Still Wakes the Deep is a modern horror classic

Don’t look down. Don’t look down. Don’t look down.

Waves the size of skyscrapers explode beneath me as I creep across a busted metal beam in the middle of the North Sea, suspended at the base of an oil rig that’s in the process of collapsing. I’m crawling swiftly but carefully, knees sliding on the wet metal and eyes locked on the platform in front of me. Don’t look down.

I look down. The cold sea is boiling just inches from my beam, white spray reaching up, threatening to pull me under miles of suffocating darkness and pressure. Fuck.

Still Wakes the Deep
The Chinese Room

In Still Wakes the Deep, horror comes in multiple forms. Violent creatures stalk the walkways on thin, too-long limbs that burst from their bodies like snapping bungee cords. Human-sized pustules and bloody ribbons grow along the corridors, emitting a sickly cosmic glow. The ocean is an unrelenting threat, wailing beneath every step. And then there’s the Beira D oil rig itself, a massive and mazelike industrial platform supported by slender tension legs in the middle of a raging sea, groaning and tilting as it’s ripped apart from the inside. Each of these elements is deadly; each one manifests a unique brand of terror.

Still Wakes the Deep is a first-person horror game from The Chinese Room, the studio behind Amnesia: A Machine for Pigs, Dear Esther and Everybody’s Gone to the Rapture. The game is set in the winter of 1975 and its action is contained to the Beira D, a hulking metal maze that offers mystery, a growing familiarity and death at every turn. The rig is filled with a rich cast of characters from the British Isles, most of them Scottish. Players assume the role of Caz, an electrician on the rig whose best friend is Roy, the cook.

Still Wakes the Deep
The Chinese Room

Still Wakes the Deep feels like a hit from the PS3 and Xbox 360 era, devoid of modern AAA bloat. It’s restrained like the original Dead Space, with a core loop that serves the narrative and vice versa. The mechanics steadily evolve without becoming repetitive or cumbersome. Its monsters are murderous but not overplayed. In Still Wakes the Deep, the horror is unrelenting but its source is constantly shifting — vicious eldritch beasts, the crumbling rig, the angry North Sea — and this diversity infuses the game with a buzzing tension until the breathtaking final scene.

The game is fully voice acted and its crew members are incredibly charming. An undercurrent of good-natured ribbing belies every interaction, and the dialogue is earnest and legitimately funny, even in life-or-death situations. This skillful sense of character development only makes the carnage more disturbing once the monsters board the Beira D.

After the oil rig drills through a mysterious substance deep in the North Sea, a giant eldritch organism takes over the structure, crunching its metal corridors and infesting the bodies of some crew members. Caz is on a mission to survive the creatures and escape the rig — and help save Roy, whose body is fading fast because he can’t get to his insulin.

Still Wakes the Deep
The Chinese Room

Gameplay in Still Wakes the Deep is traditional first-person horror fare, executed with elegance and expertise. The action involves leaping across broken platforms, balancing on thin ledges, running down corridors, climbing ladders, swimming through claustrophobic holes and hiding from monsters in vents and lockers. There are no guns on the Beira D, and Caz has just a screwdriver to help him break open locks and unscrew metal panels, placing the focus on pure survival rather than combat. Interactive materials tend to be highlighted in yellow, so it’s never a question of what to do or where to go, but rather how to get there without falling prey to the monsters, the sea or the rig.

Each input feels perfectly precise and responsive. Climbing a ladder, for instance, requires holding RT and pressing the analog stick in the proper direction — but if Caz slips, players need to suddenly press and hold LT as well, so he can regain his grasp in a quicktime event. In these moments of sudden panic, squeezing both triggers feels like the natural thing to do. It’s deeply satisfying to clasp the gamepad as tightly as Caz is holding the rungs of the ladder, player and character completely in sync in the aftermath of a sudden scare. Still Wakes the Deep is a prime example of intuitive game design.

Still Wakes the Deep
The Chinese Room

It’s also just a gorgeous game. I stopped short multiple times while playing Still Wakes the Deep simply to admire the crisp lines, complex lighting and photorealism of specific scenes, but every frame is dense with thoughtful and well-rendered details. The otherworldly structures littering the rig cause Caz’s vision to bubble like a melting film reel, and multicolored circles overtake the screen every time he passes too close to a pustule — it’s disorienting and eerily pretty, much like the rest of the game.

