Sovereignty has mattered since the invention of the nation state—defined by borders, laws, and taxes that apply within and without. While many have tried to define it, the core idea remains: nations or jurisdictions seek to stay in control, usually to the benefit of those within their borders. Digital sovereignty is a relatively new concept, also difficult to define but straightforward to understand. Data and applications don’t understand borders unless they are specified in policy terms, as coded into the infrastructure. The World Wide Web had no such restrictions at its inception. Communitarian groups such as the Electronic Frontier Foundation, service providers and hyperscalers, non-profits and businesses all embraced a model that suggested data would look after itself. But data won’t look after itself, for several reasons. First, data is massively out of control. We generate more of it all the time, and for at least two or three decades (according to historical surveys I’ve run), most organizations haven’t fully understood their data assets. This creates inefficiency and risk—not least, widespread vulnerability to cyberattack. Risk is probability times impact—and right now, the probabilities have shot up. Invasions, tariffs, political tensions, and more have brought new urgency. This time last year, the idea of switching off another country’s IT systems was not on the radar. Now we’re seeing it happen—including the U.S. government blocking access to services overseas. Digital sovereignty isn’t just a European concern, though it is often framed as such. In South America for example, I am told that sovereignty is leading conversations with hyperscalers; in African countries, it is being stipulated in supplier agreements. Many jurisdictions are watching, assessing, and reviewing their stance on digital sovereignty. As the adage goes: a crisis is a problem with no time left to solve it. Digital sovereignty was a problem in waiting—but now it’s urgent. It’s gone from being an abstract ‘right to sovereignty’ to becoming a clear and present issue, in government thinking, corporate risk and how we architect and operate our computer systems. What does the digital sovereignty landscape look like today? Much has changed since this time last year. Unknowns remain, but much of what was unclear this time last year is now starting to solidify. Terminology is clearer – for example talking about classification and localisation rather than generic concepts. We’re seeing a shift from theory to practice. Governments and organizations are putting policies in place that simply didn’t exist before. For example, some countries are seeing “in-country” as a primary goal, whereas others (the UK included) are adopting a risk-based approach based on trusted locales. We’re also seeing a shift in risk priorities. From a risk standpoint, the classic triad of confidentiality, integrity, and availability are at the heart of the digital sovereignty conversation. Historically, the focus has been much more on confidentiality, driven by concerns about the US Cloud Act: essentially, can foreign governments see my data? This year however, availability is rising in prominence, due to geopolitics and very real concerns about data accessibility in third countries. Integrity is being talked about less from a sovereignty perspective, but is no less important as a cybercrime target—ransomware and fraud being two clear and present risks. Thinking more broadly, digital sovereignty is not just about data, or even intellectual property, but also the brain drain. Countries don’t want all their brightest young technologists leaving university only to end up in California or some other, more attractive country. They want to keep talent at home and innovate locally, to the benefit of their own GDP. How Are Cloud Providers Responding? Hyperscalers are playing catch-up, still looking for ways to satisfy the letter of the law whilst ignoring (in the French sense) its spirit. It’s not enough for Microsoft or AWS to say they will do everything they can to protect a jurisdiction’s data, if they are already legally obliged to do the opposite. Legislation, in this case US legislation, calls the shots—and we all know just how fragile this is right now. We see hyperscaler progress where they offer technology to be locally managed by a third party, rather than themselves. For example, Google’s partnership with Thales, or Microsoft with Orange, both in France (Microsoft has similar in Germany). However, these are point solutions, not part of a general standard. Meanwhile, AWS’ recent announcement about creating a local entity doesn’t solve for the problem of US over-reach, which remains a core issue. Non-hyperscaler providers and software vendors have an increasingly significant play: Oracle and HPE offer solutions that can be deployed and managed locally for example; Broadcom/VMware and Red Hat provide technologies that locally situated, private cloud providers can host. Digital sovereignty is thus a catalyst for a redistribution of “cloud spend” across a broader pool of players. What Can Enterprise Organizations Do About It? First, see digital sovereignty as a core element of data and application strategy. For a nation, sovereignty means having solid borders, control over IP, GDP, and so on. That’s the goal for corporations as well—control, self-determination, and resilience. If sovereignty isn’t seen as an element of strategy, it gets pushed down into the implementation layer, leading to inefficient architectures and duplicated effort. Far better to decide up front what data, applications and processes need to be treated as sovereign, and defining an architecture to support that. This sets the scene for making informed provisioning decisions. Your organization may have made some big bets on key vendors or hyperscalers, but multi-platform thinking increasingly dominates: multiple public and private cloud providers, with integrated operations and management. Sovereign cloud becomes one element of a well-structured multi-platform architecture. It is not cost-neutral to deliver on sovereignty, but the overall business value should be tangible. A sovereignty initiative should bring clear advantages, not just for itself, but through the benefits that come with better control, visibility, and efficiency. Knowing where your data is, understanding which data matters, managing it efficiently so you’re not duplicating or fragmenting it across systems—these are valuable outcomes. In addition, ignoring these questions can lead to non-compliance or be outright illegal. Even if we don’t use terms like ‘sovereignty’, organizations need a handle on their information estate. Organizations shouldn’t be thinking everything cloud-based needs to be sovereign, but should be building strategies and policies based on data classification, prioritization and risk. Build that picture and you can solve for the highest-priority items first—the data with the strongest classification and greatest risk. That process alone takes care of 80–90% of the problem space, avoiding making sovereignty another problem whilst solving nothing. Where to start? Look after your own organization first Sovereignty and systems thinking go hand in hand: it’s all about scope. In enterprise architecture or business design, the biggest mistake is boiling the ocean—trying to solve everything at once. Instead, focus on your own sovereignty. Worry about your own organization, your own jurisdiction. Know where your own borders are. Understand who your customers are, and what their requirements are. For example, if you’re a manufacturer selling into specific countries—what do those countries require? Solve for that, not for everything else. Don’t try to plan for every possible future scenario. Focus on what you have, what you’re responsible for, and what you need to address right now. Classify and prioritise your data assets based on real-world risk. Do that, and you’re already more than halfway toward solving digital sovereignty—with all the efficiency, control, and compliance benefits that come with it. Digital sovereignty isn’t just regulatory, but strategic. Organizations that act now can reduce risk, improve operational clarity, and prepare for a future based on trust, compliance, and resilience. The post Reclaiming Control: Digital Sovereignty in 2025 appeared first on Gigaom.

