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Release time: 2025-01-22 | Source: Unknown
For my money, there isn't a better horror monster than The Thing's shape-shifting alien organism. Even 42 years later, Rob Bottin's practical effects are still incredible, capturing each freakish amalgamation of tentacles, sharp teeth, sinew, and traces of malformed humanity with ghastly clarity. I've seen The Thing dozens of times, yet seeing Norris' decapitated head contort and grow arthropod-esque legs will never fail to twist my stomach in knots. These are the everlasting images of The Thing, but it's the alien's ability to perfectly imitate anyone that genuinely terrifies, permeating each scene with an unnerving sense of dread and paranoia that affects both its characters and the audience watching. Who do you trust when anyone could be a clandestine threat? Back in 2002, developer Computer Artworks attempted to translate this feeling into an officially licensed video game for The Thing. The now-shuttered studio came close to succeeding, too, creating a third-person horror-action game with a unique squad system that ensured you could never entirely trust the person fighting by your side. It's become somewhat of a cult classic since then, leading to this remaster from Nightdive Studios--a developer known for faithfully restoring myriad games, including Shadow Man and Star Wars: Dark Forces. The Thing: Remastered is a similarly authentic experience, albeit with a number of key improvements to the game's visuals, controls, and some quality-of-life mechanics. Beyond this, it's much the same game as it was in 2002, for both the good and the bad. The game's setup is one of its better aspects, acting as a direct sequel to John Carpenter's iconic 1982 film. You play as the bland, one-dimensional Captain Blake, leader of a U.S. Special Forces rescue team sent to investigate Outpost 31 in the isolating tundra of Antarctica. Of course, we know what transpired when MacReady and the rest of this research facility encountered the shape-shifting alien life-form, and it doesn't take long before Blake is fighting off all manner of horrific entities. He's rather nonchalant about the whole thing, though, anchoring a relatively thin story that feels distinctly 2002 in all the worst ways. While it begins as a more action-oriented facsimile of the film it's ostensibly a sequel to, the narrative quickly delves into predictable territory with the military experimenting on the Thing to use the alien for its own gain. It's all very stereotypical, with melodramatic voice acting and--aside from a fun cameo from John Carpenter himself--an inherently disposable cast of characters. Most of the people you meet are potential squad members. To survive The Thing: Remastered, earning and maintaining the trust of the surviving crew is paramount. By killing enemies and supplying each squadmate with weapons, ammo, and healing, they'll happily fight alongside you. The twist is that this is The Thing, so you could be handing a weapon to an enemy interloper or someone paranoid enough to suspect you of being one yourself. Not only can your squad members be a Thing in disguise, but they also have the capacity to turn on you if their trust diminishes or they're overcome by fear. They regularly experience anxiety, which spikes when witnessing traumatic events, such as seeing a dismembered corpse or a particularly grotesque alien. If they suffer from enough stress or lose your trust--because you accidentally shot them, didn't take part in combat, and so on--they'll crack and run away, kill themselves, or start shooting everyone around them, attempting to kill both you and your colleagues. It's a thoughtful implementation of the film's tenants of trust, paranoia, and deception, with the potential to generate nail-biting tension through friend and foe alike. Suddenly, your squadmates are more than just simple NPCs; they're people displaying real human behavior. It was an innovative concept back in 2002 when this kind of trust and fear management was unheard of. Even today, it's not something I've seen implemented in other single-player games; typically, it's reserved for social multiplayer experiences like Among Us instead. For the game's first couple of hours, the way these ideas are executed is compelling. The Thing: Remastered immediately establishes an unsettling atmosphere as you begin exploring the dilapidated remnants of Outpost 31. Your teammates are already on edge even before you discover a flying saucer buried under the ice, with the howl of the Arctic's bitingly cold wind and Ennio Morricone's haunting score punctuating certain moments with another alluring layer of unease. Nightdive has done a fantastic job of updating the original game's visuals, too, with improved character models, textures, and animations, as well as dynamic lighting and shadows to really spruce up the 22-year-old game. It still maintains the somewhat blocky look of a game from the PS2 era but smoothes over its rougher edges with modern techniques that make the visuals more palatable for a modern audience. As you progress further into