Take-Two Interactive Software, the publisher behind Ken Levine's next game Judas, Rockstar's Grand Theft Auto series, and the upcoming Borderlands 4, was in talks to save the recently canceled P

SOLÈNE REVENEY / « LE MONDE » C’est un paradoxe dans lequel bien des éditeurs d’intelligences artificielles (IA) sont empêtrés : pourquoi investir tant d’argent et d’efforts dans la création d’IA plus sûres et plus neutres si, une fois commercialisés, ces robots conversationnels peuvent être largement dévoyés ? Prenons le cas d’OpenAI. En avril, l’éditeur de ChatGPT dit réfléchir publiquement à rendre son robot conversationnel moins obséquieux, car il risque d’engager des personnes fragiles dans une dépendance malsaine, selon le constat dressé par ses propres chercheurs un mois auparavant. Plusieurs affaires médiatiques, rapportées notamment par le New York Times, Ars Technica, Futurism ou l’agence Reuters, ont illustré la dangereuse spirale dans laquelle certains utilisateurs peuvent tomber, avec à la clé un décrochage parfois fatal avec la réalité. Alors le 7 août, OpenAI saute le pas, annonçant une nouvelle version de son robot, GPT-5. Son ton est résolument plus froid, et il surveille désormais la durée des conversations pour suggérer des pauses quand il le juge nécessaire. Lire aussi | Article réservé à nos abonnés ChatGPT : les débuts difficiles de GPT-5, le nouveau modèle de langage d’OpenAI, jugé moins efficace et moins « amical » L’entreprise applique ainsi deux recommandations-clés issues de chercheurs en IA parmi les plus critiques, dont des experts de Google, auteurs en 2024 d’une longue recension des dangers de l’IA. Dans ce document, ceux-ci anticipent un monde où la flatterie des robots réduit « les occasions qu’ont les humains de grandir et de se développer [pour] devenir de meilleures versions d’eux-mêmes ». Voire « un monde où les utilisateurs abandonnent les interactions compliquées et imparfaites (…) avec les humains en faveur des échanges sans frictions fournis par les IA ». Il vous reste 73.15% de cet article à lire. La suite est réservée aux abonnés.

IntroductionHi everyone! My name is Oleh Yakushev, and I'm a 3D Artist from Ukraine. My journey into 3D began just three years ago, when I was working as a mobile phone salesperson at a shopping mall. In 2022, during one slow day at work, I noticed a colleague learning Python. We started talking about life goals. I told him I wanted to switch careers, to do something creative, but programming wasn't really my thing.He asked me a simple question: "Well, what do you actually enjoy doing?"I said, "Video games. I love video games. But I don't have time to learn how to make them, I've got a job, a family, and a kid."Then he hit me with something that really shifted my whole perspective."Oleh, do you play games on your PlayStation?"I said, "Of course."He replied, "Then why not take the time you spend playing and use it to learn how to make games?"That moment flipped a switch in my mind. I realized that I did have time, it was just a matter of how I used it. If I really wanted to learn, I could find a way. At the time, I didn't even own a computer. But where there's a will, there's a way: I borrowed my sister's laptop for a month and started following beginner 3D tutorials on YouTube. Every night after work, once my family went to sleep, I'd sit in the kitchen and study. I stayed up until 2 or 3 AM, learning Blender basics. Then I'd sleep for a few hours before waking up at 6 AM to go back to work. That's how I spent my first few months in 3D, studying every single night.3D completely took over my life. During lunch breaks, I watched 3D videos, on the bus, I scrolled through 3D TikToks, at home, I took 3D courses, and the word "3D" just became a constant in my vocabulary.After a few months of learning the basics, I started building my portfolio, which looks pretty funny to me now. But at the time, it was a real sign of how committed I was. Eventually, someone reached out to me through Behance, offering my first freelance opportunity. And thatэs how my journey began, from mall clerk to 3D artist. It's been a tough road, full of burnout, doubts, and late nights... but also full of curiosity, growth, and hope. And I wouldn't trade it for anything.The Stitch ProjectI've loved Stitch since I was a kid. I used to watch the cartoons, play the video games, and he always felt like such a warm, funny, chill, and at the same time, strong character. So once I reached a certain level in 3D, I decided to recreate Stitch.Back then, my skills only allowed me to make him in a stylized cartoonish style, no fur, no complex detailing, no advanced texturing, I just didn't have the experience. Surprisingly, the result turned out pretty decent. Even now, I sometimes get comments that my old Stitch still looks quite cute. Though honestly, I wouldn't say that myself anymore. Two years have passed since I made that first Stitch, it was back in 2023. And in 2025, I decided it was time to challenge myself.At that point, I had just completed an intense grooming course. Grooming always intimidated me, it felt really complex. I avoided it on commercial projects, made a few failed attempts for my portfolio, and overall tried to steer clear of any tasks where grooming was required. But eventually, I found