Remedy's surreal take on co-op with FBC: Firebreak Game director Mike Kayatta discusses Remedy's approach to multiplayer titles, and how it balances appealing to fans and appeasing casual co-op players Image credit: Remedy Entertainment Feature by Sophie McEvoy Staff Writer Published on May 29, 2025 Much like Remedy's narrative-driven single-player games, FBC: Firebreak is a step into the unknown. Not for the player, but for the developer itself. Firebreak not only marks the first time that Remedy has developed a multiplayer game, but it's also the developer's first foray into a first-person shooter. But a project focused on session-based gameplay runs the risk of alienating fans of Remedy's lore-heavy third-person games, while potentially dissuading casual players from checking out its impressive back catalogue if the game doesn't click. Mike Kayatta, Remedy Following a hands-on preview of the game, GamesIndustry.biz spoke to Firebreak's game director, Mike Kayatta, to discuss Remedy's approach to developing its first co-op FPS title. He also explained how the studio balanced appeasing longtime Remedy fans while attracting seasoned co-op players unfamiliar with Firebreak's surreal world. Firebreak is a spin-off of 2019's Control, which follows Jesse Faden – the director of a secretive government agency known as the Federal Bureau of Control (FBC). Its headquarters, known as the Oldest House, is a shifting, paranatural building that holds all sorts of otherworldly entities contained by the organisation. Control sees the Oldest House under lockdown following the invasion of a hostile force known as the Hiss. Firebreak takes place six years after the events of Control, and the lockdown is still in place. Maintaining a balance Right off the bat, there's a hurdle of not overloading players new to Remedy with so much lore that they'll feel like they need to play Control to play Firebreak. As Kattaya explains, the studio prioritised not overwhelming those unfamiliar with its universe and appeasing fans that will be on the lookout for connections to other Remedy titles. "We set the game during a lockdown, which creates a narrative bubble for the FBC that also helps us create a bubble around the world itself," Kayatta notes. "So, if you know Control, then you might be interested in seeing what was going on in the Oldest House six years after the first game. And if you don't know Control, then you can step right into this moment and get a contained experience." Firebreak may be a spin-off, but Kayatta affirms it is firmly set within Remedy's connected universe (RCU) – which links the Control and Alan Wake franchises together. "Of course, we are set firmly within the RCU timeline and canon, so there are connections," he explains. "But we're very focused on protecting Control players who might not want to switch genres to get the 'whole story', and protecting co-op players who might not want to fire up an old game to get the full experience out of Firebreak." By maintaining this balance, Remedy has made a game that potentially encourages fans to step out of their comfort zone while also enticing less familiar players to dive into Remedy's back catalogue if the world intrigues them. Internally, Remedy also faced the task of producing a game in a genre it's not developed for before. Still, it has over two decades of experience in developing narrative-driven, immersive single-player titles, which offered the studio some advantages. "Even though games like Alan Wake and Control aren't all that similar to Firebreak in terms of genre and gameplay, they do all share a focus on immersive worlds and impactful narrative space," Kayatta says. "That sort of thing comes through lighting, audio, world design, and more somewhat direct crossovers. "When we look at what's different [about Firebreak], it's the perspective, the social nature of the game, and driving gameplay through systems. It's a combination of previous work experience outside of Remedy, personal experience as gamers or solo projects, and transference of other practical design skills into a new vision." Kayatta continues: "We do have a lot to learn and definitely face the task and players with a lot of humility, but there wasn't really a point where we felt like we didn't know how to go about something fun." Overcoming development obstacles Remedy also had to contend with approaching the game from a different perspective during the development process. Kayatta says the making of Firebreak differed in "so many ways" compared to Alan Wake 2 or Control, but that overall, every Remedy game release "is a miracle and Firebreak is no exception." "Even things as simple as playing the game suddenly takes three times the number of people," he emphasises. "Lots of typical production processes remain the same, but the rest has been a lot of adaptation and learning on the fly." This included playtests. Remedy has conducted a lot during Firebreak's development, even as recently as a couple weeks ago to test various game mechanics and matchmaking. The game is constantly changing – I'll have a totally different experience playing with friends post-release than I did during my playtest, and the devs were busy polishing things then, too. "Sometimes making games feels like nothing but overcoming obstacles," Kayatta laughs. "Honestly, it's been [like that] every single day. Sometimes it's about absorbing the pain, learning lessons, and pushing through to the next milestone. Other times, it's about seeking help from experts across the studio. Every single game released is a miracle and Firebreak is no exception. "Then, creatively, a lot has been shifting the mindset of what's the most valuable [aspects] to players and learning to let go of the control you have over players when making a single-player experience." Image credit: Remedy Entertainment Unlike Alan Wake 2 and Control, Remedy aren't guiding players through narrative cues. There are suggestions and hints of what needs to be done in a given situation, but players are given much more agency and control over how they approach obstacles with the arsenal they're given. As for the FPS aspect – there are plenty of guns to fire in Firebreak, but it's the 'crisis kits' that are the focal point. "Every single game released is a miracle and Firebreak is no exception" These three loadouts are tailored to a specific skill – one is electricity-focused for field control, another is impact-focused for problem solving, and one is water-focused for manipulating conditions like controlling flames and cooling down team members. Players aren't limited to what they use, either. All three players in a session can use the same kit, or they can plan who will use which kit to maximise the effects of teamwork during a session. The kits are also where Remedy's kookiness shines. Each kit has a tool related to its theme, whether that's a massive wrench or a hydro-cannon. Paranatural items known as 'Altered Augments' can be attached to these weapons, which provide bizarre – and at times chaotic – effects to give players the upper hand against enemies. For example, a paranatural teapot can be attached to the hydro cannon to super heat water globules into molten lava. Experimentation is key Giving players a varied loadout of guns and tools enabled Remedy to make Firebreak something newcomers to the FPS co-op genre could enjoy. This was achieved by providing the ability to adjust components to meet players needs and a progression system that doesn't focus on "power ramping." "Like most games, we front load a lot of the extremely impactful long-term progress, such as unlocking critical gear and abilities," Kayatta says. "And the 'mid-game' (if you want to call it that) is about getting your power up and upgrading what you like to use." Kayatta also clarifies they didn't want newer players to be locked out of the experience when playing with those who are familiar with how multiplayer FPS games work. "[Firebreak] doesn't dwell too long in the 'power ramping' phase and quickly shifts into promoting experimentation and forming playstyles," Kayatta notes. "We've also added things like the resonance system which can let players with access to strong builds actually share those abilities to anyone (so long as they stay close)." Speaking of progress, Kayatta notes that Remedy made it a priority for Firebreak to "feel like a fair experience for everyone" – whether you're playing for long or short