the game, you'll come up against all manner of enemy creatures, from small four-legged scuttlers to more humanoid monstrosities with deadly claws and exposed innards. These larger enemies need to be damaged with small-arms fire before being set alight with either a flamethrower or incendiary grenade. Fortunately, Nightdive has altered the flamethrower so that it doesn't burn you if you're holding the trigger while simultaneously moving forward. Ammunition is also much more plentiful, preventing those instances in the original game where you would be forced to reload a save from hours before to try and conserve enough ammo for later. Aside from these welcome changes, combat in The Thing: Remastered feels much the same, utilizing a generous lock-on system that makes it easy to clear out rooms without much thought. It's fine but hardly compelling. Your teammates aren't too shabby in a fight, at least, though their main purpose is often to open doors for you. The game's level design is commonly built on gating your progression with broken junction boxes that prevent things like doors and computers from working. While you're able to fix some of this damaged equipment, most of them require a specialized engineer, creating one of the first issues with the game's notion that "anyone could be an alien." If you require an engineer to progress, then their death or transformation simply results in a game over screen, removing the potential for the type of randomness that makes the game's concept so enticing. The more you play, the more it's revealed that The Thing: Remastered is essentially struggling under the weight of its own ambition. Certain squad members will become aliens at pre-determined points, no matter how carefully you've managed their trust and fear. Even if a blood test reveals that they're still human mere seconds before, this is quickly rendered moot by the game's rigid scripting. As a result, The Thing: Remastered falters as a squad-based game because you're never incentivized to care about anyone's survival but your own. With the story dictating when certain characters will transform--and most teammates disappearing at the end of each level anyway--forming any sort of attachment to them is futile. There are no repercussions for trusting your teammates, either. Any weapons you give them are dropped when they transform, and keeping their trust up and fear down is a simple task, so I never felt like anyone would crack, which gradually chips away at the game's tension. By the halfway point, Computer Artworks seemingly struggled to take the concept any further, turning the game into a boilerplate run-and-gun shooter that sees you fighting aliens and mindless human enemies alike. It's a far cry from the game's opening and makes for a banal slog towards a disappointing ending. I have fond memories of playing The Thing back in 2002 because there wasn't anything else quite like it. It was inventive and exciting, and even today, no one else is trying to do what Computer Artworks attempted in the single-player space. I commend the studio for what it achieved, but the limitations of the technology--and its design constraints--are much more apparent now, even with nostalgia-tinted glasses on. Nightdive has done a fantastic job of restoring this flawed but intriguing game, continuing its crucial work with game preservation. All of the changes it's made are positive, resulting in a better game, both visually and mechanically. Nonetheless, this is a case where a complete remake would've been much more appealing, allowing for the trust and fear system to be fleshed out with less rigidity and more dynamism. As it is, Computer Artworks' vision might never be fully realized, and that's a shame.is jili super ace legit 。



New Real-Time Flood Alert System Unveiled in New Orleans in Partnership with United Way and Verizon

Victoria Police are investigating an incident in the downtown core on Christmas Eve, involving a stolen vehicle that evaded officers before being recovered. Around 3:30 p.m. on Dec. 24, officers received a call from the owners of a stolen vehicle that it had been spotted being driven downtown, Vic PD confirmed in an email to Victoria News. Officers located the vehicle and moved into position behind it. However, the driver ran a red light, which caused officers to end their pursuit for public safety reasons. Police located the stolen vehicle again, a few moments later, immobile. In an attempt to prevent the individual from fleeing further, officers executed a manoeuvre which resulted in the stolen vehicle losing one of its tires. Despite the damage, the vehicle managed to flee the scene on three wheels. The pursuit resumed as the stolen vehicle sped down some of Victoria's busiest arteries. Many social media users commented on the event and posted videos of the sighting. “Holy there is a guy driving a three-wheeled 4x4 down Douglas sparks flying with two dozen cops chasing them they almost hit us,” said Facebook user Takuma Valcourt. VicPD confirmed that the stolen vehicle was later recovered, and the investigation remains ongoing.Sonakshi Sinha, Zaheer Iqbal and Karishma Tanna Show Support for Team India at Boxing Day Match in Melbourne (See Pic)Bitcoin storms above $100K, sees value more than double in 2024