the strength to face it.I pushed myself to learn how to make great fur, and I did. I finally understood how the grooming system works, grasped the logic, the tools, and the workflow. And after finishing the course, I wanted to lock in all that knowledge by creating a full personal project from scratch.So my goal was to make a character from the ground up, where the final stage would be grooming. And without thinking too long, I chose Stitch.First, because I truly love the character. Second, I wanted to clearly see my own progress over the past two years. Third, I needed to put my new skills to the test and find out whether my training had really paid off.ModelingI had a few ideas for how to approach the base mesh for this project. First, to model everything completely from scratch, starting with a sphere. Second, to reuse my old Stitch model and upgrade it.But then an idea struck me: why not test how well AI could handle a base mesh? I gathered some references and tried generating a base mesh using AI, uploading Stitch visuals as a guide. As you can see from the screenshot, the result was far from usable. So I basically ended up doing everything from scratch anyway.So, I went back to basics: digging through ArtStation and Pinterest, collecting references. Since over the last two years, I had not only learned grooming but also completely changed my overall approach to character creation, it was important for me to make a more detailed model, even if much of it would be hidden under fur.The first Stitch was sculpted in Blender, with all the limitations that come with sculpting in it. But since then, I've leveled up significantly and switched to more advanced tools. So this second version of Stitch was born in ZBrush. By the time I started working on this Stitch, ZBrush had already become my second main workspace. I've used it to deliver tons of commercial projects, I work in it almost daily, and most of my portfolio was created using this tool. I found some great reference images showing Stitch's body structure. Among them were official movie references and a stunning high-poly model created by Juan Hernández, a version of Stitch without fur. That model became my primary reference for sculpting.Truth is, Stitch's base form is quite simple, so blocking out the shape didn't take too long. When blocking, I use Blender in combination with ZBrush:I work with primary forms in ZBrushThen check proportions in BlenderFix mistakes, tweak volumes, and refine the silhouetteSince Stitch's shape isn't overly complex, I broke him down into three main sculpting parts:The body: arms, legs, head, and earsThe nose, eyes, and mouth cavityWhile planning the sculpt, I already knew I'd be rigging Stitch, both body and facial rig. So I started sculpting with his mouth open (to later close it and have more flexibility when it comes to rigging and deformation).While studying various references, I noticed something interesting. Stitch from promotional posters, Stitch from the movie, and Stitch as recreated by different artists on ArtStation all look very different from one another. What surprised me the most was how different the promo version of Stitch is compared to the one in the actual movie. They are essentially two separate models:Different proportionsDifferent shapesDifferent texturesEven different fur and overall designThis presented a creative challenge, I had to develop my own take on Stitch's design. Sometimes I liked the way the teeth were done in one version, in another, the eye placement, in another, the fur shape, or the claw design on hands and feet.At first, considering that Stitch is completely covered in fur from head to toe, sculpting his underlying anatomy seemed pointless. I kept asking myself: "Why sculpt muscles and skin detail if everything will be hidden under fur anyway?"But eventually, I found a few solid answers for myself. First, having a defined muscle structure actually makes the fur grooming process easier. That's because fur often follows the flow of muscle lines, so having those muscles helps guide fur direction more accurately across the character's body.Second, it's great anatomy practice, and practice is never a waste. So, I found a solid anatomical reference of Stitch with clearly visible muscle groups and tried to recreate that structure as closely as possible in my own sculpt.In the end, I had to develop a full visual concept by combining elements from multiple versions of Stitch. Through careful reference work and constantly switching between Blender and ZBrush, I gradually, but intentionally, built up the body and overall look of our favorite fluffy alien.Topology & UVsThroughout the sculpting process, I spent quite a bit of time thinking about topology. I was looking for the most balanced solution between quality and production time. Normally, I do manual retopology for my characters, but this time, I knew it would take too much time, and honestly, I didn't have that luxury.So I decided to generate the topology using ZBrush's tools. I split the model into separate parts using Polygroups, assigning individual groups for the ears, the head, the torso, the arms, the legs, and each of Stitch's fingers.With the Polygroups in place, I used ZRemesher with Keep Groups enabled and smoothing on group borders. This gave me