Scientists have determined the likely origin of the dinosaur-killing asteroid that brought about their extinction and killed three quarters of all life here on Earth.
This asteroid is officially known as the Chicxulub impactor and it struck the Earth 66 million years ago. Scientists have estimated the origin of this asteroid for decades, but a new Southwest Research Institute study posits that it came from the outer half of our solar system’s main asteroid belt, as reported by Space.com.
More specifically, the six-mile-wide Chicxulub impactor originated in the asteroid belt space in between Mars and Jupiter. According to Space.com, scientists used computer models to analyze how asteroids in that region of space are pulled from their orbit to different areas of the solar system. In this instance, the asteroid was pulled from its location way out in space to Earth, where it eventually crashed and created a 90-mile crater.
It was that impact and the resulting effects that killed all dinosaurs and 75% of the world’s animal species.
To determine the trajectory of Chicxulub, the Southwest Research Institute team observed 13,000 asteroid models. In so doing, they determined that because of the characteristics of those asteroids and the belt they existed in, those asteroids are 10 times more likely to reach Earth than scientists previously thought.
With that determined, the team began to look at the possibilities of an asteroid in that belt hitting Earth and discovered “escape hatches.” These are essentially hatches in the asteroid belt orbit created by thermal forces that pull asteroids out of orbit and toward Earth (or anywhere else really).
How did the team connect the dinosaur-killing asteroid with those found in the space between Mars and Jupiter, though? It examined the physical makeup of these asteroids.
By analyzing 66-million-year-old rocks, the team determined that the Chicxulub asteroid had a similar makeup of the “carbonaceous chondrite impactors” found in the asteroid belt.
Looking deep into space at the asteroid belt, though, the team determined that similar asteroids could not be found — most were significantly smaller, clocking in at just one mile. With Chicxulub coming in at six miles, the team had to determine why other asteroids like Chicxulub couldn’t be found.
“To explain their absence, several past groups have simulated large asteroid and comet breakups in the inner solar system, looking at surges of impacts on Earth with the largest one producing the Chicxulub crater,” researcher, William Bottke, said in the study. “While many of these models had interesting properties, none provided a satisfying match to what we know about asteroids and comets. It seemed like we were still missing something important.”
And they were — Chicxulub was no standard asteroid. It was a once-every-250-million-years kind of carbonaceous chondrite asteroid, and considering Chicxulub hit the earth 66 million years ago, there’s still theoretically another 184 million years to go until another asteroid of this size heads for Earth.
Ok, got it, so just to be sure: don’t be on Earth 184 million years from now — can do.
Skyrim‘s intro sequence is immediately recognizable, either as a fantastic introduction to a game or as a meme. Apparently, putting that iconic cart ride together wasn’t an easy task. According to a former developer for the game, Nate Purkeypile, the team ran into a strange bug when putting together the sequence. That bug ended up being caused by an actual bug.
According to a thread Purkeypile posted on Twitter, the cart ride isn’t just “on rails.” it was “physically simulated.” However, anyone familiar with Skyrim’s physics (a.k.a anyone ever killed by a giant in the game) knows that it’s a rather finicky system. Objects can sometimes be sent flying just from the slightest bump. “So anyways, this meant that all kinds of things could cause the cart to start to freak out and fly off the road,” Purkeypile continued.
Meaning, that bee was an immovable force of nature if it ever happened to cross the path of the cart. The cart wanted to move down the road. The bee did not want to move. So up the cart goes!
However, there was one bug that would occur randomly, sending the cart into the stratosphere. Naturally, since the bug wasn’t consistent, it was impossible to diagnose. As it turns out, the cause was one of Skyrim’s gentle creatures, the bumblebee. “So it turns out there was another bug where the bee in the game couldn’t be picked up… That bug got fixed. Only the type of collision put on the bee didn’t just let it get picked up. It also made it collide into things,” said Purkeypile.
Because of its new collision, the bee would launch the cart and its occupants into space, like an unstoppable force meeting an immovable object. Of course, if any modders wanted to, they could almost certainly put the bug back in place. Skyrim still has an extremely active modding community, with new mods, like one that lets players pet dogs, being added all the time.
We can only hope that the next Elder Scrolls game has an equally wonky physics system. While The Elder Scrolls VI is likely years away from release, Bethesda’s Todd Howard recently shared that it will use an updated version of Skyrim’s Creation Engine.