Subscribe to Nintendo Life on YouTube814k After four years of service, Square Enix and FuturLab have released the last content update for PowerWash Simulator, titled 'The Muckingham Files 6'. Fittingly described as the "final stop" on the PowerWash journey, this free update leaves us with a mucky tube train in need of a scrubbing and the Sculpture Park — a new location where you'll have to blast away the dirt on a few pieces of artwork. Both of these fresh locales hide a handful of Easter eggs for PowerWash Simulator 2 (which still isn't confirmed for Switch 2, but we remain hopeful), so be sure to pay attention to the details. "We hope you enjoy this final PowerWash Simulator update as much as we have enjoyed creating it," a statement from FuturLab reads on the game's Steam page. "The team have poured their hearts and souls into creating a world for you all to escape to and clean, somewhere for you to relax and solo clean, or a place to gather with friends and catch up over a satisfying wash". The content update also ushered in a small patch, which targets a handful of bugs across the base game and DLC packs. You can find the full patch notes below: Improvements made to scenarios where a placeholder string would be present instead of the function key. Fixed a LOD issue in the Kennel in Wallace & Gromit’s House. Fixed a crash involving pushing the football in to the kennel in the Wallace and Gromit’s House job. Fixed the toy train sounds being affected by music settings in the Dining Room & Kitchen job. Fixed a scenario in Wallace & Gromit’s Dining Room & Kitchen where players could get stuck behind a step stool’s default position. Fixed an issue involving save file sizes on PS5. Fixed an issue where the lower part of Wallace & Gromit’s House was invisible when standing in a specific location. Fixed an issue on Switch involving water stream changing colour in Aim Mode in certain circumstances. Fixed an issue in Shrek jobs where surface targeted was not aligned in 3rd person view. Improvements made to players being able to get stuck inside the information board in the Duloc job. Fixed a scenario on Xbox where the title could crash when pressing the Back button during the credits. Fixed an issue involving equipment placement spots being visible during timelapses. Fixed an issue on Sony platforms where certain SFX were still audible after reducing Master Volume to zero. Fixed lighting inconsistencies in the kennel in the Wallace & Gromit DLC. Fixed flicking assets inside the kennel in the Wallace & Gromit DLC. Various other localisation improvements and minor bug fixes. So, there we have it, PowerWash Simulator has scrubbed up for the last time. Onto the sequel, eh? Though FutureLab's denying the rumours Feathers McPhwar What's your top PowerWash Simulator memory? Let us know in the comments. [source store.steampowered.com] Related Games See Also Share:0 1 Jim came to Nintendo Life in 2022 and, despite his insistence that The Minish Cap is the best Zelda game and his unwavering love for the Star Wars prequels (yes, really), he has continued to write news and features on the site ever since. Hold on there, you need to login to post a comment... Related Articles Nintendo Updates Switch 2 Backwards Compatibility List Doom Eternal, NBA 2K25, and more to get an update Nintendo Switch System Update 20.1.0 Is Now Live, Here Are The Full Patch Notes Stability is back, baby Animal Crossing: New Horizons Update 2.0.7 Patch Notes - Switch & Switch 2 Multiplayer Compatibility "Improved" Return to island life next week Nintendo Expands Switch Online's Game Boy Library With Four More Titles Available today Fantasy Life i Is Proving So Popular That Level-5 Has Already Announced Free DLC "We would like to express our deepest gratitude to everyone"

[Disney Dreamlight Valley PC - Console] Gestionnaire influenceurs - Influencer ManagerGameloftMontreal QC ca2 hours agoApplyJob DescriptionLe studio Gameloft Montréal a une opportunité excitante pour un gestionnaire de marketing d'influence pour rejoindre l'équipe d'experts en marketing de Gameloft travaillant sur Disney Dreamlight Valley.En tant que membre de l'équipe de marketing d'influence, vous rejoindrez une équipe d'experts en influence et en médias sociaux et, ensemble, nous construirons un écosystème de créateurs de contenu prospère qui stimule l'engagement, la croissance et la fidélité à long terme.Dans ce rôle, vous serez chargé de conduire et d'exécuter des campagnes d'influence, de l'élaboration de stratégies à la recherche de talents, en passant par la gestion des dossiers et le suivi des résultats. Nous recherchons une personne capable de rester à la pointe des tendances en matière de création et de médias sociaux, et de contribuer à l'établissement de relations durables.Nous recherchons quelqu'un qui comprend vraiment le rôle que jouent les influenceurs dans les jeux vidéo - et comment ils stimulent l'engagement, la croissance et la communauté. Idéalement, vous êtes un vrai joueur dans l'âme, avec un aperçu de première main de la façon dont les créateurs façonnent les conversations et alimentent le succès à long terme dans l'espace de jeu.Principales responsabilitésSoutenir le développement et l'exécution de stratégies de marketing d'influence en collaboration avec les cadres supérieurs, les équipes de marketing et les studios de jeux.Gérer les éléments quotidiens des campagnes d'influence, y compris la recherche de talents, la coordination des briefs, le suivi des livrables et l'établissement de rapports sur les indicateurs clés.Travailler en collaboration avec les équipes Acquisition des utilisateurs et Produits pour aider à élaborer des fonctionnalités qui permettent une intégration réussie des influenceurs.Collaborer avec les partenaires détenteurs de propriétés intellectuelles sur les livrables des campagnes, en veillant à ce que tout le contenu respecte les consignes des marques et obtienne les approbations nécessaires.Rédiger et tenir à jour la documentation relative aux campagnes, notamment les calendriers, les listes d'influenceurs et le suivi du budget.Contribuer à l'analyse des performances des campagnes en recueillant des données et en faisant émerger des idées pour améliorer les exécutions futures.Participer à la planification du budget et assurer un suivi précis des dépenses et des livrables.Nouer et maintenir des relations solides avec les créateurs de contenu et les agences d'influenceurs pour assurer une collaboration et une fidélité à long terme.Rester à l'affût des tendances dans les écosystèmes sociaux, de jeux et de créateurs afin d'alimenter la créativité et la pertinence des campagnes.