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Review: 'Cyberpunk 2077' – NPR

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CD Projekt Red

“Burn Corpo Sh**”

That’s what it says on my jacket. My weirdly puffy, annoyingly yellow, impressively armored and oh-so-very cyberpunk jacket. Because Cyberpunk 2077 operates almost exclusively in a claustrophobic first-person, I can’t actually see the slogan sloppily written on my super-cool popped-collar jacket except when I’m tinkering with my loadout on the inventory screen. But I know it’s there. I know it’s there all the time.

“Burn Corpo Sh**”

I mean, that’s part of the psychological deal we make with video games, right? We invest in the fiction that we are who we play. In this case, it’s V — the main character in CD Project Red’s massively hyped, massively disappointing open-world pantsless-motorcycle-riding-simulator. V can be anyone. They are you, whoever you want to be. They are me, every minute that I play. And they are wearing that stupid jacket with its stupid slogan which I refuse to take off and which, eventually, will become symbolic to me of everything that’s wrong with this game — everything sour and broken at the heart of it.

Cyberpunk 2077 is about … nothing. There’s a plot of sorts. A kind of threaded narrative about a heist gone wrong in such a way that V ends up with Keanu Reeves permanently stuck living in his head. But it isn’t about anything. You run around collecting guns and meeting people and (mostly) killing them and (occasionally) just talking to them, and both options are terrible because the killing is almost always pointless and the talking, somehow, is even worse because the writing is so, so bad.

Keanu Reeves plays a character called Johnny Silverhand, a rockerboy from 50 years back in the game’s timeline who — for only the most vaguely defined or defended reasons — nuked the headquarters of one of the biggest corporations in Night City and killed thousands of people. Like actually blew it up with a nuclear weapon. Johnny Silverhand is a full-on terrorist, but he’s the good guy in this story. Kinda. Because, you know …

“Burn Corpo Sh**”

Because of what my jacket says. Because in the Cyberpunk universe, corporations are bad and corporate elitism is the dominant evil and the rape-and-pillage corpo culture is what has brought the world to the state that it is in where V — my V and your V — lives as a street-level mercenary, selling his or her gun hand, cybernetic implants and abject lack of personality to anyone who’ll pay. V dreams of someday becoming the best merc in the city. Of being remembered, like Johnny Silverhand is remembered, for, ostensibly, burning corpo sh**.

And that’s all. That’s the game’s entire underlying rationale and animating ethos summed up in three words Sharpie’d onto an ugly jacket that I wear long past its point of in-game usefulness because it is such a perfect example of everything that is wrong with the game — everything cheap and shallow and thoughtless and vain.

There are other problems, to be sure. Serious ones. Cyberpunk 2077 was supposed to be the biggest game of the year. A decade in development, years of hype, a breathless final run-up to launch day, launch hour and launch minute — this was it. The One. Greatest thing since the last great thing.

And if you care at all about video games, you already know what happened next. The game was a mess. On next-gen consoles and high-powered gaming PCs, it’s kind of a mess — a beautiful, glossy, immersive mess, but still a mess — and on last-gen systems (PS4 and Xbox One), it’s a complete, irredeemable, janky, low-rent, almost laughable mess. It glitches, it crashes, it chugs and strains to operate at even a basic level. Textures are muddy, blurred or lost in stuttering pop-in. Look fast, uncritically, and it almost seems like you’re wandering through a real sci-fi city with its soaring architecture and grubby alleys, but linger even briefly and you notice how lo-fi, flat and pixelated everything looks.

These technical issues got CP2077 pulled from the Playstation Store late last week. CDPR has already begun offering refunds for gamers who felt cheated by the divide between what they were promised and what was ultimately delivered. It has been a complete disaster for everyone involved — a team that was already dealing with disasters over crunch, release delays, trans representation and a dozen other things.

But the jacket and its stupid slogan is a fishhook. It sticks in me and I can’t get it out. Its clunky wording, bumper-sticker shallowness and unearned patina of faux-outrage is like a distillation of everything wrong with the game. It’s like an Eat The Rich t-shirt with the Hot Topic price tag still on it; like Starbucks selling lattes in decorative All War Is Class War mugs. It’s evidence that the team at CDPR either had no idea how to handle the source material they were given, or didn’t care to think beyond it.

