• Intelligence artificielle : les économistes s’inquiètent d’un risque de bulle financière

    Des investissements mirobolants, des valorisations boursières extravagantes et trop peu de profits pour l’instant, à l’exception du fabricant de microprocesseurs Nvidia : la folie de l’intelligence artificielleest-elle en passe de se transformer en bulle financière ? C’est la mise en garde lancée mi-août par Sam Altman, le PDG d’OpenAI. « Si l’on considère la plupart des bulles financières de l’histoire, comme la bulle Internet, on constate qu’il y avait une réalité : Internet était un phénomène majeur, les gens étaient surexcités. Sommes-nous dans une phase où les investisseurs dans leur ensemble sont surexcités par l’IA ? Je pense que oui. L’IA est-elle la chose la plus importante à venir depuis très longtemps ? Je pense que oui également », a-t-il déclaré à des journalistes américains. Lire aussi | Article réservé à nos abonnés IA : Donald Trump lâche la bride à la Silicon Valley pour assurer aux Etats-Unis « une domination mondiale » L’inquiétude est de plus en plus partagée. « Je m’attends à un krach »,Technological Revolutions and Financial Capital : The Dynamics of Bubbles and Golden Ages, « révolutions technologiques et capital financier, les dynamiques des bulles et des âges d’or »,« Des trois acteurs en jeu, les investisseurs, les entreprises d’IA et les utilisateurs, les seuls à réaliser des profits sont les acteurs financiers dont les valorisations augmentent. C’est une situation de bulle typique : des plus-values ​​élevées et des profits faibles. » L’affaire a un petit goût de déjà-vu pour l’économiste, réputée pour ses travaux sur l’innovation, qui a examiné les cinq révolutions industrielles majeures : le métier à tisser mû par un moulin à aubes en Angleterre, la locomotive à vapeur de George Stephenson, l’acier d’Andrew Carnegie à Pittsburgh, la chaîne d’assemblage de Fordet le premier microprocesseur Intel. Toutes ont révolutionné l’Occident. Lire aussi | Article réservé à nos abonnés Après le métavers, Mark Zuckerberg investit des dizaines de milliards de dollars dans la « superintelligence » grâce à ses résultats mirobolants Mais avant de s’installer durablement et de diffuser leurs effets à l’économie, ces innovations ont provoqué une frénésie d’investissements – trop de canaux en Angleterre, trop de chemins de fer peu rentables — et de spéculation financière détachée des réalités, provoquant krachs ou corrections boursières. Beaucoup, sur les marchés, ont en mémoire l’éclatement de la bulle Internet en l’an 2000. « La bulle de l’IA est aujourd’hui plus importante que celle des technologies de l’information des années 1990 », estimait mi-juillet Torsten Slok, économiste en chef du fonds Apollo. Il vous reste 73.74% de cet article à lire. La suite est réservée aux abonnés.
    #intelligence #artificielle #les #économistes #sinquiètent
    Intelligence artificielle : les économistes s’inquiètent d’un risque de bulle financière
    Des investissements mirobolants, des valorisations boursières extravagantes et trop peu de profits pour l’instant, à l’exception du fabricant de microprocesseurs Nvidia : la folie de l’intelligence artificielleest-elle en passe de se transformer en bulle financière ? C’est la mise en garde lancée mi-août par Sam Altman, le PDG d’OpenAI. « Si l’on considère la plupart des bulles financières de l’histoire, comme la bulle Internet, on constate qu’il y avait une réalité : Internet était un phénomène majeur, les gens étaient surexcités. Sommes-nous dans une phase où les investisseurs dans leur ensemble sont surexcités par l’IA ? Je pense que oui. L’IA est-elle la chose la plus importante à venir depuis très longtemps ? Je pense que oui également », a-t-il déclaré à des journalistes américains. Lire aussi | Article réservé à nos abonnés IA : Donald Trump lâche la bride à la Silicon Valley pour assurer aux Etats-Unis « une domination mondiale » L’inquiétude est de plus en plus partagée. « Je m’attends à un krach »,Technological Revolutions and Financial Capital : The Dynamics of Bubbles and Golden Ages, « révolutions technologiques et capital financier, les dynamiques des bulles et des âges d’or »,« Des trois acteurs en jeu, les investisseurs, les entreprises d’IA et les utilisateurs, les seuls à réaliser des profits sont les acteurs financiers dont les valorisations augmentent. C’est une situation de bulle typique : des plus-values ​​élevées et des profits faibles. » L’affaire a un petit goût de déjà-vu pour l’économiste, réputée pour ses travaux sur l’innovation, qui a examiné les cinq révolutions industrielles majeures : le métier à tisser mû par un moulin à aubes en Angleterre, la locomotive à vapeur de George Stephenson, l’acier d’Andrew Carnegie à Pittsburgh, la chaîne d’assemblage de Fordet le premier microprocesseur Intel. Toutes ont révolutionné l’Occident. Lire aussi | Article réservé à nos abonnés Après le métavers, Mark Zuckerberg investit des dizaines de milliards de dollars dans la « superintelligence » grâce à ses résultats mirobolants Mais avant de s’installer durablement et de diffuser leurs effets à l’économie, ces innovations ont provoqué une frénésie d’investissements – trop de canaux en Angleterre, trop de chemins de fer peu rentables — et de spéculation financière détachée des réalités, provoquant krachs ou corrections boursières. Beaucoup, sur les marchés, ont en mémoire l’éclatement de la bulle Internet en l’an 2000. « La bulle de l’IA est aujourd’hui plus importante que celle des technologies de l’information des années 1990 », estimait mi-juillet Torsten Slok, économiste en chef du fonds Apollo. Il vous reste 73.74% de cet article à lire. La suite est réservée aux abonnés. #intelligence #artificielle #les #économistes #sinquiètent
    Intelligence artificielle : les économistes s’inquiètent d’un risque de bulle financière
    www.lemonde.fr
    Des investissements mirobolants, des valorisations boursières extravagantes et trop peu de profits pour l’instant, à l’exception du fabricant de microprocesseurs Nvidia : la folie de l’intelligence artificielle (IA) est-elle en passe de se transformer en bulle financière ? C’est la mise en garde lancée mi-août par Sam Altman, le PDG d’OpenAI. « Si l’on considère la plupart des bulles financières de l’histoire, comme la bulle Internet, on constate qu’il y avait une réalité : Internet était un phénomène majeur, les gens étaient surexcités. Sommes-nous dans une phase où les investisseurs dans leur ensemble sont surexcités par l’IA ? Je pense que oui. L’IA est-elle la chose la plus importante à venir depuis très longtemps ? Je pense que oui également », a-t-il déclaré à des journalistes américains. Lire aussi | Article réservé à nos abonnés IA : Donald Trump lâche la bride à la Silicon Valley pour assurer aux Etats-Unis « une domination mondiale » L’inquiétude est de plus en plus partagée. « Je m’attends à un krach »,Technological Revolutions and Financial Capital : The Dynamics of Bubbles and Golden Ages, « révolutions technologiques et capital financier, les dynamiques des bulles et des âges d’or »,« Des trois acteurs en jeu, les investisseurs, les entreprises d’IA et les utilisateurs, les seuls à réaliser des profits sont les acteurs financiers dont les valorisations augmentent. C’est une situation de bulle typique : des plus-values ​​élevées et des profits faibles. » L’affaire a un petit goût de déjà-vu pour l’économiste, réputée pour ses travaux sur l’innovation, qui a examiné les cinq révolutions industrielles majeures : le métier à tisser mû par un moulin à aubes en Angleterre (1771), la locomotive à vapeur de George Stephenson (1829), l’acier d’Andrew Carnegie à Pittsburgh (1875), la chaîne d’assemblage de Ford (1913) et le premier microprocesseur Intel (1971). Toutes ont révolutionné l’Occident. Lire aussi | Article réservé à nos abonnés Après le métavers, Mark Zuckerberg investit des dizaines de milliards de dollars dans la « superintelligence » grâce à ses résultats mirobolants Mais avant de s’installer durablement et de diffuser leurs effets à l’économie, ces innovations ont provoqué une frénésie d’investissements – trop de canaux en Angleterre, trop de chemins de fer peu rentables — et de spéculation financière détachée des réalités, provoquant krachs ou corrections boursières. Beaucoup, sur les marchés, ont en mémoire l’éclatement de la bulle Internet en l’an 2000. « La bulle de l’IA est aujourd’hui plus importante que celle des technologies de l’information des années 1990 », estimait mi-juillet Torsten Slok, économiste en chef du fonds Apollo. Il vous reste 73.74% de cet article à lire. La suite est réservée aux abonnés.
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  • Evil Empire tells devs to avoid early access unless their project is 90 percent complete