***The Gameloft Montreal studio has an exciting opportunity for an Influencer Marketing Manager to join Gameloft's team of Marketing experts working on Disney Dreamlight Valley.As part of the Influencer marketing Team, you will join a team of influencer and social media experts and together we’ll build a thriving content creator ecosystem that drives engagement, growth, and long-term loyalty.In this role, you'll be tasked with driving and executing influencer campaigns—from shaping strategies to sourcing talent, managing briefs and tracking results. We’re looking for someone who can stay ahead of creator and social media trends, and help build long-lasting relationships.We’re looking for someone who truly understands the role influencers play in gaming—and how they drive engagement, growth, and community. Ideally, you are a true gamer at heart, with firsthand insight into how creators shape conversations and fuel long-term success in the gaming space.Gameloft’s Montreal studio is looking for a passionate Influencer Manager to join our team of experts working on Disney Dreamlight Valley. This is a unique opportunity to help grow a beloved title played by millions, within a creative, collaborative, and ever-evolving environment.Key ResponsibilitiesSupporting the development and execution of influencer marketing strategies in collaboration with senior managers, marketing teams, and game studios.Managing day-to-day elements of influencer campaigns, including sourcing talent, coordinating briefs, tracking deliverables, and reporting on key metrics.Liaising with User Acquisition and Product teams to help shape features that enable successful influencer integration.Collaborating with IP partners on campaign deliverables, ensuring all content meets brand guidelines and secures necessary approvals.Drafting and maintaining campaign documentation including, but not limited to, calendars, influencer lists, and budget tracking.Contributing to campaign performance analysis by collecting data and surfacing insights to improve future executions.Assisting with budget planning and ensuring accurate tracking of spending and deliverables.Building and maintaining strong relationships with content creators and influencer agencies to ensure long-term collaboration and loyalty.Staying on top of trends in social, gaming, and creator ecosystems to inform campaign creativity and relevancy.QualificationsBaccalauréat en marketing, communications, administration des affaires ou dans un domaine connexe.Au moins 2 années d'expérience en marketing d'influence, de préférence dans les industries du jeu, de la technologie ou du divertissement.Solides compétences organisationnelles et capacité à gérer plusieurs projets et parties prenantes.Expérience de travail direct avec des influenceurs et des agences de talents.Connaissance des principales plateformes de médias sociaux (YouTube, TikTok, Instagram, Twitch) et des outils de suivi des performances.À l'aise de travailler avec les données et les mesures de performances de base (engagement, portée, CPM, etc.).Excellentes aptitudes à la communication écrite et orale ; capacité à établir une relation de confiance avec les équipes internes et les partenaires et parties prenantes externes.Créativité, esprit de collaboration et désir de prendre des initiatives.Maîtrise de l'anglais requise ; le français est un atout, mais n'est pas obligatoire.***Qualifications & SkillsBachelor's degree in marketing, communications, business administration, or a related field.At least 2 years' experience in influencer marketing; preferably within the gaming, tech, or entertainment industries.Strong organizational skills with the ability to manage multiple projects and stakeholders.Experience working directly with influencers and talent agencies.Familiarity with all major social media platforms (YouTube, TikTok, Instagram, Twitch) and performance-tracking tools.Comfortable working with data and basic performance metrics (engagement, reach, CPM, etc.).Excellent written and verbal communication skills; able to build trust with both internal teams and external partners and stakeholders.Creative, collaborative, and eager to take initiative.Fluency in English is required; French is a bonus but not mandatory.Additional InformationCe en quoi Gameloft croit :Nous jouons le jeu pour un monde meilleur. En tant que leader dans l'industrie, nous voulons utiliser le pouvoir des jeux vidéos comme une force positive au changement.En nous rejoignant, vous aurez une multitudes d'opportunités pour aider votre environnement, faire la différence et bâtir un monde plus inclusif.Nous voulons que les Gamelofteurs se concentrent sur l'essentiel: créer du fun et des jeux de haute qualité dont ils pourront être fiers de les partager avec les joueurs du monde entier.Pour vous aider dans votre rôle, nous avons mis en place les bénéfices suivants:Ce que nous offrons :Horaire flexibleVendredi après-midi de congé toute l’année!Dès votre embauche, 3 semaines de vacances et des congés mobilesCongé offert entre Noël et le jour de l'An pour bien débuter la nouvelle annéeProgramme de REER collectif avec participation de l'employeurProgramme d'assurances collectives avantageuxAccès gratuit à une clinique médicale virtuelle 24h/24, 7 jours/7Programme d'aide aux employés et à leur famille immédiateProgramme de remboursement partiel pour votre déplacement au bureau (transport en commun et/ou stationnement)Accompagnement lors de toute relocalisation pour les nouveaux collaborateurs en provenance de pays ou de régions hors QuébecProgramme de référencement avec bonusActivités et prix offerts régulièrement par le comité socialMais aussi au studio :Local à vélos sécurisé et montant offert pour encourager le transport actif (période estivale)Collations offertes quotidiennement (fruits, café, etc.)5@7 les mercredisEspaces de jeuxTerrasse sur le toitStudio à proximité du parc Jarry et des nombreux attraits du Mile-Ex et de la Petite-ItalieActivités physiques organisées à même le studio ou au parc Jarry (ex. : yoga)***What Gameloft believes in:We play the good game for a better world. As a leader in the industry, we want to use the power of video games as a force for positive change.If you join us, you’ll have plenty of opportunities to help the environment, make a difference in communities and build a more inclusive world.We want our Gamelofters to focus on what matters: creating fun and high-quality games they’ll be proud to share with our players around the world.To help you succeed in your role, we have some cool perks:What Gameloft offers:Flexible scheduleFriday afternoon off all year round!3 weeks’ vacation and mobile days off, available as of your start dateTime off between Christmas and New Year’s Day to help you start the year off on the right footGroup RRSP program with employer contributionsGreat group insurance programFree 24/7 access to a virtual medical clinicThe Employee and Family Assistance ProgramPartial reimbursement of your commuting costs (for public transit and/or parking)Support for new employees relocating from countries or regions outside QuebecReferral program with bonusesRegular activities and prizes courtesy of our Social CommitteeAnd at the studio itself:Secure bike storage room and a subsidy to encourage active