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“You can always devise new ways to scare people”: The ‘deep’ horror of ‘The Callisto Protocol’

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Aliens. Outer Space. Body horror is horribly illustrated. Veteran video game designer Glen Schofield is finally back to doing what he loves most.

After spending about a decade working in the “Call of Duty” franchise as one of the founders of Sledgehammer Games, Schofield started Striking Distance Studios with the intent of getting back into the horror and sci-fi genre. It’s the space game Schofield, one of the primary architects of the “Dead Space” series, knows very well. This holiday season, on December 2, Striking Distance is set to release its first game, “The Callisto Protocol,” via PUBG publisher Studios Krafton.

that Extended game trailer It premiered earlier this month as part of the Summer Games Festival, a multi-day, largely online celebration of video game teasers and trailers. “Dead Space,” known for moments of high tension contrasted with fear-driven horror, has a clear impact, though a brief look at “Callisto Protocol,” named after Jupiter’s Moon, shows a doubling of the action-packed aspects of the game. It is set in a moon-based prison colony 300 years in the future, where prisoners are transformed into human hybrid hybrids and disgusting monsters, as one should expect a lot of disgusting player death scenes.

Callisto Protocol will be released for PC, Xbox and PlayStation. Schofield, as part of Summer Game Fest, took a minute to talk about the game’s development to the media. While much is still being wrapped up, Schofield has discussed his love for the genre, and provided insights into his creative process.

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Since you’ve worked in this space before, what draws you to the terrifying sci-fi genre? What is this type of game specifically talking about?

I am an artist first and foremost. This is what I trained on. I love science fiction. I’ve always loved science fiction fiction. I can draw whatever I want, and I did, and that’s okay. I always tried to be realistic in my paintings. So I love sci-fi fantasy, and I love the emotion of horror. It just gives off weird feelings – I’m scared, I’m nervous, I’m this and that. He is very emotional. So the combination of these two things is pretty cool.

Describe the horror tone of this game.

It is my body. My feeling is that psychic, cerebral, has its own moments, but I can’t see making a game based on it. I can’t see myself making one. We have little. touch it. We touch a bunch of different horrors, but we don’t get into ghosts, we don’t get into demons. We have some badass monsters. It is simply my body. It is physical horror.

Expect a mixture of tense atmosphere and transmission of terror throughout “Kalisto Protocol”.

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(beating distance studios)

She seems very craving for more physical horror.

Well, it’s the fear of jumping, right? It’s the tension. It’s very deep. You can feel it. It makes people walk rather than run. What is around the door? And when I die, it must be so horrible. I feel this is very western. It may be more American than European. There is a lot of this kind of horror in our movies, so I’m used to it. And I think body horror is one aspect of it, but it’s scary because you don’t want that to happen to you. So most of this is all material.

I made this game almost entirely during the pandemic. What was it like?

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We came and hired 50-60 people. We do our concept art. We had our architects and designers. We were way ahead of where I was with Sledgehammer. We move into our space and after nine days it became an epidemic. We set up an entire motion capture studio. How will I do this? I’ve been making video games for 30 years but now it’s turned upside down. I had to learn again and fast. This pretty much sucked. There are things I learn about studio management. My last studio had a partner. on business things. I was the creative guy and was able to do my things and focus on the game. With this said, I have a really good C team, but things bubble up. There has been a lot of work going on trying to be the game manager.

You have to delegate. But there are a lot of decisions you have to make. Some are big, some are small, and some are controversial, so I have to do it. I have an MBA, so I know business, but I’m better at creativity. I love starting studios. I love going out and selling ideas. all of that. But there’s a lot of running it where it’s like, “Okay, leave that to the finance guys.”

“Dead Space” was a standout game of this genre.

Looking back, I think we came out at a good time. We’ve come up with Zero-G. This has never been in a game before. We’ve come up with no-HUD [heads-up display]. This wasn’t really a game. There is a bit of luck in timing. We’re not so lucky to come up with ideas, but we came at a time when there weren’t many ideas in this space. We are doing this, and we have to dig deep in search of new ideas. There are more nuances.

