• Test Spirit of the North 2 – La promesse d’une liberté qui a un prix.

    So, there’s this game that came out called Spirit of the North 2. I guess it’s a sequel or something. The first one was released in 2019, and people seemed to like it. Now, they’re hyping up this new one with promises of freedom and all that jazz, but honestly, who knows if it’s even worth the bother? I mean, freedom in a game usually comes with a catch, right?

    The whole thing feels a bit dragged out. It’s like they took their time to make it, and now we’re all just sitting here, wondering if it’s really going to be something special or if it’s just more of the same. The original had its moments, sure, but it also had its dull parts. I can’t help but wonder if this one will follow suit.

    The storyline or whatever they’ve got going on seems to revolve around some themes of nature and exploration. Sounds nice, I guess, but in the end, it’s still a game. Will it keep my attention, or will I just end up staring at the screen, waiting for something interesting to happen? I guess we’ll find out.

    Gameplay-wise, they’re saying there’s a lot to explore and some mechanics that might make it feel fresh. But are we really excited about that? I mean, it all sounds pretty standard. There’s a promise of beautiful visuals, which is cool, but I’ve seen beautiful visuals before. It needs more than just that to keep me engaged.

    Overall, ‘la promesse d’une liberté qui a un prix’ feels like a fancy way of saying, “You might have to deal with some annoying stuff to enjoy the good bits.” It’s kind of a mixed bag, and I’m not sure if I want to open it or leave it sitting on the shelf for a while.

    Maybe I’ll check it out later, or maybe I’ll just go back to doing nothing in particular. Who knows?

    #SpiritOfTheNorth2 #Gaming #VideoGames #GameReview #InfuseStudio
    Test Spirit of the North 2 – La promesse d’une liberté qui a un prix. So, there’s this game that came out called Spirit of the North 2. I guess it’s a sequel or something. The first one was released in 2019, and people seemed to like it. Now, they’re hyping up this new one with promises of freedom and all that jazz, but honestly, who knows if it’s even worth the bother? I mean, freedom in a game usually comes with a catch, right? The whole thing feels a bit dragged out. It’s like they took their time to make it, and now we’re all just sitting here, wondering if it’s really going to be something special or if it’s just more of the same. The original had its moments, sure, but it also had its dull parts. I can’t help but wonder if this one will follow suit. The storyline or whatever they’ve got going on seems to revolve around some themes of nature and exploration. Sounds nice, I guess, but in the end, it’s still a game. Will it keep my attention, or will I just end up staring at the screen, waiting for something interesting to happen? I guess we’ll find out. Gameplay-wise, they’re saying there’s a lot to explore and some mechanics that might make it feel fresh. But are we really excited about that? I mean, it all sounds pretty standard. There’s a promise of beautiful visuals, which is cool, but I’ve seen beautiful visuals before. It needs more than just that to keep me engaged. Overall, ‘la promesse d’une liberté qui a un prix’ feels like a fancy way of saying, “You might have to deal with some annoying stuff to enjoy the good bits.” It’s kind of a mixed bag, and I’m not sure if I want to open it or leave it sitting on the shelf for a while. Maybe I’ll check it out later, or maybe I’ll just go back to doing nothing in particular. Who knows? #SpiritOfTheNorth2 #Gaming #VideoGames #GameReview #InfuseStudio
    Test Spirit of the North 2 – La promesse d’une liberté qui a un prix
    ActuGaming.net Test Spirit of the North 2 – La promesse d’une liberté qui a un prix Spirit of the North, le premier jeu d’Infuse Studio, est sorti en 2019, d’abord sur […] L'article Test Spirit of the North 2 – La
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  • Feeling down? TikTok says: Make a fan edit of yourself

    Feeling bad about your appearance? Try making a fan edit of yourself. 

    That’s the latest advice circulating on TikTok, where users are cutting and stitching together dramatic clips of themselves to the tune of Rasheeda’s 2006 track Got That Good. 

    And it seems to work. One viral video, with 10 million views, has people hyping up the creator in the comments. “WHO IS THAT DIVA?” one wrote. “Chill out my bf is on this app,” another added. 

    In another video, with 5.6 million views, the creator wrote, “Feel ugly? Make an edit with yourself to boost your confidence.” Again, the internet responded with compliments, and many saying they are going to try the trend for themselves. “This was my favorite activity as a high schooler,” one commented. “Made one yesterday and can’t stop looking at it,” another wrote. “Hold on wait I’m gonna try this but I’m afraid it would raise my ego through the roof.”

    The trend is meant to boost creators’ confidence by giving themselves a fan edit normally reserved for the likes of Harry Styles, Timothée Chalamet, and other beloved celebrities. 

    Fan edits have long been a cornerstone of fandom and online culture. They are also an art form, with dramatic music, flashy transitions, and glowing filters that show the subjects at their most attractive and iconic. But why should celebrities be the only ones who get the fan-cam treatment?

    It’s no secret that social media is a highlight reel. Yet even when we know Instagram is not real life, the constant exposure to filtered photos and curated feeds can take a toll on our self-image. Research backs this up. One 2021 study found that frequent Instagram use is linked to higher rates of body dissatisfaction, a stronger desire to be thin, and lower self-esteem among girls ages 14 to 24.

    Why not put those editing skills to good use instead? 
    #feeling #down #tiktok #says #make
    Feeling down? TikTok says: Make a fan edit of yourself
    Feeling bad about your appearance? Try making a fan edit of yourself.  That’s the latest advice circulating on TikTok, where users are cutting and stitching together dramatic clips of themselves to the tune of Rasheeda’s 2006 track Got That Good.  And it seems to work. One viral video, with 10 million views, has people hyping up the creator in the comments. “WHO IS THAT DIVA?” one wrote. “Chill out my bf is on this app,” another added.  In another video, with 5.6 million views, the creator wrote, “Feel ugly? Make an edit with yourself to boost your confidence.” Again, the internet responded with compliments, and many saying they are going to try the trend for themselves. “This was my favorite activity as a high schooler,” one commented. “Made one yesterday and can’t stop looking at it,” another wrote. “Hold on wait I’m gonna try this but I’m afraid it would raise my ego through the roof.” The trend is meant to boost creators’ confidence by giving themselves a fan edit normally reserved for the likes of Harry Styles, Timothée Chalamet, and other beloved celebrities.  Fan edits have long been a cornerstone of fandom and online culture. They are also an art form, with dramatic music, flashy transitions, and glowing filters that show the subjects at their most attractive and iconic. But why should celebrities be the only ones who get the fan-cam treatment? It’s no secret that social media is a highlight reel. Yet even when we know Instagram is not real life, the constant exposure to filtered photos and curated feeds can take a toll on our self-image. Research backs this up. One 2021 study found that frequent Instagram use is linked to higher rates of body dissatisfaction, a stronger desire to be thin, and lower self-esteem among girls ages 14 to 24. Why not put those editing skills to good use instead?  #feeling #down #tiktok #says #make
    WWW.FASTCOMPANY.COM
    Feeling down? TikTok says: Make a fan edit of yourself
    Feeling bad about your appearance? Try making a fan edit of yourself.  That’s the latest advice circulating on TikTok, where users are cutting and stitching together dramatic clips of themselves to the tune of Rasheeda’s 2006 track Got That Good.  And it seems to work. One viral video, with 10 million views, has people hyping up the creator in the comments. “WHO IS THAT DIVA?” one wrote. “Chill out my bf is on this app,” another added.  In another video, with 5.6 million views, the creator wrote, “Feel ugly? Make an edit with yourself to boost your confidence.” Again, the internet responded with compliments, and many saying they are going to try the trend for themselves. “This was my favorite activity as a high schooler,” one commented. “Made one yesterday and can’t stop looking at it,” another wrote. “Hold on wait I’m gonna try this but I’m afraid it would raise my ego through the roof.” The trend is meant to boost creators’ confidence by giving themselves a fan edit normally reserved for the likes of Harry Styles, Timothée Chalamet, and other beloved celebrities.  Fan edits have long been a cornerstone of fandom and online culture. They are also an art form, with dramatic music, flashy transitions, and glowing filters that show the subjects at their most attractive and iconic. But why should celebrities be the only ones who get the fan-cam treatment? It’s no secret that social media is a highlight reel. Yet even when we know Instagram is not real life, the constant exposure to filtered photos and curated feeds can take a toll on our self-image. Research backs this up. One 2021 study found that frequent Instagram use is linked to higher rates of body dissatisfaction, a stronger desire to be thin, and lower self-esteem among girls ages 14 to 24. Why not put those editing skills to good use instead? 
    0 Comments 0 Shares
  • Here’s the TV shows and movies coming in June on Apple TV+

    While Apple regularly gets lambasted for lack of promotion for its streaming service, Apple TV+, the company seems to be trying harder in recent weeks. It just dropped a ‘New for June’ sizzle reel, hyping what users can expect to stream on the service in the next month.
    The new premieres include comedy series Stick, movie Echo Valley, season two of The Buccaneers, and Taron Egerton drama Smoke. Watch the sizzle reel promo roll after the break below …

    In its marketing, Apple is hyping up June with new releases every week, alongside new episodes from continuing series like Careme, Murderbot and Long Way Home.
    Apple often gets dinged for not having enough content, but it is making strides to change that. In the last year, the service has consistently averaged at least four new premieres per month, approximately one per week. In June, those releases are spread out so there will indeed be something new each calendar week.
    Here’s what is streaming in June:
    Stick, June 4

    Notionally referred to as the golf version of Ted Lasso, the heartfelt sports comedy Stick sees Owen Wilson play Pryce Cahill, a retired professional golfer. He bets everything on a young talent called Santi, and serves as his personal mentor and coach. The first three episodes drop on June 4.
    Echo Valley, June 13

    Kate struggles to connect with her troubled daughter Claire in this thrilling feature film. When Claire turns up at her mother’s house covered in blood, their relationship is tested to the extreme and Kate shows how far she will go to protect her daughter in any way she can. Echo Valley stars Juliane Moore and Sydney Sweeney, streaming June 13.
    Not a Box, June 13

    Based on the award-wining book series, Apple TV+ continues to expand its catalog of kids content with this new animated series. Riley the rabbit has big ambitions and a big imagination. He crafts incredible worlds out of the pieces of a simple cardboard box. Follow his adventure, and meet new friends along the way, in this family series with all episodes dropping on June 13.
    The Buccaneers Season 2, June 18

    The Buccaneers follows the culture clash of a group of young American girls arriving in 1870s London. In season two, all of the girls have been forced to mature and now have to fight be heard, tackling romance, jealousy, births and death. The first episode of season two drops on June 18, with new episodes of the eight-part second season rolling out weekly thereafter.
    Smoke, June 27

    Following the success of other acclaimed Apple TV+ originals Black Bird and Tetris, Taron Egerton returns to the streamer with a new drama in which a detective and arson investigator team up to try and take down a pair of prolific arsonists, set in the Pacific Northwest. Smoke season one comprises nine episodes, with a two-episode premiere kicking off on June 27.
    Alongside these streaming releases, June will also see the release of F1: The Movie in cinemas. This is Apple’s latest big budget stab at smashing the box office. F1 will stream exclusively on Apple TV+ after its theatrical run.
    Apple TV+ costs per month, and you can get a seven-day free trial for new accounts here. Get a quick peek at all of these upcoming streaming releases in this new Apple TV+ June sizzle reel:

    Add 9to5Mac to your Google News feed. 

    FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel
    #heres #shows #movies #coming #june
    Here’s the TV shows and movies coming in June on Apple TV+
    While Apple regularly gets lambasted for lack of promotion for its streaming service, Apple TV+, the company seems to be trying harder in recent weeks. It just dropped a ‘New for June’ sizzle reel, hyping what users can expect to stream on the service in the next month. The new premieres include comedy series Stick, movie Echo Valley, season two of The Buccaneers, and Taron Egerton drama Smoke. Watch the sizzle reel promo roll after the break below … In its marketing, Apple is hyping up June with new releases every week, alongside new episodes from continuing series like Careme, Murderbot and Long Way Home. Apple often gets dinged for not having enough content, but it is making strides to change that. In the last year, the service has consistently averaged at least four new premieres per month, approximately one per week. In June, those releases are spread out so there will indeed be something new each calendar week. Here’s what is streaming in June: Stick, June 4 Notionally referred to as the golf version of Ted Lasso, the heartfelt sports comedy Stick sees Owen Wilson play Pryce Cahill, a retired professional golfer. He bets everything on a young talent called Santi, and serves as his personal mentor and coach. The first three episodes drop on June 4. Echo Valley, June 13 Kate struggles to connect with her troubled daughter Claire in this thrilling feature film. When Claire turns up at her mother’s house covered in blood, their relationship is tested to the extreme and Kate shows how far she will go to protect her daughter in any way she can. Echo Valley stars Juliane Moore and Sydney Sweeney, streaming June 13. Not a Box, June 13 Based on the award-wining book series, Apple TV+ continues to expand its catalog of kids content with this new animated series. Riley the rabbit has big ambitions and a big imagination. He crafts incredible worlds out of the pieces of a simple cardboard box. Follow his adventure, and meet new friends along the way, in this family series with all episodes dropping on June 13. The Buccaneers Season 2, June 18 The Buccaneers follows the culture clash of a group of young American girls arriving in 1870s London. In season two, all of the girls have been forced to mature and now have to fight be heard, tackling romance, jealousy, births and death. The first episode of season two drops on June 18, with new episodes of the eight-part second season rolling out weekly thereafter. Smoke, June 27 Following the success of other acclaimed Apple TV+ originals Black Bird and Tetris, Taron Egerton returns to the streamer with a new drama in which a detective and arson investigator team up to try and take down a pair of prolific arsonists, set in the Pacific Northwest. Smoke season one comprises nine episodes, with a two-episode premiere kicking off on June 27. Alongside these streaming releases, June will also see the release of F1: The Movie in cinemas. This is Apple’s latest big budget stab at smashing the box office. F1 will stream exclusively on Apple TV+ after its theatrical run. Apple TV+ costs per month, and you can get a seven-day free trial for new accounts here. Get a quick peek at all of these upcoming streaming releases in this new Apple TV+ June sizzle reel: Add 9to5Mac to your Google News feed.  FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel #heres #shows #movies #coming #june
    9TO5MAC.COM
    Here’s the TV shows and movies coming in June on Apple TV+
    While Apple regularly gets lambasted for lack of promotion for its streaming service, Apple TV+, the company seems to be trying harder in recent weeks. It just dropped a ‘New for June’ sizzle reel, hyping what users can expect to stream on the service in the next month. The new premieres include comedy series Stick, movie Echo Valley, season two of The Buccaneers, and Taron Egerton drama Smoke. Watch the sizzle reel promo roll after the break below … In its marketing, Apple is hyping up June with new releases every week, alongside new episodes from continuing series like Careme, Murderbot and Long Way Home. Apple often gets dinged for not having enough content, but it is making strides to change that. In the last year, the service has consistently averaged at least four new premieres per month, approximately one per week. In June, those releases are spread out so there will indeed be something new each calendar week. Here’s what is streaming in June: Stick, June 4 Notionally referred to as the golf version of Ted Lasso, the heartfelt sports comedy Stick sees Owen Wilson play Pryce Cahill, a retired professional golfer. He bets everything on a young talent called Santi, and serves as his personal mentor and coach. The first three episodes drop on June 4. Echo Valley, June 13 Kate struggles to connect with her troubled daughter Claire in this thrilling feature film. When Claire turns up at her mother’s house covered in blood, their relationship is tested to the extreme and Kate shows how far she will go to protect her daughter in any way she can. Echo Valley stars Juliane Moore and Sydney Sweeney, streaming June 13. Not a Box, June 13 Based on the award-wining book series, Apple TV+ continues to expand its catalog of kids content with this new animated series. Riley the rabbit has big ambitions and a big imagination. He crafts incredible worlds out of the pieces of a simple cardboard box. Follow his adventure, and meet new friends along the way, in this family series with all episodes dropping on June 13. The Buccaneers Season 2, June 18 The Buccaneers follows the culture clash of a group of young American girls arriving in 1870s London. In season two, all of the girls have been forced to mature and now have to fight be heard, tackling romance, jealousy, births and death. The first episode of season two drops on June 18, with new episodes of the eight-part second season rolling out weekly thereafter. Smoke, June 27 Following the success of other acclaimed Apple TV+ originals Black Bird and Tetris, Taron Egerton returns to the streamer with a new drama in which a detective and arson investigator team up to try and take down a pair of prolific arsonists, set in the Pacific Northwest. Smoke season one comprises nine episodes, with a two-episode premiere kicking off on June 27. Alongside these streaming releases, June will also see the release of F1: The Movie in cinemas. This is Apple’s latest big budget stab at smashing the box office. F1 will stream exclusively on Apple TV+ after its theatrical run. Apple TV+ costs $9.99 per month, and you can get a seven-day free trial for new accounts here. Get a quick peek at all of these upcoming streaming releases in this new Apple TV+ June sizzle reel: Add 9to5Mac to your Google News feed.  FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel
    0 Comments 0 Shares
  • Sorry, Google and OpenAI: The future of AI hardware remains murky

    2026 may still be more than seven months away, but it’s already shaping up as the year of consumer AI hardware. Or at least the year of a flurry of high-stakes attempts to put generative AI at the heart of new kinds of devices—several of which were in the news this week.

    Let’s review. On Tuesday, at its I/O developer conference keynote, Google demonstrated smart glasses powered by its Android XR platform and announced that eyewear makers Warby Parker and Gentle Monster would be selling products based on it. The next day, OpenAI unveiled its billion acquisition of Jony Ive’s startup IO, which will put the Apple design legend at the center of the ChatGPT maker’s quest to build devices around its AI. And on Thursday, Bloomberg’s Mark Gurman reported that Apple hopes to release its own Siri-enhanced smart glasses. In theory, all these players may have products on the market by the end of next year.

    What I didn’t get from these developments was any new degree of confidence that anyone has figured out how to produce AI gadgets that vast numbers of real people will find indispensable. When and how that could happen remains murky—in certain respects, more than ever.

    To be fair, none of this week’s news involved products that are ready to be judged in full. Only Google has something ready to demonstrate in public at all: Here’s Janko Roettgers’s report on his I/O experience with prototype Android XR glasses built by Samsung. That the company has already made a fair amount of progress is only fitting given that Android XR scratches the same itch the company has had since it unveiled its ill-fated Google Glass a dozen years ago. It’s just that the available technologies—including Google’s Gemini LLM—have come a long, long way.

    Unlike the weird, downright alien-looking Glass, Google’s Android XR prototype resembles a slightly chunky pair of conventional glasses. It uses a conversational voice interface and a transparent mini-display that floats on your view of your surroundings. Google says that shipping products will have “all-day” battery life, a claim, vague though it is, that Glass could never make. But some of the usage scenarios that the company is showing off, such as real-time translation and mapping directions, are the same ones it once envisioned Glass enabling.

    The market’s rejection of Glass was so resounding that one of the few things people remember about the product is that its fans were seen as creepy, privacy-invading glassholes. Enough has happened since then—including the success of Meta’s smart Ray-Bans—that Android XR eyewear surely has a far better shot at acceptance. But as demoed at I/O, the floating screen came off as a roadblock between the user and the real world. Worst case, it might simply be a new, frictionless form of screen addiction that further distracts us from human contact.