    Chris Kerr, Senior Editor, News, GameDeveloper.comAugust 22, 20254 Min ReadVia Evil Empire/UbisoftThe Rogue Prince of Persia developer Evil Empire doesn't believe it's worth entering early access in the current climate unless your project is at least 90 percent complete. Speaking to Game Developer at Gamescom 2025, studio marketing manager Matthew Houghton and art director Dylan Eurlings shared their thoughts on the state of contemporary early access campaigns and suggested the system is becoming increasingly risky. You might recognize Evil Empire as the studio that has spent years helping Dead Cells developer Motion Twin expand the franchise with DLC and free updates. Since May 2024, however, the studio has also been shepherding The Rogue Prince of Persia through an Steam Early Access campaign that culminated in an official launch on August 20.Yet, due to a variety of factors including shifting player expectations, the team had to tweak their pre-release strategy in a bid to lure in players. As a result, the studio has become more wary of early access in general. "To be honest, the way I see it now is that unless you're coming into early access with a 90 percent complete game, don't do it. Because players, they don't see it as early access, they see it a game to play," says Houghton. He adds that players are entitled to express their views because they're often paying money to play early access titles, but he feels that sifting viewpoint means consumers are less willing to follow games on an early access journey that will often result in significant changes. Related:Eurlings echoes that point and suggests that a perceived lack of polish and content can now be a "huge issue" during early access campaigns. He explains that Evil Empire was even forced to rethink their original roadmap after the earliest versions of Rogue Prince of Persia failed to meet internal expectations."Initially we wanted to do quick updates. Very fast. In the end, we took a bit more time to ensure that each update would be a bit more chunky," he adds, noting that pivot resulted in a steady cadence of monthly updates that each packed a fair bit of clout. That shift came after the team conceded that early access numbers "weren't great." Houghton explains the project initially attracted just under 1,000 peak concurrent users. After they flipped the script, the title started to pull in around 4,000 CCU. "That's why we wanted to prioritize chunky content—there would be an impact every time," says Houghton, before acknowledging the title still hadn't quite met the team's CCU expectations even after that switch-up. Related:"Of course you listen to the feedback and take the ideas, but you have to feed them through a filter."It underlines the risks that come with early access, and Houghton specifically wonders whether some developers who can't hit that 90 percent completion benchmark before launching into early access might instead be better off conducting beta tests through Steam instead. If you're curious as to where Rogue Prince of Persia was when it entered Early Access, Houghton suggests the project was roughly 60 percent complete. Eurlings, was slightly more conservative, and claimed it was more like 50 percent. We suggested they meet in the middle. "Steam has evolved now. You can do beta tests and playtests through Steam. I think that's become more like Early Access. People aren't paying for it and your project might be a bit jankybut that's okay because they're still going to give feedback and it's not going to be a disaster if it's not great yet," continues Houghton. When asked whether Evil Empire would consider revisiting Early Access in the future, Houghton isn't so certain."I don't know. I'm going to be honest. I've been put off by it, because especially now people are so used to games coming out and then doing live ops for three, four, and five years—so why go with early access and have to deal with the stigma that's around it? I think I would do playtests and then just release," he explains. Related:Houghton adds that teams who are still convinced early access is right for them must have complete conviction in their creative vision—otherwise they might risk being derailed. "Of course you listen to the feedback and take the ideas, but you have to feed them through a filter, otherwise you'll have too many cooks.You'll have people who are super enthusiastic who think you can't do anything wrong, and then you get the people who are just super negative and people who are just throwing ideas at you that you know won't work in the game." It's a situation that can feel overwhelming, with Houghton explaining that Rogue Prince of Persia's game director found the onslaught "too much" at times. "You have to stick to your vision," says Houghton. "Listen, but just cherry pickcarefully."Game Developer attended Gamescom 2025 via the Gamescom Media Ambassador Program, which covered flights and accommodation. about:GamescomTop StoriesInterviewsAbout the AuthorChris KerrSenior Editor, News, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, and PocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
    #evil #empire #tells #devs #avoid
    Evil Empire tells devs to avoid early access unless their project is 90 percent complete
    Chris Kerr, Senior Editor, News, GameDeveloper.comAugust 22, 20254 Min ReadVia Evil Empire/UbisoftThe Rogue Prince of Persia developer Evil Empire doesn't believe it's worth entering early access in the current climate unless your project is at least 90 percent complete. Speaking to Game Developer at Gamescom 2025, studio marketing manager Matthew Houghton and art director Dylan Eurlings shared their thoughts on the state of contemporary early access campaigns and suggested the system is becoming increasingly risky. You might recognize Evil Empire as the studio that has spent years helping Dead Cells developer Motion Twin expand the franchise with DLC and free updates. Since May 2024, however, the studio has also been shepherding The Rogue Prince of Persia through an Steam Early Access campaign that culminated in an official launch on August 20.Yet, due to a variety of factors including shifting player expectations, the team had to tweak their pre-release strategy in a bid to lure in players. As a result, the studio has become more wary of early access in general. "To be honest, the way I see it now is that unless you're coming into early access with a 90 percent complete game, don't do it. Because players, they don't see it as early access, they see it a game to play," says Houghton. He adds that players are entitled to express their views because they're often paying money to play early access titles, but he feels that sifting viewpoint means consumers are less willing to follow games on an early access journey that will often result in significant changes. Related:Eurlings echoes that point and suggests that a perceived lack of polish and content can now be a "huge issue" during early access campaigns. He explains that Evil Empire was even forced to rethink their original roadmap after the earliest versions of Rogue Prince of Persia failed to meet internal expectations."Initially we wanted to do quick updates. Very fast. In the end, we took a bit more time to ensure that each update would be a bit more chunky," he adds, noting that pivot resulted in a steady cadence of monthly updates that each packed a fair bit of clout. That shift came after the team conceded that early access numbers "weren't great." Houghton explains the project initially attracted just under 1,000 peak concurrent users. After they flipped the script, the title started to pull in around 4,000 CCU. "That's why we wanted to prioritize chunky content—there would be an impact every time," says Houghton, before acknowledging the title still hadn't quite met the team's CCU expectations even after that switch-up. Related:"Of course you listen to the feedback and take the ideas, but you have to feed them through a filter."It underlines the risks that come with early access, and Houghton specifically wonders whether some developers who can't hit that 90 percent completion benchmark before launching into early access might instead be better off conducting beta tests through Steam instead. If you're curious as to where Rogue Prince of Persia was when it entered Early Access, Houghton suggests the project was roughly 60 percent complete. Eurlings, was slightly more conservative, and claimed it was more like 50 percent. We suggested they meet in the middle. "Steam has evolved now. You can do beta tests and playtests through Steam. I think that's become more like Early Access. People aren't paying for it and your project might be a bit jankybut that's okay because they're still going to give feedback and it's not going to be a disaster if it's not great yet," continues Houghton. When asked whether Evil Empire would consider revisiting Early Access in the future, Houghton isn't so certain."I don't know. I'm going to be honest. I've been put off by it, because especially now people are so used to games coming out and then doing live ops for three, four, and five years—so why go with early access and have to deal with the stigma that's around it? I think I would do playtests and then just release," he explains. Related:Houghton adds that teams who are still convinced early access is right for them must have complete conviction in their creative vision—otherwise they might risk being derailed. "Of course you listen to the feedback and take the ideas, but you have to feed them through a filter, otherwise you'll have too many cooks.You'll have people who are super enthusiastic who think you can't do anything wrong, and then you get the people who are just super negative and people who are just throwing ideas at you that you know won't work in the game." It's a situation that can feel overwhelming, with Houghton explaining that Rogue Prince of Persia's game director found the onslaught "too much" at times. "You have to stick to your vision," says Houghton. "Listen, but just cherry pickcarefully."Game Developer attended Gamescom 2025 via the Gamescom Media Ambassador Program, which covered flights and accommodation. about:GamescomTop StoriesInterviewsAbout the AuthorChris KerrSenior Editor, News, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, and PocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like #evil #empire #tells #devs #avoid
    Evil Empire tells devs to avoid early access unless their project is 90 percent complete
    www.gamedeveloper.com
    Chris Kerr, Senior Editor, News, GameDeveloper.comAugust 22, 20254 Min ReadVia Evil Empire/UbisoftThe Rogue Prince of Persia developer Evil Empire doesn't believe it's worth entering early access in the current climate unless your project is at least 90 percent complete. Speaking to Game Developer at Gamescom 2025, studio marketing manager Matthew Houghton and art director Dylan Eurlings shared their thoughts on the state of contemporary early access campaigns and suggested the system is becoming increasingly risky. You might recognize Evil Empire as the studio that has spent years helping Dead Cells developer Motion Twin expand the franchise with DLC and free updates. Since May 2024, however, the studio has also been shepherding The Rogue Prince of Persia through an Steam Early Access campaign that culminated in an official launch on August 20.Yet, due to a variety of factors including shifting player expectations, the team had to tweak their pre-release strategy in a bid to lure in players. As a result, the studio has become more wary of early access in general. "To be honest, the way I see it now is that unless you're coming into early access with a 90 percent complete game, don't do it. Because players, they don't see it as early access, they see it a game to play," says Houghton. He adds that players are entitled to express their views because they're often paying money to play early access titles, but he feels that sifting viewpoint means consumers are less willing to follow games on an early access journey that will often result in significant changes. Related:Eurlings echoes that point and suggests that a perceived lack of polish and content can now be a "huge issue" during early access campaigns. He explains that Evil Empire was even forced to rethink their original roadmap after the earliest versions of Rogue Prince of Persia failed to meet internal expectations."Initially we wanted to do quick updates. Very fast. In the end, we took a bit more time to ensure that each update would be a bit more chunky," he adds, noting that pivot resulted in a steady cadence of monthly updates that each packed a fair bit of clout. That shift came after the team conceded that early access numbers "weren't great." Houghton explains the project initially attracted just under 1,000 peak concurrent users (CCU). After they flipped the script, the title started to pull in around 4,000 CCU. "That's why we wanted to prioritize chunky content—there would be an impact every time," says Houghton, before acknowledging the title still hadn't quite met the team's CCU expectations even after that switch-up. Related:"Of course you listen to the feedback and take the ideas [on board], but you have to feed them through a filter."It underlines the risks that come with early access, and Houghton specifically wonders whether some developers who can't hit that 90 percent completion benchmark before launching into early access might instead be better off conducting beta tests through Steam instead. If you're curious as to where Rogue Prince of Persia was when it entered Early Access, Houghton suggests the project was roughly 60 percent complete. Eurlings, was slightly more conservative, and claimed it was more like 50 percent. We suggested they meet in the middle. "Steam has evolved now. You can do beta tests and playtests through Steam. I think that's become more like Early Access. People aren't paying for it and your project might be a bit janky [...] but that's okay because they're still going to give feedback and it's not going to be a disaster if it's not great yet," continues Houghton. When asked whether Evil Empire would consider revisiting Early Access in the future, Houghton isn't so certain."I don't know. I'm going to be honest. I've been put off by it, because especially now people are so used to games coming out and then doing live ops for three, four, and five years—so why go with early access and have to deal with the stigma that's around it? I think I would do playtests and then just release," he explains. Related:Houghton adds that teams who are still convinced early access is right for them must have complete conviction in their creative vision—otherwise they might risk being derailed. "Of course you listen to the feedback and take the ideas [on board], but you have to feed them through a filter, otherwise you'll have too many cooks. [...] You'll have people who are super enthusiastic who think you can't do anything wrong, and then you get the people who are just super negative and people who are just throwing ideas at you that you know won't work in the game." It's a situation that can feel overwhelming, with Houghton explaining that Rogue Prince of Persia's game director found the onslaught "too much" at times. "You have to stick to your vision," says Houghton. "Listen, but just cherry pick [your feedback] carefully."Game Developer attended Gamescom 2025 via the Gamescom Media Ambassador Program, which covered flights and accommodation.Read more about:GamescomTop StoriesInterviewsAbout the AuthorChris KerrSenior Editor, News, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, and PocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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  • Metal Gear Solid Delta: Snake Eater hands-on report

    It’s been over two decades since Metal Gear Solid 3: Snake Eater was first released on PlayStation 2. The game was praised for its story, characters, and possibly one of the greatest themes in video game history. After some brumation, it sheds its skin and emerges as Metal Gear Solid Delta: Snake Eater on August 28, aiming to recapture the spirit that made the original a beloved classic. After about eight hours of playing the game on PS5 Pro, I’m thrilled to share how it captures and modernizes the original’s spirit, and then some.

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    Delta is a true from-the-ground-up remake that is extremely faithful to the original work in most aspects of the game, but what was immediately apparent was the level of detail the updated visuals and textures add to the experience. 

    A new level of visual fidelity

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    This updated version of Snake Eater is a visual feast on PS5 Pro, especially in the lush details. For example, rain droplets trickle realistically down a poncho, and Snake’s camouflage and uniforms become dirty with mud or forest debris. This filth even carries over into cutscenes, adding an appreciated level of realism.

    The Metal Gear series showcases a range of grizzled warriors, many with scars that tell a tale. If you’re familiar with Snake Eater, you understand that scars hold a lot of importance throughout, and the devs took great care to make them stand out. One of the most notable examples is Colonel Volgin’s harrowingly scarred face. The believable tissue and its deformation when he speaks create a tragically beautiful portrait. 

    Speaking of portraits, a new photo mode has been added with all the latest bells and whistles. Like most Metal Gear games, Delta definitely has its fair share of silly moments, and you can capture them all. With plenty of filters and settings, create a masterpiece on the mountainside, or dress up in a crocodile head and let antics ensue. Photo Mode is the perfect way to capture all the little details hiding within.

    Game controls – New Style vs. Legacy

    A new control scheme has been introduced to bring Snake Eater to the modern gaming era, dubbed New Style. Before starting a new game, players can choose between the New Style and Legacy, which retains the controls mapped after the original PS2 release. You can switch between styles, but be warned, this will reload the level/map and take you back to the beginning of the section.

    New Style is geared for people who have never played the game before, or who might prefer a more modern playstyle. The control option provides a free-moving camera that lets you view your environment in 360 degrees, making it easier to avoid getting lost or having enemies catch you unprepared.

    Combat and shooting feel reminiscent of Metal Gear Solid V, with a third-person over-the-shoulder camera. By default, aim assist is turned on, but can be toggled off. Even in New Style, you can still switch to a classic first-person view and still fully move around as if playing a FPS title. First-person view is especially valuable when lining up the perfect shot through a chainlink fence, which I couldn’t pull off in third-person.

    The biggest saving grace in the updated control scheme is the remapped directional buttons. Holding left brings up your non-combat inventory, and holding right brings up your currently equipped weapons. Up brings up the quick-change camouflage menu, while down brings up your radio —a hugely welcome shortcut. No more digging through menus to change outfits based on your environment.

    Snake sneaks through a range of environments in Snake Eater, each suited to different camouflage options The quick change menu conveniently shows the optimal face and body combo from your collection based on the current environmentIn one instance, I managed to seamlessly transition from a green texture to a stone grey-black getup, then to a rust-colored camouflage, all along the same crawl route. This new quality-of-life option keeps the action flowing.

    Another great accessibility feature is the ability to fine-tune game hints. From always-on to none at all. I had it set to show helpful hints when they were relevant, like swimming controls appearing by a body of water and hanging controls on the cliffside. This is particularly helpful in rare gameplay situations, as it kept me from panicking in high-stress situations. 

    What a thrill

    The voice cast still delivers, and The Cobra Unit is just as compelling, with big moments still having the right impact. The ladder scene took me right back to playing the original on my grandmother’s floor all those years ago. 

    Paradoxes, easter eggs, and all the details I’d expect are still in place. I didn’t encounter any moments that felt off or deviated too far in any way from the script. The opening theme and intro movie have been remixed, and while it will come down to personal taste, every note still hits for me. 

    Metal Gear Solid Delta: Snake Eater launches on August 28 for PS5, and is a day to mark on your calendar whether you’re a longtime fan or series newcomer interested in discovering the celebrated origins of the storyline.  