It is more difficult. It’s more of a challenge. There are times when I say, “I don’t like this challenge.” Things were hard to find, no doubt. But I really wanted to scare people. You can always come up with new ways to scare people. You have to think about it, but it’s fun for me, and you can always tell a new story. I wanted to tell a different story. I spent 10 years in Call of Duty, and we always tried to tell a great story, whether we did it or not. We spent a lot of time on the story. I wanted it for this game. More acting. More nuances. You must polish the story. The story is very complicated.

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What do you think of some specific themes of the “Calisto Protocol”?

People change. I want to leave it at that. This is kind of a thing. People do bad things to other people. Some people may be too harsh.

How long has this idea been in your head?

four years. The idea came to me in 2018. In 2019 I started by going to major publishers and saying, “I want to start a studio.” I met these guys [PUBG Studios] At full speed. I probably entered my second month of touring. One of my friends called me and said, “Someone called and said he was looking for a ‘Call of Duty’ guy?” I was like, “Is that me?” So I talked to them a few times and I really liked what they had to say. They loved the idea of ​​the story.

They told me later, which was a nice compliment, and they said they were meeting a lot of people at the time, but I came and all I did was talk about the game. “Everyone came and said, ‘That’s how much money we’re going to make. “I wanted to make a game.” I thought this was awesome. It’s me. We should talk about the game and find out the other things later.

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Body horror characters in a big way "Callisto protocol."

The horror of the body turns dramatically into the “Calisto Protocol”.

(beating distance studios)

How would you like to be referred to as a “Call of Duty” person?

At that time it was fine. These days, with “Dead Space” and this game now in existence, there are a lot of people who are referring to me again as “Dead Space”, which I am very proud of. Listen, I’m proud of Call of Duty, and I had a great time. “Dead Space” is just more satisfying. It was a little game, man. We had no idea it would become this thing.

Have you reconsidered it?

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Just in places here and there. I went back and played a couple of things here and there. Sometimes you look at it and go, “That sounds crap.” Sometimes she says, “That was a very good idea.” This does not mean that it is my idea. I find that I am very happy when someone else comes up with an idea. “Great idea! Let’s get it into the game.” This is a talent in itself.

When you think about it today, what makes this game so popular?

I think it was an innovation. Then we had some rules, and I won’t remember them all. One was that the main character would not speak. There were times in development when we were like, “He should talk.” no. does not speak. We are bound by our rules. We were afraid, but it turned out to be the right thing. And there was this kind of innovation everywhere.

And there’s a lot of vibe, especially in terms of story and background.

I am very proud of the way we came up with religion. I’m pround of it. You played a real important role in the game.

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How do you come up with a religion? Read something in National Geographic on Chicxulub, the giant crater in the Gulf of Mexico [is believed to have] Kill the dinosaurs. They were talking about getting the meteorite out of there. So I was like, “What if it wasn’t a meteorite? What if someone did it on purpose?”

The meteorite came and killed the dinosaurs and entered the Ice Age and started the mammals and then came the human. That meteor man started. That’s when I got it. There was a strange race that began human. Then all of a sudden in the “Dead Space” universe you have people who think this was done on purpose and look at the obelisk they found. Other people said, “You’re crazy. It’s just a sign.” But these people had faith and it became the religion. It shocked me and I say, “That’s a good idea!” Some don’t come that way.

With “Callisto”, would you say this is a game where you had the story first or the world and the environment first?

I had the idea of ​​prison. I had an idea that something bad was going to happen. So I said, “Why is this happening in prison?” So I had to dig deeper. Then I had to find a moon that could have a trigger – Callisto, which could have water. It was said that the man might colonize it one day. It wasn’t like, “Oh, the big story!” We save the environments and then we go bigger and deeper. We kind of knew the beginning and the end, but there was a lot of filling. We are still filling it. Small pieces. We are doing the new audio commentary. Small pieces.

What drew you to the prison setting?