    Meanwhile, the video announcement of OpenAI and IO’s merger was as polished as a Jony Ive-designed product—San Francisco has rarely looked so invitingly lustrous—but didn’t even try to offer details about their work in progress. Altman and Ive smothered each other in praise and talked about reinventing computing. Absent any specifics, Altman’s assessment of one of Ive’s prototypessounded like runaway enthusiasm at best and Barnumesque puffery at worst.

    Reporting on an OpenAI staff meeting regarding the news, The Wall Street Journal’s Berber Jin provided some additional tidbits about the OpenAI device. Mostly, they involved what it isn’t—such as a phone or glasses. It might not even be a wearable, at least on a full-time basis: According to Jin, the product will be “able to rest in one’s pocket or on one’s desk” and complement an iPhone and MacBook Pro without supplanting them.

    Whatever this thing is, Jin cites Altman predicting that it will sell 100 million units faster than any product before it. In 2007, by contrast, Apple forecast selling a more modest 10 million iPhones in the phone’s first full year on the market—a challenging goal at the time, though the company surpassed it.

    Now, discounting the possibility of something transformative emerging from OpenAI-IO would be foolish. Ive, after all, may have played a leading role in creating more landmark tech products than anyone else alive. Altman runs the company that gave us the most significant one of the past decade. But Ive rhapsodizing over their working relationship in the video isn’t any more promising a sign than him rhapsodizing over the solid gold Apple Watch was in 2015. And Altman, the biggest investor in Humane’s doomed AI Pin, doesn’t seem to have learned one of the most obvious lessons of that fiasco: Until you have a product in the market, it’s better to tamp down expectations than stoke them.

    You can’t accuse Apple of hyping any smart glasses it might release in 2026. It hasn’t publicly acknowledged their existence, and won’t until their arrival is much closer. If anything, the company may be hypersensitive to the downsides of premature promotion. Almost a year ago, it began trumpeting a new AI-infused version of Siri—one it clearly didn’t have working at the time, and still hasn’t released. After that embarrassing mishap, silencing the skeptics will require shipping stuff, not previewing what might be ahead. Even companies that aren’t presently trying to earn back their AI cred should take note and avoid repeating Apple’s mistake.

    I do believe AI demands that we rethink how computers work from the ground up. I also hope the smartphone doesn’t turn out to be the last must-have device, because if it were, that would be awfully boring. Maybe the best metric of success is hitting Apple’s 10-million-units-per-year goal for the original iPhone—which, perhaps coincidentally, is the same one set by EssilorLuxottica, the manufacturer of Meta’s smart Ray-Bans. If anything released next year gets there, it might be the landmark AI gizmo we haven’t yet seen. And if nothing does, we can safely declare that 2026 wasn’t the year of consumer AI hardware after all.

    You’ve been reading Plugged In, Fast Company’s weekly tech newsletter from me, global technology editor Harry McCracken. If a friend or colleague forwarded this edition to you—or if you’re reading it on FastCompany.com—you can check out previous issues and sign up to get it yourself every Friday morning. I love hearing from you: Ping me at hmccracken@fastcompany.com with your feedback and ideas for future newsletters. I’m also on Bluesky, Mastodon, and Threads, and you can follow Plugged In on Flipboard.

    More top tech stories from Fast Company

    How Google is rethinking search in an AI-filled worldGoogle execs Liz Reid and Nick Fox explain how the company is rethinking everything from search results to advertising and personalization. Read More →

    Roku is doing more than ever, but focus is still its secret ingredientThe company that set out to make streaming simple has come a long way since 2008. Yet its current business all connects back to the original mission, says CEO Anthony Wood. Read More →

    Gen Z is willing to sell their personal data—for just a monthA new app, Verb.AI, wants to pay the generation that’s most laissez-faire on digital privacy for their scrolling time. Read More →

    Forget return-to-office. Hybrid now means human plus AIAs AI evolves, businesses should use the technology to complement, not replace, human workers. Read More →

    It turns out TikTok’s viral clear phone is just plastic. Meet the ‘Methaphone’Millions were fooled by a clip of a see-through phone. Its creator says it’s not tech—it’s a tool to break phone addiction. Read More →

    4 free Coursera courses to jump-start your AI journeySee what all the AI fuss is about without spending a dime. Read More →
    #sorry #google #openai #future #hardware
    Sorry, Google and OpenAI: The future of AI hardware remains murky
    2026 may still be more than seven months away, but it’s already shaping up as the year of consumer AI hardware. Or at least the year of a flurry of high-stakes attempts to put generative AI at the heart of new kinds of devices—several of which were in the news this week. Let’s review. On Tuesday, at its I/O developer conference keynote, Google demonstrated smart glasses powered by its Android XR platform and announced that eyewear makers Warby Parker and Gentle Monster would be selling products based on it. The next day, OpenAI unveiled its billion acquisition of Jony Ive’s startup IO, which will put the Apple design legend at the center of the ChatGPT maker’s quest to build devices around its AI. And on Thursday, Bloomberg’s Mark Gurman reported that Apple hopes to release its own Siri-enhanced smart glasses. In theory, all these players may have products on the market by the end of next year. What I didn’t get from these developments was any new degree of confidence that anyone has figured out how to produce AI gadgets that vast numbers of real people will find indispensable. When and how that could happen remains murky—in certain respects, more than ever. To be fair, none of this week’s news involved products that are ready to be judged in full. Only Google has something ready to demonstrate in public at all: Here’s Janko Roettgers’s report on his I/O experience with prototype Android XR glasses built by Samsung. That the company has already made a fair amount of progress is only fitting given that Android XR scratches the same itch the company has had since it unveiled its ill-fated Google Glass a dozen years ago. It’s just that the available technologies—including Google’s Gemini LLM—have come a long, long way. Unlike the weird, downright alien-looking Glass, Google’s Android XR prototype resembles a slightly chunky pair of conventional glasses. It uses a conversational voice interface and a transparent mini-display that floats on your view of your surroundings. Google says that shipping products will have “all-day” battery life, a claim, vague though it is, that Glass could never make. But some of the usage scenarios that the company is showing off, such as real-time translation and mapping directions, are the same ones it once envisioned Glass enabling. The market’s rejection of Glass was so resounding that one of the few things people remember about the product is that its fans were seen as creepy, privacy-invading glassholes. Enough has happened since then—including the success of Meta’s smart Ray-Bans—that Android XR eyewear surely has a far better shot at acceptance. But as demoed at I/O, the floating screen came off as a roadblock between the user and the real world. Worst case, it might simply be a new, frictionless form of screen addiction that further distracts us from human contact. Meanwhile, the video announcement of OpenAI and IO’s merger was as polished as a Jony Ive-designed product—San Francisco has rarely looked so invitingly lustrous—but didn’t even try to offer details about their work in progress. Altman and Ive smothered each other in praise and talked about reinventing computing. Absent any specifics, Altman’s assessment of one of Ive’s prototypessounded like runaway enthusiasm at best and Barnumesque puffery at worst. Reporting on an OpenAI staff meeting regarding the news, The Wall Street Journal’s Berber Jin provided some additional tidbits about the OpenAI device. Mostly, they involved what it isn’t—such as a phone or glasses. It might not even be a wearable, at least on a full-time basis: According to Jin, the product will be “able to rest in one’s pocket or on one’s desk” and complement an iPhone and MacBook Pro without supplanting them. Whatever this thing is, Jin cites Altman predicting that it will sell 100 million units faster than any product before it. In 2007, by contrast, Apple forecast selling a more modest 10 million iPhones in the phone’s first full year on the market—a challenging goal at the time, though the company surpassed it. Now, discounting the possibility of something transformative emerging from OpenAI-IO would be foolish. Ive, after all, may have played a leading role in creating more landmark tech products than anyone else alive. Altman runs the company that gave us the most significant one of the past decade. But Ive rhapsodizing over their working relationship in the video isn’t any more promising a sign than him rhapsodizing over the solid gold Apple Watch was in 2015. And Altman, the biggest investor in Humane’s doomed AI Pin, doesn’t seem to have learned one of the most obvious lessons of that fiasco: Until you have a product in the market, it’s better to tamp down expectations than stoke them. You can’t accuse Apple of hyping any smart glasses it might release in 2026. It hasn’t publicly acknowledged their existence, and won’t until their arrival is much closer. If anything, the company may be hypersensitive to the downsides of premature promotion. Almost a year ago, it began trumpeting a new AI-infused version of Siri—one it clearly didn’t have working at the time, and still hasn’t released. After that embarrassing mishap, silencing the skeptics will require shipping stuff, not previewing what might be ahead. Even companies that aren’t presently trying to earn back their AI cred should take note and avoid repeating Apple’s mistake. I do believe AI demands that we rethink how computers work from the ground up. I also hope the smartphone doesn’t turn out to be the last must-have device, because if it were, that would be awfully boring. Maybe the best metric of success is hitting Apple’s 10-million-units-per-year goal for the original iPhone—which, perhaps coincidentally, is the same one set by EssilorLuxottica, the manufacturer of Meta’s smart Ray-Bans. If anything released next year gets there, it might be the landmark AI gizmo we haven’t yet seen. And if nothing does, we can safely declare that 2026 wasn’t the year of consumer AI hardware after all. You’ve been reading Plugged In, Fast Company’s weekly tech newsletter from me, global technology editor Harry McCracken. If a friend or colleague forwarded this edition to you—or if you’re reading it on FastCompany.com—you can check out previous issues and sign up to get it yourself every Friday morning. I love hearing from you: Ping me at hmccracken@fastcompany.com with your feedback and ideas for future newsletters. I’m also on Bluesky, Mastodon, and Threads, and you can follow Plugged In on Flipboard. More top tech stories from Fast Company How Google is rethinking search in an AI-filled worldGoogle execs Liz Reid and Nick Fox explain how the company is rethinking everything from search results to advertising and personalization. Read More → Roku is doing more than ever, but focus is still its secret ingredientThe company that set out to make streaming simple has come a long way since 2008. Yet its current business all connects back to the original mission, says CEO Anthony Wood. Read More → Gen Z is willing to sell their personal data—for just a monthA new app, Verb.AI, wants to pay the generation that’s most laissez-faire on digital privacy for their scrolling time. Read More → Forget return-to-office. Hybrid now means human plus AIAs AI evolves, businesses should use the technology to complement, not replace, human workers. Read More → It turns out TikTok’s viral clear phone is just plastic. Meet the ‘Methaphone’Millions were fooled by a clip of a see-through phone. Its creator says it’s not tech—it’s a tool to break phone addiction. Read More → 4 free Coursera courses to jump-start your AI journeySee what all the AI fuss is about without spending a dime. Read More → #sorry #google #openai #future #hardware
    WWW.FASTCOMPANY.COM
    Sorry, Google and OpenAI: The future of AI hardware remains murky
    2026 may still be more than seven months away, but it’s already shaping up as the year of consumer AI hardware. Or at least the year of a flurry of high-stakes attempts to put generative AI at the heart of new kinds of devices—several of which were in the news this week. Let’s review. On Tuesday, at its I/O developer conference keynote, Google demonstrated smart glasses powered by its Android XR platform and announced that eyewear makers Warby Parker and Gentle Monster would be selling products based on it. The next day, OpenAI unveiled its $6.5 billion acquisition of Jony Ive’s startup IO, which will put the Apple design legend at the center of the ChatGPT maker’s quest to build devices around its AI. And on Thursday, Bloomberg’s Mark Gurman reported that Apple hopes to release its own Siri-enhanced smart glasses. In theory, all these players may have products on the market by the end of next year. What I didn’t get from these developments was any new degree of confidence that anyone has figured out how to produce AI gadgets that vast numbers of real people will find indispensable. When and how that could happen remains murky—in certain respects, more than ever. To be fair, none of this week’s news involved products that are ready to be judged in full. Only Google has something ready to demonstrate in public at all: Here’s Janko Roettgers’s report on his I/O experience with prototype Android XR glasses built by Samsung. That the company has already made a fair amount of progress is only fitting given that Android XR scratches the same itch the company has had since it unveiled its ill-fated Google Glass a dozen years ago. It’s just that the available technologies—including Google’s Gemini LLM—have come a long, long way. Unlike the weird, downright alien-looking Glass, Google’s Android XR prototype resembles a slightly chunky pair of conventional glasses. It uses a conversational voice interface and a transparent mini-display that floats on your view of your surroundings. Google says that shipping products will have “all-day” battery life, a claim, vague though it is, that Glass could never make. But some of the usage scenarios that the company is showing off, such as real-time translation and mapping directions, are the same ones it once envisioned Glass enabling. The market’s rejection of Glass was so resounding that one of the few things people remember about the product is that its fans were seen as creepy, privacy-invading glassholes. Enough has happened since then—including the success of Meta’s smart Ray-Bans—that Android XR eyewear surely has a far better shot at acceptance. But as demoed at I/O, the floating screen came off as a roadblock between the user and the real world. Worst case, it might simply be a new, frictionless form of screen addiction that further distracts us from human contact. Meanwhile, the video announcement of OpenAI and IO’s merger was as polished as a Jony Ive-designed product—San Francisco has rarely looked so invitingly lustrous—but didn’t even try to offer details about their work in progress. Altman and Ive smothered each other in praise and talked about reinventing computing. Absent any specifics, Altman’s assessment of one of Ive’s prototypes (“The coolest piece of technology that the world will have ever seen”) sounded like runaway enthusiasm at best and Barnumesque puffery at worst. Reporting on an OpenAI staff meeting regarding the news, The Wall Street Journal’s Berber Jin provided some additional tidbits about the OpenAI device. Mostly, they involved what it isn’t—such as a phone or glasses. It might not even be a wearable, at least on a full-time basis: According to Jin, the product will be “able to rest in one’s pocket or on one’s desk” and complement an iPhone and MacBook Pro without supplanting them. Whatever this thing is, Jin cites Altman predicting that it will sell 100 million units faster than any product before it. In 2007, by contrast, Apple forecast selling a more modest 10 million iPhones in the phone’s first full year on the market—a challenging goal at the time, though the company surpassed it. Now, discounting the possibility of something transformative emerging from OpenAI-IO would be foolish. Ive, after all, may have played a leading role in creating more landmark tech products than anyone else alive. Altman runs the company that gave us the most significant one of the past decade. But Ive rhapsodizing over their working relationship in the video isn’t any more promising a sign than him rhapsodizing over the $10,000 solid gold Apple Watch was in 2015. And Altman, the biggest investor in Humane’s doomed AI Pin, doesn’t seem to have learned one of the most obvious lessons of that fiasco: Until you have a product in the market, it’s better to tamp down expectations than stoke them. You can’t accuse Apple of hyping any smart glasses it might release in 2026. It hasn’t publicly acknowledged their existence, and won’t until their arrival is much closer. If anything, the company may be hypersensitive to the downsides of premature promotion. Almost a year ago, it began trumpeting a new AI-infused version of Siri—one it clearly didn’t have working at the time, and still hasn’t released. After that embarrassing mishap, silencing the skeptics will require shipping stuff, not previewing what might be ahead. Even companies that aren’t presently trying to earn back their AI cred should take note and avoid repeating Apple’s mistake. I do believe AI demands that we rethink how computers work from the ground up. I also hope the smartphone doesn’t turn out to be the last must-have device, because if it were, that would be awfully boring. Maybe the best metric of success is hitting Apple’s 10-million-units-per-year goal for the original iPhone—which, perhaps coincidentally, is the same one set by EssilorLuxottica, the manufacturer of Meta’s smart Ray-Bans. If anything released next year gets there, it might be the landmark AI gizmo we haven’t yet seen. And if nothing does, we can safely declare that 2026 wasn’t the year of consumer AI hardware after all. You’ve been reading Plugged In, Fast Company’s weekly tech newsletter from me, global technology editor Harry McCracken. If a friend or colleague forwarded this edition to you—or if you’re reading it on FastCompany.com—you can check out previous issues and sign up to get it yourself every Friday morning. I love hearing from you: Ping me at hmccracken@fastcompany.com with your feedback and ideas for future newsletters. I’m also on Bluesky, Mastodon, and Threads, and you can follow Plugged In on Flipboard. More top tech stories from Fast Company How Google is rethinking search in an AI-filled worldGoogle execs Liz Reid and Nick Fox explain how the company is rethinking everything from search results to advertising and personalization. Read More → Roku is doing more than ever, but focus is still its secret ingredientThe company that set out to make streaming simple has come a long way since 2008. Yet its current business all connects back to the original mission, says CEO Anthony Wood. Read More → Gen Z is willing to sell their personal data—for just $50 a monthA new app, Verb.AI, wants to pay the generation that’s most laissez-faire on digital privacy for their scrolling time. Read More → Forget return-to-office. Hybrid now means human plus AIAs AI evolves, businesses should use the technology to complement, not replace, human workers. Read More → It turns out TikTok’s viral clear phone is just plastic. Meet the ‘Methaphone’Millions were fooled by a clip of a see-through phone. Its creator says it’s not tech—it’s a tool to break phone addiction. Read More → 4 free Coursera courses to jump-start your AI journeySee what all the AI fuss is about without spending a dime. Read More →
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  • Peter Molyneux on Masters of Albion progress and the influence of Fable on his new game

    Peter Molyneux on Masters of Albion progress and the influence of Fable on his new game
    GamesIndustry.biz catches up with the creator of Fable and Black & White at Nordic Game 2025

    Image credit: 22cans

    Feature

    by Samuel Roberts
    Editorial Director

    Published on May 22, 2025

    Peter Molyneux was typically charming and emotional during his fireside chat at Nordic Game 2025 in Malmö this week, discussing his past work at the studios Bullfrog, Lionhead, and even the legendary doomed Kinect project Milo and Kate.
    Molyneux is a complicated figure for some, but the response in the room was incredibly warm. There is perhaps an understanding from the creator of Dungeon Keeper and Fable that the game has to do the talking this time.
    That said, as usual, Molyneux couldn't hide his excitement for what's coming next.
    Following last year's in-depth chat about upcoming god game Masters of Albion, as well as his negative experiences with the press, GamesIndustry.biz caught up with Molyneux about how development on the game is progressing ahead of his talk.
    This interview has been edited for brevity and clarity.

    How is Masters of Albion going?
    I've got to say this, but it's going to get me in trouble: every atom of my being believes we're making a great game.
    I bullied, persuaded, and blackmailed a lot of the old people that I worked with, like Russell Shaw, Mark Healey and Ian Wright, Kareem Ettouney, to come back and do one last gig. And it's incredible.
    There is a magic that we used to have, when we created Dungeon Keeper and Black and White and Fable, and that magic was completely intangible. It's not something you can produce.
    But it really feels that magic is back. And I'm not saying that to you to hype the game – I'm only saying so you get a perspective of how I'm feeling about the game.
    It should be impossible to make this game. It's all about player freedom, it's all about asking ourselves what a god game is, what it should be, and what it should stand for. But: it's f*cking working. It's coming together.
    If you can play the game, it is something that in my mind, feels – and again, these are words that play out in my mind, this is not me hyping the title – but it feels fresh, and different, and new, and it feels, above all, insanely brave.
    It's exactly what I wanted it to be: it's a marriage of Dungeon Keeper, and Black & White, and Fable, and it's allthat put together. And how the hell does that work? It's only now, really, in the last year, that I've dared to hope that this weird mixture of game mechanics can actually blend into something unique and different.
    When you're working again with all these previous collaborators, does it feel like it used to, or with time and experience, does the dynamic feel a little bit different?
    There is this trust. There is this overwhelming trust that you have.
    I'm not telling Markwhat to do; you don't tell Mark what to do, he is a genius. You just show him, and he does the rest. I don't say, 'we should have this type of music, or we should have these sound effects' with Russell Shaw; he just takes what I make and he adds his genius to it.
    And that dynamic, I didn't dare hope would work again, but it is working. We've got 24 people, because I love working with small teams.
    Then to work with other people on the team that I've worked with for ten years, to see them embrace this thing that we're creating, is just wonderful. I'm working harder now than I worked in my twenties.
    Every moment of every day is spent on the game, and thinking about it. But that sort of focus is what you need.