transportation (during the summer)Daily snacks (fruit, coffee, etc.)Wednesday happy hoursA game roomA rooftop terraceStudio located near Jarry Park and the charming Mile-Ex and Little Italy neighbourhoodsFitness classes at the studio itself or at Jarry Park (e.g., yoga)Company DescriptionChez Gameloft nous créons des moments de joie pour nos joueurs autour du monde à travers des expériences de jeux excitantes. C'est notre mission, et cela l'a été depuis plus de 20 ans.Nous sommes les fiers créateurs d'Asphalt, Dungeon Hunter, Modern Combat et plus de 200 autres super jeux.Il y a un jeu pour tous, et nous nous élargissons maintenant avec des jeux multi-plateforme sur PC et consoles, avec des jeux tels Disney Speedstorm et Disney Dreamlight Valley, pour offrir à nos joueurs de nouvelles aventures incroyables.Avec plus de 3,400 Gamelofteurs passionnés à travers le monde, nous sommes très fiers de nos différences et nous nous appuyons sur celles-ci pour créer des jeux aussi divers que nous le sommes.Si vous cherchez un nouveau challenge, et à travailler avec une équipe passionnée et talentueuse, n'hésitez pas à rejoindre le jeu!***Here at Gameloft, we create moments of happiness for our players all over the world through exciting gaming experiences. This is our mission, and it has been the same for over 20 years. We are the proud creators of Asphalt, Dungeon Hunter, Modern Combat, and over 200 other great games.There is a game for everyone, and we are now expanding to cross-platform games on PC and consoles, with titles such as Disney Speedstorm and Disney Dreamlight Valley, to provide our players with even more amazing adventures.With more than 3,400 passionate Gamelofters across the globe, we take great pride in our differences and draw on them to create games just as diverse as we are.If you’re looking for a new challenge and want to work with a bold and talented group of people, don’t hesitate to join the game! Modifié Create Your Profile — Game companies can contact you with their relevant job openings. Apply

Saudi Arabia’s (KSA’s) attempt to turn from one of the least to most developed data markets in the world has advanced with measures it and the US have taken to encourage investors to build artificial intelligence (AI) datacentres in the country. KSA came closer to finalising plans to treat foreign computer systems as “data embassies”, reassuring firms their customer data would be safely stored in the authoritarian Gulf monarchy. Meanwhile, the US scrapped export controls on its most advanced AI chips, which had threatened to stop KSA from ever realising its plan to become a global leader in AI. Those legal preparations bore fruit this week before either was actually enacted, when Nvidia, whose advanced AI chips are the subject of US export controls, said it had done a deal to ship 18,000 of them to the Saudi state-owned Public Investment Fund. The chips were the first stage in a plan to install “several hundred thousand” Nvidia Grace Blackwell AI chips in five years, consuming 500MW of energy. Political analysts and industry insiders said, before KSA’s plans unfurled this week, that its proposed Global AI Hub Law would allow KSA to get banned AI chips that both it and foreign firms would need to build AI systems in the country. The draft law offers to give foreign computer systems embassy status, so their operators answered only to the laws of their home nations. It would forbid the Saudi state from intruding. KSA concluded a public consultation on the law the day after an Investment Summit, at which US president Donald Trump and Saudi crown prince Mohammed bin Salman Al Saud signed a broad economic partnership and presided over $600bn of trade deals, the White House said in a statement. They had done $300bn of deals when the conference opened, and aspired to $1tn, the prince told the conference on Tuesday. The deals encompassed defence, energy, tech and health. The audacity of KSA’s ambition was made apparent by data that in February, according to Computer Weekly analysis, showed how among 20 of the most notable data markets in Europe, the Middle East and Africa (EMEA), Saudi capital Riyadh had the second-least of all operational, planned and unfinished datacentres, above only Athens. With 125MW of computing capacity then planned in Riyadh, it was barely 5% of the forecast size of EMEA market leader London, and not 15% of the size of its rival and neighbour, the United Arab Emirates, according to numbers published by commercial estate agent Cushman & Wakefield. The largest datacentre investment deal apparent, among those announced at the Forum, was Saudi firm DataVolt, investing $20bn in the US. Read more about US and Saudi agreements On Monday, the US scrapped the AI Diffusion Rule, by which former president Joe Biden had blocked exports of powerful AI chips to all but a handful of countries because, US AI tzar David Sacks told the conference, it stopped US technology proliferating around the world and stifled strategic partners such as KSA, when it was supposed to hinder AI development in only a few countries. The US had decided instead to model AI policy on Silicon Valley’s software ecosystems, where firms became dominant by publishing application programming interfaces (APIs) that others could use to build on their technology. “They’re able to build these ecosystems without even having any lawyers involved,” said Sacks. “There’s no need for a contract. You just publish an API. In a similar way, the US needs to encourage the world to build on our tech stack. “President Trump said ‘the US has to win the AI race’. How do we win the AI race? We have to build the biggest partner ecosystem. We need our friends like the Kingdom of Saudi Arabia, and other strategic partners and allies, to build on our tech. “We want our technology to spread,” he said. “We want people to use it. We want to become the standard.” KSA’s attempt, meanwhile, to encourage foreign firms to build AI datacentres in the country by allowing their home nations to retain sovereignty over their data was widely commended as a strategic masterstroke. “It’s still an immature market, but the opportunity is huge,” said Stephen Beard, a real estate deal-maker for Knight Frank in Dubai. KSA could be a top-seven datacentre market in a decade. His firm estimated US cloud computing firms had recently committed to $9bn of investment there by 2027. Knight Frank alone was handling $7bn of datacentre deals for firms attracted by the local market opportunity, in a country with 20% lower power costs than the UK, a large, growing population and a non-democratic government able to digitise rapidly without the inconvenience of parliamentary process. President Trump commended KSA’s ruling family for that in a speech in Riyadh this week. “The AI Hub law is optically a fantastic move,” said Beard. “It should go some way to appeasing investors’ concerns. But we are talking about Saudi Arabia. Who decides the law in Saudi