Fact: I played Cyberpunk back in the early 90’s when it was just a tabletop RPG inspired by Blade Runner and William Gibson’s sprawl stories. It was a product of its time, existing in a universe with space stations and cyberarms, but without cellphones. The way we played it — the way my teenage friends and I read ourselves into the world — was as small-time operators, always. The corporations were behemoths, the system so massively corrupt and powerful that no one could win against it. You fought to survive around the edges of it, living off the scraps. “High stakes, low impact” — that was our house rule. Because punks don’t save the world. Ever. They just try to live another day.

But CP2077 doesn’t work that way. Worlds and fortunes hang in the balance of everything V does. He (I played him as a man, though there are options) rubs shoulders with corporate titans and goes to space. The V of the main plot is different than the V of the side content, no matter how you play it. Moment to moment, he’s streetracing, fighting gangsters, solving crimes, shooting up brothels or chasing down missing cabs for a self-driving car company. His core motivation, reinforced early and often, is to be the best killer Night City has ever seen. The best merc. The most dependable. Whatever. What he truly wants is simply to be remembered. In a future where absolutely everything is disposable, V just wants to leave an indelible mark.

And really, that’s not bad. You could build an interesting character and a moving story around that. It’s something, right?

But to do so, the game would have to address two issues, both intertwined. First, there’s the bonkers assumption that the only way to make a mark in this world is to be a really good killer. Second, that this world is bad enough that it makes the first conjecture seem reasonable. And in order for there to be any story at all, the game must interrogate one or the other — either V’s motivations or the world’s death wish — and then come to some sort of conclusion.

And that’s where CP2077 fails. It does neither. It seems to believe that presentation is enough. Like, here’s V. He wants to be very good at a job that mostly involves shooting people at the behest of cops and/or corporations. And now there’s a rockstar/terrorist from 50 years ago living in his head. Isn’t that a crazy world? Okay, now let’s go blow some stuff up.

And even though V is ostensibly going through the motions of trying to get Johnny Silverhand out of his head before he dies of terminal Keanu poisoning (or something else equally ludicrous), V spends a lot of his time in Night City just capping people on the streets for a $10 payout from the cops or watching corporate soldiers gun down striking workers. There are nice moments in the game, sure. Any time I spent with Takemura (a disgraced ex-bodyguard vital to the main plot) was a pleasure. Judy is a badass. Playing around with hacking and braindance editing was fun. And there were views in Night City which were stunningly lovely. But I spent far more time as V working with various cops and corporations than I did burning any of their sh**.

The game tries so hard to be cool — to come off as crass and edgy, to talk tough and play like some kind of anti-capitalist anarchy generator. But you lean too hard into that act and it will always come off more like a desperate pose than anything honest. One of the reasons I think I had so much trouble getting into the game is that all the gloss and chrome and affected, fake punkery gelled together like a hard shell in the first hours. No matter what I did, I just kept bouncing off, unable to get past the surface of it, told to act punk and do whatever I wanted, but then offered only a narrow spread of pre-approved systemic options that usually broke down to a) shoot everyone, b) have sex with a robot, c) buy things, d) quit.

I hung with it, but honestly? Quitting is the most punk option of them all. I wanted to love this game. I really did. I’ve been waiting decades for someone to take my teenage techno-dystopian fantasies and turn them into something I could play around in. But names and labels aside, this ain’t that. It’s all surface, no depth. All signal, no content. You wanna stick it to the mega-corps and hit ’em where it really hurts, choom? Just turn the game off and walk away. You wanna burn it all down?

You do that by refusing to play.

Jason Sheehan knows stuff about food, video games, books and Starblazers. He is currently the restaurant critic at Philadelphia magazine, but when no one is looking, he spends his time writing books about giant robots and ray guns. Tales From the Radiation Age is his latest book.

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Nothing Ear And Nothing Ear (a) Earbuds Are 1st With ChatGPT Integration – Forbes

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London-based Nothing Tech has just launched new earbuds, two pairs, in fact. The Nothing Ear and more affordable Nothing Ear (a) have just gone on sale—you can read Forbes contributor Mark Sparrow’s review of both pairs here. And now, the company has announced a cool new feature: and industry-first integration with ChatGPT. It comes with strings, though.

The new earbuds have just been announced and are available to pre-order from nothing.tech now and go on sale from Monday, April 22. If you’re in London, and you want to be among the very first to get the earbuds, you can snap them up in the Nothing Store Soho a little bit sooner, from Saturday, April 20 (click-and-collect is available).

From launch, the company said, “it will enhance its overall user experience with industry-first ChatGPT integrations in its audio and smartphone products.”