    Image credit: 22cans

    How does it feel to be in the weeds of designing a game now versus 20 or 30 years ago?
    It's funny you should ask that question, because there is this realisation that I had a while back. Journalists always ask me, 'you're working on an RTS one minute, you're working on a god game another minute, you're working on a roleplayinganother minute, where's the consistency?'
    I think I've realised that the consistency is the experience that the player has. What we're really trying to do is create an experience. And for me, that started back when we created a game called Magic Carpet, years and years ago.
    Let me give you an example of what I mean by an experience. At that time in the industry, Doom and Quake and Wolfenstein were around, and we had that tech to do an indoor shooter just like those. And we would've made a shitload of money, and maybe even created a franchise.
    But instead, my bastard and half-insane mind said, 'no. Let's not do that. Wouldn't it be fantastically cool to experience flying? Like, flying on a magic carpet? Okay, you shoot things, butflying on a magic carpet.'
    That's when I first realised, I think, that for me as a designer, it's more about the player's experience than it is about the mechanics.
    Traditionally, if you're making an RTS game, the first thing you do as a designer is you write down all your units, work out your attack skills, and you have your design bible, and you give that to the programming team.
    That's not the way we approach it, and that's definitely not the way we approached it with Masters, and we didn't approach itwith Fable, or Black & White, or any of those games.
    So, the short answer to your question is, it feels so familiar to the way we used to work, and that is stumbling through the darkness looking for the daylight as you're developing the game.
    Trying things out, throwing things away, obsessing. Going, 'that's the heart of the game; no, actually that isn't the heart of the game, let's throw that away'. So in that sense it's incredibly familiar.
    It's very, very chaotic. Those people that we do employ who have worked elsewhere, after they've been working with us for a week, just look defeated. 'Tell me what to do, and I'll do it really well.' You miss the point: it's not what to do, it's how we embrace what.

    You're launching the game in Early Access. How does the process of building a roadmap look for you, when you're very conscious of not overpromising?
    I think the real time for a roadmap is when you're in Early Access. I'm never going to lose this creative friction that happens, but if you've got a live product, and we have experience of this now, because we still have two live-service products– Godus and Betrayal, which are both very successful.
    You can think creatively, and you absolutely should think creatively, but you've got to be a little bit more predictable, because you're no longer just throwing a schedule away, you're throwing away what people are anticipating.
    So I think the time for a roadmap, the time to be predictive about what we're releasing and share that with the community, that's soon coming up.
    The Dungeon Keeper and Black & White influences on Masters of Albion are really clear. Can you talk more about how the Fable influence manifests in the game?
    The way I think of it is like making a soup. I can put potatoes in, and I can put leeks in – and it's going to be a leek and potato soup. Then I can put strange other ingredients in, and it tastes like nothing I've ever tasted before. That's how I think about Masters of Albion.
    We have got bits from Dungeon Keeper; there's a core mechanic in the game that's absolutely inspired by Dungeon Keeper. We've got very visible things from Black & White, like the hand and reaching into the world, and this godlike feeling, caring for things and nurturing things, absolutely from Black & White.
    But Fable: that's where the main focus comes from, because the entire narrative, the entire world, the openness of the world, the freedom which Fable gave you as a player, absolutely is embraced.
    We've just done some user tests – I shouldn't say any of this stuff – using a company over in America. And the first thing that came back is, 'oh my god, I'm playing Fable.' That was such a wonderful moment for me.
    That's what they said when they first started playing it. And then they said, 'no no, it doesn't remind me of Fable, it reminds me of Black & White.' It is a blend, but that blend, just like that soup analogy, is something new, fresh and different.
    GamesIndustry.biz is a media partner for Nordic Game 2025. Travel and accommodation were covered by the organisers.
    #peter #molyneux #masters #albion #progress
    Peter Molyneux on Masters of Albion progress and the influence of Fable on his new game
    Peter Molyneux on Masters of Albion progress and the influence of Fable on his new game GamesIndustry.biz catches up with the creator of Fable and Black & White at Nordic Game 2025 Image credit: 22cans Feature by Samuel Roberts Editorial Director Published on May 22, 2025 Peter Molyneux was typically charming and emotional during his fireside chat at Nordic Game 2025 in Malmö this week, discussing his past work at the studios Bullfrog, Lionhead, and even the legendary doomed Kinect project Milo and Kate. Molyneux is a complicated figure for some, but the response in the room was incredibly warm. There is perhaps an understanding from the creator of Dungeon Keeper and Fable that the game has to do the talking this time. That said, as usual, Molyneux couldn't hide his excitement for what's coming next. Following last year's in-depth chat about upcoming god game Masters of Albion, as well as his negative experiences with the press, GamesIndustry.biz caught up with Molyneux about how development on the game is progressing ahead of his talk. This interview has been edited for brevity and clarity. How is Masters of Albion going? I've got to say this, but it's going to get me in trouble: every atom of my being believes we're making a great game. I bullied, persuaded, and blackmailed a lot of the old people that I worked with, like Russell Shaw, Mark Healey and Ian Wright, Kareem Ettouney, to come back and do one last gig. And it's incredible. There is a magic that we used to have, when we created Dungeon Keeper and Black and White and Fable, and that magic was completely intangible. It's not something you can produce. But it really feels that magic is back. And I'm not saying that to you to hype the game – I'm only saying so you get a perspective of how I'm feeling about the game. It should be impossible to make this game. It's all about player freedom, it's all about asking ourselves what a god game is, what it should be, and what it should stand for. But: it's f*cking working. It's coming together. If you can play the game, it is something that in my mind, feels – and again, these are words that play out in my mind, this is not me hyping the title – but it feels fresh, and different, and new, and it feels, above all, insanely brave. It's exactly what I wanted it to be: it's a marriage of Dungeon Keeper, and Black & White, and Fable, and it's allthat put together. And how the hell does that work? It's only now, really, in the last year, that I've dared to hope that this weird mixture of game mechanics can actually blend into something unique and different. When you're working again with all these previous collaborators, does it feel like it used to, or with time and experience, does the dynamic feel a little bit different? There is this trust. There is this overwhelming trust that you have. I'm not telling Markwhat to do; you don't tell Mark what to do, he is a genius. You just show him, and he does the rest. I don't say, 'we should have this type of music, or we should have these sound effects' with Russell Shaw; he just takes what I make and he adds his genius to it. And that dynamic, I didn't dare hope would work again, but it is working. We've got 24 people, because I love working with small teams. Then to work with other people on the team that I've worked with for ten years, to see them embrace this thing that we're creating, is just wonderful. I'm working harder now than I worked in my twenties. Every moment of every day is spent on the game, and thinking about it. But that sort of focus is what you need. Image credit: 22cans How does it feel to be in the weeds of designing a game now versus 20 or 30 years ago? It's funny you should ask that question, because there is this realisation that I had a while back. Journalists always ask me, 'you're working on an RTS one minute, you're working on a god game another minute, you're working on a roleplayinganother minute, where's the consistency?' I think I've realised that the consistency is the experience that the player has. What we're really trying to do is create an experience. And for me, that started back when we created a game called Magic Carpet, years and years ago. Let me give you an example of what I mean by an experience. At that time in the industry, Doom and Quake and Wolfenstein were around, and we had that tech to do an indoor shooter just like those. And we would've made a shitload of money, and maybe even created a franchise. But instead, my bastard and half-insane mind said, 'no. Let's not do that. Wouldn't it be fantastically cool to experience flying? Like, flying on a magic carpet? Okay, you shoot things, butflying on a magic carpet.' That's when I first realised, I think, that for me as a designer, it's more about the player's experience than it is about the mechanics. Traditionally, if you're making an RTS game, the first thing you do as a designer is you write down all your units, work out your attack skills, and you have your design bible, and you give that to the programming team. That's not the way we approach it, and that's definitely not the way we approached it with Masters, and we didn't approach itwith Fable, or Black & White, or any of those games. So, the short answer to your question is, it feels so familiar to the way we used to work, and that is stumbling through the darkness looking for the daylight as you're developing the game. Trying things out, throwing things away, obsessing. Going, 'that's the heart of the game; no, actually that isn't the heart of the game, let's throw that away'. So in that sense it's incredibly familiar. It's very, very chaotic. Those people that we do employ who have worked elsewhere, after they've been working with us for a week, just look defeated. 'Tell me what to do, and I'll do it really well.' You miss the point: it's not what to do, it's how we embrace what. You're launching the game in Early Access. How does the process of building a roadmap look for you, when you're very conscious of not overpromising? I think the real time for a roadmap is when you're in Early Access. I'm never going to lose this creative friction that happens, but if you've got a live product, and we have experience of this now, because we still have two live-service products– Godus and Betrayal, which are both very successful. You can think creatively, and you absolutely should think creatively, but you've got to be a little bit more predictable, because you're no longer just throwing a schedule away, you're throwing away what people are anticipating. So I think the time for a roadmap, the time to be predictive about what we're releasing and share that with the community, that's soon coming up. The Dungeon Keeper and Black & White influences on Masters of Albion are really clear. Can you talk more about how the Fable influence manifests in the game? The way I think of it is like making a soup. I can put potatoes in, and I can put leeks in – and it's going to be a leek and potato soup. Then I can put strange other ingredients in, and it tastes like nothing I've ever tasted before. That's how I think about Masters of Albion. We have got bits from Dungeon Keeper; there's a core mechanic in the game that's absolutely inspired by Dungeon Keeper. We've got very visible things from Black & White, like the hand and reaching into the world, and this godlike feeling, caring for things and nurturing things, absolutely from Black & White. But Fable: that's where the main focus comes from, because the entire narrative, the entire world, the openness of the world, the freedom which Fable gave you as a player, absolutely is embraced. We've just done some user tests – I shouldn't say any of this stuff – using a company over in America. And the first thing that came back is, 'oh my god, I'm playing Fable.' That was such a wonderful moment for me. That's what they said when they first started playing it. And then they said, 'no no, it doesn't remind me of Fable, it reminds me of Black & White.' It is a blend, but that blend, just like that soup analogy, is something new, fresh and different. GamesIndustry.biz is a media partner for Nordic Game 2025. Travel and accommodation were covered by the organisers. #peter #molyneux #masters #albion #progress
    WWW.GAMESINDUSTRY.BIZ
    Peter Molyneux on Masters of Albion progress and the influence of Fable on his new game
    Peter Molyneux on Masters of Albion progress and the influence of Fable on his new game GamesIndustry.biz catches up with the creator of Fable and Black & White at Nordic Game 2025 Image credit: 22cans Feature by Samuel Roberts Editorial Director Published on May 22, 2025 Peter Molyneux was typically charming and emotional during his fireside chat at Nordic Game 2025 in Malmö this week, discussing his past work at the studios Bullfrog, Lionhead, and even the legendary doomed Kinect project Milo and Kate. Molyneux is a complicated figure for some (in games media circles, that's certainly the case), but the response in the room was incredibly warm. There is perhaps an understanding from the creator of Dungeon Keeper and Fable that the game has to do the talking this time. That said, as usual, Molyneux couldn't hide his excitement for what's coming next. Following last year's in-depth chat about upcoming god game Masters of Albion, as well as his negative experiences with the press, GamesIndustry.biz caught up with Molyneux about how development on the game is progressing ahead of his talk. This interview has been edited for brevity and clarity. How is Masters of Albion going? I've got to say this, but it's going to get me in trouble: every atom of my being believes we're making a great game. I bullied, persuaded, and blackmailed a lot of the old people that I worked with, like Russell Shaw, Mark Healey and Ian Wright, Kareem Ettouney, to come back and do one last gig. And it's incredible. There is a magic that we used to have, when we created Dungeon Keeper and Black and White and Fable, and that magic was completely intangible. It's not something you can produce. But it really feels that magic is back. And I'm not saying that to you to hype the game – I'm only saying so you get a perspective of how I'm feeling about the game. It should be impossible to make this game. It's all about player freedom, it's all about asking ourselves what a god game is, what it should be, and what it should stand for. But: it's f*cking working. It's coming together. If you can play the game, it is something that in my mind, feels – and again, these are words that play out in my mind, this is not me hyping the title – but it feels fresh, and different, and new, and it feels, above all, insanely brave. It's exactly what I wanted it to be: it's a marriage of Dungeon Keeper, and Black & White, and Fable, and it's all [of] that put together. And how the hell does that work? It's only now, really, in the last year, that I've dared to hope that this weird mixture of game mechanics can actually blend into something unique and different. When you're working again with all these previous collaborators, does it feel like it used to, or with time and experience, does the dynamic feel a little bit different? There is this trust. There is this overwhelming trust that you have. I'm not telling Mark [Healey] what to do; you don't tell Mark what to do, he is a genius. You just show him, and he does the rest. I don't say, 'we should have this type of music, or we should have these sound effects' with Russell Shaw; he just takes what I make and he adds his genius to it. And that dynamic, I didn't dare hope would work again, but it is working. We've got 24 people, because I love working with small teams. Then to work with other people on the team that I've worked with for ten years, to see them embrace this thing that we're creating, is just wonderful. I'm working harder now than I worked in my twenties. Every moment of every day is spent on the game, and thinking about it. But that sort of focus is what you need. Image credit: 22cans How does it feel to be in the weeds of designing a game now versus 20 or 30 years ago? It's funny you should ask that question, because there is this realisation that I had a while back. Journalists always ask me, 'you're working on an RTS one minute, you're working on a god game another minute, you're working on a roleplaying [game] another minute, where's the consistency?' I think I've realised that the consistency is the experience that the player has. What we're really trying to do is create an experience. And for me, that started back when we created a game called Magic Carpet, years and years ago. Let me give you an example of what I mean by an experience. At that time in the industry, Doom and Quake and Wolfenstein were around, and we had that tech to do an indoor shooter just like those. And we would've made a shitload of money, and maybe even created a franchise. But instead, my bastard and half-insane mind said, 'no. Let's not do that. Wouldn't it be fantastically cool to experience flying? Like, flying on a magic carpet? Okay, you shoot things, but [while] flying on a magic carpet.' That's when I first realised, I think, that for me as a designer, it's more about the player's experience than it is about the mechanics. Traditionally, if you're making an RTS game, the first thing you do as a designer is you write down all your units, work out your attack skills, and you have your design bible, and you give that to the programming team. That's not the way we approach it, and that's definitely not the way we approached it with Masters [of Albion], and we didn't approach it [that way] with Fable, or Black & White, or any of those games. So, the short answer to your question is, it feels so familiar to the way we used to work, and that is stumbling through the darkness looking for the daylight as you're developing the game. Trying things out, throwing things away, obsessing. Going, 'that's the heart of the game; no, actually that isn't the heart of the game, let's throw that away'. So in that sense it's incredibly familiar. It's very, very chaotic. Those people that we do employ who have worked elsewhere, after they've been working with us for a week, just look defeated. 'Tell me what to do, and I'll do it really well.' You miss the point: it's not what to do, it's how we embrace what [comes from that process]. You're launching the game in Early Access. How does the process of building a roadmap look for you, when you're very conscious of not overpromising? I think the real time for a roadmap is when you're in Early Access. I'm never going to lose this creative friction that happens, but if you've got a live product, and we have experience of this now, because we still have two live-service products [at 22cans] – Godus and Betrayal, which are both very successful. You can think creatively, and you absolutely should think creatively, but you've got to be a little bit more predictable, because you're no longer just throwing a schedule away, you're throwing away what people are anticipating. So I think the time for a roadmap, the time to be predictive about what we're releasing and share that with the community, that's soon coming up. The Dungeon Keeper and Black & White influences on Masters of Albion are really clear. Can you talk more about how the Fable influence manifests in the game? The way I think of it is like making a soup. I can put potatoes in, and I can put leeks in – and it's going to be a leek and potato soup. Then I can put strange other ingredients in, and it tastes like nothing I've ever tasted before. That's how I think about Masters of Albion. We have got bits from Dungeon Keeper; there's a core mechanic in the game that's absolutely inspired by Dungeon Keeper. We've got very visible things from Black & White, like the hand and reaching into the world, and this godlike feeling, caring for things and nurturing things, absolutely from Black & White. But Fable: that's where the main focus comes from, because the entire narrative, the entire world, the openness of the world, the freedom which Fable gave you as a player, absolutely is embraced [here fully]. We've just done some user tests – I shouldn't say any of this stuff – using a company over in America. And the first thing that came back is, 'oh my god, I'm playing Fable.' That was such a wonderful moment for me. That's what they said when they first started playing it. And then they said, 'no no, it doesn't remind me of Fable, it reminds me of Black & White.' It is a blend, but that blend, just like that soup analogy, is something new, fresh and different. GamesIndustry.biz is a media partner for Nordic Game 2025. Travel and accommodation were covered by the organisers.
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  • Meta hypes AI friends as social media’s future, but users want real connections

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    Meta hypes AI friends as social media’s future, but users want real connections

    Two visions for social media’s future pit real connections against AI friends.

    Ashley Belanger



    May 21, 2025 9:38 am

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    If you ask the man who has largely shaped how friends and family connect on social media over the past two decades about the future of social media, you may not get a straight answer.
    At the Federal Trade Commission's monopoly trial, Meta CEO Mark Zuckerberg attempted what seemed like an artful dodge to avoid criticism that his company allegedly bought out rivals Instagram and WhatsApp to lock users into Meta's family of apps so they would never post about their personal lives anywhere else. He testified that people actually engage with social media less often these days to connect with loved ones, preferring instead to discover entertaining content on platforms to share in private messages with friends and family.
    As Zuckerberg spins it, Meta no longer perceives much advantage in dominating the so-called personal social networking market where Facebook made its name and cemented what the FTC alleged is an illegal monopoly.
    "Mark Zuckerberg says social media is over," a New Yorker headline said about this testimony in a report noting a Meta chart that seemed to back up Zuckerberg's words. That chart, shared at the trial, showed the "percent of time spent viewing content posted by 'friends'" had declined over the past two years, from 22 to 17 percent on Facebook and from 11 to 7 percent on Instagram.
    Supposedly because of this trend, Zuckerberg testified that "it doesn't matter much" if someone's friends are on their preferred platform. Every platform has its own value as a discovery engine, Zuckerberg suggested. And Meta platforms increasingly compete on this new playing field against rivals like TikTok, Meta argued, while insisting that it's not so much focused on beating the FTC's flagged rivals in the connecting-friends-and-family business, Snap and MeWe.
    But while Zuckerberg claims that hosting that kind of content doesn't move the needle much anymore, owning the biggest platforms that people use daily to connect with friends and family obviously still matters to Meta, MeWe founder Mark Weinstein told Ars. And Meta's own press releases seem to back that up.

