#oneaday Day 562: This is not sponsored by Manta Sleep

A while back, my pal RoseTintedSpectrum blew up on YouTube (in the good way) with his coverage of classic TV shows, which naturally caused the sponsors to come a-knockin'. Since Rosie is well aware of the number of scammy YouTube sponsors out there — he, like me, is part of a Discord group of YouTubers, and we frequently share and discuss news from around the platform — he wasn't just going to immediately jump at the first dodgy online counselling or grocery delivery service that came his way. As such, I knew that if and when he did take on a sponsor, it would be someone that he felt comfortable recommending.

That sponsorship deal eventually came in the form of Manta Sleep, a luxury sleep mask company. And a while back, I did something I don't normally do: I bought something that I had seen advertised online. Specifically, I bought a pair of Manta SOUND masks — one for me and one for my wife — during the site's Black Friday sales, which meant they were considerably cheaper than they would be under normal circumstances.

Manta Sleep's "thing" is that rather than just being a blindfold you put on to go to sleep, their masks are designed to be both comfortable and effective. The band is made from pleasantly breathable fabric and is nice and soft, and the front of the mask features padded eyepieces that completely cover your eye sockets, blocking out absolutely all light without applying pressure to your eyes. And they really do offer complete blackout to such a degree that you will see the same thing whether your eyes are open or closed: total darkness, even if a light has been left on in the room.

The Manta SOUND mask, as the name suggests, also comes with Bluetooth headphones integrated into the mask. Rather excellently, the part of the mask that has all the electronics in can be detached from the bit that comes into contact with your face, so you can actually throw the thing in the washing machine without having to perform surgery on it beforehand. (Or, indeed, frying the electronics because you forgot to perform surgery on it beforehand.) The two earpieces are very thin and light, meaning you can lie on your side without them digging into you, and can be easily adjusted forwards and backwards in the special little pocket they're in to match the shape of your head and the position of your ears.

The sound quality is very good, too! There seems to be relatively minimal audio bleed out into the room when you're listening to something, and the sound you're listening to has a decent amount of presence. Obviously by nature of the design they're don't have quite as much oomph as a pair of "proper" headphones, but when you're trying to get to sleep, you don't need oomph — you need comfort and reliability, and that's what these have provided so far.

I've been really impressed with the Manta SOUND. They're pricy — and I'm glad I got the Black Friday deal on them — but they're clearly a premium product. And it's worth noting that for those who don't want or need the "sound" part, Manta Sleep's other masks are a tad more affordable, and just as comfortable and luxurious.

So yeah. This blog post is not sponsored by Manta Sleep, but I decided to try them out because my friend was sponsored by Manta Sleep, and now I will quite happily and comfortably recommend Manta Sleep to anyone who asks about them.

Manta Sleep.

Want to read my thoughts on various video games, visual novels and other popular culture things? Stop by MoeGamer.net, my site for all things fun where I am generally a lot more cheerful. And if you fancy watching some vids on classic games, drop by my YouTube channel.

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#oneaday Day 561: A world of misinformation

We mock Donny Trump's obsession with "fake news" because he always busts that out whenever someone criticises him, but it's an unfortunate fact of life that we are living in a world that is riddled with misinformation right now — particularly if you're the sort of person who primarily gets their information from social media. And, distressingly, that is quite a lot of people these days.

Not all bits of misinformation are dangerous, of course, but they're no less frustrating to see. The other day, for example, I saw a post on Bluesky where someone commented that someone waxing nostalgic over the original Quake for being "from the days before you needed to spend thousands on graphics cards" or suchlike was "the funniest game they could have picked to comment this on". Funny! Except Quake didn't need a 3D accelerator card, as it ran entirely in software, meaning that while a decent non-3D graphics card would help in unlocking graphics modes, it was primarily dependent on how good your CPU was. Its 3D-accelerated version was never officially supported, despite being developed by id Software, and was primarily put out as a test for what they were planning to do with Quake II, which was 3D-accelerated by default.

Likewise, when a near-complete version of Resident Evil for Game Boy Color was unearthed and released to the public the other day, there were people talking about how it "included" the pre-rendered backgrounds of the PS1 version (it doesn't, they are low-resolution pixel art recreations) and how it "used the same isometric perspective" as the PS1 version (neither the PS1 nor the GBC versions are depicted from an isometric perspective).

I didn't comment on either of these at the time because that would have made me an "Um Actually" guy, and no-one wants to be one of those. But as someone who cares about this stuff — particularly about game history, and modern folks appreciating the many varied and wonderful things that classic games were doing — it was frustrating to see these statements go completely unchallenged.

The problem, as I've already alluded to, is people seeing someone saying something on social media and then immediately taking that as gospel truth without verifying it for themselves. In cases such as the above, perhaps younger people might not know what they would need to search for in order to verify those things — or indeed even if they needed verifying in the first place. Neither of those cases particularly matter in the grand scheme of things, but they're a microcosm of times when more serious misinformation — misinformation that could, say, seriously damage someone's reputation — has found itself spreading in one way or another.