Arabia? Any developer looks for a higher return because of the macro risks.” But computer firms would invest there to serve KSA. The idea of KSA becoming a “super-hub” was flawed. Munir Suboh, a lawyer at Taylor Wessing in Riyadh, said the law would give KSA an “unprecedented advantage” over other countries which hesitate to cede sovereignty over foreign facilities. Contrast Saudi Arabia's attempt to make life easier for foreign investors with Europe’s regulatory preoccupation with imposing safety standards. “Traditionally, cross-border data transfers require compliance with multiple data localisation regulations, especially in data-heavy industries,” said Oliver Subhedar, a commercial dispute lawyer with Burlingtons. KSA is seeking a comparative advantage over other states by regulating datacentres themselves.” KSA would slash the cost of risk and compliance for multinationals that ordinarily had to accommodate a host of different regulations around the world, said Jade Masri, managing director of investment advisory R Consultancy in Dubai. That would cut capital costs for investors. “Hyperscalers need this law to import data into KSA to run large language models and generate meaningful AI,” said Amrik Sangha, a consultant with Gateley in Dubai. But KSA needed to address the question of “grey” fibre optic cables that would carry foreign data transfers “without monitoring”, he said. Grey, or “dark”, cables are private, point-to-point communications lines not reliant on local connections. Notwithstanding the unexpected US U-turn, Juliana Rordorf, Middle East director for political consultancy Albright Stonebridge Group, said the law might influence the global debate about data localisation, as well as AI export controls. Neighbouring Bahrain has had a data embassy law since 2018, while UAE, whose datacentre market and planned construction dwarfs that of KSA, recently made bilateral data embassy agreements with France and Italy. Such a law has even been mooted as a way to encourage investors deterred by Europe’s onerous data protection rules, having been pioneered in Estonia, and aped in Monaco, as a means of securing government backup datacentres in Luxembourg, because they otherwise had nowhere to put them safely.

Six One Indie launches publishing label "[We have] evolved into an ecosystem that can now offer a unique opportunity to get indies in front of players through fresh, unconventional means," says creative director Image credit: Six One Publishing News by Sophie McEvoy Staff Writer Published on May 23, 2025 The team behind the Six One Indie Showcase and The Indie Game Awards has launched its own publishing label. Six One Indie Publishing describes itself as an "integrated, indie-first platform" for developers. It will offer support in launch strategy, media relations, and showcase integration as well as development support in areas including QA testing and localisation. "The number of games hitting the market grows by the day, but unfortunately, the people to cover and amplify them seem to dwindle just as fast," said Six One Indie creative director Mike Towndrow. "Six One Indie has evolved into an ecosystem that can now offer a unique opportunity to get indies in front of players through fresh, unconventional means." Towndrow added: "We're not building a publishing label for the old industry. We're building one for the new wave of indie – where passion, connection, and creative control comes first. "Indies deserve more than a checklist, they deserve a major push backed by authenticity, genuine enthusiasm, and a new approach for an unpredictable industry." Six One Indie was founded in 2018, with its first showcase debuting in 2022.

Will see it when it comes out. Multi genre means nothing these days. Everything wants to be a RPG with something or this and that. Haven Call of the King and 'Freeformer' was a dumb marketing angle. The game was fair doing all these things with on foot, vehicle, space and more to then get their email address but even still. Was it worth it marketing or ambitions, not really. But I respect Travelers Tales efforts besides their other games too. Also horror, point n click or visual novel and other aspects..... a theme and a few genres so close together..... How pathetic to do of marketing, marketing team. The screenshots/trailer do not help. Oh so you have the uncovering clues of Danganronpa, you have the isometric camera in a stealth segment I assume, visual novel choices.... so standard stuff then. I get it's different tone, world, etc. but gameplay wise this still seems very them without being that far from what they already made. Some are different but not that different. Also stealth isn't much it still fits the adventure/horror game formula weapons or not. Who are the marketers fooling here. XD There is a reason a puzzle game 2D or 3D to a shoot em up vehicle or controls or otherwise is a big dramatic change and most others of combat and gameplay in level design AREN'T. They still are genres but minor changes really. Puzzle, shoot em up, tower defence is completely different. Who is making THAT game. No one clearly. But are an adventure (detective or not), dialogue boxes, platforming, stealth, 3rd person shooter, let alone any with outposts, other interactions with quests, pillaging, collecting, combat and more. Yeah tell me why genres mean only so much when only differ so slightly here? When movesets are so generic these days and limiting of animations let alone use cases for enemies and level design. I hardly think anything matters. When Mario or other characters past or current have more moves then most human, animal, alien or other characters let alone personality in their worlds or level design (whether because it would break many of the good/bad or restricted focus a game has and what you can do with them, that and games would take longer and decisions/implementation longer to agree on being in the games not just how much CPU/GPU/RAM limits or cartoony artstyle or realistic also pushing or not the hardware) in games to platform, power ups or core character, why would I think much of other games and you barely even need many of Mario's other moves. XD I haven't played enough of Rain Code yet and I haven't bought or played Hundred Line at all. But they seem to be pumping these games out quick or however localisation to release happens I guess. If it was like a mix of things like 2D, 3D, or puzzle then shoot em up (minigames or major part) or whatever then sure. Some complement for multi genre and are just minigames or core additions, so to me multi-genre is a complete marketing waste of wording. XD You can have puzzles in any action game. You can minigames in any game. Who cares. To me it looks fine like their past games, artstyles, etc. But to me it's not a lot to go on yet and seems like marketing fluff. They do make great games so it's not like I'm that confused, but to me this means nothing. How they execute it, not hype it up.