    Weeks ahead of Zuckerberg's testimony, Meta announced that it would bring back the "magic of friends," introducing a "friends" tab to Facebook to make user experiences more like the original Facebook. The company intentionally diluted feeds with creator content and ads for the past two years, but it now appears intent on trying to spark more real conversations between friends and family, at least partly to fuel its newly launched AI chatbots.
    Those chatbots mine personal information shared on Facebook and Instagram, and Meta wants to use that data to connect more personally with users—but "in a very creepy way," The Washington Post wrote. In interviews, Zuckerberg has suggested these AI friends could "meaningfully" fill the void of real friendship online, as the average person has only three friends but "has demand" for up to 15. To critics seeking to undo Meta's alleged monopoly, this latest move could signal a contradiction in Zuckerberg's testimony, showing that the company is so invested in keeping users on its platforms that it's now creating AI friendsto bait the loneliest among us into more engagement.
    "The average person wants more connectivity, connection, than they have," Zuckerberg said, hyping AI friends. For the Facebook founder, it must be hard to envision a future where his platforms aren't the answer to providing that basic social need. All this comes more than a decade after he sought billion in Facebook's 2012 initial public offering so that he could keep building tools that he told investors would expand "people's capacity to build and maintain relationships."
    At the trial, Zuckerberg testified that AI and augmented reality will be key fixtures of Meta's platforms in the future, predicting that "several years from now, you are going to be scrolling through your feed, and not only is it going to be sort of animated, but it will be interactive."

    Meta declined to comment further on the company's vision for social media's future. In a statement, a Meta spokesperson told Ars that "the FTC’s lawsuit against Meta defies reality," claiming that it threatens US leadership in AI and insisting that evidence at trial would establish that platforms like TikTok, YouTube, and X are Meta's true rivals.
    "More than 10 years after the FTC reviewed and cleared our acquisitions, the Commission’s action in this case sends the message that no deal is ever truly final," Meta's spokesperson said. "Regulators should be supporting American innovation rather than seeking to break up a great American company and further advantaging China on critical issues like AI.”

    Meta faces calls to open up its platforms
    Weinstein, the MeWe founder, told Ars that back in the 1990s when the original social media founders were planning the first community portals, "it was so beautiful because we didn't think about bots and trolls. We didn't think about data mining and surveillance capitalism. We thought about making the world a more connected and holistic place."
    But those who became social media overlords found more money in walled gardens and increasingly cut off attempts by outside developers to improve the biggest platforms' functionality or leverage their platforms to compete for their users' attention. Born of this era, Weinstein expects that Zuckerberg, and therefore Meta, will always cling to its friends-and-family roots, no matter which way Zuckerberg says the wind is blowing.
    Meta "is still entirely based on personal social networking," Weinstein told Ars.
    In a Newsweek op-ed, Weinstein explained that he left MeWe in 2021 after "competition became impossible" with Meta. It was a time when MeWe faced backlash over lax content moderation, drawing comparisons between its service and right-wing apps like Gab or Parler. Weinstein rejected those comparisons, seeing his platform as an ideal Facebook rival and remaining a board member through the app's more recent shift to decentralization. Still defending MeWe's failed efforts to beat Facebook, he submitted hundreds of documents and was deposed in the monopoly trial, alleging that Meta retaliated against MeWe as a privacy-focused rival that sought to woo users away by branding itself the "anti-Facebook."

    Among his complaints, Weinstein accused Meta of thwarting MeWe's attempts to introduce interoperability between the two platforms, which he thinks stems from a fear that users might leave Facebook if they discover a more appealing platform. That’s why he's urged the FTC—if it wins its monopoly case—to go beyond simply ordering a potential breakup of Facebook, Instagram, and WhatsApp to also require interoperability between Meta's platforms and all rivals. That may be the only way to force Meta to release its clutch on personal data collection, Weinstein suggested, and allow for more competition broadly in the social media industry.
    "The glue that holds it all together is Facebook’s monopoly over data," Weinstein wrote in a Wall Street Journal op-ed, recalling the moment he realized that Meta seemed to have an unbeatable monopoly. "Its ownership and control of the personal information of Facebook users and non-users alike is unmatched."
    Cory Doctorow, a special advisor to the Electronic Frontier Foundation, told Ars that his vision of a better social media future goes even further than requiring interoperability between all platforms. Social networks like Meta's should also be made to allow reverse engineering so that outside developers can modify their apps with third-party tools without risking legal attacks, he said.
    Doctorow said that solution would create "an equilibrium where companies are more incentivized to behave themselves than they are to cheat" by, say, retaliating against, killing off, or buying out rivals. And "if they fail to respond to that incentive and they cheat anyways, then the rest of the world still has a remedy," Doctorow said, by having the choice to modify or ditch any platform deemed toxic, invasive, manipulative, or otherwise offensive.
    Doctorow summed up the frustration that some users have faced through the ongoing "enshittification" of platformsever since platforms took over the Internet.

    "I'm 55 now, and I've gotten a lot less interested in how things work because I've had too many experiences with how things fail," Doctorow told Ars. "And I just want to make sure that if I'm on a service and it goes horribly wrong, I can leave."
    Social media haters wish OG platforms were doomed
    Weinstein pointed out that Meta's alleged monopoly impacts a group often left out of social media debates: non-users. And if you ask someone who hates social media what the future of social media should look like, they will not mince words: They want a way to opt out of all of it.
    As Meta's monopoly trial got underway, a personal blog post titled "No Instagram, no privacy" rose to the front page of Hacker News, prompting a discussion about social media norms and reasonable expectations for privacy in 2025.

    In the post, Wouter-Jan Leys, a privacy advocate, explained that he felt "blessed" to have "somehow escaped having an Instagram account," feeling no pressure to "update the abstract audience of everyone I ever connected with online on where I am, what I am doing, or who I am hanging out with."
    But despite never having an account, he's found that "you don’t have to be on Instagram to be on Instagram," complaining that "it bugs me" when friends seem to know "more about my life than I tell them" because of various friends' posts that mention or show images of him. In his blog, he defined privacy as "being in control of what other people know about you" and suggested that because of platforms like Instagram, he currently lacked this control. There should be some way to "fix or regulate this," Leys suggested, or maybe some universal "etiquette where it’s frowned upon to post about social gatherings to any audience beyond who already was at that gathering."

    On Hacker News, his post spurred a debate over one of the longest-running privacy questions swirling on social media: Is it OK to post about someone who abstains from social media?
    Some seeming social media fans scolded Leys for being so old-fashioned about social media, suggesting, "just live your life without being so bothered about offending other people" or saying that "the entire world doesn't have to be sanitized to meet individual people's preferences." Others seemed to better understand Leys' point of view, with one agreeing that "the problem is that our modern normslead to everyone sharing everything with a large social network."
    Surveying the lively thread, another social media hater joked, "I feel vindicated for my decision to entirely stay off of this drama machine."
    Leys told Ars that he would "absolutely" be in favor of personal social networks like Meta's platforms dying off or losing steam, as Zuckerberg suggested they already are. He thinks that the decline in personal post engagement that Meta is seeing is likely due to a combination of factors, where some users may prefer more privacy now after years of broadcasting their lives, and others may be tired of the pressure of building a personal brand or experiencing other "odd social dynamics."
    Setting user sentiments aside, Meta is also responsible for people engaging with fewer of their friends' posts. Meta announced that it would double the amount of force-fed filler in people's feeds on Instagram and Facebook starting in 2023. That's when the two-year span begins that Zuckerberg measured in testifying about the sudden drop-off in friends' content engagement.
    So while it's easy to say the market changed, Meta may be obscuring how much it shaped that shift. Degrading the newsfeed and changing Instagram's default post shape from square to rectangle seemingly significantly shifted Instagram social norms, for example, creating an environment where Gen Z users felt less comfortable posting as prolifically as millennials did when Instagram debuted, The New Yorker explained last year. Where once millennials painstakingly designed immaculate grids of individual eye-catching photos to seem cool online, Gen Z users told The New Yorker that posting a single photo now feels "humiliating" and like a "social risk."

    But rather than eliminate the impulse to post, this cultural shift has popularized a different form of personal posting: staggered photo dumps, where users wait to post a variety of photos together to sum up a month of events or curate a vibe, the trend piece explained. And Meta is clearly intent on fueling that momentum, doubling the maximum number of photos that users can feature in a single post to encourage even more social posting, The New Yorker noted.
    Brendan Benedict, an attorney for Benedict Law Group PLLC who has helped litigate big tech antitrust cases, is monitoring the FTC monopoly trial on a Substack called Big Tech on Trial. He told Ars that the evidence at the trial has shown that "consumers want more friends and family content, and Meta is belatedly trying to address this" with features like the "friends" tab, while claiming there's less interest in this content.
    Leys doesn't think social media—at least the way that Facebook defined it in the mid-2000s—will ever die, because people will never stop wanting social networks like Facebook or Instagram to stay connected with all their friends and family. But he could see a world where, if people ever started truly caring about privacy or "indeedtired of the social dynamics and personal brand-building... the kind of social media like Facebook and Instagram will have been a generational phenomenon, and they may not immediately bounce back," especially if it's easy to switch to other platforms that respond better to user preferences.
    He also agreed that requiring interoperability would likely lead to better social media products, but he maintained that "it would still not get me on Instagram."

    Interoperability shakes up social media
    Meta thought it may have already beaten the FTC's monopoly case, filing for a motion for summary judgment after the FTC rested its case in a bid to end the trial early. That dream was quickly dashed when the judge denied the motion days later. But no matter the outcome of the trial, Meta's influence over the social media world may be waning just as it's facing increasing pressure to open up its platforms more than ever.

    The FTC has alleged that Meta weaponized platform access early on, only allowing certain companies to interoperate and denying access to anyone perceived as a threat to its alleged monopoly power. That includes limiting promotions of Instagram to keep users engaged with Facebook Blue. A primary concern for Meta, the FTC claimed, was avoiding "training users to check multiple feeds," which might allow other apps to "cannibalize" its users.
    "Facebook has used this power to deter and suppress competitive threats to its personal social networking monopoly. In order to protect its monopoly, Facebook adopted and required developers to agree to conditional dealing policies that limited third-party apps’ ability to engage with Facebook rivals or to develop into rivals themselves," the FTC alleged.
    By 2011, the FTC alleged, then-Facebook had begun terminating API access to any developers that made it easier to export user data into a competing social network without Facebook's permission. That practice only ended when the UK parliament started calling out Facebook’s anticompetitive conduct toward app developers in 2018, the FTC alleged.
    According to the FTC, Meta continues "to this day" to "screen developers and can weaponize API access in ways that cement its dominance," and if scrutiny ever subsides, Meta is expected to return to such anticompetitive practices as the AI race heats up.
    One potential hurdle for Meta could be that the push for interoperability is not just coming from the FTC or lawmakers who recently reintroduced bipartisan legislation to end walled gardens. Doctorow told Ars that "huge public groundswells of mistrust and anger about excessive corporate power" that "cross political lines" are prompting global antitrust probes into big tech companies and are perhaps finally forcing a reckoning after years of degrading popular products to chase higher and higher revenues.

    For social media companies, mounting concerns about privacy and suspicions about content manipulation or censorship are driving public distrust, Doctorow said, as well as fears of surveillance capitalism. The latter includes theories that Doctorow is skeptical of. Weinstein embraced them, though, warning that platforms seem to be profiting off data without consent while brainwashing users.
    Allowing users to leave the platform without losing access to their friends, their social posts, and their messages might be the best way to incentivize Meta to either genuinely compete for billions of users or lose them forever as better options pop up that can plug into their networks.
    In his Newsweek op-ed, Weinstein suggested that web inventor Tim Berners-Lee has already invented a working protocol "to enable people to own, upload, download, and relocate their social graphs," which maps users' connections across platforms. That could be used to mitigate "the network effect" that locks users into platforms like Meta's "while interrupting unwanted data collection."
    At the same time, Doctorow told Ars that increasingly popular decentralized platforms like Bluesky and Mastodon already provide interoperability and are next looking into "building interoperable gateways" between their services. Doctorow said that communicating with other users across platforms may feel "awkward" at first, but ultimately, it may be like "having to find the diesel pump at the gas station" instead of the unleaded gas pump. "You'll still be going to the same gas station," Doctorow suggested.
    Opening up gateways into all platforms could be useful in the future, Doctorow suggested. Imagine if one platform goes down—it would no longer disrupt communications as drastically, as users could just pivot to communicate on another platform and reach the same audience. The same goes for platforms that users grow to distrust.

    The EFF supports regulators' attempts to pass well-crafted interoperability mandates, Doctorow said, noting that "if you have to worry about your users leaving, you generally have to treat them better."

    But would interoperability fix social media?
    The FTC has alleged that "Facebook’s dominant position in the US personal social networking market is durable due to significant entry barriers, including direct network effects and high switching costs."
    Meta disputes the FTC's complaint as outdated, arguing that its platform could be substituted by pretty much any social network.
    However, Guy Aridor, a co-author of a recent article called "The Economics of Social Media" in the Journal of Economic Literature, told Ars that dominant platforms are probably threatened by shifting social media trends and are likely to remain "resistant to interoperability" because "it’s in the interest of the platform to make switching and coordination costs high so that users are less likely to migrate away." For Meta, research shows its platforms' network effects have appeared to weaken somewhat but "clearly still exist" despite social media users increasingly seeking content on platforms rather than just socialization, Aridor said.
    Interoperability advocates believe it will make it easier for startups to compete with giants like Meta, which fight hard and sometimes seemingly dirty to keep users on their apps. Reintroducing the ACCESS Act, which requires platform compatibility to enable service switching, Senator Mark R. Warnersaid that "interoperability and portability are powerful tools to promote innovative new companies and limit anti-competitive behaviors." He's hoping that passing these "long-overdue requirements" will "boost competition and give consumers more power."
    Aridor told Ars it's obvious that "interoperability would clearly increase competition," but he still has questions about whether users would benefit from that competition "since one consistent theme is that these platforms are optimized to maximize engagement, and there’s numerous empirical evidence we have by now that engagement isn’t necessarily correlated with utility."

    Consider, Aridor suggested, how toxic content often leads to high engagement but lower user satisfaction, as MeWe experienced during its 2021 backlash.
    Aridor said there is currently "very little empirical evidence on the effects of interoperability," but theoretically, if it increased competition in the current climate, it would likely "push the market more toward supplying engaging entertainment-related content as opposed to friends and family type of content."
    Benedict told Ars that a remedy like interoperability would likely only be useful to combat Meta's alleged monopoly following a breakup, which he views as the "natural remedy" following a potential win in the FTC's lawsuit.
    Without the breakup and other meaningful reforms, a Meta win could preserve the status quo and see the company never open up its platforms, perhaps perpetuating Meta's influence over social media well into the future. And if Zuckerberg's vision comes to pass, instead of seeing what your friends are posting on interoperating platforms across the Internet, you may have a dozen AI friends trained on your real friends' behaviors sending you regular dopamine hits to keep you scrolling on Facebook or Instagram.
    Aridor's team's article suggested that, regardless of user preferences, social media remains a permanent fixture of society. If that's true, users could get stuck forever using whichever platforms connect them with the widest range of contacts.
    "While social media has continued to evolve, one thing that has not changed is that social media remains a central part of people’s lives," his team's article concluded.

    Ashley Belanger
    Senior Policy Reporter

    Ashley Belanger
    Senior Policy Reporter

    Ashley is a senior policy reporter for Ars Technica, dedicated to tracking social impacts of emerging policies and new technologies. She is a Chicago-based journalist with 20 years of experience.