a clean and optimized mesh that was perfect for UV unwrapping.Of course, this kind of auto-retopology isn't a full substitute for manual work, but it saved me a huge amount of time, and the quality was still high enough for what I needed. However, there was one tricky issue. Although Stitch looks symmetrical at first glance, his ears are actually asymmetrical. The right ear has a scar on the top, while the left has a scar on the bottomBecause of that, I couldn't just mirror one side in ZBrush without losing those unique features. Here's what I ended up doing: I created a symmetrical model with the right ear, then another symmetrical model with the left ear. I brought both into Blender, detached the left ear from one model, and attached it to the body of the other one. This way, I got a clean, symmetrical base mesh with asymmetrical ears, preserving both topology and detail. And thanks to the clean polygroup-based layout, I was able to unwrap the UVs with nice, even seams and clean islands.When it came to UV mapping, I divided Stitch into two UDIM tiles:The first UDIM includes the head with ears, torso, arms, and legs.The second UDIM contains all the additional parts: teeth, tongue, gums, claws, and nose (For the claws, I used overlapping UVs to preserve texel density for the other parts)Since the nose is one of the most important details, I allocated the largest space to it, which helped me to better capture its intricate details.As for the eyes, I used procedural eyes, so there was no need to assign UV space or create a separate UDIM for texturing them. To achieve this, I used the Tiny Eye add-on by tinynocky for Blender, which allows full control over procedural eyes and their parameters.This approach gave me high-quality eyes with customizable elements tailored exactly to my needs. As a result of all these steps, Stitch ended up with a symmetrical, optimized mesh, asymmetrical ears, and the body split across two UDIMs, one for the main body and one for the additional parts.TexturingWhen planning Stitch's texturing, I understood that the main body texture would be fairly simple, with much of the visual detail enhanced by the fur. However, there were some areas that required much more attention than the rest of the body. The textures for Stitch can be roughly divided into several main parts:The base body, which includes the primary color of his fur, along with additional shading like a lighter tone on the front (belly) and a darker tone on the back and napeThe nose and ears, these zones, demanded separate focusAt the initial texturing/blocking stage, the ears looked too cartoony, which didn’t fit the style I wanted. So, I decided to push them towards a more realistic look. This involved removing bright colors, adding more variation in the roughness map, introducing variation in the base color, and making the ears visually more natural, layered, and textured on the surface. By combining smart materials and masks, I achieved the effect of "living" ears, slightly dirty and looking as natural as possible.The nose was a separate story. It occupies a significant part of the face and thus draws a lot of attention. While studying references, I noticed that the shape and texture of the nose vary a lot between different artists. Initially, I made it dog-like, with some wear and tear around the nostrils and base.For a long time, I thought this version was acceptable. But during test renders, I realized the nose needed improvement. So I reworked its texturing, aiming to make it more detailed. I divided the nose texture into four main layers:Base detail: Baked from the high-poly model. Over this, I applied a smart skin material that added characteristic bumps.Lighter layer: Applied via a mask using the AO channel. This darkened the crevices and brightened the bumps, creating a multi-layered effect.Organic detail (capillaries): In animal references, I noticed slight redness in the nose area. I created another AO-masked layer with reddish capillaries visible through the bumps, adding depth and realism.Softness: To make the nose visually softer, like in references, I added a fill layer with only height enabled, used a paper texture as grayscale, and applied a blurred mask. This created subtle dents and wrinkles that softened the look.All textures were created in 4K resolution to achieve maximum detail. After finishing the main texturing stage, I add an Ambient Occlusion map on the final texture layer, activating only the Color channel, setting the blend mode to Multiply, and reducing opacity to about 35%. This adds volume and greatly improves the overall perception of the model.That covers the texturing of Stitch’s body. I also created a separate texture for the fur. This was simpler, I disabled unnecessary layers like ears and eyelids, and left only the base ones corresponding to the body’s color tones.During grooming (which I'll cover in detail later), I also created textures for the fur's clamps and roughness. In Substance 3D Painter, I additionally painted masks for better fur detail.FurAnd finally, I moved on to the part that was most important to me, the very reason I started this project in the first place. Fur. This entire process was essentially a test of my fur grooming skills. After overcoming self-doubt, I trusted the process and