periods of time. "For this, we made sure that the longer-term progression focuses more on unlocking options rather than raw power," he explains. "That players can create their own end-game challenges by adjusting threat, clearance, and corruption [levels] to meet their capabilities." Threat, clearance, and corruption control the difficulty of a job, with rewards scaling up accordingly based on the level of challenge. These aspects also enhance replayability – particularly corruption, which enables 'corrupted items' that modify the environment and enemy behaviours. Remedy's approach to microtransactions There's also a perk system that provides unique gameplay effects, which are achieved by levelling up or using in-game currency known as 'lost assets'. Players can also use in-game currency to purchase 'requisitions' – cosmetic items including armor sets, sprays, and weapon skins that have no effect on gameplay. Some requisitions are 'classified' meaning that players will need to spend real-money to unlock them. "We tried to think of ourselves as gamers and what we would want out of a game" When asked why Remedy went down the route of locking only cosmetics behind a paywall as opposed to a pay-to-win system like some other multiplayer titles, Kayatta says the team thought of what they would want out of Firebreak as players. "[This approach] is not a direct response to any particular mechanic or game, but it is different from many that you see in the multiplayer space," Kayatta explains. "Mostly, we tried to think of ourselves as gamers and what we would want out of a game. "Maybe it's a bit of a nostalgia, old man, 'kids-these-days' sort of thing to say, but dang. I miss games like Left 4 Dead 2 where you could just buy the game and play it when you feel like playing it. It felt easier to get friends on board and easier to kick back and enjoy things." Kayatta continued: "I don't like the stigma that comes with multiplayers today. I don't like how guarded I feel when I hear something is going to be supported after release. Support after release should be an awesome, exciting thing. So why, so often, does it make me feel worried somehow?" The future of Firebreak With that in mind, Remedy has implemented a solid roadmap to support Firebreak post-release. It launches with five jobs, with two additional jobs planned for this year and more to come in 2026. "It's always hard to predict the future, especially before we've released the game and gotten the chance to hear from players," says Kayatta. "We know we are going to support the game, we know we want to make it bigger this year, at least. "And going into next year, we want to know what's going to add value for players and do that. Is it more jobs? Could be, in which case that will be the plan. Is it something else? Let's see and then try to do that if it makes sense." "We're a small team with limited resources. We're trying to be super careful about where we put our attention" Remedy is steadfast on putting the players' needs first. All post-launch content will be free, and will be catered to what fans want out of the game they're spending their money and time on. "Ultimately, we're a small team with limited resources," he adds. "We're trying to be super careful about where we put our attention." As for the future of co-op games at Remedy, Firebreak sets a precedent for potential games set around its other franchises. So has the experience of developing Firebreak inspired the devs for similar games in the future? "Oh boy," Kayatta laughs. "The only future on my mind right now is getting Firebreak to players on June 17, then supporting them as best I can. As for anything else, to quote the wise Magic 8-Ball: 'Ask again later'."

DreamPark, the creator of what it calls “the world’s largest downloadable mixed reality (XR) theme park,” said it has raised $1.1 million in seed funding. The investment will accelerate DreamPark’s mission to make Earth worth playing again by transforming ordinary spaces into extraordinary adventures through mixed reality technology. I got a demo of the game in Yerba Buena Park in San Francisco and it made me smile. It also made me think it was part of a pretty good plan to convince property owners to get more out of their entertainment venues. But we’ll get to that in a bit. Long Journey Ventures led the investment round, with participation from Founders Inc. The company is the brainchild of Aidan Wolf, CEO of DreamPark; Kevin Habich, cofounder; and cofounder Brent Bushnell. They came up with the idea while working at Two-Bit Circus, a zany entertainment venue in Los Angeles run by Bushnell. Bushnell encouraged the idea, incubated it and became a cofounder. The DreamPark founders (left to right): Brent Bushnell, Aidan Wolf and Kevin Habich. Positioned at the forefront of mixed reality innovation, DreamPark said it is capturing a significant early advantage in the global XR (extended reality) live event market, valued at $3.6 billion in 2024 and projected to surge to $190.3 billion by 2034 at a 48.7% compound annual growth rate (CAGR). This explosive growth trajectory presents an opportunity that DreamPark’s technology and business model are uniquely designed to address, the company said. “We’re building the world’s largest theme park – one that exists everywhere and is accessible to everyone. We want to make getting out to play worthwhile again,” said Bushnell. “This investment allows us to expand our footprint of access points across the country rapidly, develop partnerships with premium IP holders, and continue enhancing our technology to deliver magical experiences that bring people back to real-world spaces.” Bushnell is the eldest son of Atari cofounder Nolan Bushnell. And the younger Bushnell knows the costs of investing in physical properties, as he runs Two-Bit Circus in downtown Los Angeles. It’s built inside a physical warehouse, and Bushnell’s company has to pay for that property — even weathering the pandemic. But with DreamPark, he can reinvigorate a physical venue without investing anything in a new property. By contrast, a new virtual reality entertainment venue can cost more than $1 million to open. Hands-on demo DreamPark foundes in Yerba Buena Gardens park in San Francisco. Wolf and Habich, and Bushnell’s sister Alyssa Bushnell, showed me the DreamPark virtual theme park in San Francisco in the park near the Metreon building. There was a concert going on at the time and it was very noisy. But the game worked fine anyway. Looking down at my feet, Wolf said the QR code on the mat on the groun was an “access point.” That’s where you can scan and enter the virtual world. The company is still building a front end for distributing the headsets, but people will be able to bring their mixed-reality headsets from home and play the same content. “We’re setting these up all over,” Wolf said. “Once an area is mapped, it’s there and you just show up and play. The big difference here is that DreamParks are places. They exist in the real world.” Don’t be surprised if you see people doing this soon. The mapped area was around 50,000 square feet in the park, so it was a pretty big game space. Soon, the company will break into 100,000 square feet for the game with another update. That’s about 10 times the restricted size of Meta’s VR headsets. “We’re going way past the usual limits,” Wolf said. “I think this fundamentally changes what mixed reality means. Now it’s not this living room experience bound to the couch. It’s an actual world to walk around and explore and touch. Once we get people there, we’re gonna really see that cognitive shift, where now augmented reality (AR) is something I can go out and experience, like enjoying a concert.” The cofounders gave me a headset to wear. The first one didn’t work, but a second one functioned fine. It was a modified Meta Quest 3 headset that was locked down so it would play just the DreamPark game. It took a short time to load and then I looked through the headset. Thanks to the outward-facing cameras, I was able to see the park in mixed reality. That meant I didn’t trip over anything as I walked around. I held the headset to my forehead and looked around. I could see a Mario-like set of bricks floating in the air, and floating virtual coins along the physical path. I started walking around and picking up the coins and tapping the bricks to collect points in the game. I didn’t go where there were people lying on the grass, but