Gait Games

### Unveiling the Creation of Zach Cregger’s “Resident Evil”: The Motion of the Merged Monster

As the excitement dissipates following the unprecedented opening weekend of Zach Cregger’s cinematic version of *Resident Evil*, the film’s creative team is shedding light on the detailed efforts that went into designing its standout monster. Notably, choreographer Jakub Hudlický shared exclusive behind-the-scenes content that highlights the choreography and physical dynamics that brought the film’s distinctive creature to life.

Upon the film’s debut, Hudlický conveyed his enthusiasm through social media, discussing his responsibilities as the Movement Coordinator, where he teamed up with actors to tackle a vital question: “How can the Merged Monster moooove?” This question was crucial, as the creature, characterized by Cregger as the “human tumbleweed” and described by fans as “that Katamari Damacy thing,” is a hideous collage of disparate human limbs. The uniqueness of the Merged Monster’s movements played a significant role in establishing a spine-chilling ambiance within the film.

In a remarkable show of innovation, a team of experts was trained to embody this peculiar hybrid, employing harnesses to emulate the disconcerting connection of body parts. Performers executed intricate movements such as bouncing and rolling, granting the creature a life-like presence on screen. While the foundation for the Merged Monster was established through these physical performances, the final realization of this character necessitated CGI enhancements to effectively portray the creature’s extraterrestrial traits.

Cregger initially aimed for a more live-action technique, striving to utilize the skills of Cirque du Soleil performers. He organized a test where five individuals were bound together, investigating the possibilities of achieving a continuous cartwheel featuring inverted movements. However, Cregger conceded that this approach did not produce the desired agility and resulted in visible heads, which detracted from the intended horror impact. Ultimately, the film depended on a blend of practical effects and computer-generated imagery to create a more seamless and disturbing entity.

Despite varied responses from *Resident Evil* fans concerning Cregger’s divergence from aspects of the original material, the film showcased an array of mutants inspired by the iconic features of Capcom’s gaming series. The Merged Monster, with its disquieting and grotesque design, emerged as a symbol of the ingenuity that drives horror cinema.

As fans continue to reflect on the film and its surprising interpretations of the cherished franchise, the collaborative efforts and inventive approach to character motion remind viewers of the complex artistry inherent in contemporary filmmaking. Hudlický’s behind-the-scenes footage acts as both a tribute to movement and a fascination with the bounds of human expression when confronted with the eerie. As discussions persist, the Merged Monster may remain a pivotal figure in the *Resident Evil* legacy, fusing horror with unconventional performance art.

**The Lasting Influence of Todd Rundgren: A Contemplation on Music, Current Trends, and Video Games**

Todd Rundgren, a pivotal artist, producer, and one of the early glam rockers, has played a crucial role in the music scene since the early 1970s. Celebrated for his creative take on music, Rundgren has not only amassed a considerable collection of cult favorites but has also produced significant albums for a range of legendary artists, including XTC, Patti Smith, Hall and Oates, and most notably, Meat Loaf’s *Bat Out of Hell*, which remains among the best-selling albums ever.

In a recent discussion with Vulture, Rundgren expressed his views on today’s music landscape, particularly highlighting the rise of female musicians and the perceived downturn in rock music. He links notable shifts in music consumption to the growing popularity of video games, suggesting that male audiences redirected their spending from music to gaming in the 1990s. “The biggest artists in the world are female artists at this point, and that’s because of video games,” Rundgren remarked, indicating that the cultural appeal of gaming has drawn young men away from music.

The ’90s experienced a significant transformation in the music environment, which had previously been led by grunge and rock bands such as Nirvana and Pearl Jam, ultimately giving rise to boy bands and pop sensations, including *NSync and the Spice Girls*. This evolution raises questions about the long-lasting implications of entertainment choices on musical styles and artist eminence.