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Depuis quelques mois, il est fréquent que des robots appellent des particuliers à la place d’humains, pour faire du démarchage téléphonique. Même si ces « voice bots » vendus par des start-up d’intelligence artificielle (IA) sont encore peu répandus dans les entreprises, selon le dernier baromètre annuel réalisé par EY pour le syndicat des professionnels des centres de contact (SP2C), le secteur, qui emploie 290 000 personnes (dont 55 000 dans les entreprises spécialisées), a vu une « accélération généralisée du recours aux technologies basées sur l’intelligence artificielle » en 2023 et 2024. Après la numérisation, qui a permis de déléguer une partie des tâches au client (modifier une réservation, trouver la réponse à une question par le biais d’un chatbot), puis les délocalisations, l’IA s’ajoute à une double tendance négative. « Depuis dix-huit mois, il y a un gel des recrutements, car les employeurs prévoient une baisse des demandes clients, décrit Caroline Adam, déléguée générale du SP2C. Il y a une réelle inquiétude sur l’IA, mais on manque de recul pour y répondre. » Lire aussi | L’Assemblée nationale interdit le démarchage téléphonique sans « consentement » Les entreprises ont déjà mis en œuvre un certain nombre de cas d’usage. Chez Engie, les comptes rendus que devaient rédiger les conseillers après chaque appel ont été supprimés il y a quelques mois : désormais, une IA générative (IAG) résume l’appel en cinq lignes, et le texte est soumis à validation par le conseiller. Mais l’entreprise a tenu à ne pas réduire le temps entre deux appels, pour préserver cette « respiration ». « L’IA est un copilote de nos conseillers, explique Jean-Rémy Dudragne, directeur expérience client d’Engie. On a aussi une IAG qui propose des brouillons de réponse à des questions posées par des clients par e-mail. » « Peur en Bourse » Chez Konecta, qui prône un modèle hybride entre humain et machine, une IA reformule les mails trop longs des clients, et propose même de les rendre moins agressifs. Elle suggère aussi des réponses types aux salariés. Du côté de Teleperformance, « pour l’instant, l’IA est utilisée à pas comptés, de façon moins intensive que ce qui était prévu au départ, car l’annonce par [la] direction qu’il y aurait encore moins de contacts téléphoniques a fait peur en Bourse, explique Issam Baouafi, délégué syndical Sud. Donc maintenant, on [leur] dit que l’IAG est là pour aider les salariés ». Il vous reste 38.25% de cet article à lire. La suite est réservée aux abonnés.

Image: Nintendo LifeAssuming the postie doesn't deprive us on launch day, we're less than three weeks away from having a brand new Nintendo console in our hands! This 24th edition of the Nintendo Life Mailbox will be the final spread with the original Switch as Nintendo's flagship console! Yes, we've been rifling through our inbox and publishing select contents in our monthly letters page for a whole two years now, and we'll be back next month with an entirely different console sitting on the desk. And, presumably, a whole pile of Switch 2-related correspondence to sort through. It's a busy time in Nintendo land, so let's crack on. Got something you want to get off your chest? We're ready and waiting to read about your game-related ponderings. Each month we’ll highlight a Star Letter, the writer of which will receive a month’s subscription to our ad-free Supporter scheme. Check out the submission guidelines at the bottom of this page. Let's sit back with a warm beverage and go through our dispatch box... Nintendo Life Mailbox - May 2025 "Smells like...electronic...raspberries." — Image: Zion Grassl / Nintendo Life "for those who want it" (***STAR LETTER***) What are your thoughts on the innovations of Switch 2 in relation to generations past? Nintendo's gimmicks have historically proven to be hit and miss, but I see a shift ever since the Switch launched in 2017. Sure, it still had the IR sensor but hybrid gaming and gyro aiming (which technically already existed, but Switch established it as a mainstay) were legitimate forward progressions, and Switch 2 seems to offer even more legitimate innovation with both gameshare and mouse mode. I foresee both of these features becoming permanent fixtures in future consoles, and much like gyro aiming, changing the way we engage with video games. I truly believe mouse mode is something gamers will never want to give up once they've experienced it's benefits (especially since, unlike innovations of yesteryear, it doesn't replace the traditional experience, it merely enhances it as an option for those who want it). Thoughts? JaxonH More and different ways to play are exciting, especially if they're built into the hardware. For me, Drag x Drive was one of the highlights of the Switch 2 event at the start of April. I'm all for mouse mode options, whether they're cute and complementary or integral to a game, but it's on Nintendo to make it indispensable. The tech is certainly cheap enough to integrate into any Joy-Con-style controller from now on. I'm not convinced it's going to fundamentally change how we approach gaming, though. Will Mouse Mode be comfortable for multiple hours? They work like mice, sure, but ergonomically, that's not their main function. I also remember thinking every pad would have a built-in pointer after the Wiimote. It's affordable, intuitive tech, so why not include that option? And yet we live in a world where the Xbox pad still doesn't have gyro. - Ed. "out of the running" I recently finished Ace Attorney Investigations 2 on Switch, and wow, what a ride! I’m so happy it finally got localized for the West, even if it did take 13 years. Got me thinking about other games that haven’t seen the light of day