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What’s more scary than prison? This is so scary. People don’t know much about it. There are a lot of closed doors. They are closed places. It’s scary at first. Then you put it on a moon like Callisto. You cannot escape from the most terrifying places in the world. The universe is scary.

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Meet the trio of artists suing AI image generators

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The lawsuit claims that Stable Diffusion was trained on billions of images removed from the Internet without consent, including those owned by this trio of artists. If products and services supported by generative AI products are allowed to run, a press release from Savari SaysThe expected result is that they will replace the same artists whose plagiarized works are supported by these AI products with whom they compete.

Ortiz, a concept illustrator who has worked on video games such as World of Warcraft And Hollywood movies like jurassic world And Dr. StrangeShe told BuzzFeed News that art is her “happy place”. She added that she is obsessed with technology.

In early 2021, Ortiz stumbled upon DiscoDiffusion, a former text-to-image AI creator, and discovered that the tool was capable of creating images in her style and those of other artists she knew. “It felt invasive in a way I’d never experienced before,” she said.

Concerned, she began organizing town halls around the topic with the Concept Artists Association, an organization for artists in the entertainment industry on whose board she sits. She also reached out to machine learning experts to better understand the technology and connect with other artists. In November, she saw newsletter of the co-pilot suit and contacted Savery about filing a suit of her own. The company agreed.

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In December, Ortiz saw McKiernan’s tweet spread about generative AI, and an opinion piece by Andersen books in the New York Times about how alt-right members of 4chan used generative AI tools to create pro-Nazi-style comic strips. I reached out to the two of them immediately, and they both agreed to be a part of the lawsuit with her.

“Artists have a right to say what happens to their hard-earned work,” Andersen told BuzzFeed News via email. “It is clear from the way the AI ​​generators were deployed that there was no regard for the artists, our wishes or our rights, and that it was our only option to listen to them.”

Concept Artists Association offline Fundraising To hire a lobbyist to protect creators from the march of generative AI.

“It’s gross to me,” Ortiz said of AI-powered apps and services that stream art instantly based on a text message. They trained these models through our work. They have taken away our right to decide whether or not we want to be a part of this.”

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Hiltzik: Rodney Brooks is fighting the tech hype machine

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Rodney Brooks knows the difference between true technological advances and unfounded hype.

One of the world’s most accomplished experts in robotics and artificial intelligence, Brooks is the co-founder of IRobot, maker of the Roomba robotic vacuum cleaner. the co-founder and chief technology officer of RobustAI, which makes robots for factories and warehouses; He is the former director of the Computer and Artificial Intelligence Laboratories at the Massachusetts Institute of Technology.

So when, in 2018, Australian-born Brooks encountered a wave of unwarranted optimism about self-driving cars — “People were saying outrageous things, like, Oh, my teenage son will never have to learn to drive” — he took it as a personal challenge. In response, he compiled List of predictions On self-driving vehicles, artificial intelligence, robotics and space travel, he promised to review them every year until January 1, 2050, when he would have turned 95 if he was still alive.

I don’t think we’re limited in our ability to build humanoid robots, after all. But whether we have any idea how to do it now or if all the methods we think will work are remotely correct is entirely up for grabs.

Robotics and artificial intelligence expert Rodney Brooks

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His goal was to “inject some reality into what I saw as an irrational exuberance.”

Each prediction carries a time frame – maybe something happened on a certain date, not before a certain date, or “not in my life”.

Brooks published his book Fifth Annual scorecard On New Year’s Day. The majority of his predictions were spot on, though this time he admitted he thought he, too, had allowed the hype to make him overly optimistic about some developments.

“My current belief,” he wrote this year, “is that things will go, on the whole, more slowly than I thought five years ago.”

As a veteran technologist, Brooks has insights into what makes ordinary people, or even experts, overly optimistic about new technologies.

People have been “trained by Moore’s Law,” Brooks told me, to expect that technologies will continue to improve at ever faster rates.