Despite his critical stance towards modern trends, Rundgren expresses a certain admiration for pop artists, mentioning Lady Gaga as a noteworthy exception. Nonetheless, he voiced disapproval of artists like Taylor Swift, suggesting that her absence of conventional musical skill has contributed to a uniform music scene. His critique emphasizes a wider concern regarding the progression of artistry in a time increasingly shaped by consumer behaviors and digital entertainment.

Rundgren’s viewpoint ignites important discussions about the intersection of gaming and music. While his remarks may reflect a somewhat outdated perception of gender roles in gaming—where marketing primarily targeted boys in the ’90s—it is vital to acknowledge that the environment has significantly transformed. Games like *Pokémon* and *The Sims* have defied previous stereotypes, showcasing that gaming appeals broadly across genders and demographics. Additionally, many current artists openly embrace their love for gaming, revealing a growing synergy between music and video game culture.

As the music industry struggles to define itself in a digital era, the decline of traditional rock genres continuously stirs discussions about what the future may entail. Rundgren’s reflections serve as a reminder of the intricacies within the music landscape, where influences extend beyond mere instruments and lyrics to encompass wider cultural phenomena such as video gaming.

In conclusion, Todd Rundgren’s journey symbolizes the adaptable nature of music and its relationship to societal changes. While he might lament the former glories of rock music, his insights provide valuable commentary on the present scene, inviting both fans and musicians to reevaluate the connection between music, popular culture, and the shifting entertainment platforms that shape our experiences.

**Mojang Unveils “The Sift”: A Fresh Dimension in Minecraft**

Yesterday, Mojang hosted Minecraft Live, a broadcast aimed at revealing thrilling updates regarding the legendary world-building game, Minecraft. Among the key highlights was a detailed glimpse into the forthcoming action RPG, *Minecraft Dungeons II*, alongside new frigid biomes for future main game updates. The most astonishing disclosure was the launch of a completely new dimension after 14 years, referred to as “the Sift.” This cotton candy-hued universe promises to introduce a novel twist to the already multifaceted Minecraft realm.

**An Expedition Through Dimensions**

Since the inception of Minecraft, players have primarily made their home in the main Overworld. Nonetheless, the game previously brought forth two significant dimensions: the Nether, a blazing realm of disorder, introduced in 2010, and the End, a chasm teeming with fearsome adversaries, launched in 2011. Both dimensions present distinct biomes, resources, and frequently challenge conventional physics, enhancing the overall gaming experience.

Post the End’s debut, there was speculation about whether Mojang would ever consider adding another dimension. The latest announcement indicates that Mojang has taken the time to create a more extensive and engaging journey in the Sift compared to its predecessors. This new realm seems to be significantly more welcoming, featuring vivid visuals and playful elements, such as pink plants and an adorable blue bunny, providing a sharp contrast to the darker motifs of the earlier dimensions.

**Community’s Varied Reactions**

The unveiling of the Sift received a blend of enthusiasm and doubt from the player community. Some players are already applauding the creative decisions evident in the new dimension. One user on Twitter marveled at the contrast between a “death cult city portal” leading to a “charming pink paradise,” underscoring the thought-provoking intricacy of the new features. Another participant dubbed the Sift as the “transgender dimension of Minecraft,” linking it with an inclusive and forward-thinking narrative.

Despite this, the shift away from the game’s classic aesthetic has caused a rift within the community. Discussions online, notably on platforms like Reddit, show a tug-of-war between those who are uneasy with the change and those advocating for an open mindset. Many long-time players reminisce about similar reactions to past updates, such as the introduction of the Nether forests, illustrating the recurring nature of transformation within Minecraft’s evolving scene.

**The Sift’s Launch and Its Significance**

The Sift will not only be incorporated into the core game set for release in 2027 but will also debut in *Minecraft Dungeons II*. This early launch permits players to immerse themselves in the Sift’s vibrant ambiance and gameplay mechanics before its complete assimilation into Minecraft.