Sonos To Take On Hubbl & Apple TV in 2025 As They Move To Make Money From Selling Ads & Data

PlayerUnknown Productions is surfacing after years of development with a three-game plan to enable what founder Brendan Greene refers to as a next generation of survival games. Greene is the inventor of the battle royale genre in video games, inspired by the Japanese film Battle Royale (2000). In modern parlance, battle royale is like the Squid Game (Netflix TV show) where matches start with 100 or so people in an ever-shrinking battle space until only one person is left as the winner. Greene first created a “mod” called DayZ in the Arma universe. Then he teamed up with South Korea’s Krafton to make PlayerUnknown’s Battlegrounds, or PUBG. The game debuted in 2017, disrupted shooter games like Call of Duty, and went on to sell more than 80 million copies. Krafton went public and Greene became wealthy from that. That gave him the money to work on something really ambitious. Then he went off on his own to create a new startup, PlayerUnknown Productions , in 2021 to make a gaming survival world that was a lot like a metaverse. Then Greene gave us a scoop on his ambitions . He was going to create a world called Prologue that had a huge amount of terrain that was like 100 square kilometers. That world would be a test where players would drop into the world and try to survive until they exited the world in a give spot. It would be different every time they dropped into it. Now Greene has released a video that describes his intentions more concretely. Prologue gets a real preview in the video and the world looks very realistic, with trees and grasses swaying in the wind. And it’s still a huge world, fashioned with machine learning and AI tools. Prologue is a single-player open-world emergent game within the survival genre and it has a Steam page now. Secondly there will be a shadow drop of the company’s free tech demo, called Preface: Undiscovered World, showcasing its in-house engine Melba. This demo aims to provide users with an early look at the innovative technology that will power the subsequent titles in the series, and eventually Project Artemis. Project Artemis is the large-scale end goal project of the series. As described in the past, Greene sees this as an Earth-size world where players can drop in and create their own gaming experiences in different sections of the world. We don’t use the word metaverse so much any more, but that’s what it seems like. These are the links for Prologue and Preface. They aren’t yet live but will be by the time this story drops. Prologue: https://store.steampowered.com/app/2943740/Prologue_Go_Wayback/ Preface: https://store.steampowered.com/app/2820060/Preface_Undiscovered_World/ In the video, Greene said he embarked on Prologue three years ago and “then life happened” and it has take three years to get it into a solid and breakthrough shape. Now the company can start sharing it and getting feedback “to make it into really something different.” “When I started this I was trying to make a larger open world experience than most people made, and we tried to provide a couple of years and we found a way to do that,” Greene said. “We essentially reinvented how you create these worlds using machine learning technology, using natural earth data to generate” the terrain. Now the company is ready to test this terrain, which will form the basis for the larger worlds. He said the team broke the journey into three stages. The first job was to fill out the terrain of the world. The second was to fill that terrain with lots of interaction when scaling up. And then third, the goal was to pull a bunch of those players onto the world, Greene said. The company will keep enhancing Prologue with its current game engine and then it will move it over to the next version of its game engine. Prologue started off as an experiment in Unity and then it moved to Unreal a couple of years ago and the tools have proven to be a solid foundation. The proprietary tech will eventually be able to generate a world with millions if not billions of objects in it, with the help of machine learning. “It’s more about the large scale and again machine learning is very good at it because it will capture the patterns that we teach it,” Greene said. The physics will be realistic. If the ground gets wet, the terrain becomes a slippery mud and rivers can form, and these will have repercussions for players as they try to survive in a wilderness. This will make the game challenging, but it can’t be unbeatable, Greene said. “We’re discovering what is fun, what is not fun but at its core it is about survival. I think the more we can test, the more we can get the feedback from from the users or the players, and that’s one of the reasons why we are going to early access,” Greene said. “The more we can actually engage with the community and get their feedback” the more it can reshape the models in the right way. Meanwhile, the company is working on