In the years prior to Julius Caesar’s rule of ancient Rome, the legions of the empire were led by a wealthy general known as Marcus Crassus. He was infamous for many things, one of which was his revival of decimation–a harrowing means to control the army by punishing the collective for the actions of singular dissidents. Soldiers were divided into groups of ten, where each would draw stones. The one unfortunate enough to draw a white one would be beaten to death by the remaining nine, regardless of their involvement in any crimes against the empire. It instilled not only fear, but a strong sense of responsibility among the legions of soldiers, who quickly learned to self-discipline in the face of such punishment.
The Forgotten City, a narrative puzzle game that started out as a Skyrim mod, uses the principle of decimation as its basis. It’s an anecdote used to describe the game’s most prominent mechanic, The Golden Rule, which is an ever-present threat to the small community trapped in a desolate and secluded city deep in the Roman mountains. A god watching over the community threatens to turn everyone into gold should anyone commit a sin. In theory this should lead to a utopia, a land where its people are forced into peaceful co-existence through the persistent threat of imminent and absolute destruction. But it’s not long before you realize that the ideals of right and wrong, and, more importantly, who defines them, allow the definitions of sin to be bent and stretched in creative and cruel ways.
Not long after the game’s opening, you’re teleported back in time to this ancient city and caught within the web of its passive aggressive personalities and bubbling politics. The magistrate of the society is the only one aware of who you are, tasking you with using an infinite time loop to figure out who will eventually break The Golden Rule and stop them before it happens. This also turns out to be the only way that you can get back to your time, motivating you to get very familiar with each of the city’s varied inhabitants and decipher who might be on the verge of teasing out the apocalypse. Each loop is an opportunity to learn more about each citizen through dialogue, deciphering what their daily routines are, which other citizens they’re bound to interact with, and which of their problems you can potentially solve. Eventually each day comes to an end, bringing about the fruition of The Golden Rule and forcing you to sprint towards the shrine you entered through to start the day over again.
Each loop isn’t strictly governed by time though, meaning that you can pursue leads in any order you see fit throughout. A citizen stricken with an illness won’t die if you don’t choose to prioritize them first, for example, letting you explore other threads without the stress of having to check off some tasks quickly at the start of each loop. Characters do operate according to a routine, however, meaning they might be in entirely different parts of the city depending on the time of day, which can lead to some scrambling to find the right person when you need to engage in a specific conversation. For the most part, however, The Forgotten City doesn’t waste any of your time by forcing you to repeat actions. A character you meet at the start of each loop is emblematic of that, letting you avoid the same tiresome introductory dialogue with a single reply each time. This comfort of being able to skip through swathes of dialogue and get right back into the same lines of inquisition you were pursuing last time permeates through the citizens you interact with, each of which have their own ways of trying to understand how you know so much.
Although you aren’t from the same time period, you are beholden to the same rules as the city, meaning any sins you might commit will immediately trigger The Golden Rule and force you to reset. Some of these are easy to understand, such as stealing a vial of medicine or just recklessly killing someone. Others are more subtle and do well to expose just how challenging it might be to live with this threat hanging over you. A threat of violence, for example, may trigger the end of the world irrespective of whether it came from a place of sarcasm or anger. Other times, just trying to turn the tables on a bribe could have the same effect, teaching you just how cunning some characters are at exploiting loopholes in The Golden Rule. Learning how to do the same is part of the fun, and you’ll quickly figure out how to get rid of a dangerous assassin or acquire large sums of money without having to reset your loop each time. It’s satisfying the first time you find these solutions, but even more so when you see how each one acts as a piece of the larger puzzle, opening new avenues for you to investigate in the process.
Throughout your adventure, you’ll come across many characters who explain the strange history of the setting.
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Almost all of this is done through dialogue, with your progress in The Forgotten City coming mostly from conversations. You’re given numerous lines of inquisition to follow, each with branching paths of dialogue that can resolve some leads while opening entirely new ones. Most of the time, The Forgotten City does a decent job of indicating what paths of dialogue have been exhausted, while ensuring you know when new ones (based on new information you might have gathered) have opened. There are some instances, however, where a new line of inquiry is buried under others that you’ve already engaged with, only revealing themselves once you’ve repeated some dialogue that, even more frustratingly, doesn’t always align with the new information you might want to explore. This was rare but did halt my progress significantly at one time, making me second guess whether I had encountered a bug or just not triggered a new lead correctly. For the most part though, the trees of dialogue harmoniously interact with each other, never leaving you guessing where to head to next or who to question immediately after your current conversation.