His reference is to an observation made in 1965 by semiconductor engineer Gordon Moore that the number of transistors that could be fitted on a microchip doubled approximately every two years. Moore’s observation became a proxy for the idea that computing power will improve exponentially over time.

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This tempts people, even experts, to underestimate the difficulty of reaching a chosen goal, whether it be self-driving cars, self-aware robots, or living on Mars.

He told me, “They don’t understand how hard it is to get there, so they assume it’s just going to keep getting better.”

One such example is self-driving cars, a technology with limitations that ordinary people rarely recognize.

Books about brooks experience with Cruza service that uses self-driving taxis (with no one ever in the front seat) in parts of San Francisco, Phoenix, and Austin, Texas.

In San Francisco, Cruise only operates between 10pm and 5:30am—that is, when traffic is lighter—and only in limited parts of the city and in good weather.

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On his three cruises, Brooks found that vehicles avoided left turns, preferring to make three right turns around a block instead, driving very slowly and once trying to carry him in front of a construction site that would have exposed him to oncoming traffic.

“The result is that it was two times slower than any human-operated transportation service,” Brooks wrote. “It may work in specific geographic areas, but it won’t compete with human-run systems for a long time.” He also said that it is “decades away from profitability”. In his annual scorecard this year, he predicted that “there will be human drivers on our roads for decades to come.”

The annual scorecard is one of several outlets Brooks relies on to mitigate the “irrational exuberance” around technology in general and artificial intelligence in particular. He has been a frequent contributor to IEEE Spectrum, the home member of the leading professional society for electronics engineers.

In an article entitled An inconvenient truth about artificial intelligence In September 2021, for example, he noted that each wave of new developments in AI was accompanied by “breathless predictions about the end of human dominance in intelligence” amid “a tsunami of promise, hype, and lucrative applications.”

In fact, Brooks writes, nearly every successful deployment of AI in the real world has either had a human “somewhere in the loop” or a very low cost of failure. He wrote that the Roomba operates autonomously, but that its more serious failure would involve “losing a piece of land and failing to catch a dust ball”.

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When IRobots were deployed to Afghanistan and Iraq to disable improvised explosive devices, “a failure there could kill someone, so there was always a human in the loop giving supervisory orders.”

Robots are common today in industry and even around the home, but their capabilities are very limited. Robotic hands with human-like dexterity haven’t advanced much in 40 years, Brooks says. This also applies to independent movement around any home with clutter, furniture and moving objects. “What is easy for humans is still very, very difficult for robots,” he writes.

Rodney Brooks

(Christopher B Michelle)

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For ChatGPT, the creator of AI prose that has garnered a lot of attention from high-tech enthusiasts, along with warnings that it could usher in a new era of machine-driven plagiarism and academic forgery, Brooks argues for caution.

“People are making the same mistake they’ve been making over and over,” he wrote on his scorecard, completely mistaking some new AI demo as a sign that everything in the world has changed. did not happen “.

He writes that ChatGPT repeats patterns in a human prompt, rather than showing any new level of intelligence.

This is not to say that Brooks doubts the eventual creation of “truly artificial intelligence, with cognition and consciousness distinctly similar to our own.” Written in 2008.

He predicts that “the robots that will roam our homes and workplaces…will emerge gradually and symmetrically with our society” even as “a wide range of advanced sensory devices and prosthetics” emerge to enhance and strengthen our bodies: “As our devices become more like us, we will become more like them.” And I am optimistic. I think we’ll all get along.”

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This brings us back to Brooks’ scorecard for 2023. This year, 14 of his original predictions were deemed accurate, whether because they occurred in the time frame he predicted, or because they failed to happen before his deadline.

Among them are driverless package delivery services in a major US city, which he predicted won’t happen before 2023; It hasn’t happened yet. In terms of space travel and space tourism, expect a suborbital launch for humans by a private company to happen by 2018; Virgin Atlantic beat the deadline with such a flight on December 13, 2018.

He predicted that spaceflight with a handful of paying customers wouldn’t happen before 2020; regular flights no more than once a week no earlier than 2022 (possibly by 2026); and fly two paying customers around the moon no later than 2020.