Melba, the in-house game engine. It should be able to generate worlds and then regenerate them for the next game. “The way that we build the engine is allowing us to scale up to large agent interaction,” Greene said. “We have an Earth-scale planner with some various biomes and some simple systems to allow you to explore it.” The company is working on two projects at once — one with Unreal and another with Melba — so that it doesn’t develop tech in a vacuum, said CTO Laurent Gorga, in the video. Unreal and Prologue will generate a piece of the world. Preface will help achieve the scale, and then Artemis will be the full expression. “I want to get our tech into the hands of the people out there to help us perform what this tech will become,” Greene said. “Like this terrain tech is interesting, but I really need, I want to leave it open. I want to leave it moddable.” Greene said this may be a five or 10-year journey, but Prologue could be available on Steam in the second quarter of next year. Stay in the know! Get the latest news in your inbox daily By subscribing, you agree to VentureBeat's Terms of Service. Thanks for subscribing. Check out more VB newsletters here . An error occured.Holiday stress can lead Alzheimer’s patients and those with dementia to go missing

By Funto Omojola, NerdWallet Mobile wallets that allow you to pay using your phone have been around for well more than a decade, and over those years they’ve grown in popularity, becoming a key part of consumers’ credit card usage. According to a “state of credit card report” for 2025 from credit bureau Experian, 53% of Americans in a survey say they use digital wallets more frequently than traditional payment methods. To further incentivize mobile wallet usage, some credit card issuers offer bonus rewards when you elect to pay that way. But those incentives can go beyond just higher reward rates. In fact, mobile wallets in some ways are becoming an essential part of activating and holding a credit card. For example, they can offer immediate access to your credit line, and they can be easier and safer than paying with a physical card. From a rewards perspective, it can make a lot of sense to reach for your phone now instead of your physical card. The Apple Card offers its highest reward rates when you use it through the Apple Pay mobile wallet. Same goes for the PayPal Cashback Mastercard® when you use it to make purchases via the PayPal digital wallet. The Kroger grocery store giant has a co-branded credit card that earns the most when you pay using an eligible digital wallet, and some major credit cards with quarterly rotating bonus categories have a history of incentivizing digital wallet use. But again, these days it’s not just about the rewards. Mobile wallets like Apple Pay, Samsung Pay and PayPal can offer immediate access to your credit line while you wait for your physical card to arrive after approval. Indeed, most major issuers including Bank of America®, Capital One and Chase now offer instant virtual credit card numbers for eligible cards that can be used upon approval by adding them to a digital wallet. Additionally, many co-branded credit cards — those offered in partnership with another brand — commonly offer instant card access and can be used immediately on in-brand purchases. Credit cards typically take seven to 10 days to arrive after approval, so instant access to your credit line can be particularly useful if you need to make an urgent or unexpected purchase. Plus, they allow you to start spending toward a card’s sign-up bonus right away. As issuers push toward mobile payments, a growing number of merchants and businesses are similarly adopting the payment method. The percentage of U.S. businesses that used digital wallets increased to 62% in 2023, compared to 47% the previous year, according to a 2023 survey commissioned by the Federal Reserve Financial Services. Wider acceptance is potentially good news for the average American, who according to Experian has about four credit cards. While that won’t necessarily weigh down your wallet, it can be hard to manage multiple cards and rewards categories at once. Mobile wallets offer a more efficient way to store and organize all of your workhorse cards, while not having to carry around ones that you don’t use often. They can also help you more easily monitor your spending and rewards, and some even track your orders’ status and arrival time. Plus, paying with a digital wallet offers added security. That’s because it uses technology called tokenization when you pay, which masks your real credit card number and instead sends an encrypted “token” that’s unique to each payment. This is unlike swiping or dipping a physical card, during which your credit card number is more directly accessible. And again, because a mobile wallet doesn’t require you to have your physical cards present, there’s less chance of one falling out of your pocket or purse. More From NerdWallet Funto Omojola writes for NerdWallet. Email: fomojola@nerdwallet.com. The article Activating Your Credit Card? Don’t Skip the Mobile Wallet Step originally appeared on NerdWallet .