relied on everything I had learned so far. Before diving into the grooming itself, I made sure to gather strong references. I searched for the highest quality and most inspiring examples I could find and analyzed them thoroughly. My goal was to clearly understand the direction of fur growth, its density and volume, the intensity of roughness, and the strength of clumping in different areas of Stitch's body.To create the fur, I used Blender and its Hair Particle System. The overall approach is similar to sculpting a high-detail model: work from broad strokes to finer details. So, the first step was blocking out the main flow and placement of the hair strands.At this point, I ran into a challenge: symmetry. Since the model was purposefully asymmetrical (because of the ears and skin folds), the fur couldn't be mirrored cleanly. To solve this, I created a base fur blocking using Hair Guides with just two segments. After that, I split the fur into separate parts. I duplicated the main Particle System and created individual hair systems for each area where needed.In total, I broke Stitch's body into key sections: head, left ear, right ear, front torso, back torso, arms, hands, upper and lower legs, toes, and additional detailing layers. The final fur setup included 25 separate particle systems.To control fur growth, I used Weight Paint to fine-tune the influence on each body part individually. This separation gave me much more precision and allowed full control over every parameter of the fur on a per-section basis.The most challenging aspect of working with fur is staying patient and focused. Detail is absolutely critical because the overall picture is built entirely from tiny, subtle elements. Once the base layer was complete, I moved on to refining the fur based on my references.The most complex areas turned out to be the front of the torso and the face. When working on the torso, my goal was to create a smooth gradient, from thick, clumped fur on the chest to shorter, softer fur on the stomach.Step by step, I adjusted the transitions, directions, clumps, and volumes to achieve that look. Additionally, I used the fur itself to subtly enhance Stitch's silhouette, making his overall shape feel sharper, more expressive, and visually engaging.During fur development, I used texture maps to control the intensity of the Roughness and Clump parameters. This gave me a high degree of flexibility, textures drove these attributes across the entire model. In areas where stronger clumping or roughness was needed, I used brighter values; in zones requiring a softer look, darker values. This approach allowed for fine-tuned micro-level control of the fur shader and helped achieve a highly realistic appearance in renders.The face required special attention: the fur had to be neat, evenly distributed, and still visually appealing. The biggest challenge here was working around the eye area. Even with properly adjusted Weight Paint, interpolation sometimes caused strands to creep into the eyes.I spent a lot of time cleaning up this region to get an optimal result. I also had to revisit certain patches that looked bald, even though interpolation and weight painting were set correctly, because the fur didn't render properly there. These areas needed manual fixing.As part of the detailing stage, I also increased the number of segments in the Hair Guides.While the blocking phase only used two segments, I went up to three, and in some cases even five, for more complex regions. This gave me much more control over fur shape and flow.The tiniest details really matter, so I added extra fur layers with thinner, more chaotic strands extending slightly beyond the main silhouette. These micro-layers significantly improved the texture depth and boosted the overall realism.Aside from the grooming itself, I paid special attention to the fur material setup, as the shader plays a critical role in the final visual quality of the render. It's not enough to simply plug a color texture into a Principled BSDF node and call it done.I built a more complex shader, giving me precise control over various attributes. For example, I implemented subtle color variation across individual strands, along with darkening near the roots and a gradual brightening toward the tips. This helped add visual depth and made the fur look significantly more natural and lifelike.Working on the fur took up nearly half of the total time I spent on the entire model. And I'm genuinely happy with the result, this stage confirmed that the training I've gone through was solid and that I’m heading in the right direction with my artistic development.Rigging, Posing & SceneOnce I finished working on the fur, I rendered several 4K test shots from different angles to make sure every detail looked the way I intended. When I was fully satisfied with the results, it was time to move on to rigging.I divided the rigging process into three main parts:Body rig, for posing and positioning the characterFacial rig, for expressions and emotionsEar rig, for dynamic ear controlRigging isn't something I consider my strongest skill, but as a 3D generalist, I had to dive into many technical aspects of it. For the ears, I set up a relatively simple system with several bones connected using inverse kinematics (IK). This gave me