They say "the Internet never forgets" — and with the sterling work the Internet Archive does, that's mostly true. Unfortunately, this sometimes means that the Internet never forgets something that was wrong in the first place. And once that misinformation takes root among enough people as being "the truth" — or, perhaps more accurately, "good enough" to sound like the truth — it's very hard to dig it out again to correct things, because not only does no-one like an "Um Actually" guy, even when they're correct, people are simply very resistant to having their assumptions challenged and corrected.

That feels like it might be a problem we should deal with sooner rather than later. But how…?

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#oneaday Day 560: The weapons-grade Game Boy

Earlier today, the company ModRetro announced that it would be producing a special edition version of its "Chromatic" FPGA-based Nintendo Game Boy clone.

ModRetro is a company that is already on the shitlist of a lot of people thanks to its founder, Palmer Luckey, also being the cofounder of Anduril Industries, a company that makes autonomous weaponry. Drones, in other words.

Up until now, a lot of people have sort of begrudgingly been able to separate the two — the Chromatic is supposedly a very good FPGA Game Boy, and the fact that the company has been releasing new Game Boy-compatible cartridges for it, showcasing a variety of modern indie developers' work on the platform, would initially appear to be quite laudable.

At the same time, the brand has had vociferous critics, keen to point out at every opportunity that Luckey is a dangerous bellend who profits from atrocities. Indeed, the man himself makes no attempt to hide this fact on a blog post on the ModRetro website.

The more… outspoken of these critics have, in the past, engaged in behaviour that I personally found a tad distasteful — by which I mean borderline harassment of people who had written about the Chromatic as simply being a very good FPGA Game Boy, without spending their entire article waxing poetic about how much of a warmongering shitbag Luckey is. On the one hand, I understood these criticisms, but the way in which they were expressed, on more than one occasion, was not, to my eyes, particularly acceptable or productive.

Today, though… I get it. Because the new special edition Chromatic that ModRetro announced is explicitly Anduril-branded, and advertises itself as being "finished by hand in America with Cerakote, the same ultra-durable ceramic-polymer formulation that protects Ghost — Anduril's flagship autonomous air vehicle". Later in the product page description, it spells things out even more explicitly by noting "the body of Chromatic is made from the same magnesium aluminium alloy as Anduril's attack drones".

This is… weird, right? Why would you explicitly sell an FPGA Game Boy that, in your own words, is made from the same materials as devices that cause death and suffering, if not to thumb your nose at the people who have previously criticised the brand for its association with an arms dealer? Granted, the thing looks classy and sounds like it can stand up to a lot more punishment than most other handheld gaming devices in the world — but if you're going to make a really durable handheld, why bring up "attack drones" and "autonomous air vehicles" at all, if not to specifically provoke certain people out there?

Not only that, but you can bet that there are certain types of people out there who are going to buy this thing specifically to spite people who have, in the past, spoken out against Luckey for one reason or another — even if it does mean paying over four hundred dollars for a Game Boy.

This whole thing leaves a particularly foul taste in the mouth. It's very clearly not about giving retro gaming enthusiasts the best possible experience, and all about whitewashing what "Anduril" means in the modern world. Let's not even get into how many modern companies doing terrible things (like Anduril) have adopted nomenclature from J. R. R. Tolkien without even the slightest trace of irony or understanding of what Tolkien was actually saying in his works.

It's going to be interesting to see who has the balls to actually call this out for being as odious as it is — and then standing their moral ground to back up their criticisms — and who treats it as just another silly little gaming story.

I certainly won't be touching anything ModRetro-branded any time soon.

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#oneaday Day 559: Event horizon

I've been thinking recently: with all the annoyance and frustration over CEO after CEO saying that their game development studios are using generative AI in their work, are we finally at a point where one could actually completely stop buying new stuff, and subsist entirely on titles developed and released prior to this AI bullshit getting everywhere?

I'm pretty sure we are. In fact, I'm pretty sure we've been there for a while. I still buy a fair few new games, but right now, given the size of my physical and digital libraries, I'm pretty sure I could just flat-out stop buying games altogether and still have enough to keep me occupied until my dying day.

I mean, hell, just on Evercade there is somewhere in the region of 700 games. There are over a thousand games in my Steam library. Another 540 in my GOG.com library. In my physical collection, I have 422 Nintendo Switch games, 169 PlayStation 4 games, 147 Xbox 360 games, 92 PlayStation 3 games, 282 PlayStation 2 games and plenty more besides. On the MiSTer Multisystem 2 I have every game from pretty much every platform I care about from the Atari 2600 up until the PlayStation, Sega Saturn and Nintendo 64. I really could stop buying games today and I would still be entertained until the end of time. Hell, I think I could probably get by on Doom and Final Fantasy VII replays.

Part of me wants to try doing this, but a certain degree of FOMO prevents me from committing to it entirely, because I know there are games in the pipeline that I definitely want: the third Final Fantasy VII reboot; Ace Combat 8; the Trails in the Sky: 2nd Chapter remake. The limited print publishing companies — which, honestly, is where I buy the majority of my games from these days anyway — have been doing a great run of physical versions of otherwise digital-only games that I want to play, and new versions of games I enjoyed back in the day, but which are a pain to get up and running on modern PCs.