    Metal Gear Solid Delta: Snake Eater developers discuss the game in length in a new interview.
    #metal #gear #solid #delta #snake
    Metal Gear Solid Delta: Snake Eater hands-on report
    It’s been over two decades since Metal Gear Solid 3: Snake Eater was first released on PlayStation 2. The game was praised for its story, characters, and possibly one of the greatest themes in video game history. After some brumation, it sheds its skin and emerges as Metal Gear Solid Delta: Snake Eater on August 28, aiming to recapture the spirit that made the original a beloved classic. After about eight hours of playing the game on PS5 Pro, I’m thrilled to share how it captures and modernizes the original’s spirit, and then some. Play Video Delta is a true from-the-ground-up remake that is extremely faithful to the original work in most aspects of the game, but what was immediately apparent was the level of detail the updated visuals and textures add to the experience.  A new level of visual fidelity View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image This updated version of Snake Eater is a visual feast on PS5 Pro, especially in the lush details. For example, rain droplets trickle realistically down a poncho, and Snake’s camouflage and uniforms become dirty with mud or forest debris. This filth even carries over into cutscenes, adding an appreciated level of realism. The Metal Gear series showcases a range of grizzled warriors, many with scars that tell a tale. If you’re familiar with Snake Eater, you understand that scars hold a lot of importance throughout, and the devs took great care to make them stand out. One of the most notable examples is Colonel Volgin’s harrowingly scarred face. The believable tissue and its deformation when he speaks create a tragically beautiful portrait.  Speaking of portraits, a new photo mode has been added with all the latest bells and whistles. Like most Metal Gear games, Delta definitely has its fair share of silly moments, and you can capture them all. With plenty of filters and settings, create a masterpiece on the mountainside, or dress up in a crocodile head and let antics ensue. Photo Mode is the perfect way to capture all the little details hiding within. Game controls – New Style vs. Legacy A new control scheme has been introduced to bring Snake Eater to the modern gaming era, dubbed New Style. Before starting a new game, players can choose between the New Style and Legacy, which retains the controls mapped after the original PS2 release. You can switch between styles, but be warned, this will reload the level/map and take you back to the beginning of the section. New Style is geared for people who have never played the game before, or who might prefer a more modern playstyle. The control option provides a free-moving camera that lets you view your environment in 360 degrees, making it easier to avoid getting lost or having enemies catch you unprepared. Combat and shooting feel reminiscent of Metal Gear Solid V, with a third-person over-the-shoulder camera. By default, aim assist is turned on, but can be toggled off. Even in New Style, you can still switch to a classic first-person view and still fully move around as if playing a FPS title. First-person view is especially valuable when lining up the perfect shot through a chainlink fence, which I couldn’t pull off in third-person. The biggest saving grace in the updated control scheme is the remapped directional buttons. Holding left brings up your non-combat inventory, and holding right brings up your currently equipped weapons. Up brings up the quick-change camouflage menu, while down brings up your radio —a hugely welcome shortcut. No more digging through menus to change outfits based on your environment. Snake sneaks through a range of environments in Snake Eater, each suited to different camouflage options The quick change menu conveniently shows the optimal face and body combo from your collection based on the current environmentIn one instance, I managed to seamlessly transition from a green texture to a stone grey-black getup, then to a rust-colored camouflage, all along the same crawl route. This new quality-of-life option keeps the action flowing. Another great accessibility feature is the ability to fine-tune game hints. From always-on to none at all. I had it set to show helpful hints when they were relevant, like swimming controls appearing by a body of water and hanging controls on the cliffside. This is particularly helpful in rare gameplay situations, as it kept me from panicking in high-stress situations.  What a thrill The voice cast still delivers, and The Cobra Unit is just as compelling, with big moments still having the right impact. The ladder scene took me right back to playing the original on my grandmother’s floor all those years ago.  Paradoxes, easter eggs, and all the details I’d expect are still in place. I didn’t encounter any moments that felt off or deviated too far in any way from the script. The opening theme and intro movie have been remixed, and while it will come down to personal taste, every note still hits for me.  Metal Gear Solid Delta: Snake Eater launches on August 28 for PS5, and is a day to mark on your calendar whether you’re a longtime fan or series newcomer interested in discovering the celebrated origins of the storyline.   Metal Gear Solid Delta: Snake Eater developers discuss the game in length in a new interview. #metal #gear #solid #delta #snake
    Metal Gear Solid Delta: Snake Eater hands-on report
    blog.playstation.com
    It’s been over two decades since Metal Gear Solid 3: Snake Eater was first released on PlayStation 2. The game was praised for its story, characters, and possibly one of the greatest themes in video game history. After some brumation, it sheds its skin and emerges as Metal Gear Solid Delta: Snake Eater on August 28, aiming to recapture the spirit that made the original a beloved classic. After about eight hours of playing the game on PS5 Pro, I’m thrilled to share how it captures and modernizes the original’s spirit, and then some. Play Video Delta is a true from-the-ground-up remake that is extremely faithful to the original work in most aspects of the game, but what was immediately apparent was the level of detail the updated visuals and textures add to the experience.  A new level of visual fidelity View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image This updated version of Snake Eater is a visual feast on PS5 Pro, especially in the lush details. For example, rain droplets trickle realistically down a poncho, and Snake’s camouflage and uniforms become dirty with mud or forest debris. This filth even carries over into cutscenes, adding an appreciated level of realism. The Metal Gear series showcases a range of grizzled warriors, many with scars that tell a tale. If you’re familiar with Snake Eater, you understand that scars hold a lot of importance throughout, and the devs took great care to make them stand out. One of the most notable examples is Colonel Volgin’s harrowingly scarred face. The believable tissue and its deformation when he speaks create a tragically beautiful portrait.  Speaking of portraits, a new photo mode has been added with all the latest bells and whistles. Like most Metal Gear games, Delta definitely has its fair share of silly moments, and you can capture them all. With plenty of filters and settings, create a masterpiece on the mountainside, or dress up in a crocodile head and let antics ensue. Photo Mode is the perfect way to capture all the little details hiding within. Game controls – New Style vs. Legacy A new control scheme has been introduced to bring Snake Eater to the modern gaming era, dubbed New Style. Before starting a new game, players can choose between the New Style and Legacy, which retains the controls mapped after the original PS2 release. You can switch between styles, but be warned, this will reload the level/map and take you back to the beginning of the section. New Style is geared for people who have never played the game before, or who might prefer a more modern playstyle. The control option provides a free-moving camera that lets you view your environment in 360 degrees, making it easier to avoid getting lost or having enemies catch you unprepared. Combat and shooting feel reminiscent of Metal Gear Solid V, with a third-person over-the-shoulder camera. By default, aim assist is turned on, but can be toggled off. Even in New Style, you can still switch to a classic first-person view and still fully move around as if playing a FPS title. First-person view is especially valuable when lining up the perfect shot through a chainlink fence, which I couldn’t pull off in third-person. The biggest saving grace in the updated control scheme is the remapped directional buttons. Holding left brings up your non-combat inventory, and holding right brings up your currently equipped weapons. Up brings up the quick-change camouflage menu, while down brings up your radio —a hugely welcome shortcut. No more digging through menus to change outfits based on your environment. Snake sneaks through a range of environments in Snake Eater, each suited to different camouflage options The quick change menu conveniently shows the optimal face and body combo from your collection based on the current environmentIn one instance, I managed to seamlessly transition from a green texture to a stone grey-black getup, then to a rust-colored camouflage, all along the same crawl route. This new quality-of-life option keeps the action flowing. Another great accessibility feature is the ability to fine-tune game hints. From always-on to none at all. I had it set to show helpful hints when they were relevant, like swimming controls appearing by a body of water and hanging controls on the cliffside. This is particularly helpful in rare gameplay situations, as it kept me from panicking in high-stress situations.  What a thrill The voice cast still delivers, and The Cobra Unit is just as compelling, with big moments still having the right impact. The ladder scene took me right back to playing the original on my grandmother’s floor all those years ago.  Paradoxes, easter eggs, and all the details I’d expect are still in place. I didn’t encounter any moments that felt off or deviated too far in any way from the script. The opening theme and intro movie have been remixed, and while it will come down to personal taste, every note still hits for me.  Metal Gear Solid Delta: Snake Eater launches on August 28 for PS5, and is a day to mark on your calendar whether you’re a longtime fan or series newcomer interested in discovering the celebrated origins of the storyline.   Metal Gear Solid Delta: Snake Eater developers discuss the game in length in a new interview.
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  • Arkane dev calls out Microsoft for silence over open letter protesting IDF ties

    An anonymous Arkane developer is alleging that Microsoft—the studio's parent company—has yet to issue any response to an August 12 open letter signed by workers calling for an end to its alleged relationship with the Israeli military. That relationship was uncovered by news outlets The Guardian, +972 Magazine, and Local Call in a joint investigation that alleged the Israeli spy agency Unit 8200 has used Microsoft's Azure cloud platform to surveil phone calls made by Palestinians in Gaza and the West Bank.The Israeli Defense Forceshave reportedly used information from those calls to coordinate airstrikes and "shape operations" of military forces in both regions. Arkane employees unionized under Syndicat des Travailleureuses du Jeu Vidéojoined other Microsoft employees in protesting these contracts—but the only answer they've received is silence.This information comes from Stephen Totilo at Game File, who spoke with an anonymous Arkane developer who went by the pseudonym "Manon." "No one has responded directly to our open letter, neither Microsoft, nor Bethesda, nor Arkane leadership," Manon told Game File. He said that the only acknowledgement came after the subject was brought up on the studio's internal chat system. "Arkane leadership invited everyone to be considerate when expressing their opinion, to maintain a peaceful exchange on the subject. They did not address the letter itself and remained neutral."Related:That silence has persisted over the past 10 days. Manon said that Microsoft was given a few hours' advance notice that workers were going public with their concerns. Despite that extra time, it's issued no internal response.Xbox has kept quiet on Microsoft's military contractsOn April 15, Microsoft announced it was undertaking a "formal review" of its contracts with the IDF. But even as more game developers join the ranks of employees protesting its role in the Gaza invasion, Xbox Game Studios has stayed strictly silent on the matter. The company only replied to our repeated quests for comment after Game Developer senior news editor Chris Kerr raised the topic during during our interview with Grounded 2 game director Chris Parker and Eidos Montreal creative director Justin Vazquez at Gamescom this week.During that conversation, PR representatives did not allow Vazquez and Parker to answer the question, later referring us back to Microsoft's April 15 blog.Said representatives also discouraged questions about Microsoft's decision to lay off over 9,000 employees on July 2, many of them employees of Xbox Game Studios subsidiaries like King and Zenimax. These layoffs also impacted the timing of the open letter published by the STJV workers at Arkane. Manon told Game File that the group was concerned the letter would be "muted" by the layoff news.Related:"Since then, it has been very difficult to find the correct timing, knowing that the situation in Gaza was deteriorating rapidly."Game Developer has reached out to Microsoft for comment on this story and will issue an update after the company responds.
    #arkane #dev #calls #out #microsoft
    Arkane dev calls out Microsoft for silence over open letter protesting IDF ties
    An anonymous Arkane developer is alleging that Microsoft—the studio's parent company—has yet to issue any response to an August 12 open letter signed by workers calling for an end to its alleged relationship with the Israeli military. That relationship was uncovered by news outlets The Guardian, +972 Magazine, and Local Call in a joint investigation that alleged the Israeli spy agency Unit 8200 has used Microsoft's Azure cloud platform to surveil phone calls made by Palestinians in Gaza and the West Bank.The Israeli Defense Forceshave reportedly used information from those calls to coordinate airstrikes and "shape operations" of military forces in both regions. Arkane employees unionized under Syndicat des Travailleureuses du Jeu Vidéojoined other Microsoft employees in protesting these contracts—but the only answer they've received is silence.This information comes from Stephen Totilo at Game File, who spoke with an anonymous Arkane developer who went by the pseudonym "Manon." "No one has responded directly to our open letter, neither Microsoft, nor Bethesda, nor Arkane leadership," Manon told Game File. He said that the only acknowledgement came after the subject was brought up on the studio's internal chat system. "Arkane leadership invited everyone to be considerate when expressing their opinion, to maintain a peaceful exchange on the subject. They did not address the letter itself and remained neutral."Related:That silence has persisted over the past 10 days. Manon said that Microsoft was given a few hours' advance notice that workers were going public with their concerns. Despite that extra time, it's issued no internal response.Xbox has kept quiet on Microsoft's military contractsOn April 15, Microsoft announced it was undertaking a "formal review" of its contracts with the IDF. But even as more game developers join the ranks of employees protesting its role in the Gaza invasion, Xbox Game Studios has stayed strictly silent on the matter. The company only replied to our repeated quests for comment after Game Developer senior news editor Chris Kerr raised the topic during during our interview with Grounded 2 game director Chris Parker and Eidos Montreal creative director Justin Vazquez at Gamescom this week.During that conversation, PR representatives did not allow Vazquez and Parker to answer the question, later referring us back to Microsoft's April 15 blog.Said representatives also discouraged questions about Microsoft's decision to lay off over 9,000 employees on July 2, many of them employees of Xbox Game Studios subsidiaries like King and Zenimax. These layoffs also impacted the timing of the open letter published by the STJV workers at Arkane. Manon told Game File that the group was concerned the letter would be "muted" by the layoff news.Related:"Since then, it has been very difficult to find the correct timing, knowing that the situation in Gaza was deteriorating rapidly."Game Developer has reached out to Microsoft for comment on this story and will issue an update after the company responds. #arkane #dev #calls #out #microsoft
    Arkane dev calls out Microsoft for silence over open letter protesting IDF ties
    www.gamedeveloper.com
    An anonymous Arkane developer is alleging that Microsoft—the studio's parent company—has yet to issue any response to an August 12 open letter signed by workers calling for an end to its alleged relationship with the Israeli military. That relationship was uncovered by news outlets The Guardian, +972 Magazine, and Local Call in a joint investigation that alleged the Israeli spy agency Unit 8200 has used Microsoft's Azure cloud platform to surveil phone calls made by Palestinians in Gaza and the West Bank.The Israeli Defense Forces (IDF) have reportedly used information from those calls to coordinate airstrikes and "shape operations" of military forces in both regions. Arkane employees unionized under Syndicat des Travailleureuses du Jeu Vidéo (STJV) joined other Microsoft employees in protesting these contracts—but the only answer they've received is silence.This information comes from Stephen Totilo at Game File, who spoke with an anonymous Arkane developer who went by the pseudonym "Manon." "No one has responded directly to our open letter, neither Microsoft, nor Bethesda, nor Arkane leadership," Manon told Game File. He said that the only acknowledgement came after the subject was brought up on the studio's internal chat system. "Arkane leadership invited everyone to be considerate when expressing their opinion, to maintain a peaceful exchange on the subject. They did not address the letter itself and remained neutral."Related:That silence has persisted over the past 10 days. Manon said that Microsoft was given a few hours' advance notice that workers were going public with their concerns. Despite that extra time, it's issued no internal response.Xbox has kept quiet on Microsoft's military contractsOn April 15, Microsoft announced it was undertaking a "formal review" of its contracts with the IDF. But even as more game developers join the ranks of employees protesting its role in the Gaza invasion, Xbox Game Studios has stayed strictly silent on the matter. The company only replied to our repeated quests for comment after Game Developer senior news editor Chris Kerr raised the topic during during our interview with Grounded 2 game director Chris Parker and Eidos Montreal creative director Justin Vazquez at Gamescom this week.During that conversation, PR representatives did not allow Vazquez and Parker to answer the question, later referring us back to Microsoft's April 15 blog.Said representatives also discouraged questions about Microsoft's decision to lay off over 9,000 employees on July 2, many of them employees of Xbox Game Studios subsidiaries like King and Zenimax. These layoffs also impacted the timing of the open letter published by the STJV workers at Arkane. Manon told Game File that the group was concerned the letter would be "muted" by the layoff news.Related:"Since then, it has been very difficult to find the correct timing, knowing that the situation in Gaza was deteriorating rapidly."Game Developer has reached out to Microsoft for comment on this story and will issue an update after the company responds.
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  • يا جماعة، لازم نوقفوا شوية ونتفكروا في الوضع اللي صاير في غزة.