    1 Comments
    #meta #hypes #friends #social #medias
    Meta hypes AI friends as social media’s future, but users want real connections
    Friend requests Meta hypes AI friends as social media’s future, but users want real connections Two visions for social media’s future pit real connections against AI friends. Ashley Belanger – May 21, 2025 9:38 am | 1 Credit: Aurich Lawson | Getty Images Credit: Aurich Lawson | Getty Images Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more If you ask the man who has largely shaped how friends and family connect on social media over the past two decades about the future of social media, you may not get a straight answer. At the Federal Trade Commission's monopoly trial, Meta CEO Mark Zuckerberg attempted what seemed like an artful dodge to avoid criticism that his company allegedly bought out rivals Instagram and WhatsApp to lock users into Meta's family of apps so they would never post about their personal lives anywhere else. He testified that people actually engage with social media less often these days to connect with loved ones, preferring instead to discover entertaining content on platforms to share in private messages with friends and family. As Zuckerberg spins it, Meta no longer perceives much advantage in dominating the so-called personal social networking market where Facebook made its name and cemented what the FTC alleged is an illegal monopoly. "Mark Zuckerberg says social media is over," a New Yorker headline said about this testimony in a report noting a Meta chart that seemed to back up Zuckerberg's words. That chart, shared at the trial, showed the "percent of time spent viewing content posted by 'friends'" had declined over the past two years, from 22 to 17 percent on Facebook and from 11 to 7 percent on Instagram. Supposedly because of this trend, Zuckerberg testified that "it doesn't matter much" if someone's friends are on their preferred platform. Every platform has its own value as a discovery engine, Zuckerberg suggested. And Meta platforms increasingly compete on this new playing field against rivals like TikTok, Meta argued, while insisting that it's not so much focused on beating the FTC's flagged rivals in the connecting-friends-and-family business, Snap and MeWe. But while Zuckerberg claims that hosting that kind of content doesn't move the needle much anymore, owning the biggest platforms that people use daily to connect with friends and family obviously still matters to Meta, MeWe founder Mark Weinstein told Ars. And Meta's own press releases seem to back that up. Weeks ahead of Zuckerberg's testimony, Meta announced that it would bring back the "magic of friends," introducing a "friends" tab to Facebook to make user experiences more like the original Facebook. The company intentionally diluted feeds with creator content and ads for the past two years, but it now appears intent on trying to spark more real conversations between friends and family, at least partly to fuel its newly launched AI chatbots. Those chatbots mine personal information shared on Facebook and Instagram, and Meta wants to use that data to connect more personally with users—but "in a very creepy way," The Washington Post wrote. In interviews, Zuckerberg has suggested these AI friends could "meaningfully" fill the void of real friendship online, as the average person has only three friends but "has demand" for up to 15. To critics seeking to undo Meta's alleged monopoly, this latest move could signal a contradiction in Zuckerberg's testimony, showing that the company is so invested in keeping users on its platforms that it's now creating AI friendsto bait the loneliest among us into more engagement. "The average person wants more connectivity, connection, than they have," Zuckerberg said, hyping AI friends. For the Facebook founder, it must be hard to envision a future where his platforms aren't the answer to providing that basic social need. All this comes more than a decade after he sought billion in Facebook's 2012 initial public offering so that he could keep building tools that he told investors would expand "people's capacity to build and maintain relationships." At the trial, Zuckerberg testified that AI and augmented reality will be key fixtures of Meta's platforms in the future, predicting that "several years from now, you are going to be scrolling through your feed, and not only is it going to be sort of animated, but it will be interactive." Meta declined to comment further on the company's vision for social media's future. In a statement, a Meta spokesperson told Ars that "the FTC’s lawsuit against Meta defies reality," claiming that it threatens US leadership in AI and insisting that evidence at trial would establish that platforms like TikTok, YouTube, and X are Meta's true rivals. "More than 10 years after the FTC reviewed and cleared our acquisitions, the Commission’s action in this case sends the message that no deal is ever truly final," Meta's spokesperson said. "Regulators should be supporting American innovation rather than seeking to break up a great American company and further advantaging China on critical issues like AI.” Meta faces calls to open up its platforms Weinstein, the MeWe founder, told Ars that back in the 1990s when the original social media founders were planning the first community portals, "it was so beautiful because we didn't think about bots and trolls. We didn't think about data mining and surveillance capitalism. We thought about making the world a more connected and holistic place." But those who became social media overlords found more money in walled gardens and increasingly cut off attempts by outside developers to improve the biggest platforms' functionality or leverage their platforms to compete for their users' attention. Born of this era, Weinstein expects that Zuckerberg, and therefore Meta, will always cling to its friends-and-family roots, no matter which way Zuckerberg says the wind is blowing. Meta "is still entirely based on personal social networking," Weinstein told Ars. In a Newsweek op-ed, Weinstein explained that he left MeWe in 2021 after "competition became impossible" with Meta. It was a time when MeWe faced backlash over lax content moderation, drawing comparisons between its service and right-wing apps like Gab or Parler. Weinstein rejected those comparisons, seeing his platform as an ideal Facebook rival and remaining a board member through the app's more recent shift to decentralization. Still defending MeWe's failed efforts to beat Facebook, he submitted hundreds of documents and was deposed in the monopoly trial, alleging that Meta retaliated against MeWe as a privacy-focused rival that sought to woo users away by branding itself the "anti-Facebook." Among his complaints, Weinstein accused Meta of thwarting MeWe's attempts to introduce interoperability between the two platforms, which he thinks stems from a fear that users might leave Facebook if they discover a more appealing platform. That’s why he's urged the FTC—if it wins its monopoly case—to go beyond simply ordering a potential breakup of Facebook, Instagram, and WhatsApp to also require interoperability between Meta's platforms and all rivals. That may be the only way to force Meta to release its clutch on personal data collection, Weinstein suggested, and allow for more competition broadly in the social media industry. "The glue that holds it all together is Facebook’s monopoly over data," Weinstein wrote in a Wall Street Journal op-ed, recalling the moment he realized that Meta seemed to have an unbeatable monopoly. "Its ownership and control of the personal information of Facebook users and non-users alike is unmatched." Cory Doctorow, a special advisor to the Electronic Frontier Foundation, told Ars that his vision of a better social media future goes even further than requiring interoperability between all platforms. Social networks like Meta's should also be made to allow reverse engineering so that outside developers can modify their apps with third-party tools without risking legal attacks, he said. Doctorow said that solution would create "an equilibrium where companies are more incentivized to behave themselves than they are to cheat" by, say, retaliating against, killing off, or buying out rivals. And "if they fail to respond to that incentive and they cheat anyways, then the rest of the world still has a remedy," Doctorow said, by having the choice to modify or ditch any platform deemed toxic, invasive, manipulative, or otherwise offensive. Doctorow summed up the frustration that some users have faced through the ongoing "enshittification" of platformsever since platforms took over the Internet. "I'm 55 now, and I've gotten a lot less interested in how things work because I've had too many experiences with how things fail," Doctorow told Ars. "And I just want to make sure that if I'm on a service and it goes horribly wrong, I can leave." Social media haters wish OG platforms were doomed Weinstein pointed out that Meta's alleged monopoly impacts a group often left out of social media debates: non-users. And if you ask someone who hates social media what the future of social media should look like, they will not mince words: They want a way to opt out of all of it. As Meta's monopoly trial got underway, a personal blog post titled "No Instagram, no privacy" rose to the front page of Hacker News, prompting a discussion about social media norms and reasonable expectations for privacy in 2025. In the post, Wouter-Jan Leys, a privacy advocate, explained that he felt "blessed" to have "somehow escaped having an Instagram account," feeling no pressure to "update the abstract audience of everyone I ever connected with online on where I am, what I am doing, or who I am hanging out with." But despite never having an account, he's found that "you don’t have to be on Instagram to be on Instagram," complaining that "it bugs me" when friends seem to know "more about my life than I tell them" because of various friends' posts that mention or show images of him. In his blog, he defined privacy as "being in control of what other people know about you" and suggested that because of platforms like Instagram, he currently lacked this control. There should be some way to "fix or regulate this," Leys suggested, or maybe some universal "etiquette where it’s frowned upon to post about social gatherings to any audience beyond who already was at that gathering." On Hacker News, his post spurred a debate over one of the longest-running privacy questions swirling on social media: Is it OK to post about someone who abstains from social media? Some seeming social media fans scolded Leys for being so old-fashioned about social media, suggesting, "just live your life without being so bothered about offending other people" or saying that "the entire world doesn't have to be sanitized to meet individual people's preferences." Others seemed to better understand Leys' point of view, with one agreeing that "the problem is that our modern normslead to everyone sharing everything with a large social network." Surveying the lively thread, another social media hater joked, "I feel vindicated for my decision to entirely stay off of this drama machine." Leys told Ars that he would "absolutely" be in favor of personal social networks like Meta's platforms dying off or losing steam, as Zuckerberg suggested they already are. He thinks that the decline in personal post engagement that Meta is seeing is likely due to a combination of factors, where some users may prefer more privacy now after years of broadcasting their lives, and others may be tired of the pressure of building a personal brand or experiencing other "odd social dynamics." Setting user sentiments aside, Meta is also responsible for people engaging with fewer of their friends' posts. Meta announced that it would double the amount of force-fed filler in people's feeds on Instagram and Facebook starting in 2023. That's when the two-year span begins that Zuckerberg measured in testifying about the sudden drop-off in friends' content engagement. So while it's easy to say the market changed, Meta may be obscuring how much it shaped that shift. Degrading the newsfeed and changing Instagram's default post shape from square to rectangle seemingly significantly shifted Instagram social norms, for example, creating an environment where Gen Z users felt less comfortable posting as prolifically as millennials did when Instagram debuted, The New Yorker explained last year. Where once millennials painstakingly designed immaculate grids of individual eye-catching photos to seem cool online, Gen Z users told The New Yorker that posting a single photo now feels "humiliating" and like a "social risk." But rather than eliminate the impulse to post, this cultural shift has popularized a different form of personal posting: staggered photo dumps, where users wait to post a variety of photos together to sum up a month of events or curate a vibe, the trend piece explained. And Meta is clearly intent on fueling that momentum, doubling the maximum number of photos that users can feature in a single post to encourage even more social posting, The New Yorker noted. Brendan Benedict, an attorney for Benedict Law Group PLLC who has helped litigate big tech antitrust cases, is monitoring the FTC monopoly trial on a Substack called Big Tech on Trial. He told Ars that the evidence at the trial has shown that "consumers want more friends and family content, and Meta is belatedly trying to address this" with features like the "friends" tab, while claiming there's less interest in this content. Leys doesn't think social media—at least the way that Facebook defined it in the mid-2000s—will ever die, because people will never stop wanting social networks like Facebook or Instagram to stay connected with all their friends and family. But he could see a world where, if people ever started truly caring about privacy or "indeedtired of the social dynamics and personal brand-building... the kind of social media like Facebook and Instagram will have been a generational phenomenon, and they may not immediately bounce back," especially if it's easy to switch to other platforms that respond better to user preferences. He also agreed that requiring interoperability would likely lead to better social media products, but he maintained that "it would still not get me on Instagram." Interoperability shakes up social media Meta thought it may have already beaten the FTC's monopoly case, filing for a motion for summary judgment after the FTC rested its case in a bid to end the trial early. That dream was quickly dashed when the judge denied the motion days later. But no matter the outcome of the trial, Meta's influence over the social media world may be waning just as it's facing increasing pressure to open up its platforms more than ever. The FTC has alleged that Meta weaponized platform access early on, only allowing certain companies to interoperate and denying access to anyone perceived as a threat to its alleged monopoly power. That includes limiting promotions of Instagram to keep users engaged with Facebook Blue. A primary concern for Meta, the FTC claimed, was avoiding "training users to check multiple feeds," which might allow other apps to "cannibalize" its users. "Facebook has used this power to deter and suppress competitive threats to its personal social networking monopoly. In order to protect its monopoly, Facebook adopted and required developers to agree to conditional dealing policies that limited third-party apps’ ability to engage with Facebook rivals or to develop into rivals themselves," the FTC alleged. By 2011, the FTC alleged, then-Facebook had begun terminating API access to any developers that made it easier to export user data into a competing social network without Facebook's permission. That practice only ended when the UK parliament started calling out Facebook’s anticompetitive conduct toward app developers in 2018, the FTC alleged. According to the FTC, Meta continues "to this day" to "screen developers and can weaponize API access in ways that cement its dominance," and if scrutiny ever subsides, Meta is expected to return to such anticompetitive practices as the AI race heats up. One potential hurdle for Meta could be that the push for interoperability is not just coming from the FTC or lawmakers who recently reintroduced bipartisan legislation to end walled gardens. Doctorow told Ars that "huge public groundswells of mistrust and anger about excessive corporate power" that "cross political lines" are prompting global antitrust probes into big tech companies and are perhaps finally forcing a reckoning after years of degrading popular products to chase higher and higher revenues. For social media companies, mounting concerns about privacy and suspicions about content manipulation or censorship are driving public distrust, Doctorow said, as well as fears of surveillance capitalism. The latter includes theories that Doctorow is skeptical of. Weinstein embraced them, though, warning that platforms seem to be profiting off data without consent while brainwashing users. Allowing users to leave the platform without losing access to their friends, their social posts, and their messages might be the best way to incentivize Meta to either genuinely compete for billions of users or lose them forever as better options pop up that can plug into their networks. In his Newsweek op-ed, Weinstein suggested that web inventor Tim Berners-Lee has already invented a working protocol "to enable people to own, upload, download, and relocate their social graphs," which maps users' connections across platforms. That could be used to mitigate "the network effect" that locks users into platforms like Meta's "while interrupting unwanted data collection." At the same time, Doctorow told Ars that increasingly popular decentralized platforms like Bluesky and Mastodon already provide interoperability and are next looking into "building interoperable gateways" between their services. Doctorow said that communicating with other users across platforms may feel "awkward" at first, but ultimately, it may be like "having to find the diesel pump at the gas station" instead of the unleaded gas pump. "You'll still be going to the same gas station," Doctorow suggested. Opening up gateways into all platforms could be useful in the future, Doctorow suggested. Imagine if one platform goes down—it would no longer disrupt communications as drastically, as users could just pivot to communicate on another platform and reach the same audience. The same goes for platforms that users grow to distrust. The EFF supports regulators' attempts to pass well-crafted interoperability mandates, Doctorow said, noting that "if you have to worry about your users leaving, you generally have to treat them better." But would interoperability fix social media? The FTC has alleged that "Facebook’s dominant position in the US personal social networking market is durable due to significant entry barriers, including direct network effects and high switching costs." Meta disputes the FTC's complaint as outdated, arguing that its platform could be substituted by pretty much any social network. However, Guy Aridor, a co-author of a recent article called "The Economics of Social Media" in the Journal of Economic Literature, told Ars that dominant platforms are probably threatened by shifting social media trends and are likely to remain "resistant to interoperability" because "it’s in the interest of the platform to make switching and coordination costs high so that users are less likely to migrate away." For Meta, research shows its platforms' network effects have appeared to weaken somewhat but "clearly still exist" despite social media users increasingly seeking content on platforms rather than just socialization, Aridor said. Interoperability advocates believe it will make it easier for startups to compete with giants like Meta, which fight hard and sometimes seemingly dirty to keep users on their apps. Reintroducing the ACCESS Act, which requires platform compatibility to enable service switching, Senator Mark R. Warnersaid that "interoperability and portability are powerful tools to promote innovative new companies and limit anti-competitive behaviors." He's hoping that passing these "long-overdue requirements" will "boost competition and give consumers more power." Aridor told Ars it's obvious that "interoperability would clearly increase competition," but he still has questions about whether users would benefit from that competition "since one consistent theme is that these platforms are optimized to maximize engagement, and there’s numerous empirical evidence we have by now that engagement isn’t necessarily correlated with utility." Consider, Aridor suggested, how toxic content often leads to high engagement but lower user satisfaction, as MeWe experienced during its 2021 backlash. Aridor said there is currently "very little empirical evidence on the effects of interoperability," but theoretically, if it increased competition in the current climate, it would likely "push the market more toward supplying engaging entertainment-related content as opposed to friends and family type of content." Benedict told Ars that a remedy like interoperability would likely only be useful to combat Meta's alleged monopoly following a breakup, which he views as the "natural remedy" following a potential win in the FTC's lawsuit. Without the breakup and other meaningful reforms, a Meta win could preserve the status quo and see the company never open up its platforms, perhaps perpetuating Meta's influence over social media well into the future. And if Zuckerberg's vision comes to pass, instead of seeing what your friends are posting on interoperating platforms across the Internet, you may have a dozen AI friends trained on your real friends' behaviors sending you regular dopamine hits to keep you scrolling on Facebook or Instagram. Aridor's team's article suggested that, regardless of user preferences, social media remains a permanent fixture of society. If that's true, users could get stuck forever using whichever platforms connect them with the widest range of contacts. "While social media has continued to evolve, one thing that has not changed is that social media remains a central part of people’s lives," his team's article concluded. Ashley Belanger Senior Policy Reporter Ashley Belanger Senior Policy Reporter Ashley is a senior policy reporter for Ars Technica, dedicated to tracking social impacts of emerging policies and new technologies. She is a Chicago-based journalist with 20 years of experience. 1 Comments #meta #hypes #friends #social #medias
    ARSTECHNICA.COM
    Meta hypes AI friends as social media’s future, but users want real connections