I think we have reached a sort of "event horizon" similar to that found in other media, where enthusiasts of the medium can comfortably drift away from the mainstream, popular, current side of things and subsist entirely on niche interest material from the past that they find personally resonant. This absolutely happens in other forms of creative media — there are people who enjoy listening to music who never touch chart hits; there are people who love movies who have never seen a "blockbuster"; there are people who love reading who read nothing but classic literature.

So I think what I'm going to do is not necessarily commit to a complete purchasing blackout, for the reasons I've already outlined. I am still going to buy whatever the third Final Fantasy VII remake project game is; I am still going to buy Ace Combat 8; I am still going to buy any limited-print games that come up which I have been eagerly awaiting a physical copy of.

But what I am going to do is curtail impulse purchases. A significant portion of the physical library I own I picked up because I knew I wanted to play the games in question someday, and when that day rolled around I didn't want to find myself in a situation where it would cost three figures (or more) to be able to do so. I already feel a great sense of regret from the day I traded in my copy of Castlevania: Symphony of the Night on PlayStation, and I have no desire to feel that way again.

What I do find myself feeling to an increasing degree from modern video game publishers and developers, though, is… nothing. Honestly, I just looked through the list of everything announced at the recent The Game Awards, and the only thing that registered even a slight twinge of excitement for me was Ace Combat 8. Everything else just sort of drifted past me and I had no particularly strong feelings about it. And the recent behaviour of Larian Studios' head honcho has put me right off wanting to get caught up on the Divinity series.

So here's what I'm going to do.

I'm going to finish all the "finishable" games I have on the go right now, which includes Yakuza 5, Death end re;Quest Code Z, an Ace Combat 7 replay, Return to Castle Wolfenstein, Hyrule Warriors: Age of Calamity, The Legend of Zelda: Tears of the Kingdom and Cyberpunk 2077. I'm already giving myself anxiety by having so many half-finished games on the go, some of which I haven't touched for months, so I want to check all these off my list because I've been enjoying all of them and want to see them all through to their respective conclusions.
Throughout the year, I'm going to buy anything that I already know I want without guilt. That includes the stuff I've already mentioned, plus any surprise announcements in series that I follow and appreciate, or from companies that I consistently enjoy the work of.
Throughout the year, I'm also going to buy any limited-print stuff that I already know I want. This primarily includes previously digital-only stuff that has been out for a while, and modern rereleases of titles I loved in the past like Heretic, Hexen and the System Shock games.
I am not going to buy games just because I see them while browsing a shopping site and think "ooh, that looks interesting", because these are the things that end up on the shelf and don't get played for literally years at at a time.
I am not going to buy games for previous-generation platforms unless I know they are games that I have already played and want to revisit, or games that I never got the chance to try back in the day.

I say all the above with the caveat that if something like this year's Clair Obscur: Expedition 33 comes along and surprises everyone, I reserve the right to jump in and explore it for myself. While I was initially cynical about that game when it first appeared, it ended up being one of my top games of the year. (Conversely, I really didn't like Blue Prince at all.)

This might all sound a bit half-arsed and I freely admit that it is. But I wanted to acknowledge the feelings of… discontent that I have with the current direction of video games while still allowing myself the opportunity to enjoy the things that I am looking forward to.

I love video games, you see. Love them. And I always will.

I'm just not sure I love Video Games That Were Made In 2025 And Beyond, going by some of the recent happenings.

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#oneaday Day 558: Blast a Nazi today

I love Wolfenstein 3-D a great deal. In fact, I love it so much that ten levels that I made as a teenager are part of the official Wolfenstein 3-D Super Upgrades pack that was distributed by original publisher Apogee. I made $200 from that — who says random encounters with strange men on CompuServe forums never lead to anything good?

Anyway, despite the fact that I adore Wolfenstein 3-D and its quasi-sequel Spear of Destiny, I have never actually played any of the other Wolfenstein games. None of them! I have always meant to, over the years, but somehow never got around to it. I have decided to finally correct this oversight, prompted by some enthusing on the part of some friends who particularly enjoyed the recent Machine Games entries in the series.

From what I understand, the various Wolfenstein games over the years since Wolfenstein 3-D have rebooted the series continuity multiple times, but I still wanted to catch up on all the games I'd missed, so I decided to jump into Return to Castle Wolfenstein on Xbox first of all. I went for Xbox because the console versions of the game have an extra prologue chapter on top of what the PC version offers, plus there's no need to faff around with mods to make it run on modern machines. I have little to no patience for modding these days, so a plug-and-play console version is just what the doctor ordered.