For my money, there isn't a better horror monster than The Thing's shape-shifting alien organism. Even 42 years later, Rob Bottin's practical effects are still incredible, capturing each freakish amalgamation of tentacles, sharp teeth, sinew, and traces of malformed humanity with ghastly clarity. I've seen The Thing dozens of times, yet seeing Norris' decapitated head contort and grow arthropod-esque legs will never fail to twist my stomach in knots. These are the everlasting images of The Thing, but it's the alien's ability to perfectly imitate anyone that genuinely terrifies, permeating each scene with an unnerving sense of dread and paranoia that affects both its characters and the audience watching. Who do you trust when anyone could be a clandestine threat? Back in 2002, developer Computer Artworks attempted to translate this feeling into an officially licensed video game for The Thing. The now-shuttered studio came close to succeeding, too, creating a third-person horror-action game with a unique squad system that ensured you could never entirely trust the person fighting by your side. It's become somewhat of a cult classic since then, leading to this remaster from Nightdive Studios--a developer known for faithfully restoring myriad games, including Shadow Man and Star Wars: Dark Forces. The Thing: Remastered is a similarly authentic experience, albeit with a number of key improvements to the game's visuals, controls, and some quality-of-life mechanics. Beyond this, it's much the same game as it was in 2002, for both the good and the bad. The game's setup is one of its better aspects, acting as a direct sequel to John Carpenter's iconic 1982 film. You play as the bland, one-dimensional Captain Blake, leader of a U.S. Special Forces rescue team sent to investigate Outpost 31 in the isolating tundra of Antarctica. Of course, we know what transpired when MacReady and the rest of this research facility encountered the shape-shifting alien life-form, and it doesn't take long before Blake is fighting off all manner of horrific entities. He's rather nonchalant about the whole thing, though, anchoring a relatively thin story that feels distinctly 2002 in all the worst ways. While it begins as a more action-oriented facsimile of the film it's ostensibly a sequel to, the narrative quickly delves into predictable territory with the military experimenting on the Thing to use the alien for its own gain. It's all very stereotypical, with melodramatic voice acting and--aside from a fun cameo from John Carpenter himself--an inherently disposable cast of characters. Most of the people you meet are potential squad members. To survive The Thing: Remastered, earning and maintaining the trust of the surviving crew is paramount. By killing enemies and supplying each squadmate with weapons, ammo, and healing, they'll happily fight alongside you. The twist is that this is The Thing, so you could be handing a weapon to an enemy interloper or someone paranoid enough to suspect you of being one yourself. Not only can your squad members be a Thing in disguise, but they also have the capacity to turn on you if their trust diminishes or they're overcome by fear. They regularly experience anxiety, which spikes when witnessing traumatic events, such as seeing a dismembered corpse or a particularly grotesque alien. If they suffer from enough stress or lose your trust--because you accidentally shot them, didn't take part in combat, and so on--they'll crack and run away, kill themselves, or start shooting everyone around them, attempting to kill both you and your colleagues. It's a thoughtful implementation of the film's tenants of trust, paranoia, and deception, with the potential to generate nail-biting tension through friend and foe alike. Suddenly, your squadmates are more than just simple NPCs; they're people displaying real human behavior. It was an innovative concept back in 2002 when this kind of trust and fear management was unheard of. Even today, it's not something I've seen implemented in other single-player games; typically, it's reserved for social multiplayer experiences like Among Us instead. For the game's first couple of hours, the way these ideas are executed is compelling. The Thing: Remastered immediately establishes an unsettling atmosphere as you begin exploring the dilapidated remnants of Outpost 31. Your teammates are already on edge even before you discover a flying saucer buried under the ice, with the howl of the Arctic's bitingly cold wind and Ennio Morricone's haunting score punctuating certain moments with another alluring layer of unease. Nightdive has done a fantastic job of updating the original game's visuals, too, with improved character models, textures, and animations, as well as dynamic lighting and shadows to really spruce up the 22-year-old game. It still maintains the somewhat blocky look of a game from the PS2 era but smoothes over its rougher edges with modern techniques that make the visuals more palatable for a modern audience. As you progress further into the game, you'll come up against all manner of enemy creatures, from small four-legged