flexible and intuitive control during posing and allowed for the addition of dynamic movement in animation.For facial rigging, I used the FaceIt add-on, which generates a complete facial control system for mouth, eyes, and tongue. It sped up the process significantly and gave me more precision. For the body, I used the ActorCore Rig by NVIDIA, then converted it to Rigify, which gave me a familiar interface and flexible control over poses.Posing is one of my favorite stages, it's when the character really comes to life. As usual, it started with gathering references. Honestly, it was hard to pick the final poses, Stitch is so expressive and full of personality that I wanted to try hundreds of them. But I focused on those that best conveyed the spirit and mood of the character. Some poses I reworked to fit my style rather than copying directly. For example, in the pose where Stitch licks his nose, I added drool and a bit of "green slime" for comedic effect. To capture motion, I tilted his head back and made the ears fly upward, creating a vivid, emotional snapshot.Just like in sculpting or grooming, minor details make a big difference in posing. Examples include: a slight asymmetry in the facial expression, a raised corner of the mouth, one eye squinting a little more than the other, and ears set at slightly different angles.These are subtle things that might not be noticed immediately, but they’re the key to making the character feel alive and believable.For each pose, I created a separate scene and collection in Blender, including the character, specific lighting setup, and a simple background or environment. This made it easy to return to any scene later, to adjust lighting, reposition the character, or tweak the background.In one of the renders, which I used as the cover image, Stitch is holding a little frog.I want to clearly note that the 3D model of the frog is not mine, full credit goes to the original author of the asset.At first, I wanted to build a full environment around Stitch, to create a scene that would feel like a frame from a film. But after carefully evaluating my skills and priorities, I decided that a weak environment would only detract from the strength of the character. So I opted for a simple, neutral backdrop, designed to keep all the focus on Stitch himself.Rendering, Lighting & Post-ProcessingWhen the character is complete, posed expressively, and integrated into the scene, there's one final step: lighting. Lighting isn't just a technical element of the scene — it’s a full-fledged stage of the 3D pipeline. It doesn't just illuminate; it paints. Proper lighting can highlight the personality of the character, emphasize forms, and create atmosphere.For all my renders, I rely on the classic three-point lighting setup: Key Light, Fill Light, and Rim Light.While this setup is well-known, it remains highly effective. When done thoughtfully, with the right intensity, direction, and color temperature, it creates a strong light-shadow composition that brings the model to life. In addition to the three main lights, I also use an HDRI map, but with very low intensity, around 0.3, just enough to subtly enrich the ambient light without overpowering the scene.Once everything is set, it's time to hit Render and wait for the result. Due to hardware limitations, I wasn’t able to produce full animated shots with fur. Rendering a single 4K image with fur took over an hour, so I limited myself to a 360° turnaround and several static renders.I don't spend too much time on post-processing, just basic refinements in Photoshop. Slight enhancement of the composition, gentle shadow adjustments, color balance tweaks, and adding a logo. Everything is done subtly, nothing overprocessed. The goal is simply to support and enhance what’s already there.Final ThoughtsThis project has been an incredible experience. Although it was my second time creating Stitch (the first was back in 2023), this time the process felt completely different at every stage. And honestly, it wasn't easy.But that was exactly the point: to challenge myself. To reimagine something familiar, to try things I'd never done before, and to walk the full journey from start to finish. The fur, the heart of this project, was especially meaningful to me. It’s what started it all. I poured a lot into this model: time, effort, emotion, and even doubts. But at the same time, I brought all my knowledge, skills, and experience into it.This work became a mirror of my progress from 2023 to 2025. I can clearly see how far I've come, and that gives me the motivation to keep going. Every hour of learning and practice paid off, the results speak for themselves. This model was created for my portfolio. I don't plan to use it commercially, unless, of course, a studio actually wants to license it for a new film (in that case, I'd be more than happy!)It's been a long road: challenging, sometimes exhausting, but above all inspiring and exciting. I know there's still a lot to learn. Many things to study, improve, and polish to perfection. But I'm already on that path, and I'm not stopping.Oleh Yakushev, 3D Character ArtistInterview conducted by Gloria Levine

Meta’s former policy chief Nick Clegg seems to be walking a tightrope as he promotes his upcoming book, “How to Save the Internet.”