Anyway, I didn't really know what to expect from Return to Castle Wolfenstein, other than what little I had read prior to playing it. I knew that it was the first of several "reimaginings" of the series, for starters, rather than an actual "sequel" (despite the implications of the name) and that it focused to a certain degree on the Nazis looking into black arts such as necromancy. For those unfamiliar with the Wolfenstein series, who had been labouring under the assumption that it was a Serious War Series, undead, monstrous enemies have been part of proceedings since Wolfenstein 3-D and Spear of Destiny. (They were not, to my knowledge, part of the original 8-bit home computer Castle Wolfenstein games, but those have little to do with the various different continuities of the rest of the series anyway.)

Return to Castle Wolfenstein casts you in the role of recurring series protagonist William "B.J." Blazkowicz, an American soldier who is a bit of a one-man army. While Wolfenstein 3-D began with Blazkowicz captured and imprisoned in Castle Wolfenstein, Return to Castle Wolfenstein's console versions open with a mission where our hero is investigating what the Nazis are up to in Egypt. It seems they're in the business of raiding tombs for something that they seem to think is important, so it's up to Blazkowicz to discourage them from doing so with a variety of World War II-era weaponry.

Following this, Blazkowicz and his contact, Agent One, get captured and taken to Castle Wolfenstein. Whether or not Agent One survives depends on if you are playing the two-player co-op mode or not. Either way, Blazkowicz has to bust out of Castle Wolfenstein, make his escape, throw some further spanners into the Nazi plans to dig up the mysterious "Death Knights" and mystical artifacts, and then proceed onwards to a series of Nazi-thwarting missions.

Thus far I think I'm about halfway through the game — I'm on the fifth mission out of eight — and I've mostly been having a good time. Return to Castle Wolfenstein is a first-person shooter from the early 2000s, and there are times where you really feel the 25 years between this game and now. This isn't necessarily a bad thing, though; it means that Return to Castle Wolfenstein is a game that focuses on making its gameplay solid and interesting rather than indulging in overly spectacular setpieces. It also means that its levels strike a good balance between providing a decent amount to explore and keeping you heading on a clear path forwards. More than anything, the further I go in the game, the more it reminds me of something like Rare's GoldenEye — levels have different routes you can take, and there are various objectives to accomplish, and the exact way things unfold will vary according to whether you decide to go all-guns blazing or at least make a cursory attempt at stealth.

Stealth isn't mandatory for the most part, thankfully. There's one level where you'll fail if the guards set the alarms off, but for quite a lot of that level the guards can spot you and aren't within reach of an alarm, so you don't have to spend too much time creeping around. In other levels, it sometimes pays to know what's coming up ahead of time so you can prepare a suitable "ambush" with an appropriate weapon — the game has some excellent rifle weapons (both with and without zoomable scopes) that make picking off enemies from a distance a pleasure, and when it comes time to switch to closer combat, there are plenty of options there, too.

The weapons perhaps lack some of the oomph of more recent takes on the genre, but there are plenty of them, and the further you go in the game, the more ridiculous they get. While the early stages will see you using fairly conventional pistols, rifles and machine guns, later stages will allow you to wield the chaingun-esque "Venom" weapon, the "Panzerfaust" rocket launcher and even a flame thrower. None of these are an "instant win" button, either; the game's levels and encounters are designed quite nicely to encourage picking the right weapon for the job.

The game features a beloved feature of early 2000s first-person shooters, which is enemy characters who have conversations while you approach them. Many of these are quite silly — though none quite match the classic No-One Lives Forever, trope codifier for this sort of thing — and although clearly a threat, the game also makes many of the Nazis appear cartoonishly incompetent.

There are a few minor annoyances, chief among which is the complete lack of subtitles for spoken audio. There's not a lot of critical in-mission speech, but it does sometimes get drowned out by everything else that is going on. The cutscenes are well-mixed, at least — and hearing Tony Jay in the role of the Director of the Office of Secret Actions, the organisation that Blazkowicz works for, is an absolute delight.

The game balance at times feels a little questionable, with enemies seemingly either spraying bullets everywhere but your location, or hitting you right in the middle of your head and knocking out most of your health bar with a single shot. There are a few enemies that have seemingly superhuman reflexes at times, which can lead to some frustrating sequences where you'll have to repeat things over and over and over until you master them, but there are usually some things you can try differently to tip the odds in your favour — and the ability to save at any time, as well as automatically at checkpoints, is very welcome indeed. I'm not sure how much of my difficulty with a few sequences stems from my playing on "Bring it On" difficulty, which I guess is technically "Hard" mode — but, well, I've come this far now, so I will continue as I have been doing!

I'm enjoying the game, then. I wish there were a few more homages to the original Wolfenstein 3-D — it would have been nice to hear some remixes of the classic music, for example — but I am led to believe that Wolfenstein 3-D itself unlocks as a bonus extra when you beat the main single-player campaign, so if that's the case then all will be forgiven. I suspect this is probably going to be the weakest of all the post-Wolfenstein 3-D entries in the series — or, at least, this is the most obviously aged of them all — so hopefully it'll only be improvements from hereon. I'm certainly looking forward to finally discovering how the series evolves.