scuttlers to more humanoid monstrosities with deadly claws and exposed innards. These larger enemies need to be damaged with small-arms fire before being set alight with either a flamethrower or incendiary grenade. Fortunately, Nightdive has altered the flamethrower so that it doesn't burn you if you're holding the trigger while simultaneously moving forward. Ammunition is also much more plentiful, preventing those instances in the original game where you would be forced to reload a save from hours before to try and conserve enough ammo for later. Aside from these welcome changes, combat in The Thing: Remastered feels much the same, utilizing a generous lock-on system that makes it easy to clear out rooms without much thought. It's fine but hardly compelling. Your teammates aren't too shabby in a fight, at least, though their main purpose is often to open doors for you. The game's level design is commonly built on gating your progression with broken junction boxes that prevent things like doors and computers from working. While you're able to fix some of this damaged equipment, most of them require a specialized engineer, creating one of the first issues with the game's notion that "anyone could be an alien." If you require an engineer to progress, then their death or transformation simply results in a game over screen, removing the potential for the type of randomness that makes the game's concept so enticing. The more you play, the more it's revealed that The Thing: Remastered is essentially struggling under the weight of its own ambition. Certain squad members will become aliens at pre-determined points, no matter how carefully you've managed their trust and fear. Even if a blood test reveals that they're still human mere seconds before, this is quickly rendered moot by the game's rigid scripting. As a result, The Thing: Remastered falters as a squad-based game because you're never incentivized to care about anyone's survival but your own. With the story dictating when certain characters will transform--and most teammates disappearing at the end of each level anyway--forming any sort of attachment to them is futile. There are no repercussions for trusting your teammates, either. Any weapons you give them are dropped when they transform, and keeping their trust up and fear down is a simple task, so I never felt like anyone would crack, which gradually chips away at the game's tension. By the halfway point, Computer Artworks seemingly struggled to take the concept any further, turning the game into a boilerplate run-and-gun shooter that sees you fighting aliens and mindless human enemies alike. It's a far cry from the game's opening and makes for a banal slog towards a disappointing ending. I have fond memories of playing The Thing back in 2002 because there wasn't anything else quite like it. It was inventive and exciting, and even today, no one else is trying to do what Computer Artworks attempted in the single-player space. I commend the studio for what it achieved, but the limitations of the technology--and its design constraints--are much more apparent now, even with nostalgia-tinted glasses on. Nightdive has done a fantastic job of restoring this flawed but intriguing game, continuing its crucial work with game preservation. All of the changes it's made are positive, resulting in a better game, both visually and mechanically. Nonetheless, this is a case where a complete remake would've been much more appealing, allowing for the trust and fear system to be fleshed out with less rigidity and more dynamism. As it is, Computer Artworks' vision might never be fully realized, and that's a shame.is jili super ace legit 。



New Real-Time Flood Alert System Unveiled in New Orleans in Partnership with United Way and Verizon

Victoria Police are investigating an incident in the downtown core on Christmas Eve, involving a stolen vehicle that evaded officers before being recovered. Around 3:30 p.m. on Dec. 24, officers received a call from the owners of a stolen vehicle that it had been spotted being driven downtown, Vic PD confirmed in an email to Victoria News. Officers located the vehicle and moved into position behind it. However, the driver ran a red light, which caused officers to end their pursuit for public safety reasons. Police located the stolen vehicle again, a few moments later, immobile. In an attempt to prevent the individual from fleeing further, officers executed a manoeuvre which resulted in the stolen vehicle losing one of its tires. Despite the damage, the vehicle managed to flee the scene on three wheels. The pursuit resumed as the stolen vehicle sped down some of Victoria's busiest arteries. Many social media users commented on the event and posted videos of the sighting. “Holy there is a guy driving a three-wheeled 4x4 down Douglas sparks flying with two dozen cops chasing them they almost hit us,” said Facebook user Takuma Valcourt. VicPD confirmed that the stolen vehicle was later recovered, and the investigation remains ongoing.Sonakshi Sinha, Zaheer Iqbal and Karishma Tanna Show Support for Team India at Boxing Day Match in Melbourne (See Pic)Bitcoin storms above $100K, sees value more than double in 2024