    الفيديو الجديد من الجزيرة يروي قصة مأساوية: وفاة رضيعة غدير البالغة خمسة أشهر بسبب الجوع وسوء التغذية، في وقت مازال القصف الإسرائيلي مستمر. الأرقام صادمة، 47 فلسطيني استشهدوا اليوم، بينهم أطفال وأسر نازحة. كل هاد تحت ضغط المجاعة والدمار!

    كي نشوفوا هاد المشاهد، قلوبنا تحزن ونحسوا بوجع الناس اللي ما عندهمش حتى لقمة عيش. هادي موش مجرد أخبار، هادي واقع مأساوي يتطلب منا المزيد من الوعي والدعم.

    خلينا نفكروا في الإنسانية اللي فينا، ونمدوا يد المساعدة لمن يحتاج.

    https://www.youtube.com/watch?v=G1gr06XXW9I
    #غزة #المجاعة_في_غزة #childrenofgaza #situationhumanitaire #GazaUnderAttack
    يا جماعة، لازم نوقفوا شوية ونتفكروا في الوضع اللي صاير في غزة. الفيديو الجديد من الجزيرة يروي قصة مأساوية: وفاة رضيعة غدير البالغة خمسة أشهر بسبب الجوع وسوء التغذية، في وقت مازال القصف الإسرائيلي مستمر. الأرقام صادمة، 47 فلسطيني استشهدوا اليوم، بينهم أطفال وأسر نازحة. كل هاد تحت ضغط المجاعة والدمار! كي نشوفوا هاد المشاهد، قلوبنا تحزن ونحسوا بوجع الناس اللي ما عندهمش حتى لقمة عيش. هادي موش مجرد أخبار، هادي واقع مأساوي يتطلب منا المزيد من الوعي والدعم. خلينا نفكروا في الإنسانية اللي فينا، ونمدوا يد المساعدة لمن يحتاج. https://www.youtube.com/watch?v=G1gr06XXW9I #غزة #المجاعة_في_غزة #childrenofgaza #situationhumanitaire #GazaUnderAttack
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  • يا فيسبوك!

    اليوم جبتلكم موضوع يهمّ كل مشجعي كرة القدم، خصوصًا لعشاق نيوكاسل! إدي هاو، المدرب تاع الفريق، اعتبر الوضع مع ألكسندر إيساك "lose-lose" (خسارة-خسارة) لكن مع ذلك عنده ثقة أنه اللاعب يقدر يسترجع دعم زملاؤه إذا بقى في ست جيمس بارك.

    شوفوا، كل واحد فينا يمر بمواقف صعبة، كيما إيساك. لازم نعرفوا، الخطوات اللي نتاخذها في الوقت هذا هي اللي تحدد مصيرنا. تعلّمت من تجاربي الشخصية، أن الصبر والرجوع للميدان هو المفتاح.

    تفكّروا في كيفاش ممكن نساندوا بعضنا، وخاصّة لما يكون الوضع صعب.

    https://www.skysports.com/football/news/11095/13416059/alexander-isak-transfer-latest-eddie-howe-says-newcastle-in-lose-lose-situation-as-magpies-prepare-to
    يا فيسبوك! 🙌 اليوم جبتلكم موضوع يهمّ كل مشجعي كرة القدم، خصوصًا لعشاق نيوكاسل! 🖤🤍 إدي هاو، المدرب تاع الفريق، اعتبر الوضع مع ألكسندر إيساك "lose-lose" (خسارة-خسارة) لكن مع ذلك عنده ثقة أنه اللاعب يقدر يسترجع دعم زملاؤه إذا بقى في ست جيمس بارك. 🤔 شوفوا، كل واحد فينا يمر بمواقف صعبة، كيما إيساك. لازم نعرفوا، الخطوات اللي نتاخذها في الوقت هذا هي اللي تحدد مصيرنا. تعلّمت من تجاربي الشخصية، أن الصبر والرجوع للميدان هو المفتاح. 💪 تفكّروا في كيفاش ممكن نساندوا بعضنا، وخاصّة لما يكون الوضع صعب. https://www.skysports.com/football/news/11095/13416059/alexander-isak-transfer-latest-eddie-howe-says-newcastle-in-lose-lose-situation-as-magpies-prepare-to
    Howe: 'Lose-lose situation' with Isak - but he can win supporters back
    www.skysports.com
    Eddie Howe has admitted Newcastle are in a "lose-lose" situation over Alexander Isak but is confident the wantaway striker will be welcomed back by his team-mates if he remains at St James' Park.
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  • يا جماعة، قصة غريبة صارت في حافلة النقل الحضري!

    شفتوا الفيديو اللي فيه حوار مشوّق بين شرطي وقابض تذاكر غير مؤمّن؟ الفيديو يوري كيفاش دار الشرطي تفتيش على الحافلة ولقا الوضع مش عادي! الحوار كان فيه شوية ضحك، وشوية توتر، واللي يبينلكم كيفاش التصرفات اليومية تقدر تكون مليانة مفاجآت!

    بالنسبة ليا، هاد الموقف ذكّرني كيفاش الناس لازم يكونوا واعيين أكثر بقوانين النقل وكيفاش كل واحد عنده دور في الأمان. كيما نقولو: "كل واحد مسؤول عن نفسه".

    شوفوا الفيديو واستمتعوا بالمشاهد، وخليكم دايمًا في الوعي!

    https://www.youtube.com/watch?v=P2bw9GJmvNc
    #حافلة #نقل_حضري #شرطة #FunnySituation #Algeria
    🔥 يا جماعة، قصة غريبة صارت في حافلة النقل الحضري! 🚍 شفتوا الفيديو اللي فيه حوار مشوّق بين شرطي وقابض تذاكر غير مؤمّن؟ الفيديو يوري كيفاش دار الشرطي تفتيش على الحافلة ولقا الوضع مش عادي! 😅 الحوار كان فيه شوية ضحك، وشوية توتر، واللي يبينلكم كيفاش التصرفات اليومية تقدر تكون مليانة مفاجآت! بالنسبة ليا، هاد الموقف ذكّرني كيفاش الناس لازم يكونوا واعيين أكثر بقوانين النقل وكيفاش كل واحد عنده دور في الأمان. كيما نقولو: "كل واحد مسؤول عن نفسه". شوفوا الفيديو واستمتعوا بالمشاهد، وخليكم دايمًا في الوعي! https://www.youtube.com/watch?v=P2bw9GJmvNc #حافلة #نقل_حضري #شرطة #FunnySituation #Algeria
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  • واش راكم يا جماعة؟ عندي خبر لازم تشوفوه!

    الـ AADL، هذي الشركة اللي تدير السكنات، أعلنت بلي راهي موقفة الدفع الإلكتروني مؤقتاً. المعلومات جات من "GEST-IMMO" اللي تدير خدمات السكن، وحسب ما فهمت، هاد التوقف راح يخلينا في حيرة شوية خاصة في هذي الأوقات.

    شخصياً، من وقت لآخر نواجه صعوبات في دفع الفواتير بالنت، وما نحبش نرجع لطريقة الدفع التقليدية. لكن نعرف بلي الأمور تتبدل، ونتمنى يرجعوا الأمور لطبيعتها قريباً.

    حاجة وحدها نقدر نقولها: هذي فرصة نفكروا في حلول أخرى أو نكونوا أكثر تنظيم في دفع الفواتير!

    خليكم متنبهين ونتمنى نشوفكم قريب.

    https://www.algerie360.com/laadl-suspend-le-paiement-en-ligne/
    #AADL #paiementenligne #GestImmo #situation #الجزائر
    💡 واش راكم يا جماعة؟ عندي خبر لازم تشوفوه! الـ AADL، هذي الشركة اللي تدير السكنات، أعلنت بلي راهي موقفة الدفع الإلكتروني مؤقتاً. المعلومات جات من "GEST-IMMO" اللي تدير خدمات السكن، وحسب ما فهمت، هاد التوقف راح يخلينا في حيرة شوية خاصة في هذي الأوقات. 😅 شخصياً، من وقت لآخر نواجه صعوبات في دفع الفواتير بالنت، وما نحبش نرجع لطريقة الدفع التقليدية. لكن نعرف بلي الأمور تتبدل، ونتمنى يرجعوا الأمور لطبيعتها قريباً. حاجة وحدها نقدر نقولها: هذي فرصة نفكروا في حلول أخرى أو نكونوا أكثر تنظيم في دفع الفواتير! خليكم متنبهين ونتمنى نشوفكم قريب. https://www.algerie360.com/laadl-suspend-le-paiement-en-ligne/ #AADL #paiementenligne #GestImmo #situation #الجزائر
    www.algerie360.com
    La filiale de gestion immobilière de l’AADL ‘GEST-IMMO » vient d’informer ses résidents d’une interruption temporaire de son service de paiement électronique. Cette suspension, qui affecte […] L’article L’AADL susp
    1 التعليقات ·0 المشاركات
  • Patch Notes #18: Arkane union brands Microsoft an 'accomplice' to genocide, Krafton hits back at Unknown Worlds founders, and is collective action the answer to miscrediting?

