers a rich narrative journey, emphasizing player agency and the outcomes of choices taken throughout the gameplay. A key feature of The Veilguard is its focus on decisions that not only influence the plot but also encourage players to contemplate their choices in a significant manner.

**Choice and Consequence**
Throughout the game, players face intricate moral quandaries, including the choice of which city to rescue from a dragon’s assault. In addition to high-pressure scenarios, players partake in reflective choices that further shape their character’s persona. These instances enrich the player’s emotional engagement and prompt them to think about the reasons behind their choices.

A crucial decision in The Veilguard concerns Solas, the mysterious former ally who has become an antagonist. While players ultimately tie him to the Veil—a divide between the physical realm and the spirit realm—they can approach this challenge in various manners: through sheer force, clever strategies, or pursuing redemption via an optional mission. The outcome of this choice can lead to either parting as allies or adversaries, paving the way for different emotional resolutions based on the player’s selection.

**Missed Chances for Reflection**
During the game’s earlier stages, there was an intention to feature a debriefing sequence involving the Inquisitor and Morrigan, designed to encourage players to contemplate their motivations regarding Solas. This sequence was envisioned as a conversation that wouldn’t break the fourth wall, with NPCs recognizing the player’s choices and their consequences. The absence of this scene has created a void in the player’s capacity to process their decisions.

Trick Weekes, a writer at BioWare, voiced regret about the omission of this narrative aspect, highlighting the importance of giving players the chance to articulate their character’s actions. This exchange would have not only enhanced the story but also fortified the bond between the player and their character.

**Balancing Player Freedom and Character Persona**
Designing a choice-oriented RPG requires a thoughtful equilibrium between facilitating player expression and preserving a character’s integrity. Weekes pointed out that while some players may wish to immerse themselves into the story, many are more inclined to experience the narrative through the perspective of a fully developed character. Therefore, moments that prompt players to clarify their motivations can enhance the storytelling and deepen the immersive experience.

An illustration of achieving this balance can be found in a scene within Rook’s quarters, where players can contemplate their character’s history and choices made during character creation. This moment acts as a reminder of the decisions that shape Rook, providing further emotional resonance and context before pivotal choices.

**Contemplating Identity and Decisions**
The capacity to reflect on personal decisions allows players to connect more deeply with the narrative. Weekes indicated that incorporating a scene for players to consider their motivations enriches the overall experience, linking player choices with character evolution. This narrative reflection becomes crucial during pivotal moments, such as determining which city to protect, reinforcing the relationship between player decisions and character arc.

**Conclusion**
Dragon Age: The Veilguard illustrates the complexities of choice-driven storytelling, merging player agency with character foundation. Although the elimination of certain reflective moments, like the potential dialogue with Solas, denotes a lost narrative opportunity, the game still effectively encourages players to delve into their character’s identity through impactful decisions. Ultimately, the combination of external choices and internal introspection enhances a gameplay experience that resonates profoundly with players invested in the Dragon Age realm.