Mojang’s emphasis on enhancing player experience is especially vital as the company faces the challenges encountered by its parent entity, Microsoft. Amid reports of difficulties within Xbox, which has depended significantly on Minecraft’s success to sustain its operations, the introduction of this new dimension signifies a strategic initiative to maintain player engagement and revenue continuity. By creating a new, radiant dimension, Mojang seeks to draw in both seasoned players and newcomers, ensuring the sustained vitality of the Minecraft brand in a constantly shifting gaming environment.

As anticipation grows for the Sift’s official launch, players are keenly looking forward to how this whimsical, new dimension will enhance their Minecraft journeys and reshape the parameters of this cherished universe.

## My Initial Campaign in *Thousand Hells: The Underworld Heists*

Not long ago, I commenced my first campaign in *Thousand Hells: The Underworld Heists*, the eagerly awaited game by David Dunham, celebrated for his previous work on *King of Dragon Pass*. I was unprepared for the way my adventure would unfold, revealing a chaotic yet unexpectedly seamless array of interactions as I traversed the nether realm under the queen’s orders to retrieve two princes, who had fallen victim to their uncle’s betrayal.

### The Excitement of the Underworld

As soon as I entered the game, the dangers ahead became apparent—mercenaries on the hunt for goods, gigantic spiders scurrying around, and even the peculiar challenge of a poetry duel. Thankfully, my team emerged from the dark abysses relatively unscathed, though we managed to save only one of the princes. This descent into the underworld was marked by an unforeseen surprise; Dunham later disclosed that my successful completion of this campaign was noted internally due to its unusual nature, highlighting the degree of luck that played a role in my early success.

### Shift from *King of Dragon Pass*

Dunham’s previous title, *King of Dragon Pass*, immersed players in a narrative-driven RPG where every choice could reshape the destiny of an entire kingdom through story prompts. In contrast, *Thousand Hells* streamlines the mechanics by honing in on individual quests where players primarily prioritize their character’s needs, though they can still enlist a small crew. Each campaign is a complex interplay of decisions that lead to unforeseen escapades in a richly crafted afterlife domain.

### Assembling Your Crew

At the beginning of each campaign, players pick out specific traits and select three crew members from a broad range of classes, including clever lockpickers or perceptive scholars. These characters come with distinctive abilities and traits that are crucial in facing the unpredictable challenges that lie ahead. However, during a regrettable moment in my journey, I mistakenly positioned my philosopher at the front of a mechanical challenge rather than my rogue. Such choices can drastically alter outcomes, underscoring the significance of each decision in a world where none of your actions can be reverted.

### The Unforeseen Laws of the Underworld

The realm of *Thousand Hells* is not governed by the same regulations as the surface world. Strategies that succeed above may fail in the erratic depths where tales hold tangible power. Words can reshape reality, turning arid streams into raging seas, or altering the very essence of peril. Despite my early achievement, I soon encountered the tumultuous truth of the underworld, where failure looms perpetually. Campaigns generally last between 40 minutes to an hour, presenting a multitude of outcomes that stress resilience as players navigate the labyrinthine underworld of this domain.

In this bizarre setting, one will interact with deities of various ranks, question spectral shades, and ward off voracious monsters. High-pressure scenarios demand cunning and emotional acuity; understanding crew dynamics is crucial. If your crew members demonstrate distaste for alcohol or unsettling entities, be assured those fears could manifest in surprising ways during your journey into the tumultuous realms of hell.

### The Influence of Narrative

While *King of Dragon Pass* focused on building kingdoms through strategic dialogue, *Thousand Hells* enhances the core of storytelling itself. This underworld flourishes on semiotics, granting players a unique chance to manipulate meanings and outcomes based on how they opt to share their experiences. Whether you seek to sway the balance of power for the living or recover lost treasures, the narrative decisions you make can steer you towards your personal hell or an ever-evolving adventure.