Over the past year, we’ve had the privilege of connecting with talented game developers from across the Middle East and North Africa (MENA) through the PlayStation MENA Hero Project. This initiative was launched with a simple goal: to identify and support original voices and empower creators from emerging regions to tell their stories through games. Today, we’re thrilled to announce the first cohort of titles supported under the MENA Hero Project, each one a unique reflection of the creativity, and spirit of developers in the region. The First Cohort of MENA Hero Project Games Red Bandits | Developer: Team Agenda | Country: Saudi Arabia Red Bandits is a fast-paced robbery action game set in a hyper-capitalist age where one company rules the world through complete monopoly. In this world, a newly formed thieves organization known as the Red Bandits, emerges to challenge the system and spark a rebellion. You play as Stutt, a seasoned old thief with a stuttering condition and a mysterious past he can’t fully remember. Break into the company’s fortified floors, take down the powerful board of directors, and bring back a de-monopolized world order. With a dynamic cover system, evolving heists, and a vibrant comrades’ hideout, Red Bandits blends fast, stylish action with a deeply personal story of rebellion. Robbing its way to PS5 and PC. Enci’s Solution | Developer: Dark Emerald | Country: United Arab Emirates Exiled by humans centuries ago, the Aeons are confined to the desolate underground. Their village is safe, but beyond the gates, danger lurks at every corner, and not everyone can be trusted. No one has left the village before, except for Ji’we. Inspired by techno-dystopian aesthetics, Enci’s Solution is a hand-painted, 2.5D narrative platformer following the story of Ji’we, a young Aeon venturing out into the unknown in an attempt to save his dearest friend. Stumbling upon Enci, a lost encyclopedic robot who finds himself far from home, the two form an unusual bond and set out together to the surface of planet Regalia.  Play through 40+ levels with increasing difficulty and explore uncharted territories. Find collectibles and uncover the secrets they carry about the world and its odd inhabitants. Keep an eye out for hidden levels and challenge yourself to think outside the box. Will you find your solution on PS5 and PC? Play Video The Perfect Run | Developer: Lanterns Studios | Country: Tunisia Save the world or blow it up yourself, one loop at a time! The Perfect Run is an action-adventure RPG game where the player controls Quicksave, a time-traveling hero caught in an epic struggle between supervillain gangs, marketed superheroes, and a powerful mega corporation for the control of the city of New Rome. With three days to decide the city’s fate, the player can go back in time to decide their perfect ending… if they have the skill to do so! Interact with NPCs and unlock new dialogue options thanks to information collected in earlier loops, join a faction in one route and fight them the next, bend time itself in epic battle against superpowered bosses, collect the best upgrades before the reset, and unlock the city’s secrets in this memorable superhero adventure. Find the perfect run on PS5 and PC. A Cat’s Manor | Developer: Happiest Dark Corner | Country: Bahrain You awaken trapped in a house infested with spiders and inhabited by an eccentric family. At the end of your tail, you discover a crudely stitched hand. With no memory of who you are or how you got here, you let curiosity guide you forward. A Cat’s Manor is an atmospheric adventure that blends puzzles, combat, crafting, and rhythm-based music challenges. Use your wits to escape the manor. Investigate your surroundings, solve puzzles, fight your way through deadly encounters, or outsmart your foes and avoid trouble. Inspect, observe, listen, and feel your surroundings for clues and cues, immersing yourself with 3D audio and PS5 DualSense controller features. Uncover the secrets of the manor and unravel what the family is hiding. Creeping its way to PS5 and PC near you.  About the MENA Hero Project The MENA Hero Project is the newest chapter in SIE’s global Hero Project family, joining India and China in our mission to discover and nurture the next generation of original game creators. We believe that great games can come from anywhere. Through the MENA Hero Project, we’re committed to unlocking the region’s creative potential, supporting locally inspired experiences with the power to captivate players around the world.

L’entreprise américaine Palantir suspectée de créer une base de données géante sur les citoyens Le champion américain de l’analyse des données est mis en cause par le « New York Times » et des sénateurs démocrates pour des pratiques illégales. Mais ce genre de dispositifs n’est pas l’apanage des Etats-Unis. Article réservé aux abonnés Alex Karp, patron de Palantir Technologies, lors d’une table ronde intitulée « Pouvoir, finalité et le nouveau siècle américain » au Hill and Valley Forum, à Washington, le 30 avril 2025. KEVIN DIETSCH/GETTY IMAGES VIA AFP « Un cauchemar de surveillance. » C’est le climat dystopique qu’encouragerait l’entreprise Palantir, selon des sénateurs américains démocrates. Dans une lettre adressée le 18 juin à Alex Karp, l’impétueux patron de Palantir, ces derniers réclament des comptes au géant américain de l’analyse de données sur la teneur des contrats qu’il a signés avec l’administration Trump. Lire aussi l’enquête | Article réservé à nos abonnés La discrète montée en puissance de la reconnaissance faciale dans le monde D’après l’enquête du New York Times, parue le 30 mai, le gouvernement aurait confié à la multinationale la mission de créer une base fusionnant un grand nombre d’informations sur la vie privée des citoyens américains, à travers un produit nommé « Foundry » qui analyse les données d’administrations fédérales. Des pratiques contraires à la législation des Etats-Unis que Palantir a niées. Mais les élus sont revenus à la charge en dénonçant notamment le contrat de la société avec l’Internal Revenue Service, source des données sensibles de tous les foyers imposables américains. Plus récemment, Palantir a également signé un contrat de 30 millions de dollars (25,6 millions d’euros) avec l’agence de police douanière et de contrôle des frontières (ICE) pour rationaliser, selon les autorités, l’« identification » des étrangers et leur « éloignement » des Etats-Unis, dans le but de rendre la « logistique d’expulsion » plus efficace. Il vous reste 59.16% de cet article à lire. La suite est réservée aux abonnés.