I didn’t manage to navigate to some lava pits in the middle of the park. The founders pointed out that far away from me, on the Carnaval concert stage, there was a boss. Normally, if there was no concert, I could have waltzed over to that location and engaged in a boss fight. DreamPark overlaid on the Third Street Promenade in Santa Monica, California. The graphics were rudimentary, 8-bit style, and yet I didn’t mind it at all due to the novelty of seeing them overlaid on the real world. Still, I was reluctant to go walking in the lava pits, as that was a bad idea in the virtual world and I somehow felt like it would be a bad idea to walk there in the physical world. “Our graphics are more cartoonish, but our Wizard theme has a more realistic look,” Wolf said. “We’re creating four theme parks.” One of them is a sci-fi Crash Course, which is an obstacle course. And DreamPark is working with a partner as well. There’s one with a psychedelic theme and one that is ambient fun. It’s easy to turn the experience into a multiplayer game. You can, for instance, race around the park and complete a timed experience in competition with your friends. The appeal of a virtual overlay on the real world DreamPark mixes the virtual and real worlds. DreamPark transforms physical locations into immersive mixed-reality environments through its network of access points: physical markers, like QR codes, that, when scanned with a Meta Quest 3 headset or mobile device, unlock digital overlays on real-world spaces. The company has already established successful installations at Santa Monica’s Third Street Promenade and The LA County Fair, with planned expansions in Seattle, Orange County and several expos and corporate events. It’s pretty cheap to create new locations. All they really have to do is scan an area, overlay a digital game filled with simple games, and then drop a mat with a QR code on the property so people can scan it and start playing the game. For property owners, this means they can draw people back to their location, getting them to re-engage with the place because people want to play a digital game at the physical place. It’s a way to enhance the value of a physical property, using virtual entertainment. Bushnell pitched the idea for DreamPark on CNBC’s Shark Tank television show. The sharks didn’t go for it, but the publicity from the show helped surface investors, Bushnell said. (The Bushnell family is going to appear at Augmented World Expo in Long Beach, California, in June). “As a longtime investor, I have seen countless pitches promising to merge the digital and physical worlds, and DreamPark is the first that truly delivers on the real-world metaverse,” said Cyan Banister, cofounder and general partner at Long Journey Ventures, in a statement. “Aidan is a visionary builder of immersive systems, and Brent is a pioneer in playful public spaces, making them the perfect team to make emerging tech feel human, accessible, and unforgettable. They’ve cracked the code on location-based AR, delivering a 10x experience that’s as magical as it’s scalable. This isn’t just immersive entertainment; it’s a whole new category.” The funding comes when retail landlords and event venues seek innovative solutions to drive foot traffic and increase engagement. While typical VR venues cost over $1 million to build, DreamPark delivers a fully immersive, multiplayer experience that pays for itself in its first month of revenue. DreamPark in Santa Monica. “Our capital expense is like one of a hundredth of our competitors, which is amazing. And then this lets us move astronomically faster than everyone else. I kind of believe in a Nintendo philosophy, which is, they take antiquated technology, but they use it in a new way that makes it valuable. We’re using access points,” Wolf said. There’s no construction or permanent infrastructure required. It’s a radically more affordable way to turn underused spaces into high-impact destinations. “We’re not just creating engaging content, we’re building a platform that revitalizes communities by giving people a reason to gather, play, and connect in physical spaces in real life,” said Wolf. “DreamPark bridges the digital and physical worlds, creating a new category of play where the magic of virtual worlds enhances real-life connections. We’re reimagining what’s possible when the spaces around us become canvases for shared adventure and imagination.” The seed funding will support DreamPark’s aggressive expansion plans, including deploying access points across new locations, launching partnerships with major IP holders to create branded theme park experiences, and expanding the company’s fleet of rental Meta Quest 3 headsets units nationwide. DreamPark is growing the development team to accelerate content creation and platform capabilities. DreamPark’s leadership team brings deep experience from companies including Two-Bit Circus, Smiley Cap, and SNAP, Inc., positioning them to execute their ambitious vision of creating the infrastructure for worldwide mixed-reality entertainment. Where it’s going What alien technology is this? Bushnell said the team has been working for around two years. But the founders have been involved with AR for more than a decade. They showed up at Two-Bit Circus and started making mixed-reality games, which take into account physical reality as a game space. There are about 10 contractors in the company working on content. They found that players are happy to wear the headsets for 30 minutes at a time, particularly when they are playing with friends. “We see ourselves more as a tech company than like a location based entertainment company. We hope to stay small as a core team while still reaching millions or billions of people,” Wolf said.The games are in a private alpha testing phase now. “I would say that the headset we currently have in our hands is the exact headset we need to bring this to the masses. So the nice part about the company we’re building is we aren’t waiting for some like watershed moment,” Wolf said. “We’re not waiting for anything now. We’re just getting it into lots of places where people already congregate.”DreamPark is coming out with an app that will let users scan their local park and then start using that space as a level, Wolf said. But DreamPark itself will create partnerships with some of the best places itself and get permission to do the game on the properties. At Two-Bit Circus, for instance, DreamPark could extend the entertainment into the outdoor parking lot, giving more square footage for entertainment. Bushnell had a great moment when he was playing an AR game with drift racing on a racetrack in the Two-Bit Circus parking lot. He noted that mixed reality doesn’t have the Achilles Heel of VR, which is that it makes half the people nauseous. “That was really the moment that broke my brain for mixed reality,” he said. “We were on actual drift bikes, pedaling around collecting coins. And I went twice around that thing, chasing after somebody else on a drift bike. And, you know, my heart rate was at 150. And I was just absolutely going bananas. And I took the headset off, and all that world that had motivated me to pedal my ass off was gone. It just really felt like this is not just going to change entertainment. This is going to change therapy and fitness and learning.” Bushnell said so many other kinds of entertainment are based on deploying huge amounts of capital. But this kind of theme park could be up and running in a matter of minutes. Bushnell believes people will be happy to buy tickets to get a chance to play. He said his four-year-old kid loves it, as does his 82-year-old father. DreamPark is adding virtual entertainment to real venues. To me, it felt a bit like the beginning of the world of Cyberpunk 2077, while Bushnell said it reminded him of the Korean drama, The Memories of Alhambra, where people wear contact lenss displays and have an adventure overlaid on real streets. “These are beautiful places naturally. Let’s augment them with a little more cool storytelling, and you’re off and running,” Bushnell said. “The world is lonely and isolated, We think of this a path to being social again, getting people out in public. And we want to invite landlords of all stripes to host DreamParks.” GB Daily Stay in the know! Get the latest news in your inbox daily Read our Privacy Policy Thanks for subscribing. Check out more VB newsletters here. An error occured.