    Friend requests Meta hypes AI friends as social media’s future, but users want real connections Two visions for social media’s future pit real connections against AI friends. Ashley Belanger – May 21, 2025 9:38 am | 1 Credit: Aurich Lawson | Getty Images Credit: Aurich Lawson | Getty Images Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more If you ask the man who has largely shaped how friends and family connect on social media over the past two decades about the future of social media, you may not get a straight answer. At the Federal Trade Commission's monopoly trial, Meta CEO Mark Zuckerberg attempted what seemed like an artful dodge to avoid criticism that his company allegedly bought out rivals Instagram and WhatsApp to lock users into Meta's family of apps so they would never post about their personal lives anywhere else. He testified that people actually engage with social media less often these days to connect with loved ones, preferring instead to discover entertaining content on platforms to share in private messages with friends and family. As Zuckerberg spins it, Meta no longer perceives much advantage in dominating the so-called personal social networking market where Facebook made its name and cemented what the FTC alleged is an illegal monopoly. "Mark Zuckerberg says social media is over," a New Yorker headline said about this testimony in a report noting a Meta chart that seemed to back up Zuckerberg's words. That chart, shared at the trial, showed the "percent of time spent viewing content posted by 'friends'" had declined over the past two years, from 22 to 17 percent on Facebook and from 11 to 7 percent on Instagram. Supposedly because of this trend, Zuckerberg testified that "it doesn't matter much" if someone's friends are on their preferred platform. Every platform has its own value as a discovery engine, Zuckerberg suggested. And Meta platforms increasingly compete on this new playing field against rivals like TikTok, Meta argued, while insisting that it's not so much focused on beating the FTC's flagged rivals in the connecting-friends-and-family business, Snap and MeWe. But while Zuckerberg claims that hosting that kind of content doesn't move the needle much anymore, owning the biggest platforms that people use daily to connect with friends and family obviously still matters to Meta, MeWe founder Mark Weinstein told Ars. And Meta's own press releases seem to back that up. Weeks ahead of Zuckerberg's testimony, Meta announced that it would bring back the "magic of friends," introducing a "friends" tab to Facebook to make user experiences more like the original Facebook. The company intentionally diluted feeds with creator content and ads for the past two years, but it now appears intent on trying to spark more real conversations between friends and family, at least partly to fuel its newly launched AI chatbots. Those chatbots mine personal information shared on Facebook and Instagram, and Meta wants to use that data to connect more personally with users—but "in a very creepy way," The Washington Post wrote. In interviews, Zuckerberg has suggested these AI friends could "meaningfully" fill the void of real friendship online, as the average person has only three friends but "has demand" for up to 15. To critics seeking to undo Meta's alleged monopoly, this latest move could signal a contradiction in Zuckerberg's testimony, showing that the company is so invested in keeping users on its platforms that it's now creating AI friends (wh0 can never leave its platform) to bait the loneliest among us into more engagement. "The average person wants more connectivity, connection, than they have," Zuckerberg said, hyping AI friends. For the Facebook founder, it must be hard to envision a future where his platforms aren't the answer to providing that basic social need. All this comes more than a decade after he sought $5 billion in Facebook's 2012 initial public offering so that he could keep building tools that he told investors would expand "people's capacity to build and maintain relationships." At the trial, Zuckerberg testified that AI and augmented reality will be key fixtures of Meta's platforms in the future, predicting that "several years from now, you are going to be scrolling through your feed, and not only is it going to be sort of animated, but it will be interactive." Meta declined to comment further on the company's vision for social media's future. In a statement, a Meta spokesperson told Ars that "the FTC’s lawsuit against Meta defies reality," claiming that it threatens US leadership in AI and insisting that evidence at trial would establish that platforms like TikTok, YouTube, and X are Meta's true rivals. "More than 10 years after the FTC reviewed and cleared our acquisitions, the Commission’s action in this case sends the message that no deal is ever truly final," Meta's spokesperson said. "Regulators should be supporting American innovation rather than seeking to break up a great American company and further advantaging China on critical issues like AI.” Meta faces calls to open up its platforms Weinstein, the MeWe founder, told Ars that back in the 1990s when the original social media founders were planning the first community portals, "it was so beautiful because we didn't think about bots and trolls. We didn't think about data mining and surveillance capitalism. We thought about making the world a more connected and holistic place." But those who became social media overlords found more money in walled gardens and increasingly cut off attempts by outside developers to improve the biggest platforms' functionality or leverage their platforms to compete for their users' attention. Born of this era, Weinstein expects that Zuckerberg, and therefore Meta, will always cling to its friends-and-family roots, no matter which way Zuckerberg says the wind is blowing. Meta "is still entirely based on personal social networking," Weinstein told Ars. In a Newsweek op-ed, Weinstein explained that he left MeWe in 2021 after "competition became impossible" with Meta. It was a time when MeWe faced backlash over lax content moderation, drawing comparisons between its service and right-wing apps like Gab or Parler. Weinstein rejected those comparisons, seeing his platform as an ideal Facebook rival and remaining a board member through the app's more recent shift to decentralization. Still defending MeWe's failed efforts to beat Facebook, he submitted hundreds of documents and was deposed in the monopoly trial, alleging that Meta retaliated against MeWe as a privacy-focused rival that sought to woo users away by branding itself the "anti-Facebook." Among his complaints, Weinstein accused Meta of thwarting MeWe's attempts to introduce interoperability between the two platforms, which he thinks stems from a fear that users might leave Facebook if they discover a more appealing platform. That’s why he's urged the FTC—if it wins its monopoly case—to go beyond simply ordering a potential breakup of Facebook, Instagram, and WhatsApp to also require interoperability between Meta's platforms and all rivals. That may be the only way to force Meta to release its clutch on personal data collection, Weinstein suggested, and allow for more competition broadly in the social media industry. "The glue that holds it all together is Facebook’s monopoly over data," Weinstein wrote in a Wall Street Journal op-ed, recalling the moment he realized that Meta seemed to have an unbeatable monopoly. "Its ownership and control of the personal information of Facebook users and non-users alike is unmatched." Cory Doctorow, a special advisor to the Electronic Frontier Foundation, told Ars that his vision of a better social media future goes even further than requiring interoperability between all platforms. Social networks like Meta's should also be made to allow reverse engineering so that outside developers can modify their apps with third-party tools without risking legal attacks, he said. Doctorow said that solution would create "an equilibrium where companies are more incentivized to behave themselves than they are to cheat" by, say, retaliating against, killing off, or buying out rivals. And "if they fail to respond to that incentive and they cheat anyways, then the rest of the world still has a remedy," Doctorow said, by having the choice to modify or ditch any platform deemed toxic, invasive, manipulative, or otherwise offensive. Doctorow summed up the frustration that some users have faced through the ongoing "enshittification" of platforms (a term he coined) ever since platforms took over the Internet. "I'm 55 now, and I've gotten a lot less interested in how things work because I've had too many experiences with how things fail," Doctorow told Ars. "And I just want to make sure that if I'm on a service and it goes horribly wrong, I can leave." Social media haters wish OG platforms were doomed Weinstein pointed out that Meta's alleged monopoly impacts a group often left out of social media debates: non-users. And if you ask someone who hates social media what the future of social media should look like, they will not mince words: They want a way to opt out of all of it. As Meta's monopoly trial got underway, a personal blog post titled "No Instagram, no privacy" rose to the front page of Hacker News, prompting a discussion about social media norms and reasonable expectations for privacy in 2025. In the post, Wouter-Jan Leys, a privacy advocate, explained that he felt "blessed" to have "somehow escaped having an Instagram account," feeling no pressure to "update the abstract audience of everyone I ever connected with online on where I am, what I am doing, or who I am hanging out with." But despite never having an account, he's found that "you don’t have to be on Instagram to be on Instagram," complaining that "it bugs me" when friends seem to know "more about my life than I tell them" because of various friends' posts that mention or show images of him. In his blog, he defined privacy as "being in control of what other people know about you" and suggested that because of platforms like Instagram, he currently lacked this control. There should be some way to "fix or regulate this," Leys suggested, or maybe some universal "etiquette where it’s frowned upon to post about social gatherings to any audience beyond who already was at that gathering." On Hacker News, his post spurred a debate over one of the longest-running privacy questions swirling on social media: Is it OK to post about someone who abstains from social media? Some seeming social media fans scolded Leys for being so old-fashioned about social media, suggesting, "just live your life without being so bothered about offending other people" or saying that "the entire world doesn't have to be sanitized to meet individual people's preferences." Others seemed to better understand Leys' point of view, with one agreeing that "the problem is that our modern norms (and tech) lead to everyone sharing everything with a large social network." Surveying the lively thread, another social media hater joked, "I feel vindicated for my decision to entirely stay off of this drama machine." Leys told Ars that he would "absolutely" be in favor of personal social networks like Meta's platforms dying off or losing steam, as Zuckerberg suggested they already are. He thinks that the decline in personal post engagement that Meta is seeing is likely due to a combination of factors, where some users may prefer more privacy now after years of broadcasting their lives, and others may be tired of the pressure of building a personal brand or experiencing other "odd social dynamics." Setting user sentiments aside, Meta is also responsible for people engaging with fewer of their friends' posts. Meta announced that it would double the amount of force-fed filler in people's feeds on Instagram and Facebook starting in 2023. That's when the two-year span begins that Zuckerberg measured in testifying about the sudden drop-off in friends' content engagement. So while it's easy to say the market changed, Meta may be obscuring how much it shaped that shift. Degrading the newsfeed and changing Instagram's default post shape from square to rectangle seemingly significantly shifted Instagram social norms, for example, creating an environment where Gen Z users felt less comfortable posting as prolifically as millennials did when Instagram debuted, The New Yorker explained last year. Where once millennials painstakingly designed immaculate grids of individual eye-catching photos to seem cool online, Gen Z users told The New Yorker that posting a single photo now feels "humiliating" and like a "social risk." But rather than eliminate the impulse to post, this cultural shift has popularized a different form of personal posting: staggered photo dumps, where users wait to post a variety of photos together to sum up a month of events or curate a vibe, the trend piece explained. And Meta is clearly intent on fueling that momentum, doubling the maximum number of photos that users can feature in a single post to encourage even more social posting, The New Yorker noted. Brendan Benedict, an attorney for Benedict Law Group PLLC who has helped litigate big tech antitrust cases, is monitoring the FTC monopoly trial on a Substack called Big Tech on Trial. He told Ars that the evidence at the trial has shown that "consumers want more friends and family content, and Meta is belatedly trying to address this" with features like the "friends" tab, while claiming there's less interest in this content. Leys doesn't think social media—at least the way that Facebook defined it in the mid-2000s—will ever die, because people will never stop wanting social networks like Facebook or Instagram to stay connected with all their friends and family. But he could see a world where, if people ever started truly caring about privacy or "indeed [got] tired of the social dynamics and personal brand-building... the kind of social media like Facebook and Instagram will have been a generational phenomenon, and they may not immediately bounce back," especially if it's easy to switch to other platforms that respond better to user preferences. He also agreed that requiring interoperability would likely lead to better social media products, but he maintained that "it would still not get me on Instagram." Interoperability shakes up social media Meta thought it may have already beaten the FTC's monopoly case, filing for a motion for summary judgment after the FTC rested its case in a bid to end the trial early. That dream was quickly dashed when the judge denied the motion days later. But no matter the outcome of the trial, Meta's influence over the social media world may be waning just as it's facing increasing pressure to open up its platforms more than ever. The FTC has alleged that Meta weaponized platform access early on, only allowing certain companies to interoperate and denying access to anyone perceived as a threat to its alleged monopoly power. That includes limiting promotions of Instagram to keep users engaged with Facebook Blue. A primary concern for Meta (then Facebook), the FTC claimed, was avoiding "training users to check multiple feeds," which might allow other apps to "cannibalize" its users. "Facebook has used this power to deter and suppress competitive threats to its personal social networking monopoly. In order to protect its monopoly, Facebook adopted and required developers to agree to conditional dealing policies that limited third-party apps’ ability to engage with Facebook rivals or to develop into rivals themselves," the FTC alleged. By 2011, the FTC alleged, then-Facebook had begun terminating API access to any developers that made it easier to export user data into a competing social network without Facebook's permission. That practice only ended when the UK parliament started calling out Facebook’s anticompetitive conduct toward app developers in 2018, the FTC alleged. According to the FTC, Meta continues "to this day" to "screen developers and can weaponize API access in ways that cement its dominance," and if scrutiny ever subsides, Meta is expected to return to such anticompetitive practices as the AI race heats up. One potential hurdle for Meta could be that the push for interoperability is not just coming from the FTC or lawmakers who recently reintroduced bipartisan legislation to end walled gardens. Doctorow told Ars that "huge public groundswells of mistrust and anger about excessive corporate power" that "cross political lines" are prompting global antitrust probes into big tech companies and are perhaps finally forcing a reckoning after years of degrading popular products to chase higher and higher revenues. For social media companies, mounting concerns about privacy and suspicions about content manipulation or censorship are driving public distrust, Doctorow said, as well as fears of surveillance capitalism. The latter includes theories that Doctorow is skeptical of. Weinstein embraced them, though, warning that platforms seem to be profiting off data without consent while brainwashing users. Allowing users to leave the platform without losing access to their friends, their social posts, and their messages might be the best way to incentivize Meta to either genuinely compete for billions of users or lose them forever as better options pop up that can plug into their networks. In his Newsweek op-ed, Weinstein suggested that web inventor Tim Berners-Lee has already invented a working protocol "to enable people to own, upload, download, and relocate their social graphs," which maps users' connections across platforms. That could be used to mitigate "the network effect" that locks users into platforms like Meta's "while interrupting unwanted data collection." At the same time, Doctorow told Ars that increasingly popular decentralized platforms like Bluesky and Mastodon already provide interoperability and are next looking into "building interoperable gateways" between their services. Doctorow said that communicating with other users across platforms may feel "awkward" at first, but ultimately, it may be like "having to find the diesel pump at the gas station" instead of the unleaded gas pump. "You'll still be going to the same gas station," Doctorow suggested. Opening up gateways into all platforms could be useful in the future, Doctorow suggested. Imagine if one platform goes down—it would no longer disrupt communications as drastically, as users could just pivot to communicate on another platform and reach the same audience. The same goes for platforms that users grow to distrust. The EFF supports regulators' attempts to pass well-crafted interoperability mandates, Doctorow said, noting that "if you have to worry about your users leaving, you generally have to treat them better." But would interoperability fix social media? The FTC has alleged that "Facebook’s dominant position in the US personal social networking market is durable due to significant entry barriers, including direct network effects and high switching costs." Meta disputes the FTC's complaint as outdated, arguing that its platform could be substituted by pretty much any social network. However, Guy Aridor, a co-author of a recent article called "The Economics of Social Media" in the Journal of Economic Literature, told Ars that dominant platforms are probably threatened by shifting social media trends and are likely to remain "resistant to interoperability" because "it’s in the interest of the platform to make switching and coordination costs high so that users are less likely to migrate away." For Meta, research shows its platforms' network effects have appeared to weaken somewhat but "clearly still exist" despite social media users increasingly seeking content on platforms rather than just socialization, Aridor said. Interoperability advocates believe it will make it easier for startups to compete with giants like Meta, which fight hard and sometimes seemingly dirty to keep users on their apps. Reintroducing the ACCESS Act, which requires platform compatibility to enable service switching, Senator Mark R. Warner (D-Va.) said that "interoperability and portability are powerful tools to promote innovative new companies and limit anti-competitive behaviors." He's hoping that passing these "long-overdue requirements" will "boost competition and give consumers more power." Aridor told Ars it's obvious that "interoperability would clearly increase competition," but he still has questions about whether users would benefit from that competition "since one consistent theme is that these platforms are optimized to maximize engagement, and there’s numerous empirical evidence we have by now that engagement isn’t necessarily correlated with utility." Consider, Aridor suggested, how toxic content often leads to high engagement but lower user satisfaction, as MeWe experienced during its 2021 backlash. Aridor said there is currently "very little empirical evidence on the effects of interoperability," but theoretically, if it increased competition in the current climate, it would likely "push the market more toward supplying engaging entertainment-related content as opposed to friends and family type of content." Benedict told Ars that a remedy like interoperability would likely only be useful to combat Meta's alleged monopoly following a breakup, which he views as the "natural remedy" following a potential win in the FTC's lawsuit. Without the breakup and other meaningful reforms, a Meta win could preserve the status quo and see the company never open up its platforms, perhaps perpetuating Meta's influence over social media well into the future. And if Zuckerberg's vision comes to pass, instead of seeing what your friends are posting on interoperating platforms across the Internet, you may have a dozen AI friends trained on your real friends' behaviors sending you regular dopamine hits to keep you scrolling on Facebook or Instagram. Aridor's team's article suggested that, regardless of user preferences, social media remains a permanent fixture of society. If that's true, users could get stuck forever using whichever platforms connect them with the widest range of contacts. "While social media has continued to evolve, one thing that has not changed is that social media remains a central part of people’s lives," his team's article concluded. Ashley Belanger Senior Policy Reporter Ashley Belanger Senior Policy Reporter Ashley is a senior policy reporter for Ars Technica, dedicated to tracking social impacts of emerging policies and new technologies. She is a Chicago-based journalist with 20 years of experience. 1 Comments
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  • MindsEye’s Marketing Is a Complete Mess