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Nothing goes on that it wants “to advance consumer tech products’ transition to AI, as well as simplify and enhance the user experience.”

It means users will be able to pinch the earbud to directly speak to ChatGPT to ask questions and hear responses in the earbuds. Nothing is also introducing new elements to Nothing phones, such as widgets which make it easy to talk to ChatGPT on the handsets. Other features include being able to send screenshots directly to ChatGPT and a clipboard shortcut for sending text.

So, what are the catches?

Although the Bluetooth new earbuds will work with any iPhone or Android phone, and there are dedicated Nothing apps for each platform, the ChatGPT integration is more limited for now.

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The earbuds must be paired with a Nothing handset. From today, the feature works with the premium model, the Nothing Phone (2), providing it’s running the latest software. The earlier Nothing Phone (1) and more recent, more affordable model, Nothing Phone (2a) will need to wait for a software update, which Nothing says is “coming soon”.

Also coming in the future is compatibility with earlier Nothing earbuds, that is the Ear (1), Ear (2) and Ear (Stick).

The new earbuds are very keenly priced. Ear costs $149 (£129 in the U.K.), while Ear (a) is $99 (£99 in the U.K.). Both pairs have active noise-cancelling, which is not commonplace at this price point. The more expensive Ear has a wireless charging case and a feature to create a personal sound profile. Both pairs come in black and white finishes, with Nothing’s trademark transparent design in the earbuds and charging case. But the Nothing Ear (a) has an eye-catching extra: a tremendous yellow-finish option.

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U of T Engineering PhD student is working to improve the sustainable treatment of Ontario's drinking water – U of T Engineering News – U of T Engineering News

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Growing up in a small neighbourhood in Cameroon, Maeva Che (CivMin PhD student) was aware of challenges of accessing clean drinking water. 

“Experiencing that exposure to water issues and challenges with sustainable access to safe drinking water ignited my interest in water treatment,” Che says.  

Che’s drive to improve water quality around the globe brought her to the Drinking Water Research Group (DWRG) at University of Toronto’s Faculty of Applied Science & Engineering, where she is researching innovative solutions to address local water issues.  

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Che is working under the supervision of Professor Ron Hofmann (CivMin), who is a member of the DWRG. Her research focuses on removing unpleasant taste and odour compounds in Ontario’s drinking water by promoting the biodegradation of these compounds through granular activated carbon (GAC) filtration. 

The project is supported by a five-year Natural Sciences and Engineering Research Council of Canada (NSERC) Alliance grant called Advanced and Emerging Issues in Drinking Water Treatment. 

GAC filtration is a water treatment process that uses granular activated carbon, which is made from organic materials that are high in carbon, such as wood, coal or coconut shells. These materials are heated in the absence of oxygen through a process known as pyrolysis and prompted chemically or physically to produce the activated carbon. The activation enhances the material’s adsorption properties, making it productive to remove contaminants from water.  

While GAC filtration is an effective treatment process, its adsorptive capacity is limited. The adsorptive capacity of GAC is expected to become exhausted after about three years in service and drinking water treatment utilities must replace the GAC. Aside from the inconvenience, replacing GAC is costly.  

Che is working on alternative ways to remove contaminants using GAC filtration, specifically through biodegradation. When the filtration has been in service for a while, there is the growth of micro-organisms on the GAC, which can be useful for removing contaminants.   

PhD student Maeva Che works with filtration systems research at the Drinking Water Lab in the Department of Civil & Mineral Engineering. (photo by Galina Nikitina)

“Think of biodegradation as the useful bacteria on the GAC feeding on the contaminants in the water, thereby removing them,” says Che. 

“If the GAC has enough good bacteria that is biodegrading the compounds, the GAC may not need to be replaced when its adsorptive capacity becomes exhausted. This can extend the filter’s lifetime, resulting in cost benefits for treatment utilities.” 

In other words, biodegradation can potentially enhance the performance of GAC filters. 

Che and the DWRG will collaborate with water treatment plants to determine methods that can enhance the biodegradation of taste and odour compounds within their GAC filters.  

Currently in its initial phase, the project is taking place alongside the Peterborough Utilities Group’s drinking water treatment plant, where Che is conducting pilot-scale filtration studies with support from the Peterborough Utilities Commission. They plan to extend this research to other partner treatment plants in the future. 

Working with various water treatment plants across Ontario, Che will also assess the effectiveness of GAC filters in removing non-traditional taste and odour compounds, which are not commonly monitored. 