In conclusion, my first campaign in *Thousand Hells: The Underworld Heists* laid the groundwork for what seems to be a richly layered gaming experience brimming with unpredictable trials, clever word manipulation, and ongoing adjustments to an environment where the only certainty is change. Each playthrough is sure to uncover new paths and deeper stories, keeping players captivated by their journey through realms of death and beyond.

HBO’s renowned adaptation of Naughty Dog’s *The Last of Us* is gearing up for its third, and possibly concluding, season. Following the innovative strategy of dispersing the storyline of the second game across several seasons, the adaptation encounters the task of managing a growing ensemble of characters with diverse dynamics.

A significant inclusion to the cast is actor John Goodman, celebrated for his performances in *The Righteous Gemstones*, *The Big Lebowski*, and *The Flintstones*. As reported by Deadline, Goodman will take on the role of an original character named Joey, depicted as a “Hero of the Highway.” He will collaborate with another new character, Paco, portrayed by Ian Alexander, who previously voiced Lev in the video game series. This casting choice aims to uphold continuity and engage fans, despite some mixed reactions to the live-action representation of particular characters.

Moreover, Laura Bailey, who had a brief appearance in the first season, has been cast in a significant role as Elizabeth, the leader of the Seraphites. Although Elizabeth did not feature in *The Last of Us Part II*, her character has been alluded to, providing an opportunity for the show to delve into the origins of the Seraphites and their conflicts in Seattle, all intertwined with Lev’s narrative.

Alexander and Bailey are not the sole voice actors from the game making their presence felt in the series. Troy Baker, Jeffrey Wright, and Merle Dandridge have also transitioned from their voice roles in the video games to reprise their characters in the live-action adaptation. Goodman’s addition comes with a burgeoning ensemble that includes Patrick Wilson from *The Conjuring*, Jason Ritter from *Gravity Falls*, and Li Jun Li from *Spider-Noir*.

The anticipation for season three is characterized by a mixed response to the second season, which did not garner the same acclaim as the show’s premiere. Balancing various character viewpoints while preserving narrative unity and emotional resonance is crucial, especially since this season will be the first without the direct involvement of game director Neil Druckmann, who is currently concentrating on game development.

Fans should look forward to more updates regarding the upcoming season, particularly with Naughty Dog announcing a *Last of Us* focused stream scheduled for September 28. This event is likely to provide further insights into the upcoming episodes and potential game-related news. As the show continues to progress, it will be interesting to see how it navigates the intricacies of its characters while remaining faithful to the original source material.

Sundays are for recovering from the friend-of-a-spouse’s wedding you attended on Saturday while suffering from an acute case of Old Person’s Back. Unfortunately, the time for recovery has in fact passed, as you have already moved to the more immediately satisfying phase of assigning blame. Possible suspects: your swivel chair, your mattress, the PC monitor you had to laboriously re-box for transit, your sofa, and that most connviving, spine-bending bastard of all, light walking. Spoiled for choice, you sit down in your untrustworthy chair and begin to read some of the week’s writing highlights instead.

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Microsoft CEO Satya Nadella has recently voiced robust backing for Xbox’s current “streamlining,” led by Xbox CEO Asha Sharma, even in light of significant job reductions within the division. In a discussion on the Sources podcast with Alex Heath, Nadella conveyed his positive outlook regarding Xbox’s present situation and future opportunities. He expressed contentment with the intellectual property (IP) portfolio and the creative capabilities of the studios that fall under Xbox’s umbrella, recognizing the constructive advancements in restructuring.

Nadella highlighted the goal of creating a sustainable business model that broadens Xbox’s influence, with aspirations to excel in publishing while improving platforms for PC and Xbox gaming. He pointed out Xbox’s plan to revert to growth in the upcoming fiscal year under Sharma’s guidance, concentrating on delivering top-notch gaming experiences.

These statements come in the wake of a series of layoffs within Xbox, with reports indicating 268 job eliminations and considerable structural realignments. Significant changes include the impending closure of the UK-based studio Ninja Theory and Obsidian’s shift under Bethesda. Furthermore, Playground and Turn 10 have merged, Undead Labs has transitioned to autonomy, while Rare, World’s Edge, and Halo have been reassigned to Activision’s oversight. These transitions also impacted Undead Labs and World’s Edge, which have both experienced considerable job cuts.