Labor Day marks the unofficial end to summer as the weather starts to get crisper and students head back to school for the new semester. It also marks a good time to check out the tech deals available across the web. While seasonal holidays like Memo

I’m Mateusz Tomaszkiewicz, Creative Director at Rebel Wolves, working on The Blood of Dawnwalker — a story-driven, open-world RPG set in 14th-century Europe. We recently showcased a closer look at the gameplay at gamescom and wanted to share some of the exciting new details with you. Entering the narrative sandbox You play as Coen, the game’s protagonist and the titular Dawnwalker. While the exact circumstances remain a mystery, an attempt to turn Coen into a vampire fails. As a result, he exists between two worlds — human during the day, vampire at night. This duality sits at the heart of the gameplay, with each form offering distinct skills and abilities. Most quests can be approached during either day or night, creating significantly different experiences. One of the key mechanics is what we call the “narrative sandbox.” Once the prologue concludes, you have 30 days and nights to rescue Coen’s family from Brencis, a centuries-old vampire and former Roman senator, and his inner circle. Only major actions move the clock forward, and you’re always informed how much time an activity will consume. Roaming the open world does not advance time, giving you the freedom to explore without pressure. Time works more like a currency than a countdown. What truly defines the narrative sandbox is the freedom it gives you to shape the story on your own terms. Quests can be completed in any order, skipped entirely, or even never discovered at all depending on your choices. Many characters can be killed, with their absence reshaping events and relationships. There are often multiple paths to achieve the same goal, and even inaction is a choice — one the world around Coen will recognize and respond to. The result is a deeply reactive narrative structure that encourages experimentation and makes every playthrough unique. Human by day. Vampire by night. The newly revealed quest takes place on day eight of Coen’s journey. By then, several quests have been completed and Coen is visibly more powerful. We first see him at night, navigating the capital city of Svartrau and using vampiric abilities like Shadowstep — a short-range teleport that lets him instantly reposition. It’s invaluable not only in combat, allowing him to flank enemies or close the gap on patrolling guards, but also for exploration and stealth. With Shadowstep, Coen can reach scaffolding high on the cathedral’s walls, leap between rooftops, or slip into otherwise inaccessible balconies and ledges, opening up new routes and opportunities to approach objectives. Combat remains fluid and dynamic, blending physical strength with supernatural powers. His vampire form isn’t overpowered, but it adds a distinct tactical layer. The quest involves infiltrating the city’s cathedral, where Coen encounters Xanthe — an ancient Greek vampire and Brencis’ most powerful ally. To show how time of day affects gameplay, we then reload a save to experience a daytime version of the quest. This time, the goal is to locate the legendary sword of Saint Mihai, the cathedral’s patron. In his human form, Coen leans more on swordplay and dark human magic, unavailable as a vampire. Combat is fast and responsive, with directional attacks and flexible blocking. You can block easily with a single button or use directional input for more precision and control, accommodating both story-focused players and those seeking a challenge. Fighting the living, the dead, and everything In between Once the enemies are defeated, Coen enters Svartrau during the day. The streets are bustling with life — townsfolk fill the squares, merchants trade goods, and ambient conversations hint at the uneasy coexistence under vampire rule. After roaming the vibrant streets, Coen goes to the cathedral. Inside, we witness a chilling ritual called the Blood Baptism, one of Brencis’ ways of twisting existing traditions to maintain control. After a tense dialogue sequence that nearly exposes Coen, the sword quest resumes. This leads to a battle with Muron, a creature born from a failed vampire transformation. Unlike Coen, Muron does not become a Dawnwalker but a wild, unstable monster with unpredictable powers. Another hex in Coen’s arsenal – Compel Soul – allows Coen to speak with the dead, helping him uncover clues and eventually locate a hidden crypt believed to hold the sword. What he finds is far more disturbing: Saint Mihai, once revered, had been entombed alive after villagers discovered he was also a Dawnwalker. Starved during the day and regenerating at night, Mihai slowly lost his sanity. When freed, he attacks Coen using the full range of Dawnwalker abilities. If you find him at night instead, Mihai appears in his vampire form, offering an entirely different encounter. The nearly 50-minute demo offers an extended look at The Blood of Dawnwalker’s design — from its dual gameplay loop and time-based structure to its focus on player agency and narrative depth. There is no single path through this story, and every decision, including inaction, shapes the journey. Slated for release in 2026, The Blood of Dawnwalker aims to deliver rich storytelling, immersive combat, and an open world where narrative truly takes the lead. The Blood of Dawnwalker is coming to PlayStation 5 in 2026; wishlist it now to stay updated and be among the first to step into Coen’s journey!