To achieve this, she’ll evaluate filter performance for two common taste and odour compounds — 2-methylisoborneal and geosmin — and eight additional non-traditional compounds that can cause taste and odour events. This involves collecting GAC and water samples from the plants and conducting lab-scale filtration tests, called minicolumn tests. This test, developed by the DWRG, allows to differentiate between adsorption and biodegradation in GAC filters. 

Minicolumn tests provide crucial insights into the performance of the GAC filters in terms of the adsorption and biodegradation of contaminants. To distinguish between these mechanisms, researchers use parallel minicolumns. One minicolumn operates under conditions where the biological activity of micro-organisms is suppressed, which isolates the adsorption process. The second minicolumn operates without biological suppression, allowing both adsorption and biodegradation to occur. 

“Many plants are unaware of their filters’ performance for other compounds, aside from the two common ones, that also contribute to taste and odour events in water. Our project, therefore, plays a crucial role in expanding the understanding of this,” Che says. 

Project partners include the Ajax Water Supply Plant and the Barrie Surface Water Treatment Plant.  

The DWRG is made of approximately 30 graduate students, post-doctoral fellows, research managers and associates who collaborate with local, national and international industry and government organizations to address a wide range of projects related to municipal drinking water. 

Che credits her experience as a master’s student with the research group as a major factor in her decision to pursue a PhD at the University of Toronto.  

“During my master’s degree with the DWRG, I worked on projects that improved drinking water quality, gaining hands-on experience at treatment plants. Seeing the results of my research reinforced my decision to pursue my PhD here,” Che says. 

Ultimately, Che hopes to make a significant impact in the field — and the DWRG provides opportunities to achieve this, with a supportive community of researchers and supervisors.  

“My goal is to continue researching and developing sustainable solutions for drinking water treatment that benefit communities in need,” she says. 

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Huawei's latest flagship smartphone contains no world-shaking silicon surprises – The Register

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When Huawei debuted its Mate 60 smartphone in mid-2023, it turned heads around the world after teardown artists found it contained a system-on-chip manufactured by Chinese chipmaker Semiconductor Manufacturing International Corporation (SMIC) using a 7nm process.

SMIC was thought not to be able to build that sort of thing. So while the Mate 60 didn’t differ markedly from every other modern smartphone, its very existence called into question the effectiveness of US-led efforts to prevent advanced chipmaking tech reach the Middle Kingdom.

Much speculation has therefore concerned what Huawei would deliver next, and this week the world got its answer – in the form of the Pura 70.

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Chinese media report that early users of the device have posted details of its innards, naming the SoC as Kirin 9010 with four efficient cores running at 1.55GHz, half a dozen performance cores at 2.18GHz, and a couple of high-performance cores zipping along at 2.30GHz. All cores are Arm v8. A third-party spec sheet suggests it’s a 7nm chip – meaning Chinese chipmakers appear not to have made another unexpected advance.

Early tests suggest it outperforms the Kirin 9000 found in the Mate 60, but independent assessments are yet to emerge. The crowdsourced evaluations currently available are sometimes dubious.

What we can say with confidence is that the Pura 70 has a 6.6-inch OLED display with 120Hz refresh rate and resolution of 2,760 x 1,256. It has 12GB RAM aboard, and buyers can choose from 256GB, 512GB, or 1TB of storage.

The three rear-facing cameras on the base models can capture 50, 12, and 13 megapixels apiece.

The Pura range derives from Huawei’s P-Series handsets that stretched from the midrange to the low-end of premium, but are now focussed – pardon the pun – on photography enthusiasts. The device comes on four variants, each priced to match the four editions of Apple’s iPhone 15.

The screen on the high-end “Ultra” model grows to 6.8 inches and 2,844 × 1,260 pixels, with two rear cameras that shoot at 50 megapixels and one at 40. One of the 50MP snappers is retractable, to enhance its zooming powers.

Importantly, all models of the Pura 70 run HarmonyOS 4.2 – Huawei’s not-Android operating system.

China is all-in on HarmonyOS as the nation pursues indigenous alternatives to Western tech. In recent weeks Chinese media and government agencies have noted the growing proliferation of native HarmonyOS apps, trumpeting that developer enthusiasm for the platform means local buyers now have a more patriotic alternative.

That alternative appears to be welcome: after the debut of the Mate 60, analyst firm IDC saw Huawei’s smartphone market share improve by 36.2 percent. ®

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