Now I think I might go blast a few more Nazis before bedtime…

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#oneaday Day 557: How to torch universal goodwill with one simple interview

Today, Larian Studios, makers of the Divinity series and the universally acclaimed Baldur's Gate 3, found itself in the crosshairs of the Internet's ire due to comments made by its CEO, Swen Vincke during an interview with Bloomberg.

According to Vincke, Larian has been using generative AI behind the scenes to, in his words, "explore ideas, flesh out PowerPoint presentations, develop concept art and write placeholder text". None of which are things you need generative AI for, and all of which are things that people have been perfectly capable of doing with their own human brains for decades. In fact, there are people who specialise in elements of what he described — most notably concept art, which is the area a lot of critics have been focusing on.

Vincke's comments are remarkably ill-considered given the number of times that generative AI use in video games has been subject to backlash from the general public and journalists alike over the course of just the last year — and for many of the same reasons that Vincke is arguing in favour of.

The otherwise well-regarded sci-fi game The Alters was irreversibly poisoned for a lot of people earlier this year when it became apparent that they had used ChatGPT to generate placeholder text for background textures and localised strings for non-English languages.

The umpteenth reboot of Everybody's Golf came under fire for non-specific use of generative AI that I'm not sure anyone ever quite got to the bottom of.

The new Let It Die game, which has no involvement from the previous game's original developers Suda51 or Grasshopper Manufacture, has been lambasted for extensive use of AI-generated material.

The promising "people sim that isn't called The Sims" inZOI turned huge swathes of prospective players away by its game's heavy reliance on generative AI, as well as its publisher Krafton's insistence that they are pivoting to becoming an "AI-first" company.

The latest hot "extraction shooter" (I still don't really know what that is, and no, I don't really care) ARC Raiders got dinged with a 2/5 review score for its use of AI-generated voices — not just because they were AI, but because using AI-generated voices is at artistic odds with the story the game is trying to tell.

Even the once-beloved Oliver Twins, former stars of the UK "bedroom programming" scene in the '80s, got a kicking from press and public alike for their absolutely terrible AI-generated "follow-up" (and I use the term loosely) to their old Spectrum game, Ghost Hunters.

People hate this shit — and with good reason. Generative AI is a lazy, soulless solution for feckless CEOs to foist on their creative teams because they think it will "add value" for shareholders, when in fact there is growing evidence by the day that the entire generative AI scene is financially, environmentally and societally ruinous.

On top of all that, it doesn't work well enough to be worth using! Every single AI "tool" currently available carries a prominent disclaimer that it "might" (read: "will") get things wrong from time to time, making them fundamentally useless for doing anything useful with — and their "fun" uses are causing the Internet to become overrun with even more meaningless, pointless slop than was already splattered everywhere in the first place, on top of boiling all our lakes. At least stupid things from a bygone age like Badger Badger Badger and Seepage (to name just two examples from what I believe to be the golden age of Internet nonsense) are the result of both genuine human creativity and skilful use of creative tools that don't involve typing "make me funny video garfield giant boobs mechahitler piss filter" into a chatbot.

Vincke's point was not that the new Divinity game will be riddled with AI-generated voice lines or visuals. In fact, he claims that the studio is "neither releasing a game with any AI components, nor are [they] looking at trimming down teams to replace them with AI", but that AI is "a toolset for creatives to use and see how it can make their day-to-day lives easier, which will let us make better games".

Vincke has, apparently, been receiving some pushback from within Larian about this — and he's certainly been getting some choice words from former employees today, too. The situation escalated to such a degree that he issued a statement in response to IGN earlier today. Unfortunately, said statement doesn't really say anything — and, worse, attempts to obfuscate his earlier statements by pointedly using the term "ML" (for "Machine Learning") rather than his earlier use of "AI" — today typically interpreted to mean "generative AI" when used in contexts such as this.

For me, the worst thing was his final paragraph:

While I understand [generative AI] is a subject that invokes a lot of emotion, it's something we are constantly discussing internally through the lens of making everyone's working day better, not worse.

Here's the thing. You see that people are getting sniffy about generative AI, something which is well-established by this point to be A Thing The Public Fucking Hates. The sensible thing to do from a public relations perspective at this point, regardless of what you actually think, is to go "okay, you know what, we hear you, this sucks" or something along those lines, and then promise to "do better" or the like. A bunch of people won't believe you, of course, but this is better than going "no, well, I actually do think everyone at Larian should use this, and by 'discussing internally' I probably actually mean mandating that all employees have to use it at least a certain amount", which is how this is all coming across right now.

The particularly dumbass thing about this episode is, as I said above, none of the examples he gave are situations that need generative AI — or even where it is particularly beneficial. In fact, several creative types have commented today on how using "good enough", plausible-looking placeholders is actually detrimental to the entire creative process. Former Rocksteady employee Amy-Leigh Shaw commented thus on Bluesky earlier:

Placeholder text isn't supposed to be unique per line. It is supposed to be an instruction to the writer with a great big warning sign slapped on the top, so that it doesn't slip into the finished game. Unique sentences of bland writing are the least helpful thing to use for that purpose!