Still Wakes the Deep is an instant horror classic. It’s filled with heart-pounding terror and laugh-out-loud dialogue, and it all takes place in a setting that’s rarely explored in interactive media. Amid the sneaking, swimming, running and climbing on the Beira D, Still Wakes the Deep manages to tell a heartfelt and powerful story about relationships and sacrifice. Caz and Roy have a special friendship, but they also have family back on shore and returning to these people — alive, ideally — is a constant driving force.

Still Wakes the Deep
The Chinese Room

Still Wakes the Deep is available now on PC, PS5 and Xbox Series X/S, and it’s included in Game Pass. It’s developed by The Chinese Room and published by Secret Mode.

This article originally appeared on Engadget at https://www.engadget.com/still-wakes-the-deep-is-a-modern-horror-classic-175304800.html?src=rss

Still Wakes the Deep is a modern horror classic

Don’t look down. Don’t look down. Don’t look down.

Waves the size of skyscrapers explode beneath me as I creep across a busted metal beam in the middle of the North Sea, suspended at the base of an oil rig that’s in the process of collapsing. I’m crawling swiftly but carefully, knees sliding on the wet metal and eyes locked on the platform in front of me. Don’t look down.

I look down. The cold sea is boiling just inches from my beam, white spray reaching up, threatening to pull me under miles of suffocating darkness and pressure. Fuck.

Still Wakes the Deep
The Chinese Room

In Still Wakes the Deep, horror comes in multiple forms. Violent creatures stalk the walkways on thin, too-long limbs that burst from their bodies like snapping bungee cords. Human-sized pustules and bloody ribbons grow along the corridors, emitting a sickly cosmic glow. The ocean is an unrelenting threat, wailing beneath every step. And then there’s the Beira D oil rig itself, a massive and mazelike industrial platform supported by slender tension legs in the middle of a raging sea, groaning and tilting as it’s ripped apart from the inside. Each of these elements is deadly; each one manifests a unique brand of terror.

Still Wakes the Deep is a first-person horror game from The Chinese Room, the studio behind Amnesia: A Machine for Pigs, Dear Esther and Everybody’s Gone to the Rapture. The game is set in the winter of 1975 and its action is contained to the Beira D, a hulking metal maze that offers mystery, a growing familiarity and death at every turn. The rig is filled with a rich cast of characters from the British Isles, most of them Scottish. Players assume the role of Caz, an electrician on the rig whose best friend is Roy, the cook.

Still Wakes the Deep
The Chinese Room

Still Wakes the Deep feels like a hit from the PS3 and Xbox 360 era, devoid of modern AAA bloat. It’s restrained like the original Dead Space, with a core loop that serves the narrative and vice versa. The mechanics steadily evolve without becoming repetitive or cumbersome. Its monsters are murderous but not overplayed. In Still Wakes the Deep, the horror is unrelenting but its source is constantly shifting — vicious eldritch beasts, the crumbling rig, the angry North Sea — and this diversity infuses the game with a buzzing tension until the breathtaking final scene.

The game is fully voice acted and its crew members are incredibly charming. An undercurrent of good-natured ribbing belies every interaction, and the dialogue is earnest and legitimately funny, even in life-or-death situations. This skillful sense of character development only makes the carnage more disturbing once the monsters board the Beira D.

After the oil rig drills through a mysterious substance deep in the North Sea, a giant eldritch organism takes over the structure, crunching its metal corridors and infesting the bodies of some crew members. Caz is on a mission to survive the creatures and escape the rig — and help save Roy, whose body is fading fast because he can’t get to his insulin.

Still Wakes the Deep
The Chinese Room

Gameplay in Still Wakes the Deep is traditional first-person horror fare, executed with elegance and expertise. The action involves leaping across broken platforms, balancing on thin ledges, running down corridors, climbing ladders, swimming through claustrophobic holes and hiding from monsters in vents and lockers. There are no guns on the Beira D, and Caz has just a screwdriver to help him break open locks and unscrew metal panels, placing the focus on pure survival rather than combat. Interactive materials tend to be highlighted in yellow, so it’s never a question of what to do or where to go, but rather how to get there without falling prey to the monsters, the sea or the rig.

Each input feels perfectly precise and responsive. Climbing a ladder, for instance, requires holding RT and pressing the analog stick in the proper direction — but if Caz slips, players need to suddenly press and hold LT as well, so he can regain his grasp in a quicktime event. In these moments of sudden panic, squeezing both triggers feels like the natural thing to do. It’s deeply satisfying to clasp the gamepad as tightly as Caz is holding the rungs of the ladder, player and character completely in sync in the aftermath of a sudden scare. Still Wakes the Deep is a prime example of intuitive game design.