By TREVOR HOGG Images courtesy of Netflix. Unlike North America where episodes tend to be no longer than an hour, it is not uncommon in Britain to have feature-length episodes, which explains why the seasons are shorter. Season 7 of Black Mirror has six episodes with the first sequel for the Netflix anthology series that explores the dark side of technology having a run time of 90 minutes. “USS Callister: Into Infinity” comes eight years after “USS Callister” went on to win four Emmys as part of Season 4 and expands the tale where illegally constructed digital clones from human DNA struggle to survive in a multiplayer online video game environment. Returning creative talent includes filmmaker Toby Hayness, writers Charlie Brooker and William Bridges, and cast members Cristin Milioti, Jimmi Simpson, Osy Ikhile, Milanka Brooks, Paul Raymond and Jesse Plemons. Stepping into the Star Trek-meets-The Twilight Zone proceedings for the first time is VFX Supervisor James MacLachlan, who previously handled the digital augmentation for Ted Lasso. “[For the planet where the digital clone of James Walton is found]… We got on a train and went to the middle of Anglesey [island in Wales] to a copper mine. The copper mine was absolutely stunning. … You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. … It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.” —James MacLachlan, Visual Effects Supervisor Taking advantage of the reflective quality of the bridge set was the LED wall utilized for the main viewscreen. Dealing with a sequel to a critically-acclaimed episode was not a daunting task. “It’s almost like I have a cheat code for what we need to do, which I quite like because there’s a language from the previous show, so we have a certain number of outlines and guidelines,” MacLachlan states. “But because this was set beyond where the previous one was. it’s a different kind of aesthetic. I didn’t feel the pressure.” No assets were reused. “We were lucky that the company that previously did the USS Callister ship packaged it out neatly for us, and we were able to take that model; however, it doesn’t fit in pipelines anymore in the same way with the layering and materials. It was different visual effects vendors as well. Union VFX was smashing out all our new ships, planets and the Heart of Infinity. There was a significant number of resources put into new content.” Old props were helpful. “The Metallica ship that shows up in this episode is actually the Valdack ship turned backwards, upside down, re-textured and re-modeled off a prop I happened to wander past and saw in Charlie Brooker’s and Jessica Rhoades’ office.” MacLachlan notes. Greenscreens were placed outside of the set windows for the USS Callister. “USS Callister: Into Infinity” required 669 visual effects shots while the other five episodes totaled 912. “Josie Henwood, the Visual Effects Producer, sat down with a calculator and did an amazing job of making sure that the budget distribution was well-weighted for each of the scripts,’ MacLachlan remarks. “We shot this one third and posted it all the way to the end, so it overlapped a lot with some of the others. It was almost an advantage because we could work out where we were at with the major numbers and balance things out. It was a huge benefit that Toby had directed ‘USS Callister’. We had conversations about how we could approach the visual effects and make sure they sat within the budget and timeframe.” Working across the series were Crafty Apes, Jam VFX, Jellyfish Pictures, Magic Lab, One of Us, Stargate Studios, Terraform Studios, Union VFX, and Bigtooth Studios.  “We had a spectrum of vendors that were brilliant and weighted so Union VFX took the heavy load on ‘USS Callister: Into Infinity,’ One of Us on ‘Eulogy’ and Jam VFX on ‘Hotel Riverie’ while the other vendors were used for all the shows.” “[W]e had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace, outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.” —James MacLachlan, Visual Effects Supervisor Miranda Jones looked after the production design and constructed a number of practical sets for the different sections of the USS Callister. A clever visual effect was deployed when a digital clone of Robert Daly (Jesse Plemmons) is in his garage crafting a new world for Infinity, which transforms from a horizontal landscape into a spherical planetary form. “A lot of it was based off current UI when you use your phone and scroll,” MacLachlan remarks. “It is weighted and slows down through an exponential curve, so we tried to do that with the rotational values. We also looked at people using HoloLenses and Minority Report with those gestural moments. It has a language that a number of people are comfortable with, and we have gotten there with AR.” Union VFX spent a lot of time working on the transition. “They had three levels of detail for each of the moments. We had the mountain range and talked about the Himalayas. Union VFX had these moments where they animated between the different sizes and scales of each of these models. The final one is a wrap and reveal to the sphere, so it’s like you’re scaling down and out of the moment, then it folds out from itself. It was really nice.” For safety reasons, weapons were digitally thrown. “We had a 3D prop printed for the shuriken and were able to get that out in front of the camera onstage,” MacLachlan explains. “Then we decided to have it stand out more, so as [the Infinity Player] throws it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible, so it worked well. Cristin did a convincing job of yanking the shuriken out. We added some blood and increased the size of the wound on her top, which we had to do for a couple of other scenes because blood goes dark when its dry, so it needed to be made redder.” Nanette Cole (Cristin Milioti) throws a ceremonial knife that hits Robert Daly directly in the head. “That was a crazy one. We had the full prop on the shelf in the beginning that she picks up and throws. The art department made a second one with a cutout section that was mounted to his head. Lucy Cain [Makeup & Hair Designer] and I constructed a cage of hair clips and wire to hold it onto his head. Beyond that, we put tracking markers on his forehead, and we were able to add all of the blood. What we didn’t want to do was have too much blood and then have to remove it later. The decision was made to do the blood in post because you don’t want to be redressing it if you’re doing two or three takes; that can take a lot of time out of production.” “USS Callister: Into Infinity” required 669 visual effects shots. A digital clone of Robert Daly placed inside the game engine is responsible for creating the vast worlds found inside of Infinity. “We had a 3D prop printed for the shuriken [hidden hand weapon]… Then we decided to have it stand out more, so as [the Infinity Player] throws it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible… Cristin did a convincing job of yanking the shuriken out.” —James MacLachlan, Visual Effects Supervisor A cross between 2001: A Space Odyssey and Cast Away is the otherworldly planet where the digital clone of James Walton (Jimmi Simpson) is found. “We got on a train and went to the middle of Anglesey [island in Wales] to a copper mine,” MacLachlan recounts. “The copper mine was absolutely stunning. It’s not as saturated. You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. We found moments that worked for the different areas. It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.” The blue teleportation ring was practically built and digitally enhanced. Set pieces were LiDAR scanned. “What was interesting about the ice planet [was that] the art department built these amazing structures in the foreground and beyond that we had white drapes the whole way around, which fell off into darkness beautifully and naturally because of where the light was pulled by Stephan Pehrsson [Cinematographer],” MacLachlan states. “On top of that, there was the special effects department, which was wafting in a lot of atmospherics. Some of the atmospherics were in-camera and others were augmented to even it out and boost it in places to help the situation. We did add foreground snow. There is a big crane shot in the beginning where Unreal Engine assisted in generating some material. Then we did matte painting and set extensions beyond that to create a larger scale and cool rock shapes that were on an angle.” The jungle setting was an actual location. “That’s Black Park [in England], and because of the time of year, there are a lot of protected plants. We had a couple of moments where we weren’t allowed to walk in certain places. There is one big stunt where Nanette steps on a mine, and it explodes her back against a tree. That was a protected tree, so the whole thing was wrapped in this giant stunt mat while the stunt woman got thrown across it. Areas would be filled in with dressed plants to help the foreground, but we got most of the background in-camera. There were bits of clean-up where we spotted crew or trucks.” Large-scale and distinct rock shapes were placed at an angle to give the ice planet more of an alien quality. An exterior space shot of the USS Callister that is entirely CG. Twin versions of Nanette Cole and James Walton appear within the same frame. “Literally, we used every trick in the book the whole way through. Stephan and I went to see a motion control company that had a motion control camera on a TechnoDolly. Stephan could put it on his shoulder and record a move on a 20-foot crane. Once Stephan had done that first take, he would step away, then the motion control guys would do the same move again. You get this handheld feel through motion control rather than plotting two points and having it mechanical. You get a wide of a scene of clone Nanette in a chair and real Nanette standing in white, and you’ll notice the two Waltons in the background interacting with one another. Those shots were done on this motion control rig. We had motion control where we could plot points to make it feel like a tracking dolly. Then we also had our cameraman doing handheld moves pushing in and repeating himself. We had a wonderful double for Cristin who was excellent at mirroring what she was achieving, and they would switch and swap. You would have a shoulder or hair in the foreground in front of you, but then we would also stitch plates together that were handheld.” The USS Callister approaches the game engine situated at the Heart of Infinity. A homage to the fighter cockpit shots featured in the Star Wars franchise. USS Callister flies into the game engine while pursued by other Infinity players. A major story point is that the game engine is made to look complex but is in fact a façade. A copper mine served as the location for the planet where the digital clone of James Walton (Jimmi Simpson) is found. Principal photography for the jungle planet took place at Black Park in England. The blue skin of Elena Tulaska (Milanka Brooks) was achieved with practical makeup. Assisting the lighting were some cool tools such as the teleportation ring. “We had this beautiful two-meter blue ring that we were able to put on the ground and light up as people step into it,” MacLachlan remarks. “You get these lovely reflections on their visors, helmets and kits. Then we augmented the blue ring in visual effects where it was replaced with more refined edging and lighting effects that stream up from it, which assisted with the integration with the teleportation effect because of their blue cyan tones.” Virtual production was utilized for the main viewscreen located on the bridge of the USS Callister. “In terms of reflections, the biggest boon for us in visual effects was the LED wall. The last time they did the big screen in the USS Callister was a greenscreen. We got a small version of a LED screen when the set was being built and did some tests. Then we had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace or outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.”