Sonos To Take On Hubbl & Apple TV in 2025 As They Move To Make Money From Selling Ads & Data

PlayerUnknown Productions is surfacing after years of development with a three-game plan to enable what founder Brendan Greene refers to as a next generation of survival games. Greene is the inventor of the battle royale genre in video games, inspired by the Japanese film Battle Royale (2000). In modern parlance, battle royale is like the Squid Game (Netflix TV show) where matches start with 100 or so people in an ever-shrinking battle space until only one person is left as the winner. Greene first created a “mod” called DayZ in the Arma universe. Then he teamed up with South Korea’s Krafton to make PlayerUnknown’s Battlegrounds, or PUBG. The game debuted in 2017, disrupted shooter games like Call of Duty, and went on to sell more than 80 million copies. Krafton went public and Greene became wealthy from that. That gave him the money to work on something really ambitious. Then he went off on his own to create a new startup, PlayerUnknown Productions , in 2021 to make a gaming survival world that was a lot like a metaverse. Then Greene gave us a scoop on his ambitions . He was going to create a world called Prologue that had a huge amount of terrain that was like 100 square kilometers. That world would be a test where players would drop into the world and try to survive until they exited the world in a give spot. It would be different every time they dropped into it. Now Greene has released a video that describes his intentions more concretely. Prologue gets a real preview in the video and the world looks very realistic, with trees and grasses swaying in the wind. And it’s still a huge world, fashioned with machine learning and AI tools. Prologue is a single-player open-world emergent game within the survival genre and it has a Steam page now. Secondly there will be a shadow drop of the company’s free tech demo, called Preface: Undiscovered World, showcasing its in-house engine Melba. This demo aims to provide users with an early look at the innovative technology that will power the subsequent titles in the series, and eventually Project Artemis. Project Artemis is the large-scale end goal project of the series. As described in the past, Greene sees this as an Earth-size world where players can drop in and create their own gaming experiences in different sections of the world. We don’t use the word metaverse so much any more, but that’s what it seems like. These are the links for Prologue and Preface. They aren’t yet live but will be by the time this story drops. Prologue: https://store.steampowered.com/app/2943740/Prologue_Go_Wayback/ Preface: https://store.steampowered.com/app/2820060/Preface_Undiscovered_World/ In the video, Greene said he embarked on Prologue three years ago and “then life happened” and it has take three years to get it into a solid and breakthrough shape. Now the company can start sharing it and getting feedback “to make it into really something different.” “When I started this I was trying to make a larger open world experience than most people made, and we tried to provide a couple of years and we found a way to do that,” Greene said. “We essentially reinvented how you create these worlds using machine learning technology, using natural earth data to generate” the terrain. Now the company is ready to test this terrain, which will form the basis for the larger worlds. He said the team broke the journey into three stages. The first job was to fill out the terrain of the world. The second was to fill that terrain with lots of interaction when scaling up. And then third, the goal was to pull a bunch of those players onto the world, Greene said. The company will keep enhancing Prologue with its current game engine and then it will move it over to the next version of its game engine. Prologue started off as an experiment in Unity and then it moved to Unreal a couple of years ago and the tools have proven to be a solid foundation. The proprietary tech will eventually be able to generate a world with millions if not billions of objects in it, with the help of machine learning. “It’s more about the large scale and again machine learning is very good at it because it will capture the patterns that we teach it,” Greene said. The physics will be realistic. If the ground gets wet, the terrain becomes a slippery mud and rivers can form, and these will have repercussions for players as they try to survive in a wilderness. This will make the game challenging, but it can’t be unbeatable, Greene said. “We’re discovering what is fun, what is not fun but at its core it is about survival. I think the more we can test, the more we can get the feedback from from the users or the players, and that’s one of the reasons why we are going to early access,” Greene said. “The more we can actually engage with the community and get their feedback” the more it can reshape the models in the right way. Meanwhile, the company is working on Melba, the in-house game engine. It should be able to generate