Still Wakes the Deep
The Chinese Room

It’s also just a gorgeous game. I stopped short multiple times while playing Still Wakes the Deep simply to admire the crisp lines, complex lighting and photorealism of specific scenes, but every frame is dense with thoughtful and well-rendered details. The otherworldly structures littering the rig cause Caz’s vision to bubble like a melting film reel, and multicolored circles overtake the screen every time he passes too close to a pustule — it’s disorienting and eerily pretty, much like the rest of the game.

Still Wakes the Deep is an instant horror classic. It’s filled with heart-pounding terror and laugh-out-loud dialogue, and it all takes place in a setting that’s rarely explored in interactive media. Amid the sneaking, swimming, running and climbing on the Beira D, Still Wakes the Deep manages to tell a heartfelt and powerful story about relationships and sacrifice. Caz and Roy have a special friendship, but they also have family back on shore and returning to these people — alive, ideally — is a constant driving force.

Still Wakes the Deep
The Chinese Room

Still Wakes the Deep is available now on PC, PS5 and Xbox Series X/S, and it’s included in Game Pass. It’s developed by The Chinese Room and published by Secret Mode.

This article originally appeared on Engadget at https://www.engadget.com/still-wakes-the-deep-is-a-modern-horror-classic-175304800.html?src=rss

YouTube upgrades its ‘erase song’ tool to remove copyrighted music only

YouTube is trying to make it easy for its creators to remove songs from their videos and resolve copyright claims. In a new Creator Insider video, the website has announced that it has released an upgraded "erase song" tool that has the capability to remove music from video segments without deleting other audio, such as conversations, as well. 

When creators get a copyright claim for music, YouTube gives them the option to trim out the affected segment or to replace the song with an approved one in its audio library. Creators can't monetize that particular video until they resolve the claim. The website has been testing its "erase song" tool for a while, but in the video, the company says it hasn't been as accurate as it would like. To solve that problem, it redesigned the tool so that it now uses an AI-powered algorithm to accurately detect and remove copyrighted music from videos. 

Still, YouTube admits that the tool might not always work. If a song is particularly hard to remove, presumably due to audio quality or the presence of other sounds while it's playing, creators may have to resort to other options. In addition to being able to trim out the offending segment or to replace its song, creators will also be able to mute that part of their video through the new erase tool. 

The website's upgraded erase song tool will be available in YouTube Studio in the coming weeks. 

This article originally appeared on Engadget at https://www.engadget.com/youtube-upgrades-its-erase-song-tool-to-remove-copyrighted-music-only-140032261.html?src=rss

YouTube upgrades its ‘erase song’ tool to remove copyrighted music only

YouTube is trying to make it easy for its creators to remove songs from their videos and resolve copyright claims. In a new Creator Insider video, the website has announced that it has released an upgraded "erase song" tool that has the capability to remove music from video segments without deleting other audio, such as conversations, as well. 

When creators get a copyright claim for music, YouTube gives them the option to trim out the affected segment or to replace the song with an approved one in its audio library. Creators can't monetize that particular video until they resolve the claim. The website has been testing its "erase song" tool for a while, but in the video, the company says it hasn't been as accurate as it would like. To solve that problem, it redesigned the tool so that it now uses an AI-powered algorithm to accurately detect and remove copyrighted music from videos. 

Still, YouTube admits that the tool might not always work. If a song is particularly hard to remove, presumably due to audio quality or the presence of other sounds while it's playing, creators may have to resort to other options. In addition to being able to trim out the offending segment or to replace its song, creators will also be able to mute that part of their video through the new erase tool. 

The website's upgraded erase song tool will be available in YouTube Studio in the coming weeks. 

This article originally appeared on Engadget at https://www.engadget.com/youtube-upgrades-its-erase-song-tool-to-remove-copyrighted-music-only-140032261.html?src=rss

Amazon takes a new brick-and-mortar approach with a stake in Neiman Marcus

Amazon changed the face of retail over the last 20 years but has failed miserably to make inroads in the luxury goods market. Now, it's trying something new. The online retailer has purchased a small stake in retailer Neiman Marcus and will reportedly provide data and logistics to Neiman and its new owner, Saks Fifth Avenue.

Yesterday, Saks Fifth Avenue and parent HBC announced the $2.65 billion acquisition of Neiman Marcus (which also owns Bergdorf Goodman), putting the largest US luxury retailers under the same roof, The Wall Street Journal reported. Amazon is a minority investor in the deal, which is still subject to regulatory approval.

"How do you future-proof a brand like Saks or Neimans or Bergdorf? You do that through technology," Saks CEO Marc Metrick told Bloomberg. To that end, Amazon will gather high-quality customer data, analyze it to offer more personalized options and improve logistics. 