The Days of Play celebration comes to PlayStation Store, featuring numerous games all available at discount for a limited time*, starting May 28! You can get a preview of just some of the titles** that’ll be included ahead of the promotion’s go-live time right here. The full list will include the likes of Call of Duty: Black Ops 6 – Cross-Gen Bundle (45% off), WWE 2K25 Standard Edition (30% off), Astro Bot (15% off), The Last of Us Part II Remastered (20% off) and Red Dead Redemption 2 (75% off).  The full list will include the likes of Call of Duty: Black Ops 6 – Cross-Gen Bundle (45% off), WWE 2K25 Standard Edition (30% off), Astro Bot (17% off) and The Last of Us Part II Remastered (20% off).  The full list will include the likes of Call of Duty: Black Ops 6 – Cross-Gen Bundle (45% off), WWE 2K25 Standard Edition (30% off), Astro Bot (17% off) and The Last of Us Part II Remastered (20% off).  And there are many more games beyond the titles listed below. When the dedicated promotion page goes live on PlayStation Store on May 28, head there to see the full list and find out your regional discount pricing.  And there’s plenty more Days of Play related-celebrations to enjoy! Check out the full range of activities, offers and more in the Days of Play announcement post.  A Plague Tale: Innocence A Plague Tale: Requiem After the Fall® – Complete Edition Agatha Christie – Murder on the Orient Express Age of Mythology: Retold Standard Edition Age of Wonders 4 AI LIMIT AI LIMIT Deluxe Edition AI: THE SOMNIUM FILES AI: THE SOMNIUM FILES – nirvanA Initiative Airport Police Contraband Simulator – Border Patrol Akimbot Alan Wake 2 Deluxe Edition Alan Wake Remastered Alien: Isolation – THE COLLECTION Alien: Rogue Incursion VR Deluxe Ambulance Life: A Paramedic Simulator Amerzone – The Explorer’s Legacy ANIMAL WELL Another Crab’s Treasure Arcade Paradise Arizona Sunshine® 2 Deluxe Edition Arizona Sunshine® Remake Arma Reforger Assassin’s Creed Valhalla Deluxe Assassin’s Creed Valhalla Ragnarök Edition Assassin’s Creed® IV Black Flag™ Assassin’s Creed® Mirage Deluxe Edition Assassin’s Creed® Odyssey Deluxe Edition Assassin’s Creed® Odyssey Gold Edition Assetto Corsa 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The 7th Guest VR The Arkane Collection The Case of the Golden Idol The Crew Motorfest Deluxe Edition The Crew Motorfest Gold Edition The Elder Scrolls Online The Elder Scrolls V: Skyrim Special Edition The Escapists 2 – Game of the Year Edition The Evil Within 2 THE FOREST THE KING OF FIGHTERS XV Standard Edition THE KING OF FIGHTERS XV Ultimate Edition The Last of Us Part II The Last of Us Part II Digital Deluxe Edition The Last of Us™ Part I The Last of Us™ Part II Remastered The Quarry The Sims™ 4 Cats and Dogs Plus My First Pet Stuff Bundle The Sims™ 4 Get Famous The Sims™ 4 High School Years Expansion Pack The Sims™ 4 Horse Ranch Expansion Pack The Sims™ 4 Lovestruck Expansion Pack The Smurfs – Mission Vileaf The Stanley Parable: Ultra Deluxe The Stone of Madness The Stone of Madness Special Edition The Texas Chain Saw Massacre The Thing: Remastered The Walking Dead: A New Frontier The Witcher 3: Wild Hunt The Wizards: Dark Times – Brotherhood theHunter: Call of the Wild™ Thief: Master Thief Edition Thumper TIEBREAK+: Official Game of the ATP and WTA Tintin Reporter – Cigars of the Pharaoh Tiny Tina’s Wonderlands: Chaotic Great Edition Titan Quest Tom Clancy’s The Division 2 Tom Clancy’s The Division 2 – Ultimate Edition Tomb Raider I-III Remastered Starring Lara Croft Tomb Raider I-VI Remastered Tomb Raider IV-VI Remastered Tomb Raider: Definitive Survivor Trilogy Tomb Raider: Legend TopSpin 2K25 Cross-Gen Digital Edition TopSpin 2K25 Grand Slam® Edition Torchlight II Torchlight III Towers of Aghasba Townsmen VR Train Sim World® 5: Special Edition TRANSFORMERS: EARTHSPARK – Expedition Trepang2 Tropico 6 – Next Gen Edition Trover Saves the Universe Truck and Logistics Simulator Truck Simulator Cargo Driver 2024 – EURO TUNIC Turok Trilogy Bundle UFO ROBOT GRENDIZER – The Feast of the Wolves UFO ROBOT GRENDIZER – The Feast of the Wolves – Deluxe Edition UNDER NIGHT IN-BIRTH II Sys:Celes Deluxe Edition Undisputed Unknown 9: Awakening Unpacking UNRAILED! Untitled Goose Game V Rising Legacy of Castlevania Edition Viewfinder Visions of Mana Way of the Hunter Welcome to ParadiZe – Zombot Edition What Remains of Edith Finch Wolfenstein: The Two-Pack Wolfenstein® II: The New Colossus™ World War Z World War Z: Aftermath Worms Armageddon: Anniversary Edition Worms W.M.D Wreckfest – Complete Edition WrestleQuest WWE 2K25 Standard Edition WWE 2K25 The Bloodline Edition Ys Origin Zero Escape: The Nonary Games *The Days of Play 2025 promotion on PlayStation Store starts May 28 at 00.00AM PDT/BST/JST and ends June 11 at 23:59 PDT/BST/JST.**Games and discounts may differ by region. Please check your local PlayStation Store page at go-live. 