Team Cherry, developer of Hollow Knight, has announced a release date of September 4 for the long-awaited sequel, Hollow Knight: Silksong.Over 300,000 concurrent viewers gathered to watch the announcement via Team Cherry's YouTube channel earlier today. At the time of publication, roughly three hours later, the video has over 1.4 million views and counting.The numbers above encapsulate a fraction of the popularity around the sequel, which was announced back in 2019, two years after the release of Hollow Knight, which is a sprawling action-adventure game. Team Cherry hasn't run an extensive marketing cycle, aside from sporadic appearances in video game showcases from Xbox, Nintendo, and Gamescom. For a while, before any conference, people turned to the meme of expecting news of a release date for Silksong. This included industry figure Geoff Keighley, who joked about it on Monday of this week via X (formerly Twitter), ahead of his hosting Gamescom Opening Night Live, which took place on Tuesday.Team Cherry seems unaware of what Jira isHollow Knight sold over 2.8 million copies by 2019, two years after its release. It was, by all means, a successful launch for Team Cherry, an indie development team consisting primarily of three people. But the popularity continued to snowball from there. As of today, according to an interview with Bloomberg, Hollow Knight has sold 15 million copies.Related:Silksong has been in development for seven years now. When asked about why the dev cycle has taken this long, Team Cherry co-founders Ari Gibson and Willian Pellen said that they've been having fun, and that the project has been a vehicle for their creativity."It was never stuck or anything," Gibson told Bloomberg. "It was always progressing. It's just the case that we're a small team, and games take a lot of time. There wasn't any big controversial moment behind it."The idea for the sequel came from designing a DLC that progressively grew in scope, until the team realized that it could become a separate title altogether. According to the devs, that growth continued over time—in 2022, Team Cherry featured Silksong during an Xbox event that promised that all of the games shown would be out within a year. But that wasn't the case."I think we're always underestimating the amount of time and effort it'll take us to achieve things," Gibson told Bloomberg. "It's also that problem where, because we're having fun doing it, it's not like, 'It's taking longer, this is awful, we really need to get past this phase.' It's, 'This is a very enjoyable space to be in. Let's perpetuate this with some new ideas.'"Related:According to Team Cherry, maintaining the team small saved them from having to manage and delegate, even if that led to extended production time. The co-founders are joined by programmer Jack Vine, composer Chris Larking, and "a few contractors" who helped with programming and testing."We don't want to mess with the formula and then find out it's not fun," Gibson said. "I used to manage teams in past lives. I don't really want to do that ever again."This methodology has allowed for a distinct approach to developing a game, to the point where the team seems unaware of task-management applications. Gibson asked "What is Jira?" when prompted if they had used it at some point. Meanwhile, Pellen wondered "Is it software?" and added that the team briefly used Trello before their account was deactivated for lack of use.

A real-life example how the decorator pattern enables future changes and improves code quality by upholding the Single Responsibility Principle.

Ghostrunner studio One More Level revealed its next game, Valor Mortis, during Gamescom Opening Night Live. While the studio's previous Ghostrunner titles were set in a cyberpunk world that prioritized speed, agility, and precision swordplay, Valor Mortis offers a different experience with its blend of first-person souls-like action, metroidvania-inspired levels, and a more methodical approach to melee combat.Set in a warped version of war-torn Eastern Europe during the Napoleonic Wars, players step into the boots of a resurrected French soldier who must master the corrupting power of a mysterious, plague-like Nephtoglobin substance to save humanity. The battlefield has become infested with terrifying creatures, and as the revived Grande Armée soldier known only as William, skill and horrifying new powers are the only things that'll keep you alive when you face off against twisted creatures and Napoleon's Eternal Guard.The reveal trailer teased some of the gameplay of Valor Mortis, as you can expect to switch between ranged and melee options to take on enemies, or powerful abilities to help you survive a skirmish.Continue Reading at GameSpot

Pressing X to slam into cover might feel strange, but if you want to play with your Xbox comrades, we have some good news The post With <i>Gears Of War: Reloaded</i> Emerging On PS5 Soon, Will It Support Crossplay? appeared first on Kota