Amazon has attempted to access the luxury retail market over the years, but the major brands want nothing to do with it. "We believe the business of Amazon does not fit with LVMH, full stop, and it does not fit with our brands," LVMH said back in 2016. The only place that LVMC (which owns Louis Vuitton, Dior, Givency and other labels) does business is in its own retail stores, at retailers like Neiman Marcus or on its own website.

In Europe, luxury brands won the right to block third-party sales of products online if they felt it damaged their image. In addition, the EU ruled in 2010 that brands with less than a 30 percent market share could prevent online retailers from selling their wares.

Amazon has tried to break into bricks-and-motor retail with varying degrees of success. Its ownership of Whole Foods is one positive example, but its cashierless Go stores have largely failed to take off.

With the acquisition of Neiman Marcus by Saks' parent HBC, Amazon is getting involved in an organization expected to do a combined $10 billion worth of annual sales. There's no word on the size of Amazon's investment, but it seems a relatively safe bet compared to the more radical brick-and-mortar experiments it's tried in the past.

This article originally appeared on Engadget at https://www.engadget.com/amazon-takes-a-new-brick-and-mortar-approach-with-a-stake-in-neiman-marcus-133019628.html?src=rss

Amazon takes a new brick-and-mortar approach with a stake in Neiman Marcus

Amazon changed the face of retail over the last 20 years but has failed miserably to make inroads in the luxury goods market. Now, it's trying something new. The online retailer has purchased a small stake in retailer Neiman Marcus and will reportedly provide data and logistics to Neiman and its new owner, Saks Fifth Avenue.

Yesterday, Saks Fifth Avenue and parent HBC announced the $2.65 billion acquisition of Neiman Marcus (which also owns Bergdorf Goodman), putting the largest US luxury retailers under the same roof, The Wall Street Journal reported. Amazon is a minority investor in the deal, which is still subject to regulatory approval.

"How do you future-proof a brand like Saks or Neimans or Bergdorf? You do that through technology," Saks CEO Marc Metrick told Bloomberg. To that end, Amazon will gather high-quality customer data, analyze it to offer more personalized options and improve logistics. 

Amazon has attempted to access the luxury retail market over the years, but the major brands want nothing to do with it. "We believe the business of Amazon does not fit with LVMH, full stop, and it does not fit with our brands," LVMH said back in 2016. The only place that LVMC (which owns Louis Vuitton, Dior, Givency and other labels) does business is in its own retail stores, at retailers like Neiman Marcus or on its own website.

In Europe, luxury brands won the right to block third-party sales of products online if they felt it damaged their image. In addition, the EU ruled in 2010 that brands with less than a 30 percent market share could prevent online retailers from selling their wares.

Amazon has tried to break into bricks-and-motor retail with varying degrees of success. Its ownership of Whole Foods is one positive example, but its cashierless Go stores have largely failed to take off.

With the acquisition of Neiman Marcus by Saks' parent HBC, Amazon is getting involved in an organization expected to do a combined $10 billion worth of annual sales. There's no word on the size of Amazon's investment, but it seems a relatively safe bet compared to the more radical brick-and-mortar experiments it's tried in the past.

This article originally appeared on Engadget at https://www.engadget.com/amazon-takes-a-new-brick-and-mortar-approach-with-a-stake-in-neiman-marcus-133019628.html?src=rss

YouTube film essay pioneers ‘Every Frame a Painting’ are back

Between 2014 and 2016, a YouTube channel called Every Frame a Painting posted 28 video essays critiquing movies and dissecting different aspects of filmmaking before it went silent. Taylor Ramos and Tony Zhou, the people behind the channel, talked about how Robin Williams was a master at blocking and using movement to portray his characters, as well as how Steven Spielberg does one long takes all the time that tend to go unnoticed by the public, among many other topics. Now, the duo is back, promising another series of video essays followed by the debut of a short film at Fantasia International Film Festival on July 20.

Ramos and Zhou wrote and directed their upcoming film called The Second starring Paul Sun-Hyung Lee and Ethan Hwan. They didn't share a lot of details about the movie, but the film festival's website says it's about "an alternate version of today’s world where dueling is still acceptable" in which Philip "must perform the role of 'Second' on the day of his only son's duel."

Every Frame a Painting has over 2 million subscribers on YouTube and was one of the creators that helped legitimize video essays on the website. Ramos and Zhou also created the Netflix series Voir, produced by David Fincher, which featured video essays about film, as well. Seeing as they promised new posts on YouTube before their film premieres, we'll likely see them upload a fresh batch of videos in the coming days.