    I'll level with you. I'm keeping this intro brief because I'm currently plonked in the middle of a Manchester cafe that presumably doesn't realize the words 'air' and 'conditioning' can be combined to create a majestic climate control device. Fear not, dear reader, it's only a heatwave.This will be my final Patch Notes for a couple of weeks. I'll be jetting off to Cologne next Tuesday for my annual pilgrimage to Gamescom in pursuit of industry insights, decadent hummus, and perhaps even a bit of juicy gossip.  I'll be taking a much needed vacation when I return, so the next couple of editions will be penned by another member of our talented Game Developer team. Who exactly? No spoilers yet.Oho. You almost got me rambling. Nobody needs that today—least of all you. In fact, I suspect what you really need is a concentrated dose of NEWS, and as luck would have it we have just the thing...Embracer will deploy 'targeted cost initiatives' and AI tech to unlock more valuevia Game Developer // You might not realise it from the headline, but layoff connoisseur Embracer Group recently switched out its CEO, Lars Wingefors, for a new chief executive in Crystal Dynamics veteran Phil Rogers. Alas, it seems the apple hasn't fallen far from the tree. Rogers this week told investors that Embracer will deploy 'targeted cost initiatives' in relation to underperforming business. He confirmed that could mean additional divestments are in the offing. Will we also see layoffs? Who knows, but Embracer has been rather trigger happy in that regard previously. Rogers also explained that Embracer is keen to use AI technology to streamline its processes and support its teams. I'm sure they'll be thrilled.Related:Stripe Says Support Team Reps Were ‘Totally Wrong’ About LGBTQ Content Banvia Aftermath // Payment service provider Stripe has denied it is prohibiting the sale of LGBTQ+ content, including video game and media on platforms like Itch. The company spoke to Aftermath about the situation after its support team reportedly told anti-censorship campaigners that it won't be processing payments related to LGBTQ+ content. Stripe apologised for the conduction and claimed those employees were "mistaken." The full story is well worth a read, and comes after both Itch and Steam began heavily moderating the sale of adult content, reportedly at the behest of payment providers.Valve explain why using PayPal for Steam purchases isn't currently an option in a whole bunch of countriesRelated:via RockPaperShotgun // In related news, Valve recently told RPS that PayPal support for Steam has evaporated in some regions due to concerns over the type of content being sold on the platform. Valve previously confirmed that one of PayPal's acquiring banks axed support in some regions in early July, impacting consumers attempting to make Steam purchases via PayPal in currencies other than EUR, CAD, GBP, JPY, AUD and USD. On its support page, Valve said it is "uncertain" when the situation will be remedied. It then told RPS the withdrawal is "regarding content on Steam, related to what we’ve previously commented on surrounding Mastercard."Blizzard's Story and Franchise Development team has unionizedvia Game Developer // Another week, another union. We could get used to this. Blizzard's Story and Franchise Developmentis the latest Microsoft-owned team to unionise in tandem with Communications Workers of America. SFD is the World of Warcraft maker's in-house cinematic, animation, and narrative department—and became the first union of its kind to form n North America. Parent company Microsoft has already recognised the union, whose members will join CWA Local 9510 in Orange County, Calif.  One member of the SFD organising committee said the unionised workers intend to preserve what makes Blizzard special. Related:Video games have a serious crediting problem, but unions can helpvia Game Developer // Speaking of unions, freelance reporter Nicole Carpenter this week laid out how the power of collective acton could enable the video game industry to address a longstanding miscrediting issue. It's not uncommon for developersto be omitted or improperly credited on projects they've worked on. It's a deeply harmful practice that can stall careers and create uncertainty as to who is actually making the games we play, but what is the solution? According to some people, unions might just hold the answer.'We would be in development for 30 years:' Krafton reiterates that Unknown Worlds founders 'abandoned' Subnautica 2via Game Developer // In what must be one of the game industry's most outrageous legal tit-for-tats, Krafton has responded to the lawsuit levelled against it by Unknown Worlds' former executive team with a series of claims that paint former studio leaders Charlie Cleveland, Max McGuire, and Ted Gill as cash-grabbing truants. The South Korean publisher once again insisted that all three downed tools as soon as it purchased Unknown Worlds and placed their own "monetary interests" over those of the development team and Subnautica 2 itself. We've done our best to summarise the scathing rebuttal, and we expect this saga is far from over. 'Microsoft has no place being accomplice of a genocide:' Arkane union workers demand Xbox maker sever ties with Israelvia Game Developer // A group of unionized Arkane Studios workers in France this week published an open letter to leaders at Xbox and Microsoft to lend their support to the Palestinian-led BDS movement and demand their parent company sever ties with Israel. The move follows extensive reporting that indicates Microsoft cloud and AI technology is being used by the Israeli regime to monitor Palestinians and even plan military action. Union workers at Arkane, known for producing titles like Dishonored and Deathloop, accused Microsoft of being an "accomplice" to genocide. "Microsoft has failed both its teams & its customers by being actively complicit of the invasion and war crimes happening in Gaza," they wrote in the open letter. Microsoft has yet to respond to our request for comment, but has previously denied that its products have been used to "target or harm people" in Gaza. Bandai Namco is still working on new in-house game engine, update revealsvia Automation Media // Tekken and Ace Combat maker Bandai Namco is still working hard to create a new in-house game engine capable of supporting large-scale projects and open worlds. You might not even be aware this project was even in motion, and that's because it's been around three years since the Japanese company last spoke about the initiative. This week, however, the company posted a series of photographs on X to reveal it has been training employees how to use the mystery engine. It's hard to glean much from the snaps, although we can see what appears to be an ecstatic snowman in one shot. 10/10. No notes.PUBG is finally bidding farewell to last-generation consoles via Krafton // Pour one out for PUBG: Battlegrounds players who've yet to make the leap to current-generation hardware. This week, Krafton announced it will be ending support for the battle royale shooter on PlayStation 4 and Xbox One in November. The company said the shift will take place on November 13, 2025, and described it as a "necessary step toward aligning PUBG Console with current-gen consoles" and providing player with "more stable gameplay." Remarkably, the news comes around five years after both the PlayStation 5 and Xbox Series X | S hit shelves, which shows just how blurred the lines between console generations have become in the current era. Even so, Krafton said the news is weighing heavily on the team and has requested a modicum of understanding during this trying time
    #patch #notes #arkane #union #brands
    Patch Notes #18: Arkane union brands Microsoft an 'accomplice' to genocide, Krafton hits back at Unknown Worlds founders, and is collective action the answer to miscrediting?
    I'll level with you. I'm keeping this intro brief because I'm currently plonked in the middle of a Manchester cafe that presumably doesn't realize the words 'air' and 'conditioning' can be combined to create a majestic climate control device. Fear not, dear reader, it's only a heatwave.This will be my final Patch Notes for a couple of weeks. I'll be jetting off to Cologne next Tuesday for my annual pilgrimage to Gamescom in pursuit of industry insights, decadent hummus, and perhaps even a bit of juicy gossip.  I'll be taking a much needed vacation when I return, so the next couple of editions will be penned by another member of our talented Game Developer team. Who exactly? No spoilers yet.Oho. You almost got me rambling. Nobody needs that today—least of all you. In fact, I suspect what you really need is a concentrated dose of NEWS, and as luck would have it we have just the thing...Embracer will deploy 'targeted cost initiatives' and AI tech to unlock more valuevia Game Developer // You might not realise it from the headline, but layoff connoisseur Embracer Group recently switched out its CEO, Lars Wingefors, for a new chief executive in Crystal Dynamics veteran Phil Rogers. Alas, it seems the apple hasn't fallen far from the tree. Rogers this week told investors that Embracer will deploy 'targeted cost initiatives' in relation to underperforming business. He confirmed that could mean additional divestments are in the offing. Will we also see layoffs? Who knows, but Embracer has been rather trigger happy in that regard previously. Rogers also explained that Embracer is keen to use AI technology to streamline its processes and support its teams. I'm sure they'll be thrilled.Related:Stripe Says Support Team Reps Were ‘Totally Wrong’ About LGBTQ Content Banvia Aftermath // Payment service provider Stripe has denied it is prohibiting the sale of LGBTQ+ content, including video game and media on platforms like Itch. The company spoke to Aftermath about the situation after its support team reportedly told anti-censorship campaigners that it won't be processing payments related to LGBTQ+ content. Stripe apologised for the conduction and claimed those employees were "mistaken." The full story is well worth a read, and comes after both Itch and Steam began heavily moderating the sale of adult content, reportedly at the behest of payment providers.Valve explain why using PayPal for Steam purchases isn't currently an option in a whole bunch of countriesRelated:via RockPaperShotgun // In related news, Valve recently told RPS that PayPal support for Steam has evaporated in some regions due to concerns over the type of content being sold on the platform. Valve previously confirmed that one of PayPal's acquiring banks axed support in some regions in early July, impacting consumers attempting to make Steam purchases via PayPal in currencies other than EUR, CAD, GBP, JPY, AUD and USD. On its support page, Valve said it is "uncertain" when the situation will be remedied. It then told RPS the withdrawal is "regarding content on Steam, related to what we’ve previously commented on surrounding Mastercard."Blizzard's Story and Franchise Development team has unionizedvia Game Developer // Another week, another union. We could get used to this. Blizzard's Story and Franchise Developmentis the latest Microsoft-owned team to unionise in tandem with Communications Workers of America. SFD is the World of Warcraft maker's in-house cinematic, animation, and narrative department—and became the first union of its kind to form n North America. Parent company Microsoft has already recognised the union, whose members will join CWA Local 9510 in Orange County, Calif.  One member of the SFD organising committee said the unionised workers intend to preserve what makes Blizzard special. Related:Video games have a serious crediting problem, but unions can helpvia Game Developer // Speaking of unions, freelance reporter Nicole Carpenter this week laid out how the power of collective acton could enable the video game industry to address a longstanding miscrediting issue. It's not uncommon for developersto be omitted or improperly credited on projects they've worked on. It's a deeply harmful practice that can stall careers and create uncertainty as to who is actually making the games we play, but what is the solution? According to some people, unions might just hold the answer.'We would be in development for 30 years:' Krafton reiterates that Unknown Worlds founders 'abandoned' Subnautica 2via Game Developer // In what must be one of the game industry's most outrageous legal tit-for-tats, Krafton has responded to the lawsuit levelled against it by Unknown Worlds' former executive team with a series of claims that paint former studio leaders Charlie Cleveland, Max McGuire, and Ted Gill as cash-grabbing truants. The South Korean publisher once again insisted that all three downed tools as soon as it purchased Unknown Worlds and placed their own "monetary interests" over those of the development team and Subnautica 2 itself. We've done our best to summarise the scathing rebuttal, and we expect this saga is far from over. 'Microsoft has no place being accomplice of a genocide:' Arkane union workers demand Xbox maker sever ties with Israelvia Game Developer // A group of unionized Arkane Studios workers in France this week published an open letter to leaders at Xbox and Microsoft to lend their support to the Palestinian-led BDS movement and demand their parent company sever ties with Israel. The move follows extensive reporting that indicates Microsoft cloud and AI technology is being used by the Israeli regime to monitor Palestinians and even plan military action. Union workers at Arkane, known for producing titles like Dishonored and Deathloop, accused Microsoft of being an "accomplice" to genocide. "Microsoft has failed both its teams & its customers by being actively complicit of the invasion and war crimes happening in Gaza," they wrote in the open letter. Microsoft has yet to respond to our request for comment, but has previously denied that its products have been used to "target or harm people" in Gaza. Bandai Namco is still working on new in-house game engine, update revealsvia Automation Media // Tekken and Ace Combat maker Bandai Namco is still working hard to create a new in-house game engine capable of supporting large-scale projects and open worlds. You might not even be aware this project was even in motion, and that's because it's been around three years since the Japanese company last spoke about the initiative. This week, however, the company posted a series of photographs on X to reveal it has been training employees how to use the mystery engine. It's hard to glean much from the snaps, although we can see what appears to be an ecstatic snowman in one shot. 10/10. No notes.PUBG is finally bidding farewell to last-generation consoles via Krafton // Pour one out for PUBG: Battlegrounds players who've yet to make the leap to current-generation hardware. This week, Krafton announced it will be ending support for the battle royale shooter on PlayStation 4 and Xbox One in November. The company said the shift will take place on November 13, 2025, and described it as a "necessary step toward aligning PUBG Console with current-gen consoles" and providing player with "more stable gameplay." Remarkably, the news comes around five years after both the PlayStation 5 and Xbox Series X | S hit shelves, which shows just how blurred the lines between console generations have become in the current era. Even so, Krafton said the news is weighing heavily on the team and has requested a modicum of understanding during this trying time #patch #notes #arkane #union #brands
    Patch Notes #18: Arkane union brands Microsoft an 'accomplice' to genocide, Krafton hits back at Unknown Worlds founders, and is collective action the answer to miscrediting?
    www.gamedeveloper.com
    I'll level with you. I'm keeping this intro brief because I'm currently plonked in the middle of a Manchester cafe that presumably doesn't realize the words 'air' and 'conditioning' can be combined to create a majestic climate control device. Fear not, dear reader, it's only a heatwave.This will be my final Patch Notes for a couple of weeks. I'll be jetting off to Cologne next Tuesday for my annual pilgrimage to Gamescom in pursuit of industry insights, decadent hummus (if you know you know), and perhaps even a bit of juicy gossip.  I'll be taking a much needed vacation when I return, so the next couple of editions will be penned by another member of our talented Game Developer team. Who exactly? No spoilers yet (mainly because we haven't decided).Oho. You almost got me rambling. Nobody needs that today—least of all you. In fact, I suspect what you really need is a concentrated dose of NEWS, and as luck would have it we have just the thing...Embracer will deploy 'targeted cost initiatives' and AI tech to unlock more valuevia Game Developer // You might not realise it from the headline, but layoff connoisseur Embracer Group recently switched out its CEO, Lars Wingefors, for a new chief executive in Crystal Dynamics veteran Phil Rogers. Alas, it seems the apple hasn't fallen far from the tree. Rogers this week told investors that Embracer will deploy 'targeted cost initiatives' in relation to underperforming business. He confirmed that could mean additional divestments are in the offing. Will we also see layoffs? Who knows, but Embracer has been rather trigger happy in that regard previously. Rogers also explained that Embracer is keen to use AI technology to streamline its processes and support its teams. I'm sure they'll be thrilled.Related:Stripe Says Support Team Reps Were ‘Totally Wrong’ About LGBTQ Content Banvia Aftermath // Payment service provider Stripe has denied it is prohibiting the sale of LGBTQ+ content, including video game and media on platforms like Itch. The company spoke to Aftermath about the situation after its support team reportedly told anti-censorship campaigners that it won't be processing payments related to LGBTQ+ content. Stripe apologised for the conduction and claimed those employees were "mistaken." The full story is well worth a read, and comes after both Itch and Steam began heavily moderating the sale of adult content, reportedly at the behest of payment providers.Valve explain why using PayPal for Steam purchases isn't currently an option in a whole bunch of countriesRelated:via RockPaperShotgun // In related news, Valve recently told RPS that PayPal support for Steam has evaporated in some regions due to concerns over the type of content being sold on the platform. Valve previously confirmed that one of PayPal's acquiring banks axed support in some regions in early July, impacting consumers attempting to make Steam purchases via PayPal in currencies other than EUR, CAD, GBP, JPY, AUD and USD. On its support page, Valve said it is "uncertain" when the situation will be remedied. It then told RPS the withdrawal is "regarding content on Steam, related to what we’ve previously commented on surrounding Mastercard."Blizzard's Story and Franchise Development team has unionizedvia Game Developer // Another week, another union. We could get used to this. Blizzard's Story and Franchise Development (SFD) is the latest Microsoft-owned team to unionise in tandem with Communications Workers of America (CWA). SFD is the World of Warcraft maker's in-house cinematic, animation, and narrative department—and became the first union of its kind to form n North America. Parent company Microsoft has already recognised the union, whose members will join CWA Local 9510 in Orange County, Calif.  One member of the SFD organising committee said the unionised workers intend to preserve what makes Blizzard special. Related:Video games have a serious crediting problem, but unions can helpvia Game Developer // Speaking of unions, freelance reporter Nicole Carpenter this week laid out how the power of collective acton could enable the video game industry to address a longstanding miscrediting issue. It's not uncommon for developers (both in-house and external) to be omitted or improperly credited on projects they've worked on. It's a deeply harmful practice that can stall careers and create uncertainty as to who is actually making the games we play, but what is the solution? According to some people, unions might just hold the answer.'We would be in development for 30 years:' Krafton reiterates that Unknown Worlds founders 'abandoned' Subnautica 2via Game Developer // In what must be one of the game industry's most outrageous legal tit-for-tats, Krafton has responded to the lawsuit levelled against it by Unknown Worlds' former executive team with a series of claims that paint former studio leaders Charlie Cleveland, Max McGuire, and Ted Gill as cash-grabbing truants. The South Korean publisher once again insisted that all three downed tools as soon as it purchased Unknown Worlds and placed their own "monetary interests" over those of the development team and Subnautica 2 itself. We've done our best to summarise the scathing rebuttal, and we expect this saga is far from over. 'Microsoft has no place being accomplice of a genocide:' Arkane union workers demand Xbox maker sever ties with Israelvia Game Developer // A group of unionized Arkane Studios workers in France this week published an open letter to leaders at Xbox and Microsoft to lend their support to the Palestinian-led BDS movement and demand their parent company sever ties with Israel. The move follows extensive reporting that indicates Microsoft cloud and AI technology is being used by the Israeli regime to monitor Palestinians and even plan military action. Union workers at Arkane, known for producing titles like Dishonored and Deathloop, accused Microsoft of being an "accomplice" to genocide. "Microsoft has failed both its teams & its customers by being actively complicit of the invasion and war crimes happening in Gaza," they wrote in the open letter. Microsoft has yet to respond to our request for comment, but has previously denied that its products have been used to "target or harm people" in Gaza. Bandai Namco is still working on new in-house game engine, update revealsvia Automation Media // Tekken and Ace Combat maker Bandai Namco is still working hard to create a new in-house game engine capable of supporting large-scale projects and open worlds. You might not even be aware this project was even in motion, and that's because it's been around three years since the Japanese company last spoke about the initiative. This week, however, the company posted a series of photographs on X to reveal it has been training employees how to use the mystery engine. It's hard to glean much from the snaps, although we can see what appears to be an ecstatic snowman in one shot. 10/10. No notes.PUBG is finally bidding farewell to last-generation consoles via Krafton // Pour one out for PUBG: Battlegrounds players who've yet to make the leap to current-generation hardware. This week, Krafton announced it will be ending support for the battle royale shooter on PlayStation 4 and Xbox One in November. The company said the shift will take place on November 13, 2025, and described it as a "necessary step toward aligning PUBG Console with current-gen consoles" and providing player with "more stable gameplay." Remarkably, the news comes around five years after both the PlayStation 5 and Xbox Series X | S hit shelves, which shows just how blurred the lines between console generations have become in the current era. Even so, Krafton said the news is weighing heavily on the team and has requested a modicum of understanding during this trying time
    2 التعليقات ·0 المشاركات
  • MARVEL Tōkon: Fighting Souls — 30 minutes with the 4v4 tag-fighter