If you're seeking the absolute best of the best in PC gaming performance, look no further. As part of its Memorial Day Sale, Dell has dropped the price of its flagship Alienware Area-51 prebuilt gaming PC, equipped with the Nvidia GeForce RTX 5090 graphics card, for the lowest price I've seen. This particular model normally retails for $5,499.99, but a new $600 instant discount drops it to $4,899.99 with free shipping. The RTX 5090 is undisputedly the most powerful graphics card on the market and is pretty much impossible to find for under $3,000 by itself.Memorial Day Deal: Alienware Area-51 RTX 5090 Gaming PCNew ReleaseAlienware Area-51 Intel Core Ultra 9 285K RTX 5090 Gaming PC (32GB/2TB)This Alienware Area-51 gaming PC configuration drops to $4,899.99 after a $600 off instant discount. Specs include an Intel Core Ultra 9 285K processor, 32GB of DDR5-6400MHz RAM, and 2TB SSD storage. The Core Ultra 9 285K is Intel's latest flagship CPU and offers stellar workstation and gaming performance. It's not quite the performance uplift we wanted from the i9-14900K, but it's still the best all-around CPU that Intel has on offer. The processor is cooled by a massive 360mm all-in-one liquid cooler, and the system is powered by a 1,500W Platinum power supply.New for 2025: The Alienware Area-51 ChassisDell unveiled the new Alienware Area-51 gaming PC at CES 2025. The chassis looks similar to the 2024 R16 system with aesthetic and cooling redesigns and updated components. The I/O panel is positioned at the top of the case instead of the front, and the tempered glass window now spans the entire side panel instead of just a smaller cutout. As a result, the side panel vents are gone, and instead air intakes are located at the bottom as well as the front of the case. Alienware is now pushing a positive airflow design (more intake than exhaust airflow), which means a less dusty interior. The internal components have been refreshed with a new motherboard, faster RAM, and more powerful power supply to accommodate the new generation of CPUs and GPUs.The RTX 5090 Is the Most Powerful Graphics Card EverThe Nvidia GeForce RTX 5090 has emerged as the most powerful consumer GPU on the market. Although Nvidia has prioritized software updates, AI features, and DLSS 4 technology to improve gameplay performance, the 5090 still boasts an impressive 25%-30% uplift over the RTX 4090 in terms of pure hardware-based raster performance. The 5090 also has more (32GB vs. 24GB) and faster (GDDR7 vs. GDDR6) VRAM compared to the 4090. This GPU is extremely difficult to find at retail price and is currently selling for $3,500-$4,000 on eBay.Nvidia GeForce RTX 5090 FE Review by Jackie Thomas"The Nvidia GeForce RTX 5090 has officially taken the performance crown from the RTX 4090, but with less force than previous generations. When it comes to traditional non-AI gaming performance, the RTX 5090 provides one of the smallest generational uplifts in recent memory. However, in games that support it, DLSS 4 really does deliver huge performance gains – you just have to make your peace with the fact that 75% of the frames are generated with AI."More Alienware Prebuilt Gaming PC DealsAlienware Aurora R16 Intel Core Ultra 7 265F RTX 5080 Gaming PC (16GB/1TB)$2,349.99 at AlienwareAlienware Aurora R16 Intel Core Ultra 9 285K RTX 5080 Gaming PC (32GB/2TB)New ReleaseAlienware Area-51 Intel Core Ultra 9 285K RTX 5090 Gaming PC (32GB/2TB)Alienware Aurora R16 Intel Core Ultra 7 265F RTX 5070 Gaming PC$1,849.99 at AlienwareAlienware Aurora R16 Intel Core Ultra 9 285KF RTX 5070 Gaming PC (32GB/2TB)New for 2025Alienware Area-51 Intel Core Ultra 7 265 RTX 5080 Gaming PC (32GB/1TB)Alienware Aurora R16 Intel Core Ultra 9 285K RTX 5080 Gaming PC (64GB/2TB)Alienware Aurora R16 Intel Core Ultra 9 285K RTX 5080 Gaming PC (64GB/4TB)Why Should You Trust IGN's Deals Team?IGN's deals team has a combined 30+ years of experience finding the best discounts in gaming, tech, and just about every other category. We don't try to trick our readers into buying things they don't need at prices that aren't worth buying something at. Our ultimate goal is to surface the best possible deals from brands we trust and our editorial team has personal experience with. You can check out our deals standards here for more information on our process, or keep up with the latest deals we find on IGN's Deals account on Twitter.Eric Song is the IGN commerce manager in charge of finding the best gaming and tech deals every day. When Eric isn't hunting for deals for other people at work, he's hunting for deals for himself during his free time.

For nearly 10 years I have written about science and technology and I’ve been an early adopter of new tech for much longer. As a teenager in the mid-1990s I annoyed the hell out of my family by jamming up the phone line for hours with a dial-up modem; connecting to bulletin board communities all over the country.When I started writing professionally about technology in 2016 I was all for our seemingly inevitable transhumanist future. When the chip is ready I want it immediately stuck in my head, I remember saying proudly in our busy office. Why not improve ourselves where we can?Since then, my general view on technology has dramatically shifted. Watching a growing class of super-billionaires erode the democratizing nature of technology by maintaining corporate controls over what we use and how we use it has fundamentally changed my personal relationship with technology. Seeing deeply disturbing philosophical stances like longtermism, effective altruism, and singulartarianism envelop the minds of those rich, powerful men controlling the world has only further entrenched inequality.A recent Black Mirror episode really rammed home the perils we face by having technology so controlled by capitalist interests. A sick woman is given a brain implant connected to a cloud server to keep her alive. The system is managed through a subscription service where the user pays for monthly access to the cognitive abilities managed by the implant. As time passes, that subscription cost gets more and more expensive - and well, it’s Black Mirror, so you can imagine where things end up. Titled 'Common People', the episode is from series 7 of Black MirrorNetflix The enshittification of our digital world has been impossible to ignore. You’re not imagining things, Google Search is getting worse.But until the emergence of AI (or, as we’ll discuss later, language learning models that pretend to look and sound like an artificial intelligence) I’ve never been truly concerned about a technological innovation, in and of itself.A recent article looked at how generative AI tech such as ChatGPT is being used by university students. The piece was authored by a tech admin at New York University and it’s filled with striking insights into how AI is shaking the foundations of educational institutions.Not unsurprisingly, students are using ChatGPT for everything from summarizing complex texts to completely writing essays from scratch. But one of the reflections quoted in the article immediately jumped out at me.When a student was asked why they relied on generative AI so much when putting work together they responded, “You’re asking me to go from point A to point B, why wouldn’t I use a car to get there?”My first response was, of course, why wouldn’t you? It made complete sense.For a second.And then I thought, hang on, what is being lost by speeding from point A to point B in a car? What if the quickest way from point A to point B wasn't the best way to get there?Depositphotos Let’s further the analogy. You need to go to the grocery store. It’s a 10-minute walk away but a three-minute drive. Why wouldn’t you drive?Well, the only benefit of driving is saving time. That’s inarguable. You’ll be back home and cooking up your dinner before the person on foot even gets to the grocery store.Congratulations. You saved yourself about 20 minutes. In a world where efficiency trumps everything this is the best choice. Use that extra 20 minutes in your day wisely.But what are the benefits of not driving, taking the extra time, and walking?First, you have environmental benefits. Not using a car unnecessarily; spewing emissions into the air, either directly from combustion or indirectly for those with electric cars.Secondly, you have health benefits from the little bit of exercise you get by walking. Our stationary lives are quite literally killing us so a 20-minute walk a day is likely to be incredibly positive for your health.But there are also more abstract benefits to be gained by walking this short trip from A to B.Walking connects us to our neighborhood. It slows things down. Helps us better understand the community and environment we are living in. A recent study summarized the benefits of walking around your neighborhood, suggesting the practice leads to greater social connectedness and reduced feelings of isolation.So what are we losing when we use a car to get from point A to point B? Potentially a great deal.But