I also find that one of the more frustrating blockers to writing is when there's already a (bad) suggestion of what you should say. You are no longer able to organically find the idea because the suggestion in front of you knocks you off the track of your natural thought process.

Shaw is talking specifically about writing here, but several artists agreed that this is the case when dealing with concept art, too. The difference between a hastily scrawled Microsoft Paint doodle and the "this sort of looks right" thing that generative AI spits out is enormous — and in the latter case, it will absolutely colour an artist's interpretation of a scene or character, often unconsciously.

In other words, there's no defence of using generative AI as "placeholders" for text, concept art, voice acting, music — anything that a creative person is actually going to get involved with. The entire point of a placeholder is that it's something obviously shit and out of place so it can be easily spotted and subsequently replaced by a specialist at some point in the development process. Because generative AI produces something that is often "good enough" to the untrained eye or someone not looking closely, it's easy for it to get missed — as happened with The Alters earlier in the year.

Vincke's comments — and his subsequent follow-up statement — have torched a significant amount of goodwill that people had for Larian Studios in the space of just a single day. People fucking loved Baldur's Gate 3 and the previous Divinity: Original Sin games! It feels like it shouldn't have been a difficult job to maintain that goodwill while hyping up your new game — even if some found themselves a tad squicked out by a rather grim trailer at The Game Awards. But no. C-suite gonna C-suite, I guess — and it appears that this is true for companies people had, up until now, actually liked, as much as it is for companies people love to hate. And the net result of this for Larian is that people who were previously excited about a new Divinity game are now not going to touch it.

I know this has certainly given me a great degree of pause on wanting to check out any of Larian's work. I've been meaning to look at the Divinity: Original Sin games and Baldur's Gate 3 for a while — but now I'm in even less of a hurry to do so than I was already.

I'm so very tired of this. I, like many others, cannot wait for this fucking bubble to pop so we can get back to something approaching "normality", whatever that even means any more.

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#oneaday Day 556: Customer non-service

Generative AI has, supposedly, revolutionised a number of sectors, with customer service being one of the most commonly cited areas that benefits from having a lying chatbot front and centre.

Except it doesn't benefit at all, does it? Because all the chatbot adds is an unnecessary step between someone who needs some help with something and them actually getting that help. And, in a lot of cases, the chatbot passes completely incorrect information on to the few remaining real people who might actually be able to do something.

My current predicament is that I'm trying to return something to a retailer. A pair of shoes. They didn't fit. Should be simple enough, right? On the retailer's own website, they allow you to set up the return and organise a courier service to come and collect it.

The courier service of choice for the retailer, Schuh, was Evri. This will probably strike fear into the hearts of most people, but honestly, up until now I've not had a huge problem with them (or their previous incarnation, Hermes). But it seems that Evri, specifically, is having a few issues right now.

My particular problems started ten days ago, when the courier was originally supposed to pick up my package to return it. They did not show up. My wife and I were in all day. There was not a single knock at the door, and I got a notification that there was "no answer" when they supposedly called to pick up the package.

No matter, I thought, checking the tracking information. They said they'll be back the next working day.

They were not back the next working day. Or the one after. So I attempted to contact Evri in order to sort things out.

Initially I got a chatbot that promised to "escalate" the issue and then did absolutely nothing. Like, it just stopped responding to anything. So I tried again. This time I tried some different options and seemingly got a message through to someone.

Except the people on the other end of my correspondence are all absolutely convinced that I am awaiting a package delivery, despite me telling them repeatedly that I need the package collecting from my house. And thus I suspect what is happening is that they are rummaging through their big pile of parcels, hoping to find the one they think they are supposed to deliver to me, not finding it, going "oh shit" and then just not doing anything else — when, in fact, the package that I want them to collect has been sitting in my house's front hallway for the last 10 days.

This isn't the first time I've encountered a situation like this since the dawn of AI chatbots, either. Earlier in the year, I had an Ikea chair break on me, and it was under guarantee, so I tried to get it replaced. After laying out very clearly that I needed the entire chair replaced under the guarantee thanks to the nature of the problem, and receiving assurances that yes, I would receive a full replacement chair from the possibly-human-probably-not thing that I was interacting with online, I waited two weeks… and then received a package through the post that contained a single chair leg.

How is anyone looking at situations like this and thinking "yes, that's a big improvement over what we had before"? The blame isn't entirely at the feet of the AI chatbots, I know, because in all of these cases there's an obvious degree of (possibly) human error involved, but the AI chatbot certainly isn't helping the fucking situation. In every case that I've had the misfortune to interact with an AI customer service chatbot, the bot hasn't been able to help with what should be a very simple enquiry and has passed me on to what is supposedly a human being that speaks English. And in every case it has seemingly passed on incorrect information — information that the supposed human being won't fucking listen to me correcting, even when I do so repeatedly and very, very clearly.

Just another way that the cyberpunk dystopia we live in completely and utterly sucks. With no real benefits to go along with all the suck.

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#oneaday Day 555: Silly things from around the Web

Yes, that's the NCSA Mosaic logo. I am that old.