worlds and then regenerate them for the next game. “The way that we build the engine is allowing us to scale up to large agent interaction,” Greene said. “We have an Earth-scale planner with some various biomes and some simple systems to allow you to explore it.” The company is working on two projects at once — one with Unreal and another with Melba — so that it doesn’t develop tech in a vacuum, said CTO Laurent Gorga, in the video. Unreal and Prologue will generate a piece of the world. Preface will help achieve the scale, and then Artemis will be the full expression. “I want to get our tech into the hands of the people out there to help us perform what this tech will become,” Greene said. “Like this terrain tech is interesting, but I really need, I want to leave it open. I want to leave it moddable.” Greene said this may be a five or 10-year journey, but Prologue could be available on Steam in the second quarter of next year. Stay in the know! Get the latest news in your inbox daily By subscribing, you agree to VentureBeat's Terms of Service. Thanks for subscribing. Check out more VB newsletters here . An error occured.Holiday stress can lead Alzheimer’s patients and those with dementia to go missing

By Funto Omojola, NerdWallet Mobile wallets that allow you to pay using your phone have been around for well more than a decade, and over those years they’ve grown in popularity, becoming a key part of consumers’ credit card usage. According to a “state of credit card report” for 2025 from credit bureau Experian, 53% of Americans in a survey say they use digital wallets more frequently than traditional payment methods. To further incentivize mobile wallet usage, some credit card issuers offer bonus rewards when you elect to pay that way. But those incentives can go beyond just higher reward rates. In fact, mobile wallets in some ways are becoming an essential part of activating and holding a credit card. For example, they can offer immediate access to your credit line, and they can be easier and safer than paying with a physical card. From a rewards perspective, it can make a lot of sense to reach for your phone now instead of your physical card. The Apple Card offers its highest reward rates when you use it through the Apple Pay mobile wallet. Same goes for the PayPal Cashback Mastercard® when you use it to make purchases via the PayPal digital wallet. The Kroger grocery store giant has a co-branded credit card that earns the most when you pay using an eligible digital wallet, and some major credit cards with quarterly rotating bonus categories have a history of incentivizing digital wallet use. But again, these days it’s not just about the rewards. Mobile wallets like Apple Pay, Samsung Pay and PayPal can offer immediate access to your credit line while you wait for your physical card to arrive after approval. Indeed, most major issuers including Bank of America®, Capital One and Chase now offer instant virtual credit card numbers for eligible cards that can be used upon approval by adding them to a digital wallet. Additionally, many co-branded credit cards — those offered in partnership with another brand — commonly offer instant card access and can be used immediately on in-brand purchases. Credit cards typically take seven to 10 days to arrive after approval, so instant access to your credit line can be particularly useful if you need to make an urgent or unexpected purchase. Plus, they allow you to start spending toward a card’s sign-up bonus right away. As issuers push toward mobile payments, a growing number of merchants and businesses are similarly adopting the payment method. The percentage of U.S. businesses that used digital wallets increased to 62% in 2023, compared to 47% the previous year, according to a 2023 survey commissioned by the Federal Reserve Financial Services. Wider acceptance is potentially good news for the average American, who according to Experian has about four credit cards. While that won’t necessarily weigh down your wallet, it can be hard to manage multiple cards and rewards categories at once. Mobile wallets offer a more efficient way to store and organize all of your workhorse cards, while not having to carry around ones that you don’t use often. They can also help you more easily monitor your spending and rewards, and some even track your orders’ status and arrival time. Plus, paying with a digital wallet offers added security. That’s because it uses technology called tokenization when you pay, which masks your real credit card number and instead sends an encrypted “token” that’s unique to each payment. This is unlike swiping or dipping a physical card, during which your credit card number is more directly accessible. And again, because a mobile wallet doesn’t require you to have your physical cards present, there’s less chance of one falling out of your pocket or purse. More From NerdWallet Funto Omojola writes for NerdWallet. Email: fomojola@nerdwallet.com. The article Activating Your Credit Card? Don’t Skip the Mobile Wallet Step originally appeared on NerdWallet .

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