    First revealed in State of Play, and recently playable at Evo Las Vegas 2025, MARVEL Tōkon: Fighting Souls, brings a fundamental shift to the tag-fighting genre. Arc System Works, Marvel Games, and PlayStation Studios have assembled to create a vibrant, stylized world, and after an intense 30-minute play session this past weekend, I’m counting down the days until I’m a Tōkon fighter again.

    Play Video

    Building a 4v4 team

    “The reason we went with 4v4 is actually because it’s something that’s never been done before in fighting games where players can switch characters,” says Kazuto Sekine, Game Director and Lead Battle Designer, Arc System Works. “We wanted to challenge ourselves to create a new tag fighter.”

    ​​

    During my session, I had access to a set of all-star Heroes to create my team of four:

    ● Doctor Doom is slow but hits hard with magical and tricky range attacks. 

    ● Ms. Marvel is quick with high-risk, high-reward attacks.

    ● Storm is an aerial threat with deadly crossovers., 

    ● Iron Man keeps enemies at bay with anti-air and other punishing moves. 

    ● Star-Lord was the most technical with his ability to switch between firearms and insane juggles.

    ● Captain America is a versatile all-rounder and a great entry point for new players.

    After some experimentation, I prioritized playing Storm and Star-Lord. I loved how their combos, personality, and flair were true to their characters. Storm’s light and medium attacks are beginner-friendly and combo well into her Quick Skill, which is a character’s unique attack you activate by pressing R2. I also found success rushing in with Star-Lord, using quick blaster and melee combos right into his Ultimate, activated simply by pressing R1.

    The control scheme is pretty straightforward. Square, Triangle, and Circle are your light, medium, and heavy attacks, respectively, while X is the assemble button. All of your special attacks and skills are reserved for the triggers. L1 enables a quick dash, L2 is a quick Assemble ability, and R1 and R2 provide your unique attack and quick skills.

    How swapping between characters works

    Traditionally, in a tag fighter, you have to rotate through your entire team before the match is over, but in Tōkon your team shares one health bar. This means you don’t have to master the whole roster to be effective, and in that sense, can approach the game like a more traditional fighter if you choose to. At the start of the match, you can only control your lead character. As the skirmish progresses, you gain the ability to switch into your assist characters when you lose a round, performing a throw, or knocking your opponent into another section of the stage. It creates an interesting dance of being careful not to give your opponents more options to use against you while making sure you access your extended roster first, and who you would want as your first backup option.

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    “Previously for allin order to play them, you had to be able to control multiple characters,” says Sekine, “However, for our game, it was important for us to design it so that you would only actually need to be able to take control of one character. You only need to learn to play as one character in order to enjoy the game, and you can still see your other teammates coming in and out of the battlefield.”

    Where you would traditionally have a dedicated button to swap between your party, here you do it during assists. Once you successfully call in an assist you have a brief window to swap to them. This exchange creates a natural swap out in the chaos of battle and some stylish moments between characters. Tōkon cares about what is happening on screen at all times, so switching between characters in the middle of a combo, standing still, or even in the air creates unique animations, such as characters giving each other daps or quipping about needing to step in. 

    Accommodating different players’ fighting styles

    As I was studying my opponent’s moves, they took a different approach, focusing on supers and trying to bring out their team for full-screen spectacles. Where each character performs a quick combo, sending your opponent airborne while smashing them to the ground, ending in what I can only describe as a superhero pose-a-thon. The methodical vs manic approach created a fun back-and-forth between us, but the game was accommodating of both approaches and provided its own sense of satisfaction.

    “When it comes to the game’s design, it was very important for us to make this something that’s easy to get into, but has depth beyond that initial entry,” says Sekine. “One thing that we were very careful about when designing the game was to ensure that there is not any kind of mechanic or attack that someone who’s just getting started would not be able to perform. It would impede on the experience of new players.” 

    “When you press the Assemble button, depending on the situation and what’s going on in the match, the Assist will come out and perform a different action that’s suitable for that particular moment,” says Sekine. “By designing it in that way that we’re able to clearly communicate to the player when they should be calling in their assists, and make it easier for them to play.”

    Anime-inspired Heroes in action

    “At Marvel games, it’s really important for us to allow developers to put their own unique stamp on the Marvel Universe,” says Michael Francisco, Sr. Product Development Manager, Marvel Games. “In the case of Arc, it’s that fusion of Marvel and American comics with Japanese anime and manga, and you can see that reflected in the art style and the character designs.” 

    All the characters ooze charm, but the backgrounds also pack a lot of exciting details. Eagle-eyed fans should keep an eye out for interesting signage referencing heroes and events, pedestrians reacting to on-screen action, and easter eggs scattered throughout. It’s obvious a lot of care was put into building this world. 

    “It was very important for us to be able to create the visual excitement that should be entailed with,” says Takeshi Yamanaka, Producer, Arc System Works. “Since this is a 4v4 game, that means that we can have up to eight characters out on the screen at one time altogether, so we were careful when creating the visual composition of the screen to ensure that we convey that excitement.”

    The 4v4 fights begin next year

    MARVEL Tōkon: Fighting Souls is set to release in 2026, and while I’m excited to see all the heroes, combinations, and worlds the game will take us too, I asked the team how they felt about creating something new that has never been done before in the fighting genre. 