    From an extensive line-up of fun indie games to incredible blockbusters, the consistent quality of releases this year is something to behold. If you haven’t gotten lost in the gorgeous world of Clair Obscur: Expedition 33 or discovered the brilliance of Cyrodiil in The Elder Scrolls 4: Oblivion Remastered, then maybe you experienced the Forza Horizon 5 and Indiana Jones and the Great Circle on PS5 for the first time. Such is the range of quality that I almost forgot about Like a Dragon: Pirate Yakuza in Hawaii, Dynasty Warriors Origins, and Steel Seed. The next six weeks will be even more enticing with Elden Ring Nightreign, Mario Kart World, and the long-awaited Death Stranding 2: On the Beach. The year’s second half is still TBD, with publishers doubtless scrambling to fill the void after Grand Theft Auto 6’s delay. However, with all the showcases coming in June, we could see several potential release date announcements. Amid all this hype, one game has seemingly slipped under the radar, made all the more bizarre by the time left before its release. We’re talking about MindsEye, an action-adventure title developed by Build a Rocket Boy, founded by Leslie Benzies of Rockstar North fame. It’s out June 10th for Xbox Series X/S, PS5, and PC, and the initial trailer gave the vibe of a GTA-coded playground with all the explosiveness and action to appeal to the franchise’s fans. Or at least those who only want the explosiveness and action because that’s more or less what the “reveal gameplay trailer” from February showcased. Lots of running around. Lots of blowing up cars with guns. Some driving. Some blowing up of cars while driving. Honestly, the amount of vehicular destruction is borderline concerning. Of course, the developer later clarified that the narrative is more linear than emergent or sandboxy. However, we’re a little over three weeks out from launch, and the only gameplay seen thus far has been that trailer and two recent gameplay teasers. One shows protagonist Jacob Diaz gunning down some enemies in a sequence more than a little reminiscent of Trevor attacking The Lost MC’s hideout in GTA 5. Eventually, he pursues them through the streets while a dust storm is in effect. The second teaser is longer but less exciting, showcasing some driving through Redrock City at night. No overview trailer. No walkthrough of a mission. Not even much by way of what makes the gameplay of MindsEye special or unique. It’s a marketing strategy garnering attention almost exclusively for its lack of marketing. This isn’t to say that Build a Rocket Boy isn’t advertising something different with MindsEye. You may remember the studio’s first announced project, Everywhere, an MMO more geared towards acting as a content platform where users can create and share different experiences. It also consists of a few districts, each with gameplay elements like racing and third-person shooting, while ARCADIA, its editor, lets you create different components. All of this attracted skepticism, especially given the controversy surrounding Metaverse-style games. If you watch its trailer from last year, it’s seemingly going for a Fortnite-style content platform experience. And MindsEye? It’s purportedly an experience within Everywhere developed by the studio, likely to showcase what ARCADIA is capable of. But it can also be modified to create different versions of MindsEye to mess around in. Associate game director Adam Whiting told Edge magazine likened it to Minecraft servers. “There are the official servers, but there are custom servers with wacky stuff. Maybe there’s a zombie apocalypse server you go on or one where they wipe the map of our story and characters and tell their own narrative using our tools.” There’s at least some potential, however small, of a sandbox-like experience kind of, sort of like GTA. There are also the bonus missions created with ARCADIA included in the Digital Deluxe Edition. So it’s possible, at least based on what Build a Rocket Boy is saying, to infuse MindsEye with more content to keep it going beyond the standard launch experience. How does it all work, at least in layman’s terms? Why isn’t the developer showcasing it in trailers or hyping up the same? It doesn’t seem like you need Everywhere to play MindsEye, seeing as it’s launching as a standalone product, but will that change down the line? To recap then: Not only does MindsEye not have any extensive official gameplay – and what we’ve seen thus far hardly seems all that special – but there’s an entire user-generated content side for it that Build a Rocket Boy hasn’t even touched on. Again, about three weeks out from launch. No pressure and all that, but if you’re charging for an experience, the least you could offer is more extensive details and gameplay. And no, shooting cars and watching them explode isn’t going to cut it. Of course, some would give the benefit of the doubt to Benzies. On top of being the former president of Rockstar North, the core developer behind the Grand Theft Auto titles – including the upcoming GTA 6 – he’s been involved in every single one of Rockstar’s biggest releases. A producer on every title in the series, starting from Grand Theft Auto 3. An executive producer on Max Payne 3 and L.A. Noire. A producer and game designer on Grand Theft Auto 5. At one point, Benzies was synonymous with Rockstar North almost as much as Dan Houser was with Rockstar as a whole. Maybe he’s earned some reprieve, given his illustrious history. However, remember that Grand Theft Auto 5, his last project, was released in 2013. Everywhere was announced in January 2017, starting development on Amazon’s Lumberyard engine before switching to Unreal Engine in 2020. It was slated to launch in 2023 but saw delays – in 2024, Build a Rocket Boy laid off an unknown number of employees. Though it began in Edinburgh, the developer has two other studios in Montpelier and Budapest. This isn’t implying that either project has seen development troubles, but with the long development cycle for Everywhere, you would expect a more concrete release window or assurance at this point. As for MindsEye, it was first teased in 2022, making it almost three years since. It’s possible that the developer won’t share anything until the final polishing stage. It could be going down to the wire, maybe announcing a last-minute delay if things don’t work out. The problem is that aside from these gameplay teasers and “narrative” trailers, which haven’t given us a reason to care about any of the characters, aside from that one dancing robot, there’s been very little communication from the studio this close to launch. It’s ironic considering how it touted this as a “meaningful, well-crafted story” or how the camera during high-speed driving would make you feel like you were in a Fast and Furious film. If that’s a tease for going into space at some point, it would be one of the few intriguing things in MindsEye. Finally, and I can’t emphasize this enough, not everyone sets out from the studio where they made their name to become a success. With all the talk around user-generated content, the launch of MindsEye may not be what defines it down the line. However, Build a Rocket Boy needs to detail what makes this a worthwhile experience on its own and fast. Note: The views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to, GamingBolt as an organization.
    #mindseyes #marketing #complete #mess
    MindsEye’s Marketing Is a Complete Mess
    From an extensive line-up of fun indie games to incredible blockbusters, the consistent quality of releases this year is something to behold. If you haven’t gotten lost in the gorgeous world of Clair Obscur: Expedition 33 or discovered the brilliance of Cyrodiil in The Elder Scrolls 4: Oblivion Remastered, then maybe you experienced the Forza Horizon 5 and Indiana Jones and the Great Circle on PS5 for the first time. Such is the range of quality that I almost forgot about Like a Dragon: Pirate Yakuza in Hawaii, Dynasty Warriors Origins, and Steel Seed. The next six weeks will be even more enticing with Elden Ring Nightreign, Mario Kart World, and the long-awaited Death Stranding 2: On the Beach. The year’s second half is still TBD, with publishers doubtless scrambling to fill the void after Grand Theft Auto 6’s delay. However, with all the showcases coming in June, we could see several potential release date announcements. Amid all this hype, one game has seemingly slipped under the radar, made all the more bizarre by the time left before its release. We’re talking about MindsEye, an action-adventure title developed by Build a Rocket Boy, founded by Leslie Benzies of Rockstar North fame. It’s out June 10th for Xbox Series X/S, PS5, and PC, and the initial trailer gave the vibe of a GTA-coded playground with all the explosiveness and action to appeal to the franchise’s fans. Or at least those who only want the explosiveness and action because that’s more or less what the “reveal gameplay trailer” from February showcased. Lots of running around. Lots of blowing up cars with guns. Some driving. Some blowing up of cars while driving. Honestly, the amount of vehicular destruction is borderline concerning. Of course, the developer later clarified that the narrative is more linear than emergent or sandboxy. However, we’re a little over three weeks out from launch, and the only gameplay seen thus far has been that trailer and two recent gameplay teasers. One shows protagonist Jacob Diaz gunning down some enemies in a sequence more than a little reminiscent of Trevor attacking The Lost MC’s hideout in GTA 5. Eventually, he pursues them through the streets while a dust storm is in effect. The second teaser is longer but less exciting, showcasing some driving through Redrock City at night. No overview trailer. No walkthrough of a mission. Not even much by way of what makes the gameplay of MindsEye special or unique. It’s a marketing strategy garnering attention almost exclusively for its lack of marketing. This isn’t to say that Build a Rocket Boy isn’t advertising something different with MindsEye. You may remember the studio’s first announced project, Everywhere, an MMO more geared towards acting as a content platform where users can create and share different experiences. It also consists of a few districts, each with gameplay elements like racing and third-person shooting, while ARCADIA, its editor, lets you create different components. All of this attracted skepticism, especially given the controversy surrounding Metaverse-style games. If you watch its trailer from last year, it’s seemingly going for a Fortnite-style content platform experience. And MindsEye? It’s purportedly an experience within Everywhere developed by the studio, likely to showcase what ARCADIA is capable of. But it can also be modified to create different versions of MindsEye to mess around in. Associate game director Adam Whiting told Edge magazine likened it to Minecraft servers. “There are the official servers, but there are custom servers with wacky stuff. Maybe there’s a zombie apocalypse server you go on or one where they wipe the map of our story and characters and tell their own narrative using our tools.” There’s at least some potential, however small, of a sandbox-like experience kind of, sort of like GTA. There are also the bonus missions created with ARCADIA included in the Digital Deluxe Edition. So it’s possible, at least based on what Build a Rocket Boy is saying, to infuse MindsEye with more content to keep it going beyond the standard launch experience. How does it all work, at least in layman’s terms? Why isn’t the developer showcasing it in trailers or hyping up the same? It doesn’t seem like you need Everywhere to play MindsEye, seeing as it’s launching as a standalone product, but will that change down the line? To recap then: Not only does MindsEye not have any extensive official gameplay – and what we’ve seen thus far hardly seems all that special – but there’s an entire user-generated content side for it that Build a Rocket Boy hasn’t even touched on. Again, about three weeks out from launch. No pressure and all that, but if you’re charging for an experience, the least you could offer is more extensive details and gameplay. And no, shooting cars and watching them explode isn’t going to cut it. Of course, some would give the benefit of the doubt to Benzies. On top of being the former president of Rockstar North, the core developer behind the Grand Theft Auto titles – including the upcoming GTA 6 – he’s been involved in every single one of Rockstar’s biggest releases. A producer on every title in the series, starting from Grand Theft Auto 3. An executive producer on Max Payne 3 and L.A. Noire. A producer and game designer on Grand Theft Auto 5. At one point, Benzies was synonymous with Rockstar North almost as much as Dan Houser was with Rockstar as a whole. Maybe he’s earned some reprieve, given his illustrious history. However, remember that Grand Theft Auto 5, his last project, was released in 2013. Everywhere was announced in January 2017, starting development on Amazon’s Lumberyard engine before switching to Unreal Engine in 2020. It was slated to launch in 2023 but saw delays – in 2024, Build a Rocket Boy laid off an unknown number of employees. Though it began in Edinburgh, the developer has two other studios in Montpelier and Budapest. This isn’t implying that either project has seen development troubles, but with the long development cycle for Everywhere, you would expect a more concrete release window or assurance at this point. As for MindsEye, it was first teased in 2022, making it almost three years since. It’s possible that the developer won’t share anything until the final polishing stage. It could be going down to the wire, maybe announcing a last-minute delay if things don’t work out. The problem is that aside from these gameplay teasers and “narrative” trailers, which haven’t given us a reason to care about any of the characters, aside from that one dancing robot, there’s been very little communication from the studio this close to launch. It’s ironic considering how it touted this as a “meaningful, well-crafted story” or how the camera during high-speed driving would make you feel like you were in a Fast and Furious film. If that’s a tease for going into space at some point, it would be one of the few intriguing things in MindsEye. Finally, and I can’t emphasize this enough, not everyone sets out from the studio where they made their name to become a success. With all the talk around user-generated content, the launch of MindsEye may not be what defines it down the line. However, Build a Rocket Boy needs to detail what makes this a worthwhile experience on its own and fast. Note: The views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to, GamingBolt as an organization. #mindseyes #marketing #complete #mess
    GAMINGBOLT.COM
    MindsEye’s Marketing Is a Complete Mess
    From an extensive line-up of fun indie games to incredible blockbusters, the consistent quality of releases this year is something to behold. If you haven’t gotten lost in the gorgeous world of Clair Obscur: Expedition 33 or discovered the brilliance of Cyrodiil in The Elder Scrolls 4: Oblivion Remastered, then maybe you experienced the Forza Horizon 5 and Indiana Jones and the Great Circle on PS5 for the first time. Such is the range of quality that I almost forgot about Like a Dragon: Pirate Yakuza in Hawaii, Dynasty Warriors Origins, and Steel Seed. The next six weeks will be even more enticing with Elden Ring Nightreign, Mario Kart World (and the Switch 2 launch), and the long-awaited Death Stranding 2: On the Beach. The year’s second half is still TBD, with publishers doubtless scrambling to fill the void after Grand Theft Auto 6’s delay. However, with all the showcases coming in June, we could see several potential release date announcements. Amid all this hype, one game has seemingly slipped under the radar, made all the more bizarre by the time left before its release. We’re talking about MindsEye, an action-adventure title developed by Build a Rocket Boy, founded by Leslie Benzies of Rockstar North fame. It’s out June 10th for Xbox Series X/S, PS5, and PC, and the initial trailer gave the vibe of a GTA-coded playground with all the explosiveness and action to appeal to the franchise’s fans. Or at least those who only want the explosiveness and action because that’s more or less what the “reveal gameplay trailer” from February showcased. Lots of running around. Lots of blowing up cars with guns. Some driving. Some blowing up of cars while driving. Honestly, the amount of vehicular destruction is borderline concerning. Of course, the developer later clarified that the narrative is more linear than emergent or sandboxy. However, we’re a little over three weeks out from launch, and the only gameplay seen thus far has been that trailer and two recent gameplay teasers. One shows protagonist Jacob Diaz gunning down some enemies in a sequence more than a little reminiscent of Trevor attacking The Lost MC’s hideout in GTA 5. Eventually, he pursues them through the streets while a dust storm is in effect. The second teaser is longer but less exciting, showcasing some driving through Redrock City at night. No overview trailer. No walkthrough of a mission. Not even much by way of what makes the gameplay of MindsEye special or unique. It’s a marketing strategy garnering attention almost exclusively for its lack of marketing. This isn’t to say that Build a Rocket Boy isn’t advertising something different with MindsEye. You may remember the studio’s first announced project, Everywhere, an MMO more geared towards acting as a content platform where users can create and share different experiences. It also consists of a few districts, each with gameplay elements like racing and third-person shooting, while ARCADIA, its editor, lets you create different components. All of this attracted skepticism, especially given the controversy surrounding Metaverse-style games. If you watch its trailer from last year, it’s seemingly going for a Fortnite-style content platform experience. And MindsEye? It’s purportedly an experience within Everywhere developed by the studio, likely to showcase what ARCADIA is capable of. But it can also be modified to create different versions of MindsEye to mess around in. Associate game director Adam Whiting told Edge magazine likened it to Minecraft servers. “There are the official servers, but there are custom servers with wacky stuff. Maybe there’s a zombie apocalypse server you go on or one where they wipe the map of our story and characters and tell their own narrative using our tools.” There’s at least some potential, however small, of a sandbox-like experience kind of, sort of like GTA (but not really). There are also the bonus missions created with ARCADIA included in the Digital Deluxe Edition. So it’s possible, at least based on what Build a Rocket Boy is saying, to infuse MindsEye with more content to keep it going beyond the standard launch experience. How does it all work, at least in layman’s terms? Why isn’t the developer showcasing it in trailers or hyping up the same? It doesn’t seem like you need Everywhere to play MindsEye, seeing as it’s launching as a standalone product, but will that change down the line? To recap then: Not only does MindsEye not have any extensive official gameplay – and what we’ve seen thus far hardly seems all that special – but there’s an entire user-generated content side for it that Build a Rocket Boy hasn’t even touched on. Again, about three weeks out from launch. No pressure and all that, but if you’re charging $60 for an experience, the least you could offer is more extensive details and gameplay. And no, shooting cars and watching them explode isn’t going to cut it. Of course, some would give the benefit of the doubt to Benzies. On top of being the former president of Rockstar North, the core developer behind the Grand Theft Auto titles – including the upcoming GTA 6 – he’s been involved in every single one of Rockstar’s biggest releases. A producer on every title in the series, starting from Grand Theft Auto 3. An executive producer on Max Payne 3 and L.A. Noire. A producer and game designer on Grand Theft Auto 5. At one point, Benzies was synonymous with Rockstar North almost as much as Dan Houser was with Rockstar as a whole. Maybe he’s earned some reprieve, given his illustrious history. However, remember that Grand Theft Auto 5, his last project, was released in 2013. Everywhere was announced in January 2017, starting development on Amazon’s Lumberyard engine before switching to Unreal Engine in 2020. It was slated to launch in 2023 but saw delays – in 2024, Build a Rocket Boy laid off an unknown number of employees. Though it began in Edinburgh, the developer has two other studios in Montpelier and Budapest. This isn’t implying that either project has seen development troubles, but with the long development cycle for Everywhere, you would expect a more concrete release window or assurance at this point. As for MindsEye, it was first teased in 2022, making it almost three years since. It’s possible that the developer won’t share anything until the final polishing stage. It could be going down to the wire, maybe announcing a last-minute delay if things don’t work out. The problem is that aside from these gameplay teasers and “narrative” trailers, which haven’t given us a reason to care about any of the characters, aside from that one dancing robot, there’s been very little communication from the studio this close to launch. It’s ironic considering how it touted this as a “meaningful, well-crafted story” or how the camera during high-speed driving would make you feel like you were in a Fast and Furious film. If that’s a tease for going into space at some point, it would be one of the few intriguing things in MindsEye. Finally, and I can’t emphasize this enough, not everyone sets out from the studio where they made their name to become a success. With all the talk around user-generated content, the launch of MindsEye may not be what defines it down the line. However, Build a Rocket Boy needs to detail what makes this a worthwhile experience on its own and fast. Note: The views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to, GamingBolt as an organization.
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  • We Spoke to Is This a 3D Model? About AI, 3D Modeling & The Goal of Their Twitter Page
    Could you please share a few words about yourself and your artistic background?Is This a 3D Model?: I think the best word to describe myself is "Teapot," because that is what I am, but I'd also say I'm a "3D model lover," because I am also that.
    I am a self-taught professional 3D Artist, and I am most proficient in ZBrush and 3ds Max.
    Have I mentioned I love 3D models? I just think they're so neat!Back when the so-called "AI-boom" kicked off in mid-2022, many artists were initially optimistic about the concept, what was your reaction when the first text-to-image AIs started popping up?Is This a 3D Model?: My first reaction to the "AI-boom" was, "These are not 3D models, so who even cares?" But I tried many tools such as Midjourney, Stable Diffusion, DALL-E, and was consistently underwhelmed by the results.
    I found much better inspiration and ideas by looking up artists' work online.
    I've tried many times to "adapt AI into my workflow," but I often found it made my workflow worse, both quality and productivity-wise.
    So now I call it out for what it is – stinky!Were you among those whose opinion on generative artificial intelligence changed over time, or were you anti-AI from the beginning? When would you say most creators started to recognize the unfair practices and overall shady behavior of AI companies and their language models?Is This a 3D Model?: I always hated how companies collected people's work without permission, and I always laughed at AI bros who pretended to be fine artists because they typed a prompt! But in the beginning, I thought the tech had more promise and potential.As time went on, I tried it more and didn't see much value in it.
    To this day, there is very little it can actually help me with (and I still try).
    I also observed many instances of shady behavior from AI companies, they act very sus on Twitter.
    And can you believe, some of these gen-3D companies have the nerve to call a model "high quality" when it looks terrible? Like, c'mon man, have you looked at a 3D model at any point in the last few years? Totally embarrassing!I might be mistaken here, but I think the first instance of mass protests against AI took place in December 2022 with the "Say No to AI Images" movement on ArtStation.
    What were your thoughts as that protest unfolded? In your opinion, are such online campaigns effective or not?Is This a 3D Model?: I thought the protest was rad! I even uploaded a "No AI" Image on my personal portfolio when it happened.
    I don't know if banning AI entirely will ever be possible, but ArtStation was being a total butt and could have done a better job allowing users to filter AI out or report people who are misrepresenting their skill sets.
    It is a professional portfolio site after all.Let's talk about Is This a 3D Model?, when was the page created? What first inspired you to start it? What goal do you ultimately want to achieve with your work?Is This a 3D Model?: This Twitter page started as a joke about a year ago.
    Whenever I would post negative comments on AI on my main 3D art account, AI bros would show up in my comments with some weird Midjourney images and try to tell me "give up, bro, it's over for you!" However, because AI bros don't know much about art, technology, or, well, anything, I would politely inform them that what they posted was not a 3D model.Over time, this became very frequent for people to post "3D modeling workflows of the future," where the final result was not a 3D model.
    I decided someone needed to take a stand for all the poor, defenseless 3D models out there!As the page grew, I decided I wanted to use it more to highlight the great work 3D Artists are doing and trying to make more "yes" posts than "no" posts.
    I hope to call out a lot more of these bad workflows that AI accounts are trying to promote as "the future" and encourage more 3D Artists to stay on the course and learn valuable skills.
    There are a lot of forces discouraging people from creating art these days.
    But I truly think genAI is not as capable as it's being made out to be, and all this does is prevent more people from discovering the joy of creation.
    And that is lame!How do you make sure you're answering the "Is this a 3D model?" question correctly for dozens of projects each week?Is This a 3D Model?: It's actually a lot easier than you think in most cases! I usually check the source, if the poster has an art portfolio, pretty safe bet it's a 3D model – AI bros don't have art portfolios.
    Also, when you've looked at 3D work for a long time, sometimes you can just develop the eye and tell! Can you see the faceted edges around the shape? Does it look suspiciously overly polished with no attention to literally any details? Are they calling it 3D but posting a Midjourney SREF? I think some of the ones I've classified that are the most surprising are ones that try to create the vibe of N64 games, and I suspect people are either too young to know what N64 games actually look like or just forgot.Based on your experience running the Is This a 3D Model? page, could you please share a brief guide our readers can use to confidently tell whether a given project is truly 3D? What specific signs should we look out for to be sure?Is This a 3D Model?: We implement something called the SIP method (Get it? Like sipping tea? I didn't just make this up for this interview, I promise):Source: Who is posting it? Do they look like a 3D Artist? Do they have a portfolio? Or do they mostly post Midjourney images or 3-second video clips of people talking with robot voices and explosions?Investigate: Look at the image! Can you see weird AI artifacts that make no sense? Can you see faceted edges? Does it look like a consistent 3D model with a well-executed idea?Polygons: If all else fails, can you find a screenshot of the topology? It won't exist with AI images.