Previously, Xbox CEO Asha Sharma revealed a significant restructuring plan that entails 3,200 job reductions, marking the most extensive organizational overhaul within the company. This move had an immediate effect, allowing some studios like Double Fine and Compulsion Games to regain their independence. Despite facing obstacles, Nadella’s statements highlight a strategic emphasis on maximizing Xbox’s capabilities and maintaining resilience in the gaming sector.

If your game immediately makes me think of any of Fumito Ueda’s in any sort of way, the likelihood is that I am to play it. There are only so many Ueda games (three, by my count) and there will only be so many (hopefully more that upcoming fourth one isn’t the last), so when something rocks up that fits into that vibe like TALON TOWERS, a parkour platformer set on dilapidated structures that stand high above an infinitely stretching fog, I’m going to be pulled in.

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Just hearing that a game has mashed two genres together does not generally excite me. It’s a useful shorthand, maybe, but there’s only so many roguelike deckbuilders I can take. Once in a while, however, a mashup comes along that makes me think, “well that doesn’t seem right,” and my ears perk up like a dog that’s learned how to spell walk. Today, that mashup comes in the form of Brokensides, a psychological horror beat ’em up where you play as a violent sea bunny recently freed from imprisonment after committing a Cardinal Crime.

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This week, the UK Games Expo (UKGE), acknowledged as the largest tabletop convention in the United Kingdom, revealed a noteworthy policy alteration concerning the inclusion of AI-generated games at the event. This decision follows criticism encountered in prior years about the expo’s involvement in endorsing AI in the tabletop gaming community. As a result, organizers have chosen to enforce a prohibition on AI-produced games, permitting only limited exceptions for specific applications.

The newly implemented policy clearly articulates, “The organisers at their absolute discretion will necessitate Exhibitors who do exhibit, display or sell such items to remove them,” highlighting that noncompliance may lead to the immediate shutdown of an exhibitor’s booth and possible disqualifications from future participation.

Established in 2007 and conducted annually in Birmingham, UKGE has emerged as a crucial event within the tabletop gaming arena. As per reports from Khee Hoon Chan of Rascal, this action aligns UKGE with other significant global conventions, such as Gen Con, which have also banned AI-generated creations from being featured on their premises. The choice has been swayed by concerns from attendees and exhibitors who have voiced discontent with sharing physical space with works deemed inferior or hastily produced. Previously, UKGE was criticized for hosting events showcasing AI-generated visuals, like the sponsored social media promotions for the RPG title *Gates of Krystalia* in 2025.

UKGE’s policy now grants staff the authority to eliminate AI-driven displays from the exhibition area, which could ease the concerns held by other vendors about the originality and authenticity of their offerings. Remarkably, the expo has preserved an exception allowing AI-assisted tools for “minor editing and aiding in production or accessibility,” acknowledging the subtle ways in which AI can enhance creativity without encroaching on the essence of craftsmanship that characterizes the tabletop community.

Although AI utilization has gained momentum among leading firms in the broader gaming and entertainment industries, this trend does not seem to have infiltrated the tabletop realm. Numerous prominent companies, such as Games Workshop, creators of *Warhammer*, have adopted a firm position against the use of AI, explicitly prohibiting staff from integrating it into their creative workflows despite sporadic allegations of AI influence in their artworks. In contrast to the corporate environment’s pursuit of efficiency through AI, tabletop creators and enthusiasts continue to value the distinctive, handmade nature of games and the personal connection they establish with tangible game components and visuals.

As UKGE gears up for its forthcoming convention, this policy transition underscores a commitment to safeguarding the integrity and artistry that underlie the tabletop gaming sector, enabling participants to partake in a space that prioritizes human creativity and craftsmanship over algorithmic production.