    “It’s both scary and exciting, exhilarating and terrifying, at the same time,” says Francisco. “From the beginning, we all want to honor and respect the rich history and legacy of Marvel, while also forging our own path forward to create something new and innovative. So, we just hope fans are excited to see what we’ve come up with as a collaboration between all three parties.” 
    #marvel #tōkon #fighting #souls #minutes
    MARVEL Tōkon: Fighting Souls — 30 minutes with the 4v4 tag-fighter
    First revealed in State of Play, and recently playable at Evo Las Vegas 2025, MARVEL Tōkon: Fighting Souls, brings a fundamental shift to the tag-fighting genre. Arc System Works, Marvel Games, and PlayStation Studios have assembled to create a vibrant, stylized world, and after an intense 30-minute play session this past weekend, I’m counting down the days until I’m a Tōkon fighter again. Play Video Building a 4v4 team “The reason we went with 4v4 is actually because it’s something that’s never been done before in fighting games where players can switch characters,” says Kazuto Sekine, Game Director and Lead Battle Designer, Arc System Works. “We wanted to challenge ourselves to create a new tag fighter.” ​​ During my session, I had access to a set of all-star Heroes to create my team of four: ● Doctor Doom is slow but hits hard with magical and tricky range attacks.  ● Ms. Marvel is quick with high-risk, high-reward attacks. ● Storm is an aerial threat with deadly crossovers.,  ● Iron Man keeps enemies at bay with anti-air and other punishing moves.  ● Star-Lord was the most technical with his ability to switch between firearms and insane juggles. ● Captain America is a versatile all-rounder and a great entry point for new players. After some experimentation, I prioritized playing Storm and Star-Lord. I loved how their combos, personality, and flair were true to their characters. Storm’s light and medium attacks are beginner-friendly and combo well into her Quick Skill, which is a character’s unique attack you activate by pressing R2. I also found success rushing in with Star-Lord, using quick blaster and melee combos right into his Ultimate, activated simply by pressing R1. The control scheme is pretty straightforward. Square, Triangle, and Circle are your light, medium, and heavy attacks, respectively, while X is the assemble button. All of your special attacks and skills are reserved for the triggers. L1 enables a quick dash, L2 is a quick Assemble ability, and R1 and R2 provide your unique attack and quick skills. How swapping between characters works Traditionally, in a tag fighter, you have to rotate through your entire team before the match is over, but in Tōkon your team shares one health bar. This means you don’t have to master the whole roster to be effective, and in that sense, can approach the game like a more traditional fighter if you choose to. At the start of the match, you can only control your lead character. As the skirmish progresses, you gain the ability to switch into your assist characters when you lose a round, performing a throw, or knocking your opponent into another section of the stage. It creates an interesting dance of being careful not to give your opponents more options to use against you while making sure you access your extended roster first, and who you would want as your first backup option. View and download image Download the image close Close Download this image “Previously for allin order to play them, you had to be able to control multiple characters,” says Sekine, “However, for our game, it was important for us to design it so that you would only actually need to be able to take control of one character. You only need to learn to play as one character in order to enjoy the game, and you can still see your other teammates coming in and out of the battlefield.” Where you would traditionally have a dedicated button to swap between your party, here you do it during assists. Once you successfully call in an assist you have a brief window to swap to them. This exchange creates a natural swap out in the chaos of battle and some stylish moments between characters. Tōkon cares about what is happening on screen at all times, so switching between characters in the middle of a combo, standing still, or even in the air creates unique animations, such as characters giving each other daps or quipping about needing to step in.  Accommodating different players’ fighting styles As I was studying my opponent’s moves, they took a different approach, focusing on supers and trying to bring out their team for full-screen spectacles. Where each character performs a quick combo, sending your opponent airborne while smashing them to the ground, ending in what I can only describe as a superhero pose-a-thon. The methodical vs manic approach created a fun back-and-forth between us, but the game was accommodating of both approaches and provided its own sense of satisfaction. “When it comes to the game’s design, it was very important for us to make this something that’s easy to get into, but has depth beyond that initial entry,” says Sekine. “One thing that we were very careful about when designing the game was to ensure that there is not any kind of mechanic or attack that someone who’s just getting started would not be able to perform. It would impede on the experience of new players.”  “When you press the Assemble button, depending on the situation and what’s going on in the match, the Assist will come out and perform a different action that’s suitable for that particular moment,” says Sekine. “By designing it in that way that we’re able to clearly communicate to the player when they should be calling in their assists, and make it easier for them to play.” Anime-inspired Heroes in action “At Marvel games, it’s really important for us to allow developers to put their own unique stamp on the Marvel Universe,” says Michael Francisco, Sr. Product Development Manager, Marvel Games. “In the case of Arc, it’s that fusion of Marvel and American comics with Japanese anime and manga, and you can see that reflected in the art style and the character designs.”  All the characters ooze charm, but the backgrounds also pack a lot of exciting details. Eagle-eyed fans should keep an eye out for interesting signage referencing heroes and events, pedestrians reacting to on-screen action, and easter eggs scattered throughout. It’s obvious a lot of care was put into building this world.  “It was very important for us to be able to create the visual excitement that should be entailed with,” says Takeshi Yamanaka, Producer, Arc System Works. “Since this is a 4v4 game, that means that we can have up to eight characters out on the screen at one time altogether, so we were careful when creating the visual composition of the screen to ensure that we convey that excitement.” The 4v4 fights begin next year MARVEL Tōkon: Fighting Souls is set to release in 2026, and while I’m excited to see all the heroes, combinations, and worlds the game will take us too, I asked the team how they felt about creating something new that has never been done before in the fighting genre.  “It’s both scary and exciting, exhilarating and terrifying, at the same time,” says Francisco. “From the beginning, we all want to honor and respect the rich history and legacy of Marvel, while also forging our own path forward to create something new and innovative. So, we just hope fans are excited to see what we’ve come up with as a collaboration between all three parties.”  #marvel #tōkon #fighting #souls #minutes
    MARVEL Tōkon: Fighting Souls — 30 minutes with the 4v4 tag-fighter
    blog.playstation.com
    First revealed in State of Play, and recently playable at Evo Las Vegas 2025, MARVEL Tōkon: Fighting Souls, brings a fundamental shift to the tag-fighting genre. Arc System Works, Marvel Games, and PlayStation Studios have assembled to create a vibrant, stylized world, and after an intense 30-minute play session this past weekend, I’m counting down the days until I’m a Tōkon fighter again. Play Video Building a 4v4 team “The reason we went with 4v4 is actually because it’s something that’s never been done before in fighting games where players can switch characters,” says Kazuto Sekine, Game Director and Lead Battle Designer, Arc System Works. “We wanted to challenge ourselves to create a new tag fighter.” ​​ During my session, I had access to a set of all-star Heroes to create my team of four: ● Doctor Doom is slow but hits hard with magical and tricky range attacks.  ● Ms. Marvel is quick with high-risk, high-reward attacks. ● Storm is an aerial threat with deadly crossovers.,  ● Iron Man keeps enemies at bay with anti-air and other punishing moves.  ● Star-Lord was the most technical with his ability to switch between firearms and insane juggles. ● Captain America is a versatile all-rounder and a great entry point for new players. After some experimentation, I prioritized playing Storm and Star-Lord. I loved how their combos, personality, and flair were true to their characters (at one point, Storm sternly refers to Star-Lord as “Quill” when he’s goofing off, which I adored). Storm’s light and medium attacks are beginner-friendly and combo well into her Quick Skill, which is a character’s unique attack you activate by pressing R2. I also found success rushing in with Star-Lord, using quick blaster and melee combos right into his Ultimate, activated simply by pressing R1. The control scheme is pretty straightforward. Square, Triangle, and Circle are your light, medium, and heavy attacks, respectively, while X is the assemble button. All of your special attacks and skills are reserved for the triggers. L1 enables a quick dash, L2 is a quick Assemble ability, and R1 and R2 provide your unique attack and quick skills. How swapping between characters works Traditionally, in a tag fighter, you have to rotate through your entire team before the match is over, but in Tōkon your team shares one health bar. This means you don’t have to master the whole roster to be effective, and in that sense, can approach the game like a more traditional fighter if you choose to. At the start of the match, you can only control your lead character. As the skirmish progresses, you gain the ability to switch into your assist characters when you lose a round, performing a throw, or knocking your opponent into another section of the stage. It creates an interesting dance of being careful not to give your opponents more options to use against you while making sure you access your extended roster first, and who you would want as your first backup option. View and download image Download the image close Close Download this image “Previously for all [tag fighters] in order to play them, you had to be able to control multiple characters,” says Sekine, “However, for our game, it was important for us to design it so that you would only actually need to be able to take control of one character. You only need to learn to play as one character in order to enjoy the game, and you can still see your other teammates coming in and out of the battlefield.” Where you would traditionally have a dedicated button to swap between your party, here you do it during assists. Once you successfully call in an assist you have a brief window to swap to them. This exchange creates a natural swap out in the chaos of battle and some stylish moments between characters. Tōkon cares about what is happening on screen at all times, so switching between characters in the middle of a combo, standing still, or even in the air creates unique animations, such as characters giving each other daps or quipping about needing to step in.  Accommodating different players’ fighting styles As I was studying my opponent’s moves, they took a different approach, focusing on supers and trying to bring out their team for full-screen spectacles. Where each character performs a quick combo, sending your opponent airborne while smashing them to the ground, ending in what I can only describe as a superhero pose-a-thon. The methodical vs manic approach created a fun back-and-forth between us, but the game was accommodating of both approaches and provided its own sense of satisfaction. “When it comes to the game’s design, it was very important for us to make this something that’s easy to get into, but has depth beyond that initial entry,” says Sekine. “One thing that we were very careful about when designing the game was to ensure that there is not any kind of mechanic or attack that someone who’s just getting started would not be able to perform. It would impede on the experience of new players.”  “When you press the Assemble button, depending on the situation and what’s going on in the match, the Assist will come out and perform a different action that’s suitable for that particular moment,” says Sekine. “By designing it in that way that we’re able to clearly communicate to the player when they should be calling in their assists, and make it easier for them to play.” Anime-inspired Heroes in action “At Marvel games, it’s really important for us to allow developers to put their own unique stamp on the Marvel Universe,” says Michael Francisco, Sr. Product Development Manager, Marvel Games. “In the case of Arc, it’s that fusion of Marvel and American comics with Japanese anime and manga, and you can see that reflected in the art style and the character designs.”  All the characters ooze charm, but the backgrounds also pack a lot of exciting details. Eagle-eyed fans should keep an eye out for interesting signage referencing heroes and events, pedestrians reacting to on-screen action, and easter eggs scattered throughout. It’s obvious a lot of care was put into building this world.  “It was very important for us to be able to create the visual excitement that should be entailed with [tag fighters],” says Takeshi Yamanaka, Producer, Arc System Works. “Since this is a 4v4 game, that means that we can have up to eight characters out on the screen at one time altogether, so we were careful when creating the visual composition of the screen to ensure that we convey that excitement.” The 4v4 fights begin next year MARVEL Tōkon: Fighting Souls is set to release in 2026, and while I’m excited to see all the heroes, combinations, and worlds the game will take us too, I asked the team how they felt about creating something new that has never been done before in the fighting genre.  “It’s both scary and exciting, exhilarating and terrifying, at the same time,” says Francisco. “From the beginning, we all want to honor and respect the rich history and legacy of Marvel, while also forging our own path forward to create something new and innovative. So, we just hope fans are excited to see what we’ve come up with as a collaboration between all three parties.” 
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  • Video games have a serious crediting problem, but unions can help