outside Japan. Yes, there are some obvious frontrunners like Mother 3 and Dragon Quest 10 that I’m sure we all would love to see get localized, but I’m talking more about lesser-known gems. As a big fan of adventure games, that new Tokimeki Memorial remaster caught my eye, but unfortunately I’m no Japanese speaker at this stage, so I guess that puts me out of the running for now. I’m also still waiting for Yo-kai Watch 4, as well as my pipe dream Starfy 1-4 localizations… How about you all? Any Japan-exclusives you’ve been eager to see come West? BandeeOfTheStars I wrote a little feature back in 2020 on the subject, and looking at it now, I'd probably take Marvelous above anything else at this stage. I've never gotten around to playing the fan patch. Team? - Ed. "I'd love to see Square's last Super Famicom game, Treasure of the Rudras, get a rerelease. I've heard so many good things about the creativity of this one, but at this point, given the complicated magic system, this might be an impossible dream." - Alana "I’ll go for Fire Emblem: New Mystery of the Emblem. We’ve missed out on a lot of Fire Emblem games in the West, but this 2010 DS remake not coming our way always stings the most. The series is big enough now that surely Intelligent Systems could get away with releasing a bundle, right?" - Jim Image: Zion Grassl / Nintendo Life Nintendo games that never officially left Japan Forever with you; never with us "special kudos" Is Nintendo Life planning to do full/short reviews to Switch 2 Edition games? It would be great to decide which upgrades are worth it. Congratulations to all on the Switch 2 news coverage with special kudos to Alex, Felix and Zion! Love to watch their discussion videos. RenanKJ Thank you, Renan - I've passed on the message to the video chaps! One sent me a teary-eyed smiling emoji as a reply. Yes, we will be reviewing all the major NS2 Editions, with the upgrades and additions being the main focus (the original Switch reviews will still be there for reference). Whether they'll be full or mini will be a case-by-case thing. - Ed. "mildly disappointed" Hi, I am mildly disappointed in the game chat feature for Switch 2 because I normally play games alone, with friends in person, or on the NintendoLife discord; Plus, it records you. So, I'll probably never use it. But, since they're bringing back Download Play, which is my favorite feature, they should bring back another DS feature PictoChat. OswaldTheLuckyGamer It's a strange one - ever since writing a little thing about GameChat, the idea has been slowly growing on me, despite news that it's hogging system resources and, you know, it's just video chat. We'll see how it works, but I do have plans to conduct NL staff meetings over GameChat. Moderating anatomically exaggerated doodles is something Nintendo never wants to do again, so I don't see Pictochat returning. But StreetPass is the (3)DS feature we really need, Oswald. StreetPass! - Ed. Image: Zion Grassl / Nintendo Life "that big playtest thing" With all the leaks and news of lawsuits coming out I just thought about one thing: Whatever happened to that big playtest thing everyone had to be quiet about or face the Ninty ninja's? I actually never saw footage of it, so I'm guessing it never truly leaked? What do you guys think about it now that we have the new system in our paws soon? What was it made for, did we already see that or is something still in the works? garfreek Testing it on Switch 1 suggests it will be a cross-platform thing, whatever it ends up being. There was nothing in it that suggested the power of Switch 2 was needed to realise its ultimate potential. It'll be coming. Whether anybody's really bothered is the bigger question. - Ed. Bonus Letters "Regarding a potential Switch 2 Lite, Nintendo has not officially announced such a version." - Trinny G This is true. Aside: If you're in the market for a brand-new Switch Lite, now's the time to be looking for a bargain! - Ed. "I think we’re all missing the true potential of the Switch 2 microphone: Odama 2" - Munchlax Pff. It's panpipe time. - Ed. Image: Nintendo Life That's all for this month! Thanks to everyone who wrote in, whether you were featured above or not. Got something you'd like to get off your chest? A burning question you need answered? A correction you can't contain? Follow the instructions below, then, and we look forward to rifling through your missives. Nintendo Life Mailbox submission advice and guidelines Letters, not essays, please - Bear in mind that your letter may appear on the site, and 1000 words ruminating on the Legend of Heroes series and asking Alana for her personal ranking isn't likely to make the cut. Short and sweet is the order of the day. (If you're after a general guide, 100-200 words would be ample for most topics.) Don't go crazy with multiple correspondences - Ideally, just the one letter a month, please! Don't be disheartened if your letter doesn't appear in the monthly article - We anticipate a substantial inbox, and we'll only be able to highlight a handful every month. So if your particular letter isn't chosen for the article, please don't get disheartened! How to send a Letter to the Nintendo Life Mailbox Head to Nintendo Life's Contact page and select the subject "Reader Letters" from the drop-down menu (it's already done for you in the link above). Type your name, email, and beautifully crafted letter into the appropriate box, hit send, and boom — you're done! Advert Free Share:0 1 Gavin first wrote for Nintendo Life in 2018 before joining the site full-time the following year, rising through the ranks to become Editor. He can currently be found squashed beneath a Switch backlog the size of Normandy. Hold on there, you need to login to post a comment...