All those deadlines have passed, which makes predictions accurate. Only three flights took place with paying customers in 2022, which indicates that there is “a long way to go to get to the sub-weekly flights,” notes Brooks.

Brooks constantly questions the predictions of the most-cited tech entrepreneur, Elon Musk, who Brooks notes “has a pattern of overly optimistic time-frame projections”.

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Brooks notes that lunar orbit for customers pushing in Musk’s SpaceX Falcon Heavy capsule doesn’t seem possible before 2024. Landing the payload on Mars for later use by humans, which Musk predicted would happen by 2022, doesn’t seem to happen before 2026, and even This date is “overly optimistic”.

Musk has yet to deliver on his promise for 2019 That Tesla will put a million automated taxis on the road by 2020 — that is, a fleet of self-driving cars called through an Uber-like Tesla app. “I think the actual number is still firmly zero,” Brooks wrote.

As for Musk’s dream of regular service between two cities on his Hyperloop underground transit system, Brooks puts that in the “not in my life” hole.

Many of Brooks’ predictions remain open, including some relating to the electric vehicle market. In his original forecast, he predicted that electric vehicles would not reach 30% of US auto sales before 2027 or 100% before 2038.

Growth in electric vehicle sales becomes turbocharged in 2022 – increasing 68% in the third quarter over the same quarter a year earlier. If this growth rate continues, electric vehicles will account for 28% of new car sales in 2025.

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This assumes that the driving forces for EV adoption continue. Head wind, however, should not be underestimated. Electric vehicle sales may have spiked due to the massive hike in gasoline prices in 2021 and last year, but that inflationary trend has now disappeared. Battery plants may take longer to come online than expected, which could lead to shortages of these critical components and drive up electric vehicle prices.

“There is clearly something going on,” Brooks wrote, though “the jury is still out” on whether the US will see 30% market share for electric vehicles by 2027.

Brooks does not wish to stifle human aspirations to build robots, artificial intelligence systems, or space exploration.

He told me “I’m a technician”. “I build robots — that’s what I’ve done with my life — and I’ve been a space fan forever. But I don’t think it helps people to be so overly optimistic off the charts” that they ignore difficult problems that stand in the way of progress.

“I don’t think we’re limited in our ability to build humanoid robots, eventually,” he says. “But whether we have any idea how to do it at the moment or whether all of the methods we think will work are just right is entirely up to you.”

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The dream is compared to the dream of medieval alchemists searching for how to turn lead into gold. “You can do that now with a particle accelerator to change atomic structures, but at the time they didn’t even know atomic structure existed. We might as well be at the level of human intelligence, but we have no idea how it works at all.”

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Thousands of fake Twitter accounts have been created in support of Andrew Tate

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His username has long been TateCobratate, while Neo is a reference to the Matrix movie character. Both have long been part of his ideology and he advocates for men to “escape the Matrix”, and he has always promised his followers to teach them how to become a “Top G”.

“If Elon Musk is serious about dealing with fake accounts, bots, and inauthentic behavior, then Twitter must act on Andrew Tate’s network of fake accounts manipulating the Twitter algorithm,” CCDH CEO Imran Ahmed said in a press release.

In the past year, much of Tate’s online presence has come from an affiliate marketing scheme involving Hustlers University, Tate’s discord server. The University offered business classes where students were tasked with editing seditious videos featuring Tate in an effort to get more Heliopolis University buys. This was later closed when the social media platforms started deplatforming Tate.

BuzzFeed News investigation The Hustlers University 2.0 server was found to have more than 200,000 members. At a fee of $49.99 per month, this meant that at least $11 million in membership payments were taken in October 2022 alone.

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Now, Tate has created “The Real World,” a similar set of chat rooms and classes, and there’s a new affiliate marketing bootcamp that’s getting more users on Twitter. CCDH’s graph shows the flow that joined Twitter after enrollment in the new marketing bootcamp began.

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