    It shouldn't be so hard for developers to receive credit for their work. Industry activists have been campaigning for years to create standardized crediting practices but the problem persists. Many developers still aren't being recognized for their contributions and it is a debilitating issue. It's not just a case of someone not seeing their name in lights. It's a practice that can hamper careers—especially those of industry newcomers who might be asked to prove they've worked on a shipped game.Localization and translation specialist Tamara Morales recently told Game Developer that freelancers, too, rely heavily on credits to bring in more work and show their experience. It's like a resume. Proper crediting is crucial for game workers that have been pushed to the margins, like contract workers or external teams.Unions could help standardize the crediting process and guarantee compliance.The struggle for developers to get proper recognition for their work in the industry has been well-documented. Often, individuals working for external support teams, like localization or quality assurance, will be omitted. Sometimes, studios will leave out the names of people who departed ahead of launch. Improper crediting doesn't always mean a person can't list a project on their resume, but it's—at best—unfair to the developers who worked on the game and aren't credited and, at worst, actively hampering careers. The impact varies from person to person and studio to studio—there’s a ton of inconsistency—but the problem remains pervasive.Related:Union contracts can deliver 'tangible, positive change across the industry'Nazih Fares, the vice chair of the International Game Developers Association'sgame credits special interest group, told Game Developer that while working as a public relations contractor for major game companies, they'd been left out of the credits for more than 50 games they supported. Their first game credit for Metal Gear Solid 5 was a 'special thanks' at the end of the roll call—something that didn't accurately represent the scope of their contributions.When they began specifically asking for credits, they were told the studio that had solicited their services didn't include external developers in their credits. "It was frustrating to be in that situation, and I knew that I wasn't the only one," Fares said. "It wasn't just me."The IGDA's game credits group published a lengthy paper on the best practices for game crediting in 2023, which includes standards that define an "inclusive" crediting philosophy. The group even built tools in Unreal Engine to streamline the task of importing credits into a game.Related:Industry consultant Tarja Porkka-Kontturi told us several studios have adopted those IGDA guidelines, but that "widespace implementation is still absolutely lacking."The problem is that the IGDA can't force companies to implement a standardized process—but contracts can. "I firmly believe that if unions and developers collaborated to embed fair crediting practices—such as the ones we've outlined in the IGDA Game Credits Guidelines—into collective agreements, it would bring tangible, positive change across the industry, globally," Porkka-Kontturi said. "As mentioned, this kind of inclusion in union contracts would not only strengthen the position of workers but also give studios a clear, standardized process to follow."Freelance writer and narrative designer Anna C. Webster also suggested unions can provide a pathway to standardization. "are critical," she said. "Being properly credited on a title is essential to our individual careers as workers, and also just general fairness. Being able to say, 'Hey, I worked on this,' is important to show the work you did and not undercut labor in any way."Related:Webster is a member of the United Video Game Workers-Communications Workers of America'sorganizing committee and the interim chair of the freelancing and contractors issues' committee. She said the standardization of video game credits is something the freelancing committee is particularly interested in. Hollywood unions, like the Writers Guild of America or the Producers Guild, have built out and enforced crediting rules. The video game industry doesn't have any overarching bodies to do that—so companies are still able to follow their own whims.Sega and ZeniMax unions successfully bargained for standardized crediting practices The Communications Workers of America told Game Developer that several video game industry unions, like Sega of America and ZeniMax Workers United, have already bargained for standardized credits in their contracts. Sega of America's contract, for instance, requires the company to credit all workers that contribute to its games—including "early QA testers."ZeniMax Workers United has two pages dedicated to crediting practices in its signed contract agreement. It sets out the following attribution guidelines:a) The Employer will credit all bargaining unit employees who are assignedto the title and are employed 90 calendar days before a project’s full public release date. Anyone not employed 90 days minimum before the projected full release date will appear in “Special Thanks”, “Additional Credits” or some other equitable designation.b) Bargaining unit employees must work on the title for at least 30 calendar days before the credit lock date. Contributors below this threshold will appear in “Special Thanks”, “Additional Credits” or some other equitable designation.c) Bargaining unit employees will be credited by their lived nameand their role or nature of work at the time credits are created. In the event a bargaining unit employee updates their lived name with Human Resources, the Employer shall then update the publicly accessible list of credits, if available. Changes or updates to in-game credits will be at Management’s discretion.d) Credits shall be updated with credit given to those who meet these criteria for additional major releases related to the game.The contract also has a section that lays out the visibility of credits, too. The credits have to be made available to anyone who plays the game, regardless of whether or not they've completed it. There's even a process that outlines how the company must be informed if mistakes are made, and if they want to change how their name appears..Unions, then, have both collective worker power and legal strength to push back on a multitude of issues, including crediting problems. The union has resources that an individual may not, meaning workers don't simply have to trust an internal policy. They can also garner widespread cross-industry support. UVW-CWA, unlike the unions under Sega of America and ZeniMax, is a direct-join union. That means any game worker can join its ranks, regardless of where they work or whether they’re a freelance or contract worker.UVW-CWA currently has more than 500 members across the industry in North America and Canada. It works differently in that there isn't a contract between the union and specific companies. Instead, its power comes from the collective voice of members.The freelancing group under UVW-CWA is looking to create contract standards to help individual workers negotiate crediting terms into their contracts with companies. Webster said the union hasn't nailed down exact language just yet, but explained it could be useful, for instance, to ensure anybody who worked on a game for more than 30 days must be included in the credits."Game developers and publishers could work with unions in drafting a clause in the contract stating that all external collaborators are credited no matter how big or small that collaboration is," Morales added. Crucially, those clauses could be used to hold companies accountable if people are not properly credited. Morales said organizations like ATRAE are working to help people receive proper credits. That includes helping developers contact studios to make them aware of crediting issues in the hopes of delivering a fix.Studios don't always comply, but with contracts in hand—or a mass of worker support—that could change.
    #video #games #have #serious #crediting
    Video games have a serious crediting problem, but unions can help
    It shouldn't be so hard for developers to receive credit for their work. Industry activists have been campaigning for years to create standardized crediting practices but the problem persists. Many developers still aren't being recognized for their contributions and it is a debilitating issue. It's not just a case of someone not seeing their name in lights. It's a practice that can hamper careers—especially those of industry newcomers who might be asked to prove they've worked on a shipped game.Localization and translation specialist Tamara Morales recently told Game Developer that freelancers, too, rely heavily on credits to bring in more work and show their experience. It's like a resume. Proper crediting is crucial for game workers that have been pushed to the margins, like contract workers or external teams.Unions could help standardize the crediting process and guarantee compliance.The struggle for developers to get proper recognition for their work in the industry has been well-documented. Often, individuals working for external support teams, like localization or quality assurance, will be omitted. Sometimes, studios will leave out the names of people who departed ahead of launch. Improper crediting doesn't always mean a person can't list a project on their resume, but it's—at best—unfair to the developers who worked on the game and aren't credited and, at worst, actively hampering careers. The impact varies from person to person and studio to studio—there’s a ton of inconsistency—but the problem remains pervasive.Related:Union contracts can deliver 'tangible, positive change across the industry'Nazih Fares, the vice chair of the International Game Developers Association'sgame credits special interest group, told Game Developer that while working as a public relations contractor for major game companies, they'd been left out of the credits for more than 50 games they supported. Their first game credit for Metal Gear Solid 5 was a 'special thanks' at the end of the roll call—something that didn't accurately represent the scope of their contributions.When they began specifically asking for credits, they were told the studio that had solicited their services didn't include external developers in their credits. "It was frustrating to be in that situation, and I knew that I wasn't the only one," Fares said. "It wasn't just me."The IGDA's game credits group published a lengthy paper on the best practices for game crediting in 2023, which includes standards that define an "inclusive" crediting philosophy. The group even built tools in Unreal Engine to streamline the task of importing credits into a game.Related:Industry consultant Tarja Porkka-Kontturi told us several studios have adopted those IGDA guidelines, but that "widespace implementation is still absolutely lacking."The problem is that the IGDA can't force companies to implement a standardized process—but contracts can. "I firmly believe that if unions and developers collaborated to embed fair crediting practices—such as the ones we've outlined in the IGDA Game Credits Guidelines—into collective agreements, it would bring tangible, positive change across the industry, globally," Porkka-Kontturi said. "As mentioned, this kind of inclusion in union contracts would not only strengthen the position of workers but also give studios a clear, standardized process to follow."Freelance writer and narrative designer Anna C. Webster also suggested unions can provide a pathway to standardization. "are critical," she said. "Being properly credited on a title is essential to our individual careers as workers, and also just general fairness. Being able to say, 'Hey, I worked on this,' is important to show the work you did and not undercut labor in any way."Related:Webster is a member of the United Video Game Workers-Communications Workers of America'sorganizing committee and the interim chair of the freelancing and contractors issues' committee. She said the standardization of video game credits is something the freelancing committee is particularly interested in. Hollywood unions, like the Writers Guild of America or the Producers Guild, have built out and enforced crediting rules. The video game industry doesn't have any overarching bodies to do that—so companies are still able to follow their own whims.Sega and ZeniMax unions successfully bargained for standardized crediting practices The Communications Workers of America told Game Developer that several video game industry unions, like Sega of America and ZeniMax Workers United, have already bargained for standardized credits in their contracts. Sega of America's contract, for instance, requires the company to credit all workers that contribute to its games—including "early QA testers."ZeniMax Workers United has two pages dedicated to crediting practices in its signed contract agreement. It sets out the following attribution guidelines:a) The Employer will credit all bargaining unit employees who are assignedto the title and are employed 90 calendar days before a project’s full public release date. Anyone not employed 90 days minimum before the projected full release date will appear in “Special Thanks”, “Additional Credits” or some other equitable designation.b) Bargaining unit employees must work on the title for at least 30 calendar days before the credit lock date. Contributors below this threshold will appear in “Special Thanks”, “Additional Credits” or some other equitable designation.c) Bargaining unit employees will be credited by their lived nameand their role or nature of work at the time credits are created. In the event a bargaining unit employee updates their lived name with Human Resources, the Employer shall then update the publicly accessible list of credits, if available. Changes or updates to in-game credits will be at Management’s discretion.d) Credits shall be updated with credit given to those who meet these criteria for additional major releases related to the game.The contract also has a section that lays out the visibility of credits, too. The credits have to be made available to anyone who plays the game, regardless of whether or not they've completed it. There's even a process that outlines how the company must be informed if mistakes are made, and if they want to change how their name appears..Unions, then, have both collective worker power and legal strength to push back on a multitude of issues, including crediting problems. The union has resources that an individual may not, meaning workers don't simply have to trust an internal policy. They can also garner widespread cross-industry support. UVW-CWA, unlike the unions under Sega of America and ZeniMax, is a direct-join union. That means any game worker can join its ranks, regardless of where they work or whether they’re a freelance or contract worker.UVW-CWA currently has more than 500 members across the industry in North America and Canada. It works differently in that there isn't a contract between the union and specific companies. Instead, its power comes from the collective voice of members.The freelancing group under UVW-CWA is looking to create contract standards to help individual workers negotiate crediting terms into their contracts with companies. Webster said the union hasn't nailed down exact language just yet, but explained it could be useful, for instance, to ensure anybody who worked on a game for more than 30 days must be included in the credits."Game developers and publishers could work with unions in drafting a clause in the contract stating that all external collaborators are credited no matter how big or small that collaboration is," Morales added. Crucially, those clauses could be used to hold companies accountable if people are not properly credited. Morales said organizations like ATRAE are working to help people receive proper credits. That includes helping developers contact studios to make them aware of crediting issues in the hopes of delivering a fix.Studios don't always comply, but with contracts in hand—or a mass of worker support—that could change. #video #games #have #serious #crediting
    Video games have a serious crediting problem, but unions can help
    www.gamedeveloper.com
    It shouldn't be so hard for developers to receive credit for their work. Industry activists have been campaigning for years to create standardized crediting practices but the problem persists. Many developers still aren't being recognized for their contributions and it is a debilitating issue. It's not just a case of someone not seeing their name in lights. It's a practice that can hamper careers—especially those of industry newcomers who might be asked to prove they've worked on a shipped game.Localization and translation specialist Tamara Morales recently told Game Developer that freelancers, too, rely heavily on credits to bring in more work and show their experience. It's like a resume. Proper crediting is crucial for game workers that have been pushed to the margins, like contract workers or external teams.Unions could help standardize the crediting process and guarantee compliance.The struggle for developers to get proper recognition for their work in the industry has been well-documented. Often, individuals working for external support teams, like localization or quality assurance, will be omitted. Sometimes, studios will leave out the names of people who departed ahead of launch. Improper crediting doesn't always mean a person can't list a project on their resume, but it's—at best—unfair to the developers who worked on the game and aren't credited and, at worst, actively hampering careers. The impact varies from person to person and studio to studio—there’s a ton of inconsistency—but the problem remains pervasive.Related:Union contracts can deliver 'tangible, positive change across the industry'Nazih Fares, the vice chair of the International Game Developers Association's (IGDA) game credits special interest group, told Game Developer that while working as a public relations contractor for major game companies, they'd been left out of the credits for more than 50 games they supported. Their first game credit for Metal Gear Solid 5 was a 'special thanks' at the end of the roll call—something that didn't accurately represent the scope of their contributions.When they began specifically asking for credits, they were told the studio that had solicited their services didn't include external developers in their credits. "It was frustrating to be in that situation, and I knew that I wasn't the only one," Fares said. "It wasn't just me."The IGDA's game credits group published a lengthy paper on the best practices for game crediting in 2023, which includes standards that define an "inclusive" crediting philosophy. The group even built tools in Unreal Engine to streamline the task of importing credits into a game.Related:Industry consultant Tarja Porkka-Kontturi told us several studios have adopted those IGDA guidelines, but that "widespace implementation is still absolutely lacking."The problem is that the IGDA can't force companies to implement a standardized process—but contracts can. "I firmly believe that if unions and developers collaborated to embed fair crediting practices—such as the ones we've outlined in the IGDA Game Credits Guidelines—into collective agreements, it would bring tangible, positive change across the industry, globally," Porkka-Kontturi said. "As mentioned, this kind of inclusion in union contracts would not only strengthen the position of workers but also give studios a clear, standardized process to follow."Freelance writer and narrative designer Anna C. Webster also suggested unions can provide a pathway to standardization. "[Credits] are critical," she said. "Being properly credited on a title is essential to our individual careers as workers, and also just general fairness. Being able to say, 'Hey, I worked on this,' is important to show the work you did and not undercut labor in any way."Related:Webster is a member of the United Video Game Workers-Communications Workers of America's (UVW-CWA) organizing committee and the interim chair of the freelancing and contractors issues' committee. She said the standardization of video game credits is something the freelancing committee is particularly interested in. Hollywood unions, like the Writers Guild of America or the Producers Guild, have built out and enforced crediting rules. The video game industry doesn't have any overarching bodies to do that—so companies are still able to follow their own whims.Sega and ZeniMax unions successfully bargained for standardized crediting practices The Communications Workers of America told Game Developer that several video game industry unions, like Sega of America and ZeniMax Workers United, have already bargained for standardized credits in their contracts. Sega of America's contract, for instance, requires the company to credit all workers that contribute to its games—including "early QA testers."ZeniMax Workers United has two pages dedicated to crediting practices in its signed contract agreement. It sets out the following attribution guidelines:a) The Employer will credit all bargaining unit employees who are assigned (or ancillary) to the title and are employed 90 calendar days before a project’s full public release date. Anyone not employed 90 days minimum before the projected full release date will appear in “Special Thanks”, “Additional Credits” or some other equitable designation.b) Bargaining unit employees must work on the title for at least 30 calendar days before the credit lock date. Contributors below this threshold will appear in “Special Thanks”, “Additional Credits” or some other equitable designation.c) Bargaining unit employees will be credited by their lived name (first and last) and their role or nature of work at the time credits are created. In the event a bargaining unit employee updates their lived name with Human Resources, the Employer shall then update the publicly accessible list of credits, if available. Changes or updates to in-game credits will be at Management’s discretion.d) Credits shall be updated with credit given to those who meet these criteria for additional major releases related to the game (large updates, DLC, etc).The contract also has a section that lays out the visibility of credits, too. The credits have to be made available to anyone who plays the game, regardless of whether or not they've completed it. There's even a process that outlines how the company must be informed if mistakes are made, and if they want to change how their name appears. (The contract doesn't have any process—aside from being "at the employer’s discretion"—on how people who no longer work there can have theirs changed).Unions, then, have both collective worker power and legal strength to push back on a multitude of issues, including crediting problems. The union has resources that an individual may not, meaning workers don't simply have to trust an internal policy. They can also garner widespread cross-industry support. UVW-CWA, unlike the unions under Sega of America and ZeniMax, is a direct-join union. That means any game worker can join its ranks, regardless of where they work or whether they’re a freelance or contract worker.UVW-CWA currently has more than 500 members across the industry in North America and Canada. It works differently in that there isn't a contract between the union and specific companies. Instead, its power comes from the collective voice of members.The freelancing group under UVW-CWA is looking to create contract standards to help individual workers negotiate crediting terms into their contracts with companies. Webster said the union hasn't nailed down exact language just yet, but explained it could be useful, for instance, to ensure anybody who worked on a game for more than 30 days must be included in the credits."Game developers and publishers could work with unions in drafting a clause in the contract stating that all external collaborators are credited no matter how big or small that collaboration is," Morales added. Crucially, those clauses could be used to hold companies accountable if people are not properly credited. Morales said organizations like ATRAE are working to help people receive proper credits. That includes helping developers contact studios to make them aware of crediting issues in the hopes of delivering a fix.Studios don't always comply, but with contracts in hand—or a mass of worker support—that could change.
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  • شوفوا! ACWA Power بدات خطوة كبيرة لبناء ممر الطاقة الخضراء بين السعودية وأوروبا! هذي الصفقة مش غير للبيئة، بل تفتح آفاق جديدة في عالم الطاقة المتجددة.

    المقال يتكلم على كيفاش هذي المبادرة راح تعزز التعاون الدولي في مجال الطاقة وتقوي العلاقات الاقتصادية. يعني، كيما نقولو "win-win situation" لكل الأطراف!

    ومن تجربتي الشخصية، الطاقة المتجددة راها مستقبلنا. بلكي هذي الفرص تخلي شبابنا يفكروا في مشاريع جديدة ويستثمروا فيها، خاصة في مجالات الاستدامة والابتكار.

    تخيلوا كيفاش ممكن تكون حياة أحسن بفضل هذي المشاريع، وأكيد كلنا نحبوا نكون جزء من هذي التغييرات الإيجابية.

    https://forbesmiddleeast.com/industry/energy/acwa-power-signs-agreements-with-european-companies-to-boost-renewable-energy-exports

    #طاقة_خضراء #RenewableEnergy #ACWAPower #استدامة #EnergyTransition
    🌍💡 شوفوا! ACWA Power بدات خطوة كبيرة لبناء ممر الطاقة الخضراء بين السعودية وأوروبا! هذي الصفقة مش غير للبيئة، بل تفتح آفاق جديدة في عالم الطاقة المتجددة. المقال يتكلم على كيفاش هذي المبادرة راح تعزز التعاون الدولي في مجال الطاقة وتقوي العلاقات الاقتصادية. يعني، كيما نقولو "win-win situation" لكل الأطراف! ومن تجربتي الشخصية، الطاقة المتجددة راها مستقبلنا. بلكي هذي الفرص تخلي شبابنا يفكروا في مشاريع جديدة ويستثمروا فيها، خاصة في مجالات الاستدامة والابتكار. تخيلوا كيفاش ممكن تكون حياة أحسن بفضل هذي المشاريع، وأكيد كلنا نحبوا نكون جزء من هذي التغييرات الإيجابية. https://forbesmiddleeast.com/industry/energy/acwa-power-signs-agreements-with-european-companies-to-boost-renewable-energy-exports #طاقة_خضراء #RenewableEnergy #ACWAPower #استدامة #EnergyTransition
    forbesmiddleeast.com
    ACWA Power Inks Deals To Build Saudi-Europe Green Energy Corridor
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