I can't think of anything in particular to write about today, so I'm going to just talk about a few random things I happen to have seen around the Web recently, or perhaps not-so-recently in a few cases. Hopefully that will at least provide me with some inspiration to say something about each of them. So let's begin.

Lord Heath's farts

This is one of those things that I don't remember the specifics of how I stumbled across it, but I was thoroughly glad that I did. There's a chap on YouTube who goes by the name "Lord Heath", and his channel primarily consists of him doing short, light-hearted review videos of various soft drinks.

However, at various points in his past, he has also committed to video some of the most impressive flatulence ever emitted by a human being. I present to you exhibit A, which still makes me literally cry with laughter every time I watch it (and, more importantly, listen to it):

Everything about this is perfect. The earnest explanation. The explosive opening. The gradual howling of descending pitch. The crescendo towards the end as it comes in to land. The final thrust that accompanies the last burst. The fact that he's naked. Absolutely no notes whatsoever.

Five years I have been pissing myself laughing at that specific video. And I suspect I will continue to do so for many more years to come.

Jucika Daily

Jucika Daily originated on Twitter before migrating over to Bluesky when everyone realised that the place had become a Nazi bar. It's an account that posts Jucika strips, with Jucika being a mostly wordless Hungarian comic strip that ran from 1957 up until its creator's death in 1970.

Jucika centres on the life and times of an attractive young woman called Jucika and the various misadventures she has. She is depicted as being somewhat saucy, risqué and romantically forward, but the comic mostly parodies sexist attitudes rather than objectifying Jucika herself. Indeed, more often than not, Jucika is shown taking advantage of the sexist attitudes of the men around her in order to put herself at an advantage.

The Jucika Daily account posts comics from the 500 strip strong Jucika archive every day, and often includes helpful context in the alt text for each image. While the comics are almost always entirely free of dialogue, there are occasional Hungarian terms that appear on signs and suchlike, so the creator goes out of their way to explain these things where necessary.

At the time of writing, the account's creator is facing a large medical bill for an emergency kidney operation, but they are continuing to post strips while promoting their crowdfunding efforts. Even if you have no intention of handing over money to a complete stranger on the Internet, do at least go and check out the comic strips — they will make you smile.

CheapShow

The CheapShow podcast is ostensibly a show about going through the bargain bins and Poundlands of Great Britain and coming back with the treasure from amongst the trash, but really it's an excuse for best friends Paul Gannon and Eli Silverman to hang out and get very silly with one another — and to include us, the audience, in with their nonsense.

CheapShow has a number of regular features, including The Price of Shite, where Paul and Eli have to guess the prices of various pieces of tat purchased from charity shops; Off-Brand Brand-Off, where one or the other does a blind taste test of branded and unbranded variants of a particular product to determine which is best; and Eli's Country Urban Noodle Test-lab Kitchen, in which the pair taste-test different varieties of instant noodles. Alongside these, which tend to rotate in and out with each episode, the pair also often go on real-life "walkabout" episodes, where they decide to follow a walking tour on a route that falls outside of the usual "tourist" spots in London, and perhaps learn something along the way.

CheapShow works so well because Paul and Eli have magnificent chemistry with one another, and brilliant senses of humour that will resonate well with anyone around the age of 40 or so — particularly those who enjoy a good bit of old-fashioned British toilet humour. Paul and Eli are also both thoroughly lovely chaps outside of the podcast, and they deserve your support.

That'll do for today. I hope you find some enjoyment from these — I certainly have!

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#oneaday Day 554: The Battle of Polytopia

After my post the other day, concerning a mobile game developer complaining that mobile games aren't taken seriously because people (correctly) assume that the scene is a "world of predatory monetisation and low quality", I decided to be fair to the chap and actually give his game a try.

The game in question is called The Battle of Polytopia, and it's a lightweight 4X strategy game heavily (heavily) inspired by the classic Civilization series, swapping semi-realistic visuals (aside from the city-sized horses) for a distinctive, untextured, voxel-esque "low-poly" look.

In The Battle of Polytopia, your task is to be the civilisation that comes out on top. In the default "Perfection" game mode, this requires you to have scored the most points by the end of 30 turns; alternatively, you can play in "Domination" mode, which is a last-man-standing mode; there's also a "Creative" mode that allows you to set up a game however you please, with up to three computer-controlled opponents (or no opponents at all, if you prefer) and the ability to play in the previous "Perfection" or "Domination" modes, along with an "Infinity" mode that has no win state. You can also play multiplayer, and the official website seems to indicate there are regular tournaments going on.

There are a selection of civilisations to play as, but the only real differences between most of them are the tech that they start with, the number of "star" resources they begin with, and their aesthetics — however, there are some tribes available as one-time in-app purchases that add some unique mechanics to the mix, such as being able to live and build in the water, having the ability to use magic, or an emphasis on poisoning and corrupting the land.