    And if you can, does it make any sense? Some people even make fake wireframes with AI, I've attached a great example of that below.
    While this may look like a 3D wireframe, if you look closely, the details don't make sense.
    Why is a simple cylindrical cup so messy? Why do the trucks on the shirt turn into a drawing? It's all because an AI Image generator made a JPG of a wireframe.
    How silly!Usually, using one or all of these techniques, you can determine pretty quickly if what you're looking at is a safe, lovely 3D model or gross, yucky AI.Regarding the digital art industry as a whole, who would you say are the worst offenders – be it AI developers, companies, individuals, art platforms, you name it – on the matter of AI?Is This a 3D Model?: A lot of companies have sadly succumbed to the AI fad, be it fearmongering or overhyping.
    The worst offenders by far are the companies developing these AI products.
    They often don't even pretend to be professional companies and do all sorts of weird things.
    There is one generative 3D company where the owner resorts to posting fake endorsement comments all over Reddit.
    Embarassing!The second worst are all the grifters on Twitter who just post "Hollywood is Dead Part 85" over and over again.
    If AI is so good, you all wouldn't need to post so much slop! For the Is This a 3D Model family personally, I have to say one of the biggest offenders is some guy who compared our account to nazis because I said "no" on one of their posts.
    Wild!AI is, unfortunately, everywhere, but artists are also everywhere.
    Seek out the many talented 2D and 3D Artists on all the platforms and fill your feed with them! The majority of artists don't use AI and for a good reason.
    Pretty soon, your feed will be full of lovely art and 3D models, and you'll have brief moments where you forget AI slop even exists!Lastly, what are your hopes for digital art going forward? How do you think the industry will look in, let's say, 5-10 years? What can we all do to combat the spread of generative AI?Is This a 3D Model?: I would like to end this on a message of hope.
    While a lot of jobs will be impacted in the short term, I think in 5-10 years, the limitations of AI tools will be much more well-known than they are today.
    I also think AI will plateau at a certain look and style that people are already getting sick of today.
    A lot of companies that rudely get rid of artists will quickly realize they got scammed by AI companies, and they still need those artists because AI will fall short in many ways.
    Plus, many companies simply won't want their video games or their commercials to look like the weird slop plaguing Facebook.The best thing we can do moving forward is to keep focusing on the skills that matter.
    Learn art fundamentals, drawing, sculpting, anatomy, color theory, and, of course, 3D modeling! Don't listen to "adapt or get left behind!" AI tools are designed for babies! If you spend your time grinding your art skills and developing your artistic eye, even if you are one day forced to use AI tools, you will be the most qualified to use them.
    Does anyone really think in 5-10 years, "prompt engineering skills" will still exist? Puh-LEASE.
    Using an AI is already as easy as googling, and it will just get easier.
    People will always want people who are competent and know what they're doing, and the best way you can do that is by showing you've got your own skills!Art is a historically challenging field for anyone.
    It always has been! The only way you'll make it is by working hard at it, challenging yourself, and not letting yourself get discouraged.
    I always recommend people to have backup plans and figure out what a viable career path is.
    This was important even before AI.I was one of those people who gave up on art jobs, I never thought I'd have one.
    Thought it was too competitive and focused on a different career entirely.
    But I kept doing 3D as a hobby because I LOVE POLYGONS.
    I would dedicate time every night to work in ZBrush for fun, and now I'm a professional 3D Artist! Part of why I run this account is that I know what it's like to be discouraged from pursuing art.
    And I know if I ever extinguished that flame, I wouldn't be living my dream right now.
    I hope one day in 5-10 years someone reading this today can say this motivated them to put in the time and effort to become an incredible artist, despite all the naysayers, and got one of those jobs that supposedly wasn't going to exist anymore!Is This a 3D Model, 3D ArtistInterview conducted by Theodore McKenzie
    Source: https://80.lv/articles/we-spoke-to-is-this-a-3d-model-about-ai-3d-modeling-the-goal-of-their-twitter-page/" style="color: #0066cc;">https://80.lv/articles/we-spoke-to-is-this-a-3d-model-about-ai-3d-modeling-the-goal-of-their-twitter-page/
    #spoke #this #model #about #modeling #ampamp #the #goal #their #twitter #page
    We Spoke to Is This a 3D Model? About AI, 3D Modeling & The Goal of Their Twitter Page
    Could you please share a few words about yourself and your artistic background?Is This a 3D Model?: I think the best word to describe myself is "Teapot," because that is what I am, but I'd also say I'm a "3D model lover," because I am also that. I am a self-taught professional 3D Artist, and I am most proficient in ZBrush and 3ds Max. Have I mentioned I love 3D models? I just think they're so neat!Back when the so-called "AI-boom" kicked off in mid-2022, many artists were initially optimistic about the concept, what was your reaction when the first text-to-image AIs started popping up?Is This a 3D Model?: My first reaction to the "AI-boom" was, "These are not 3D models, so who even cares?" But I tried many tools such as Midjourney, Stable Diffusion, DALL-E, and was consistently underwhelmed by the results. I found much better inspiration and ideas by looking up artists' work online. I've tried many times to "adapt AI into my workflow," but I often found it made my workflow worse, both quality and productivity-wise. So now I call it out for what it is – stinky!Were you among those whose opinion on generative artificial intelligence changed over time, or were you anti-AI from the beginning? When would you say most creators started to recognize the unfair practices and overall shady behavior of AI companies and their language models?Is This a 3D Model?: I always hated how companies collected people's work without permission, and I always laughed at AI bros who pretended to be fine artists because they typed a prompt! But in the beginning, I thought the tech had more promise and potential.As time went on, I tried it more and didn't see much value in it. To this day, there is very little it can actually help me with (and I still try). I also observed many instances of shady behavior from AI companies, they act very sus on Twitter. And can you believe, some of these gen-3D companies have the nerve to call a model "high quality" when it looks terrible? Like, c'mon man, have you looked at a 3D model at any point in the last few years? Totally embarrassing!I might be mistaken here, but I think the first instance of mass protests against AI took place in December 2022 with the "Say No to AI Images" movement on ArtStation. What were your thoughts as that protest unfolded? In your opinion, are such online campaigns effective or not?Is This a 3D Model?: I thought the protest was rad! I even uploaded a "No AI" Image on my personal portfolio when it happened. I don't know if banning AI entirely will ever be possible, but ArtStation was being a total butt and could have done a better job allowing users to filter AI out or report people who are misrepresenting their skill sets. It is a professional portfolio site after all.Let's talk about Is This a 3D Model?, when was the page created? What first inspired you to start it? What goal do you ultimately want to achieve with your work?Is This a 3D Model?: This Twitter page started as a joke about a year ago. Whenever I would post negative comments on AI on my main 3D art account, AI bros would show up in my comments with some weird Midjourney images and try to tell me "give up, bro, it's over for you!" However, because AI bros don't know much about art, technology, or, well, anything, I would politely inform them that what they posted was not a 3D model.Over time, this became very frequent for people to post "3D modeling workflows of the future," where the final result was not a 3D model. I decided someone needed to take a stand for all the poor, defenseless 3D models out there!As the page grew, I decided I wanted to use it more to highlight the great work 3D Artists are doing and trying to make more "yes" posts than "no" posts. I hope to call out a lot more of these bad workflows that AI accounts are trying to promote as "the future" and encourage more 3D Artists to stay on the course and learn valuable skills. There are a lot of forces discouraging people from creating art these days. But I truly think genAI is not as capable as it's being made out to be, and all this does is prevent more people from discovering the joy of creation. And that is lame!How do you make sure you're answering the "Is this a 3D model?" question correctly for dozens of projects each week?Is This a 3D Model?: It's actually a lot easier than you think in most cases! I usually check the source, if the poster has an art portfolio, pretty safe bet it's a 3D model – AI bros don't have art portfolios. Also, when you've looked at 3D work for a long time, sometimes you can just develop the eye and tell! Can you see the faceted edges around the shape? Does it look suspiciously overly polished with no attention to literally any details? Are they calling it 3D but posting a Midjourney SREF? I think some of the ones I've classified that are the most surprising are ones that try to create the vibe of N64 games, and I suspect people are either too young to know what N64 games actually look like or just forgot.Based on your experience running the Is This a 3D Model? page, could you please share a brief guide our readers can use to confidently tell whether a given project is truly 3D? What specific signs should we look out for to be sure?Is This a 3D Model?: We implement something called the SIP method (Get it? Like sipping tea? I didn't just make this up for this interview, I promise):Source: Who is posting it? Do they look like a 3D Artist? Do they have a portfolio? Or do they mostly post Midjourney images or 3-second video clips of people talking with robot voices and explosions?Investigate: Look at the image! Can you see weird AI artifacts that make no sense? Can you see faceted edges? Does it look like a consistent 3D model with a well-executed idea?Polygons: If all else fails, can you find a screenshot of the topology? It won't exist with AI images. And if you can, does it make any sense? Some people even make fake wireframes with AI, I've attached a great example of that below. While this may look like a 3D wireframe, if you look closely, the details don't make sense. Why is a simple cylindrical cup so messy? Why do the trucks on the shirt turn into a drawing? It's all because an AI Image generator made a JPG of a wireframe. How silly!Usually, using one or all of these techniques, you can determine pretty quickly if what you're looking at is a safe, lovely 3D model or gross, yucky AI.Regarding the digital art industry as a whole, who would you say are the worst offenders – be it AI developers, companies, individuals, art platforms, you name it – on the matter of AI?Is This a 3D Model?: A lot of companies have sadly succumbed to the AI fad, be it fearmongering or overhyping. The worst offenders by far are the companies developing these AI products. They often don't even pretend to be professional companies and do all sorts of weird things. There is one generative 3D company where the owner resorts to posting fake endorsement comments all over Reddit. Embarassing!The second worst are all the grifters on Twitter who just post "Hollywood is Dead Part 85" over and over again. If AI is so good, you all wouldn't need to post so much slop! For the Is This a 3D Model family personally, I have to say one of the biggest offenders is some guy who compared our account to nazis because I said "no" on one of their posts. Wild!AI is, unfortunately, everywhere, but artists are also everywhere. Seek out the many talented 2D and 3D Artists on all the platforms and fill your feed with them! The majority of artists don't use AI and for a good reason. Pretty soon, your feed will be full of lovely art and 3D models, and you'll have brief moments where you forget AI slop even exists!Lastly, what are your hopes for digital art going forward? How do you think the industry will look in, let's say, 5-10 years? What can we all do to combat the spread of generative AI?Is This a 3D Model?: I would like to end this on a message of hope. While a lot of jobs will be impacted in the short term, I think in 5-10 years, the limitations of AI tools will be much more well-known than they are today. I also think AI will plateau at a certain look and style that people are already getting sick of today. A lot of companies that rudely get rid of artists will quickly realize they got scammed by AI companies, and they still need those artists because AI will fall short in many ways. Plus, many companies simply won't want their video games or their commercials to look like the weird slop plaguing Facebook.The best thing we can do moving forward is to keep focusing on the skills that matter. Learn art fundamentals, drawing, sculpting, anatomy, color theory, and, of course, 3D modeling! Don't listen to "adapt or get left behind!" AI tools are designed for babies! If you spend your time grinding your art skills and developing your artistic eye, even if you are one day forced to use AI tools, you will be the most qualified to use them. Does anyone really think in 5-10 years, "prompt engineering skills" will still exist? Puh-LEASE. Using an AI is already as easy as googling, and it will just get easier. People will always want people who are competent and know what they're doing, and the best way you can do that is by showing you've got your own skills!Art is a historically challenging field for anyone. It always has been! The only way you'll make it is by working hard at it, challenging yourself, and not letting yourself get discouraged. I always recommend people to have backup plans and figure out what a viable career path is. This was important even before AI.I was one of those people who gave up on art jobs, I never thought I'd have one. Thought it was too competitive and focused on a different career entirely. But I kept doing 3D as a hobby because I LOVE POLYGONS. I would dedicate time every night to work in ZBrush for fun, and now I'm a professional 3D Artist! Part of why I run this account is that I know what it's like to be discouraged from pursuing art. And I know if I ever extinguished that flame, I wouldn't be living my dream right now. I hope one day in 5-10 years someone reading this today can say this motivated them to put in the time and effort to become an incredible artist, despite all the naysayers, and got one of those jobs that supposedly wasn't going to exist anymore!Is This a 3D Model, 3D ArtistInterview conducted by Theodore McKenzie Source: https://80.lv/articles/we-spoke-to-is-this-a-3d-model-about-ai-3d-modeling-the-goal-of-their-twitter-page/ #spoke #this #model #about #modeling #ampamp #the #goal #their #twitter #page
    80.LV
    We Spoke to Is This a 3D Model? About AI, 3D Modeling & The Goal of Their Twitter Page
    Could you please share a few words about yourself and your artistic background?Is This a 3D Model?: I think the best word to describe myself is "Teapot," because that is what I am, but I'd also say I'm a "3D model lover," because I am also that. I am a self-taught professional 3D Artist, and I am most proficient in ZBrush and 3ds Max. Have I mentioned I love 3D models? I just think they're so neat!Back when the so-called "AI-boom" kicked off in mid-2022, many artists were initially optimistic about the concept, what was your reaction when the first text-to-image AIs started popping up?Is This a 3D Model?: My first reaction to the "AI-boom" was, "These are not 3D models, so who even cares?" But I tried many tools such as Midjourney, Stable Diffusion, DALL-E, and was consistently underwhelmed by the results. I found much better inspiration and ideas by looking up artists' work online. I've tried many times to "adapt AI into my workflow," but I often found it made my workflow worse, both quality and productivity-wise. So now I call it out for what it is – stinky!Were you among those whose opinion on generative artificial intelligence changed over time, or were you anti-AI from the beginning? When would you say most creators started to recognize the unfair practices and overall shady behavior of AI companies and their language models?Is This a 3D Model?: I always hated how companies collected people's work without permission, and I always laughed at AI bros who pretended to be fine artists because they typed a prompt! But in the beginning, I thought the tech had more promise and potential.As time went on, I tried it more and didn't see much value in it. To this day, there is very little it can actually help me with (and I still try). I also observed many instances of shady behavior from AI companies, they act very sus on Twitter. And can you believe, some of these gen-3D companies have the nerve to call a model "high quality" when it looks terrible? Like, c'mon man, have you looked at a 3D model at any point in the last few years? Totally embarrassing!I might be mistaken here, but I think the first instance of mass protests against AI took place in December 2022 with the "Say No to AI Images" movement on ArtStation. What were your thoughts as that protest unfolded? In your opinion, are such online campaigns effective or not?Is This a 3D Model?: I thought the protest was rad! I even uploaded a "No AI" Image on my personal portfolio when it happened. I don't know if banning AI entirely will ever be possible, but ArtStation was being a total butt and could have done a better job allowing users to filter AI out or report people who are misrepresenting their skill sets. It is a professional portfolio site after all.Let's talk about Is This a 3D Model?, when was the page created? What first inspired you to start it? What goal do you ultimately want to achieve with your work?Is This a 3D Model?: This Twitter page started as a joke about a year ago. Whenever I would post negative comments on AI on my main 3D art account, AI bros would show up in my comments with some weird Midjourney images and try to tell me "give up, bro, it's over for you!" However, because AI bros don't know much about art, technology, or, well, anything, I would politely inform them that what they posted was not a 3D model.Over time, this became very frequent for people to post "3D modeling workflows of the future," where the final result was not a 3D model. I decided someone needed to take a stand for all the poor, defenseless 3D models out there!As the page grew, I decided I wanted to use it more to highlight the great work 3D Artists are doing and trying to make more "yes" posts than "no" posts. I hope to call out a lot more of these bad workflows that AI accounts are trying to promote as "the future" and encourage more 3D Artists to stay on the course and learn valuable skills. There are a lot of forces discouraging people from creating art these days. But I truly think genAI is not as capable as it's being made out to be, and all this does is prevent more people from discovering the joy of creation. And that is lame!How do you make sure you're answering the "Is this a 3D model?" question correctly for dozens of projects each week?Is This a 3D Model?: It's actually a lot easier than you think in most cases! I usually check the source, if the poster has an art portfolio, pretty safe bet it's a 3D model – AI bros don't have art portfolios. Also, when you've looked at 3D work for a long time, sometimes you can just develop the eye and tell! Can you see the faceted edges around the shape? Does it look suspiciously overly polished with no attention to literally any details? Are they calling it 3D but posting a Midjourney SREF? I think some of the ones I've classified that are the most surprising are ones that try to create the vibe of N64 games, and I suspect people are either too young to know what N64 games actually look like or just forgot.Based on your experience running the Is This a 3D Model? page, could you please share a brief guide our readers can use to confidently tell whether a given project is truly 3D? What specific signs should we look out for to be sure?Is This a 3D Model?: We implement something called the SIP method (Get it? Like sipping tea? I didn't just make this up for this interview, I promise):Source: Who is posting it? Do they look like a 3D Artist? Do they have a portfolio? Or do they mostly post Midjourney images or 3-second video clips of people talking with robot voices and explosions?Investigate: Look at the image! Can you see weird AI artifacts that make no sense? Can you see faceted edges? Does it look like a consistent 3D model with a well-executed idea?Polygons: If all else fails, can you find a screenshot of the topology? It won't exist with AI images. And if you can, does it make any sense? Some people even make fake wireframes with AI, I've attached a great example of that below. While this may look like a 3D wireframe, if you look closely, the details don't make sense. Why is a simple cylindrical cup so messy? Why do the trucks on the shirt turn into a drawing? It's all because an AI Image generator made a JPG of a wireframe. How silly!Usually, using one or all of these techniques, you can determine pretty quickly if what you're looking at is a safe, lovely 3D model or gross, yucky AI.Regarding the digital art industry as a whole, who would you say are the worst offenders – be it AI developers, companies, individuals, art platforms, you name it – on the matter of AI?Is This a 3D Model?: A lot of companies have sadly succumbed to the AI fad, be it fearmongering or overhyping. The worst offenders by far are the companies developing these AI products. They often don't even pretend to be professional companies and do all sorts of weird things. There is one generative 3D company where the owner resorts to posting fake endorsement comments all over Reddit. Embarassing!The second worst are all the grifters on Twitter who just post "Hollywood is Dead Part 85" over and over again. If AI is so good, you all wouldn't need to post so much slop! For the Is This a 3D Model family personally, I have to say one of the biggest offenders is some guy who compared our account to nazis because I said "no" on one of their posts. Wild!AI is, unfortunately, everywhere, but artists are also everywhere. Seek out the many talented 2D and 3D Artists on all the platforms and fill your feed with them! The majority of artists don't use AI and for a good reason. Pretty soon, your feed will be full of lovely art and 3D models, and you'll have brief moments where you forget AI slop even exists!Lastly, what are your hopes for digital art going forward? How do you think the industry will look in, let's say, 5-10 years? What can we all do to combat the spread of generative AI?Is This a 3D Model?: I would like to end this on a message of hope. While a lot of jobs will be impacted in the short term, I think in 5-10 years, the limitations of AI tools will be much more well-known than they are today. I also think AI will plateau at a certain look and style that people are already getting sick of today. A lot of companies that rudely get rid of artists will quickly realize they got scammed by AI companies, and they still need those artists because AI will fall short in many ways. Plus, many companies simply won't want their video games or their commercials to look like the weird slop plaguing Facebook.The best thing we can do moving forward is to keep focusing on the skills that matter. Learn art fundamentals, drawing, sculpting, anatomy, color theory, and, of course, 3D modeling! Don't listen to "adapt or get left behind!" AI tools are designed for babies! If you spend your time grinding your art skills and developing your artistic eye, even if you are one day forced to use AI tools, you will be the most qualified to use them. Does anyone really think in 5-10 years, "prompt engineering skills" will still exist? Puh-LEASE. Using an AI is already as easy as googling, and it will just get easier. People will always want people who are competent and know what they're doing, and the best way you can do that is by showing you've got your own skills!Art is a historically challenging field for anyone. It always has been! The only way you'll make it is by working hard at it, challenging yourself, and not letting yourself get discouraged. I always recommend people to have backup plans and figure out what a viable career path is. This was important even before AI.I was one of those people who gave up on art jobs, I never thought I'd have one. Thought it was too competitive and focused on a different career entirely. But I kept doing 3D as a hobby because I LOVE POLYGONS. I would dedicate time every night to work in ZBrush for fun, and now I'm a professional 3D Artist! Part of why I run this account is that I know what it's like to be discouraged from pursuing art. And I know if I ever extinguished that flame, I wouldn't be living my dream right now. I hope one day in 5-10 years someone reading this today can say this motivated them to put in the time and effort to become an incredible artist, despite all the naysayers, and got one of those jobs that supposedly wasn't going to exist anymore!Is This a 3D Model, 3D ArtistInterview conducted by Theodore McKenzie
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  • #333;">"It's Very Powerful" - Borderlands 4 Dev Hypes Up The "Perfect" Switch 2
    "We don't feel like we're fighting the system".Nintendo has published a new Creator's Voice video looking at the upcoming release of Borderlands 4 on the Switch 2.It's pretty much what we've come to expect from these videos at this point, with Gearbox developers Randy Pitchford and Randy Varnell hyping up the new console and explaining how it's helped with game development.Read the full article on nintendolife.com
    #666;">المصدر: https://www.nintendolife.com/news/2025/05/its-very-powerful-borderlands-4-dev-hypes-up-the-perfect-switch-2" style="color: #0066cc; text-decoration: none;">www.nintendolife.com
    "It's Very Powerful" - Borderlands 4 Dev Hypes Up The "Perfect" Switch 2
    "We don't feel like we're fighting the system".Nintendo has published a new Creator's Voice video looking at the upcoming release of Borderlands 4 on the Switch 2.It's pretty much what we've come to expect from these videos at this point, with Gearbox developers Randy Pitchford and Randy Varnell hyping up the new console and explaining how it's helped with game development.Read the full article on nintendolife.com
    المصدر: www.nintendolife.com
    #quotit039s #very #powerfulquot #borderlands #dev #hypes #the #quotperfectquot #switch #quotwe #don039t #feel #like #we039re #fighting #systemquotnintendo #has #published #new #creator039s #voice #video #looking #upcoming #release #2it039s #pretty #much #what #we039ve #come #expect #from #these #videos #this #point #with #gearbox #developers #randy #pitchford #and #varnell #hyping #console #explaining #how #it039s #helped #game #developmentread #full #article #nintendolifecom
    WWW.NINTENDOLIFE.COM
    "It's Very Powerful" - Borderlands 4 Dev Hypes Up The "Perfect" Switch 2
    "We don't feel like we're fighting the system".Nintendo has published a new Creator's Voice video looking at the upcoming release of Borderlands 4 on the Switch 2.It's pretty much what we've come to expect from these videos at this point, with Gearbox developers Randy Pitchford and Randy Varnell hyping up the new console and explaining how it's helped with game development.Read the full article on nintendolife.com
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