let’s move out of abstraction and into the real world.An article in the Columbia Journalism Review asked nearly 20 news media professionals how they were integrating AI into their personal workflow. The responses were wildly varied. Some journalists refused to use AI for anything more than superficial interview transcription, while others use it broadly, to edit text, answer research questions, summarize large bodies of science text, or search massive troves of data for salient bits of information.In general, the line almost all those media professionals shared was they would never explicitly use AI to write their articles. But for some, almost every other stage of the creative process in developing a story was fair game for AI assistance.I found this a little horrifying. Farming out certain creative development processes to AI felt not only ethically wrong but also like key cognitive stages were being lost, skipped over, considered unimportant.I’ve never considered myself to be an extraordinarily creative person. I don’t feel like I come up with new or original ideas when I work. Instead, I see myself more as a compiler. I enjoy finding connections between seemingly disparate things. Linking ideas and using those pieces as building blocks to create my own work. As a writer and journalist I see this process as the whole point.A good example of this is a story I published in late 2023 investigating the relationship between long Covid and psychedelics. The story began earlier in the year when I read an intriguing study linking long Covid with serotonin abnormalities in the gut. Being interested in the science of psychedelics, and knowing that psychedelics very much influence serotonin receptors, I wondered if there could be some kind of link between these two seemingly disparate topics.The idea sat in the back of my mind for several months, until I came across a person who told me they had been actively treating their own long Covid symptoms with a variety of psychedelic remedies. After an expansive and fascinating interview I started diving into different studies looking to understand how certain psychedelics affect the body, and whether there could be any associations with long Covid treatments.Eventually I stumbled across a few compelling associations. It took weeks of reading different scientific studies, speaking to various researchers, and thinking about how several discordant threads could be somehow linked.Could AI have assisted me in the process of developing this story?No. Because ultimately, the story comprised an assortment of novel associations that I drew between disparate ideas all encapsulated within the frame of a person’s subjective experience.And it is this idea of novelty that is key to understanding why modern AI technology is not actually intelligence but a simulation of intelligence. LLMs are a sophisticated language imitator, delivering responses that resemble what they think a response would look likeDepositphotos ChatGPT, and all the assorted clones that have emerged over the last couple of years, are a form of technology called LLMs (large language models). At the risk of enraging those who actually work in this mind-bendingly complex field, I’m going to dangerously over-simplify how these things work.It’s important to know that when you ask a system like ChatGPT a question it doesn’t understand what you are asking it. The response these systems generate to any prompt is simply a simulation of what it computes a response would look like based on a massive dataset.So if I were to ask the system a random question like, “What color are cats?”, the system would scrape the world’s trove of information on cats and colors to create a response that mirrors the way most pre-existing text talks about cats and colors. The system builds its response word by word, creating something that reads coherently to us, by establishing a probability for what word should follow each prior word. It’s not thinking, it’s imitating.What these generative AI systems are spitting out are word salad amalgams of what it thinks the response to your prompt should look like, based on training from millions of books and webpages that have been previously published.Setting aside for a moment the accuracy of the responses these systems deliver, I am more interested (or concerned) with the cognitive stages that this technology allows us to skip past.For thousands of years we have used technology to improve our ability to manage highly complex tasks. The idea is called cognitive offloading, and it’s as simple as writing something down on a notepad or saving a contact number on your smartphone. There are pros and cons to cognitive offloading, and scientists have been digging into the phenomenon for years.As long as we have been doing it, there have been people criticizing the practice. The legendary Greek philosopher Socrates was notorious for his skepticism around the written word. He believed knowledge emerged through a dialectical process so writing itself was reductive. He even went so far as to suggest (according to his student Plato, who did write things down) that writing makes us dumber. “For this invention will produce forgetfulness in the minds of those who learn to use it, because they will not practice their memory. Their trust in writing, produced by external characters which are no part of themselves, will discourage the use of their own memory within them. You have invented an elixir not of memory, but of reminding; and you offer your pupils the appearance of wisdom, not true wisdom, for they will read many things without instruction and will therefore seem to know many things, when they are for the most part ignorant and hard to get along with, since they are not wise, but only appear wise.” Wrote Plato, quoting Socrates Almost every technological advancement in human history can be seen to be accompanied by someone suggesting it will be damaging. Calculators have destroyed our ability to properly do math. GPS has corrupted our spatial memory. Typewriters killed handwriting. Computer word processors killed typewriters. Video killed the radio star.And what have we lost? Well, zooming in on writing, for example, a 2020 study claimed brain activity is greater when a note is handwritten as opposed to being typed on a keyboard. And then a 2021 study suggested memory retention is better when using a pen and paper versus a stylus and tablet. So there are certainly trade-offs whenever we choose to use a technological tool to offload a cognitive task.There’s an oft-told story about gonzo journalist Hunter S. Thompson. It may be apocryphal but it certainly is meaningful. He once said he sat down and typed out the entirety of The Great Gatsby, word for word. According to Thompson, he wanted to know what it felt like to write a great novel. Thompson was infamous for writing everything on typewriters, even when computers emerged in the 1990sPublic Domain I don’t want to get all wishy-washy here, but these are the brass tacks we are ultimately falling on. What does it feel like to think? What does it feel like to be creative? What does it feel like to understand something?A recent interview with Satya Nadella, CEO of Microsoft, reveals how deeply AI has infiltrated his life and work. Not only does Nadella utilize nearly a dozen different custom-designed AI agents to manage every part of his workflow – from summarizing emails to managing his schedule – but he also uses AI to get through podcasts quickly on his way to work. Instead of actually listening to the podcasts he has transcripts uploaded to an AI assistant who he then chats to about the information while commuting.Why listen to the podcast when you can get the gist through a summary? Why read a book when you can listen to the audio version at X2 speed? Or better yet, watch the movie? Or just read a Wikipedia entry. Or get AI to summarize the wikipedia entry.I’m not here to judge anyone on the way they choose to use technology. Do what you want with ChatGPT. But for a moment consider what you may be skipping over by racing from point A to point B.Sure, you can give ChatGPT a set of increasingly detailed prompts; adding complexity to its summary of a scientific journal or a podcast, but at what point do the prompts get so granular that you may as well read the journal entry itself? If you get generative AI to skim and summarize something, what is it missing? If something was worth being written then surely it is worth being read?If there is a more succinct way to say something then maybe we should say it more succinctly.In a magnificent article for The New Yorker, Ted Chiang perfectly summed up the deep contradiction at the heart of modern generative AI systems. He argues language, and writing, is fundamentally about communication. If we write an email to someone we can expect the person at the other end to receive those words and consider them with some kind of thought or attention. But modern AI systems (or these simulations of intelligence) are erasing our ability to think, consider, and write. Where does it all end? For Chiang it's pretty dystopian feedback loop of dialectical slop. “We are entering an era where someone might use a large language model to generate a document out of a bulleted list, and send it to a person who will use a large language model to condense that document into a bulleted list. Can anyone seriously argue that this is an improvement?” Ted Chiang