Once into the game, you're presented with an isometric view of the land around your starting city, with the remainder of the map covered by fog of war. Tapping on resources in the tiles around your city allows you to harvest them in exchange for the generic "star" resource, and doing so will add population to your city. Once the city's population has reached a certain stage, it will advance a level, and this usually rewards you with a choice of two benefits. These vary from level to level; sometimes you'll be able to expand the borders of the area the city controls; at others you'll be able to build special one-time only buildings that provide additional benefits; at others still you'll have the opportunity to "scout", which uncovers part of the fog-obscured map.

Some resources can have buildings constructed on them, which allows them to provide an income of stars each turn. Some buildings can be boosted by having other buildings in close proximity. Many of them require you to have unlocked a particular technology in the tech tree, which, again, costs stars.

Cities can also construct troops, which can then be sent out into the world to explore, uncover more of the map and potentially attack other civilisations, and the exact troop types you can build are determined by your unlocked technologies. Some troops can move further, some can attack from range, others still are better suited for a defensive role.

Other civs aren't necessarily hostile when you encounter them, but the game feels balanced in such a way that conflict will become inevitable before long, particularly if you want to expand your territory beyond its starting area.

And that's basically it. The game is easy to pick up and play thanks to it being considerably less complicated than the games that inspired it, and I can see it being a reasonably fun little diversion to play on one's phone if you want to while away a few minutes and don't have any other gaming devices with you. It's not obnoxiously monetised and it doesn't blast ads at you every five minutes, which in itself is worthy of praise in today's mobile sector.

But, I don't know. I played it and I felt… nothing. I didn't really feel attached to my little civilisation, I never really felt like there was much threat from the rival CPU-controlled players — although, granted, I was playing the tutorial map, which is likely set to the easiest difficulty level — and I didn't feel like I was making a lot of meaningful choices along the way.

The area where this stood out the most was in the tech tree. Simply unlocking features with the currency you earn each turn makes the "discovery" of each new tech feel quite underwhelming, particularly as in the late game you can unlock a whole bunch at once without really feeling like you've had to work for them or prioritise what to concentrate on next. There's no real "weight" to the game, for want of a better word, and that leaves the whole experience just feeling a bit unsatisfying.

"Civilization Lite" can work, as anyone who ever played the excellent but largely forgotten Civilization Revolution on Xbox 360 will attest. The Battle of Polytopia plays it just a bit too "lite", though, leaving it feeling like pretty much every other mobile game for me — fun for a few minutes if there's literally nothing better to play, but ultimately rather forgettable, and not something I'm going to go out of my way to spend time on.

And definitely not Game of the Year material!

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#oneaday Day 553: Cream crackered

I am lying on the prison-like bed of a Travelodge somewhere in deepest, darkest Kings Cross, and I am absolutely exhausted. As noted yesterday, today was our Work Christmas Do, and as anticipated, I have bowed out of proceedings before the evening drinking in a bar because I absolutely could not even contemplate spending any time whatsoever in a busy, noisy London bar right now. We spent about half an hour in one while waiting for our dinner reservations earlier, and that nearly made me want to run away screaming, so voluntarily subjecting myself to more of that is firmly off the table.

The rest of the day has been good fun though! Monopoly Life-Sized was quite entertaining, though also subject to Overeager Forced Fun from the staff. I can't blame them for that, though; it's almost certainly drummed into them that they have to be high energy at all times, even if it is patently obvious that the grumpy middle-aged group in attendance is very much Not Up For dancing, chanting and shouting.

The game itself was enjoyable, if a little chaotic. We had four teams, three of which consisted of our group and the fourth was a bewildered looking couple who got lumbered with us. Each turn, two teams got to roll a die and move around the giant (but hugely condensed) Monopoly board, while the other two got a "Strategy" turn, where they could either build a house or hotel on a property they owned, or take on a challenge to earn a bit of in-game cash.

When landing on an unowned property, the team had to go into a little cubicle behind the "space" and complete a challenge to take ownership of it; these varied enormously, including a bar billiards-esque ball-rolling game, a cooperative rhythm game, frantically pedalling an exercise bike at arm level, and various puzzles. There was a lot of variety, and the games were fun, if quite easy for the most part.

Building a house or hotel, meanwhile, tasked you with assembling a Tangram-like puzzle in the shape of a Monopoly house piece. The "community chest" challenges were mostly puzzles themed around various well-known Monopoly cards, though they included both mental and skill-based challenges.

All in all, it was a good time, though the game attendants were a little too willing to "cheat" on your behalf in order to ensure no-one spent too much time "failing". This felt a bit patronising, but again, it's probably in their "script".

For dinner, we went to a steak specialist restaurant, and most of us had, of course, steak. It was really good, and the bread and butter pudding dessert was also delicious. I was absolutely ready to call it a night by the time we were done there, though, so here I am now.

I think I'm mostly over "going out" — particularly going out for drinks. The brief period we spent in a Leicester Square pub prior to dinner was actual hell for me — thankfully, there was an outside area, and I even managed to get a seat before too long. Much needed, as the entire Monopoly thing had been standing up, and I was very tired.

Anyway, like I say, it's been a mostly pleasant evening aside from all the walking and that brief period in the pub, so I'm glad I came along. I am very much looking forward to getting home tomorrow, though.