Much has been made of the fact that the year’s most recent breakout hit, an idiosyncratic role-playing game called Clair Obscur: Expedition 33, was made by a small team. (It has just sold its two-millionth copy). It’s a tempting narrative in this age of blockbuster mega-flops, live-service games and eye-watering budgets: scrappy team makes a lengthy, unusual and beautiful thing, sells it for £40, and everybody wins. But it’s not quite accurate.The Guardian’s journalism is independent. We will earn a commission if you buy something through an affiliate link. Learn more.Sandfall Interactive, the game’s French developer, comprises around 30 people, but as Rock Paper Shotgun points out, there are many more listed in the game’s credits – from a Korean animation team to the outsourced quality assurance testers, and the localisation and performance staff who give the game and its story heft and emotional believability.Compared to the enormous teams who make the Final Fantasy games – a clear inspiration for Sandfall – Clair Obscur’s team is minuscule. The more interesting achievement isn’t that a small team has made a successful game – it’s that a small team has made the most extravagantly French thing any of us will ever play. Much to my partner’s annoyance, I’ve set the voice language to French with English subtitles, just to enhance the immersion.In Clair Obscur’s belle époque-inspired world, a sinister entity called the Paintress daubs a number on a distant totem every year, descending from 100 – and every person of that age dissolves heartbreakingly into petals and dust, leaving behind devastated partners and orphaned children. (This and Neva are the only games in recent memory to make me shed a tear at their beginning.) The game starts as the Paintress counts down from 34 to 33, and an expedition of brave and slightly magic thirtysomethings from the dwindling population sets out, as they do every year, to sail across to the Paintress’s continent and try to kill her and stop the cycle. I was sad to leave this opening area, because the city was so beautiful, and everyone was impeccably dressed. Also, nothing was trying to kill me every few minutes.The most French thing you’ll ever play … Clair Obscur: Expedition 33. Photograph: Sandfall InteractiveMany expeditions have gone before. You find their grisly remnants all over the place as you explore, their recorded diaries left to help whoever comes next. You start off in a kind of ravaged Paris, the Eiffel Tower distorting towards a distant horizon like a Dalí painting. The game looks like a waltz through a distinguished art museum that’s about to get sucked into a black hole. One early area of the continent is a waterless ocean, the wrecked vessel of one expedition wrapped around a dead leviathan of a sea creature, fronts of seaweed waving in the nonexistent currents. It’s beautiful but extremely dangerous: you quickly have to get the hang of a pretty complicated combat system to survive even the first few boss fights.Clair Obscur’s fighting is inspired by classic and modern Japanese RPGs: rhythmic and flashy, it lets you supercharge a fireball or dodge the fist of a stone automaton with a well-timed button press. Combining your unusually distinctive characters’ abilities is the key. One of them wields a rapier and changes stance every attack, another attacks with an impenetrable system of sun and moon tarot cards, a third mostly with a gun and a sword. If this all sounds needlessly extravagant, it is – and I love it. The combat menus are a tinkerer’s dream, letting you pore over and combine characters’ esoteric powers and skills to create interesting combo attacks.What I enjoy most about this game is that it doesn’t look like everything else or, indeed, anything else. The majority of games riff on the same few predictable references: Star Wars, The Lord of the Rings, Marvel. Instead it draws from completely different aesthetic and thematic sources; this is a baroque fantasy that tells a story about fatalism and love and death and legacy, a European-style tale with Japanese-style action and flair. It plays very differently, but its distinctiveness and determination to actually say something with its story reminds me of last year’s excellent Metaphor: ReFantazio. (There is a strong correlation between intellectually ambitious RPGs and baffling titles, it seems.)Clair Obscur also illustrates just how good game development tools are now: if you’re wondering how a smallish team could create something that looks this high-end, that’s a large part of the answer. This makes me feel pretty optimistic about the future of this middle sector of game development, in between blockbuster and indie. In the 00s and 2010s, that was where many of the most interesting games could be found. I can imagine several large publishers deeming this game simply too French to be marketable, but Sandfall was able to make it anyway. Expedition 33 is an encouraging commercial success that will be cited all year as a counternarrative to the games industry’s prevailing doomsaying, but it’s a creative success, too.What to playA thrill a minute … Doom: The Dark Ages. Photograph: BethesdaA new Doom game is out very shortly and reviews suggest that it is a glorious heavy-metal orgy of violence. It has you massacring hordes of gross demons at once, impaling them with spikes, shredding them with a chainsaw-shield, even punching gigantic hellspawn from within a giant robot or shooting at them from the back of a mecha-dragon. Doom: The Dark Ages is slower than the other modern games in the series, with more up-close combat and (as the title suggests) a vaguely medieval flavour to its aesthetic, but it’s still thrill-a-minute.Available on: Xbox, PS5, PC Estimated playtime: What to readChaos machine … Grand Theft Auto VI. Photograph: Rockstar Games Grand Theft Auto VI, which is delayed until next May, left a crater in the 2025 release schedule that other game companies are scrambling to fill, reports Bloomberg (via Kotaku). Expect some serious rescheduling to be going on behind the scenes before the summer’s glut of game announcements. The Strong National Museum of Play in the US has inducted four new games into its Hall of Fame: Defender, GoldenEye 007, Quake and the (IMO) equally deserving Tamagotchi. They beat contenders from Age of Empires to Angry Birds. After last week’s industry media drama, long-established podcast-video collective Giant Bomb has bought itself out and gone independent, joining a growing stable of worker-owned and reader-supported games outlets. skip past newsletter promotionSign up to Pushing ButtonsFree weekly newsletterKeza MacDonald's weekly look at the world of gamingPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotionWhat to clickQuestion Block‘Read a book, rube’ … Bioshock Infinite’s Elizabeth. Photograph: 2K GamesReader Travis sent in this week’s question:“I’m planning to start a book club-style video game club. Two questions: what should I call it and what game would you love to share and discuss in such a setting?”This is an excellent idea, and you’ve reminded me that I tried to do something like this a million years ago as a podcast on IGN, but I cannot for the life of me remember what we called it. Press Pause? Save Point? LFG? I would pick shorter games for a book club-style group (so that everyone could actually play them through), and I’d want ones that leave room for people’s personal histories to inform how they respond to it. I’d love to hear other people talk about Neva’s environmentalist and parental themes, or any Life Is Strange game’s mix of emerging-adulthood drama and quasi-successful supernatural storytelling, or even a game like While Waiting, what it made them think about. That would surely be more interesting than simply arguing about whether the latest Assassin’s Creed is any good.I asked my partner what he’d call a video game book club, and he suggested Text Adventure, which is annoyingly better than anything I can think of. My pal Tom suggested Pile of Shame, One More Go and Shared Worlds. Readers: can you think of any more?If you’ve got a question for Question Block – or anything else to say about the newsletter – hit reply or email us on pushingbuttons@theguardian.com.