There are a lot of parallels between “Wish World” and last year’s “The Legend of Ruby Sunday.” They are both, of course, penultimate episodes of their respective seasons of Doctor Who. They are also both built around the return of a classic Doctor Who villain, and paying off a mystery that had played out throughout their respective seasons. Unfortunately they also both share a pretty fatal parallel: they’re both aimless waiting games that have little meat on their bones as they count down to a last minute cliffhanger reveal. “Wish World” has even more of a problem than “The Legend of Ruby Sunday,” however. That latter episode could at least hinge some tension and atmosphere on the fact that we didn’t already know that the last moments were building up to the reveal of Sutekh’s return (unless you read the rumors, that is). “Wish World,” for the most part (more on that later), is building up to a dramatic moment its audience already knows while its main character doesn’t: for the Doctor to encounter the returned Rani, and understand what that may mean. And that just makes it a very weird experience, even before you get to the mechanics of how Doctor Who is ticking down to that big reveal. The titular world of “Wish World” is a contemporary Earth before its apparently fated obliteration, except it’s a sideways version of it. Thanks to the help of a convenient magic baby the Rani goes and picks up in medieval Bavaria in the opening moments—the seventh son of a seventh son of a seventh son, which doesn’t feel very Evil Science Villainess of her, especially when the baby just essentially starts letting her bend reality in whatever way she wants—noted Utter Bastard Conrad from “Lucky Day” is the apparent benevolent dictator of the world, broadcasting from a bone palace upon high in London to decide the state of the world, weather, and creepily pleasant lives of everyone in it with a little help from this magic wunderkind. © BBC/Disney Those subjects include the Doctor and Belinda, who are now Mr. John Smith and his wife Belinda, living a retro-modern nuclear family dream with their baby daughter Poppy as Belinda revels in being a stay-at-home mom and Mr. Smith goes to work at UNIT, now a unified insurance team rather than a vanguard against alien threats. The creepy vibe of this overtly heteronormative existence is in part the point, it turns out: everyone makes very pointed acknowledgements about the role of women being good daughters, good wives, and then good mothers, and when “Mr. Smith” passingly describes a male co-worker (none other than Colonel Ibrahim, blissfully unaware of who he’s meant to be) as handsome, reality almost turns in on itself around him, as if the mere thought of something not cisgender or heterosexual is an affront to this world that Conrad has wished up for everyone. It turns out we can also add “Hates Disabled People” to the Bumper List of Conrad’s Shitty Bigotries, because aside from retrograde thoughts about women and queer people, his bigotry around disabled people has led to an underground society of disabled people who, because they are “unseen” by Conrad in so much that he doesn’t ever think or care about them, are practically invisible to the world around them… except Ruby Sunday, who’s likewise unaffected by what’s going on around her, letting her team up with Shirley and her friends in the disabled camp to start trying to figure out what’s going on. Good job Conrad really sucks in some very specific ways! © BBC/Disney This is just about where “Wish World” checks out of trying to tell much more of a story, which is a shame, because the weird creepy vibes are quite good, even if they also mean continued exposure to Conrad (again, no disrespect to Jonah Hauer-King, he’s just incredibly good at playing a man with utterly rancid vibes). After “Mr. Smith” has his brush with the curse of fatal compulsory heterosexuality (spurred on again by a wild, random returning cameo from Jonathan Groff’s Rogue, who gets a message out to the Doctor to help him doubt the nature of the Wish World by basically saying “I am gay and in a hell dimension but please remember that you like men!”), his entire role in the episode is to sit around swirling with doubt about the nature of his existence until he remembers that he’s the Doctor. After she links up with Shirley, Ruby’s “investigation” essentially slams the brakes on its own momentum so the two of them can basically look up from below the giant bone palace as it sits above London. And then there’s the Rani, or rather the Ranis plural, who are sitting up in that aforementioned bone palace, who are also largely just biding their time, as the latest incarnation of the renegade Time Lady practically begs the Doctor to figure out the world that she’s dominating through Conrad is a falsehood, so he can remember who he is, and more importantly, who she is. But it’s a weird vibe of the less intentional sort than those given off by Conrad’s Bigot Paradise. The episode is, essentially, ticking down until you get to that moment of realization between the Doctor and the Rani, even after she spends much of the third act of “Wish World” expositing to his face in an attempt to get the artifice to crumble around him once and for all. © BBC/Disney But because we already know that she’s the Rani, and that the Doctor is not an insurance salesman named John Smith, there’s no tension or mystery in what’s being built towards, you’re just a knowing audience waiting for the shoe to drop for the show’s protagonist, a shoe you’ve known all along is going to drop. At least “The Legend of Ruby Sunday” had the mystery of Susan Triad to build a sense of dread around, even if there wasn’t much more to the episode beyond that—all “Wish World” has is a compelling creepy concept it largely discards halfway through and then a literal ticking clock as we wait for the episode’s final moments. So it turns out “Wish World” needs to throw in another mystery reveal right at the last moment, because the Doctor realizing who the Rani is is not that much of an actual reveal to us any more. It turns out the Rani’s big ticking clock counting down to May 24 has been powered by collecting the doubts of anyone who’s questioned Conrad’s reality, the Doctor included, juicing up the Vindicator the Doctor and Belinda have charged throughout the season even further to rip a hole through Earth and reality itself… opening up a dimension where none other than Omega, the ancient, godlike co-founder of Time Lord society (well, Timeless Child stuff nonwithstanding!), awaits. © BBC/Disney Admittedly “Wish World” does get the leg up on “Legend of Ruby Sunday” by putting its “devastating destruction of pretty much everyone but our hero that will be inevitably undone next episode” moment before the cliffhanger this time, as we watch Earth splinter apart and collapse into the underverse, seemingly blipping everyone but the Doctor, Conrad, and the Ranis out of existence, Belinda included. But the Omega reveal is more confusing than it is shocking in the moment, because it feels like it comes out of nowhere after the episode builds towards an already dramatically compromised reveal. Sure, we don’t know why the Rani is doing all this weird stuff with Conrad and a magic baby, but the episode never treats that as a mystery to interrogate, it’s just ticking in the background while the Rani yearns for the Doctor to recognize her. So when Omega is invoked—we don’t see him, it’s just his name being dropped—what could’ve been something “Wish World” built to just largely comes out of left field (unless you already happened to see that Russell T Davies teased on Instagram last week that there was a mystery third party in the villainous mix between Conrad and the Ranis, but should you have to check the showrunner’s social media for suitable dramatic tension?). The Rani and the Doctor’s encounter is all that “Wish World” was building toward up to that point, and because it’s building up to it for all of its runtime, the moment itself doesn’t really get to sit beyond the climactic final minutes, robbing it of what little tension could remain. © BBC/Disney And so again, we’re left waiting to see if next week’s grand finale will retroactively make this week’s preparation feel worth the clock-ticking… and if we really needed the Rani’s return to herald Omega, and all the implications that then has for the Time Lords and Gallifrey at large beyond that. That feels like a lot to dig into, at least. Imagine if we’d gotten a two-part finale that actually leveraged its time to do just that? Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.