This article originally appeared on Engadget at https://www.engadget.com/youtube-film-essay-pioneers-every-frame-a-painting-is-back-130014490.html?src=rss

YouTube film essay pioneers ‘Every Frame a Painting’ are back

Between 2014 and 2016, a YouTube channel called Every Frame a Painting posted 28 video essays critiquing movies and dissecting different aspects of filmmaking before it went silent. Taylor Ramos and Tony Zhou, the people behind the channel, talked about how Robin Williams was a master at blocking and using movement to portray his characters, as well as how Steven Spielberg does one long takes all the time that tend to go unnoticed by the public, among many other topics. Now, the duo is back, promising another series of video essays followed by the debut of a short film at Fantasia International Film Festival on July 20.

Ramos and Zhou wrote and directed their upcoming film called The Second starring Paul Sun-Hyung Lee and Ethan Hwan. They didn't share a lot of details about the movie, but the film festival's website says it's about "an alternate version of today’s world where dueling is still acceptable" in which Philip "must perform the role of 'Second' on the day of his only son's duel."

Every Frame a Painting has over 2 million subscribers on YouTube and was one of the creators that helped legitimize video essays on the website. Ramos and Zhou also created the Netflix series Voir, produced by David Fincher, which featured video essays about film, as well. Seeing as they promised new posts on YouTube before their film premieres, we'll likely see them upload a fresh batch of videos in the coming days.

This article originally appeared on Engadget at https://www.engadget.com/youtube-film-essay-pioneers-every-frame-a-painting-is-back-130014490.html?src=rss

Nike is killing the app for its futuristic Adapt BB sneakers

Nike is discontinuing its self-lacing Adapt BB sneakers and providing a case in point of what can happen to tech that relies on apps. First announced in 2019, the sneakers used a Back to the Future II style power-lacing system called FitAdapt that was adjustable either manually or with an app. Now, the company will no longer make new Adapt shoes and is retiring the Nike Adapt App, it announced in a help document spotted by The Verge

"After five years, we’re retiring the Adapt App and removing it from the Apple and Android app stores, globally, on August 6, 2024," the page states. "Don’t worry, your Adapt shoes will continue to work without the app. See below for more information about the retirement of the Adapt App."

A FAQ goes on to state that the Adapt app "should continue to function" follow its removal, if you already have it installed. You won't be able to move it to a new device, though, and future iOS updates may limit or end functionality. 

Nike goes on to state that if the app is removed, the shoes will retain the last light color selected. Features still available without it include power on, check battery status, adjust your fit, save your fit, unlace shoes and power off. 

Perhaps the biggest loss with the end of Adapt is in accessibility, as the shoes were marketed in part as a way to make shoe tying easier for people with limited mobility. It also shows the danger of tying functionality of physical technology to custom apps — once the app loses support, the product gets a lot worse and there's not much you can do about it. 

This article originally appeared on Engadget at https://www.engadget.com/nike-is-killing-the-app-for-its-futuristic-adapt-bb-sneakers-120039424.html?src=rss

Nike is killing the app for its futuristic Adapt BB sneakers

Nike is discontinuing its self-lacing Adapt BB sneakers and providing a case in point of what can happen to tech that relies on apps. First announced in 2019, the sneakers used a Back to the Future II style power-lacing system called FitAdapt that was adjustable either manually or with an app. Now, the company will no longer make new Adapt shoes and is retiring the Nike Adapt App, it announced in a help document spotted by The Verge

"After five years, we’re retiring the Adapt App and removing it from the Apple and Android app stores, globally, on August 6, 2024," the page states. "Don’t worry, your Adapt shoes will continue to work without the app. See below for more information about the retirement of the Adapt App."

A FAQ goes on to state that the Adapt app "should continue to function" follow its removal, if you already have it installed. You won't be able to move it to a new device, though, and future iOS updates may limit or end functionality. 

Nike goes on to state that if the app is removed, the shoes will retain the last light color selected. Features still available without it include power on, check battery status, adjust your fit, save your fit, unlace shoes and power off. 

Perhaps the biggest loss with the end of Adapt is in accessibility, as the shoes were marketed in part as a way to make shoe tying easier for people with limited mobility. It also shows the danger of tying functionality of physical technology to custom apps — once the app loses support, the product gets a lot worse and there's not much you can do about it. 

This article originally appeared on Engadget at https://www.engadget.com/nike-is-killing-the-app-for-its-futuristic-adapt-bb-sneakers-120039424.html?src=rss