Exploration factors into progression almost as much as your conversational wit. You’re often required to gather evidence to back up bold claims or find clues to lead you down a new investigative thread, letting you use the authority given to you by the magistrate to investigate every home you’re able to find your way into. Inhabitants won’t always be happy about it, but it’s surprising that the existence of The Golden Rule allows them to feel confident that you won’t be taking anything you aren’t supposed to. This is where you’ll be offered the chance to get slightly experimental with the limits of the rule itself, since items you obtain persist between runs. If you’re not content with the meager dribs and drabs of currency you find around the town, you can dedicate an entire run to stealing as much as you can without being turned into gold yourself. The Forgotten City anticipates these misdeeds every time, never allowing you to completely circumvent its progression in massive ways, but letting you color outside of the lines at times with satisfying results.
To that end, The Forgotten City also never gets in the way of itself when it comes to forward momentum, with a deft sense of pacing that ensures no single run feels pointless. This is achieved with objective markers that are used to guide you around the city, as well as spooky hints whispered to you from a mysterious, disembodied voice. The combination of the two means you’re always prodded towards the next big revelation, without getting overbearing to the point where the revelation feels undeserved. At times your next step won’t be indicated by a marker at all, making it clear that there’s some information you still need to draw from some citizens or a crucial item you need to find until you get some more help. The Forgotten City ultimately wants you to succeed without feeling like you’re running around aimlessly in circles, and it balances this so expertly that each of its story beats feels triumphantly earned.
The Forgotten City does a clever job of blending modern, anachronistic humor with the setting of Ancient Rome.
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There are also sparse moments of more traditional action-adventure tropes, with one optional section of the story (conveniently signposted for those who don’t want to interact with it) dedicated entirely to some light horror and first-person action. This part can feel slightly janky, with a clear focus of development being on the game’s narrative and branching conversations and not its fluidity when fighting enemies with a bow. That said, there’s nothing wrong with the sections either, especially given that they’re one-off instances that don’t need to be repeated in any other loop if you don’t want to. They’re self-encapsulated detours from the main attraction, while also offering some of the most harrowing story progressions that take the tone of The Forgotten City down even more morally ambiguous avenues.
Although there’s serious themes underpinning the overall narrative of The Forgotten City, each of which are explored to different degrees depending on which of the four endings you land at, there’s a playfulness to the journey that endears you towards each of its characters. An early example of this is having to explain what a meme is to an ancient Roman priestess, who in turn attempts to contextualize your explanation with the only points of reference available to her at the time. She settles on understanding memes as hieroglyphs with negative connotations towards people with the name Karen, which got such a laugh out of me at the time that I consistently associated the priestess with that moment. The Forgotten City is filled with moments like these, consistently adding a layer of levity to its otherwise death-filled narrative that cuts the tension at great moments.
It’s this careful mix of themes and the effortless manner in which The Forgotten City serves them up that makes each of its many memorable moments stick with you long after credits have rolled. They provide the impetus that drives you to discover more, with the game teasing you to discover its alternative endings for the most comprehensive conclusion to its often morally-complex tale. And it’ll be hard to ignore the pull of diving back into the loop once again, if only to see small character reactions to new lines of dialogue, or the reactive nature that relationships have to slight changes in approach you might not have initially considered. The Forgotten City rewards your inquisitive mind with equally satisfying rewards at every turn, making its time-travelling tale one not to miss out on.
Dune director Denis Villeneuve has once again criticized the decision to release the upcoming sci-fi film on HBO Max on day one, lamenting that watching a film of its size and scale at home is similar to driving a speedboat in your bathtub. Speaking to Total Film, Villeneuve doubled down on his anti-HBO Max comments in the lead up to Dune’s release in October.
He acknowledged that the movie business is “under tremendous pressure” due to the pandemic, but he is still upset that Dune is coming to HBO Max.
“The way it happened, I’m still not happy. Frankly, to watch Dune on a television, the best way I can compare it is to drive a speedboat in your bathtub. For me, it’s ridiculous. It’s a movie that has been made as a tribute to the big-screen experience,” he said.
Responding to the decision by Warner Bros. to release all of its 2021 films on HBO Max day and date with theatres due in part to the pandemic, Villeneuve said it was a business move by WB’s owner, AT&T, to make money.
“There is absolutely no love for cinema, nor for the audience here. It is all about the survival of a telecom mammoth, one that is currently bearing an astronomical debt of more than $150 billion,” he said in December 2020.
The director acknowledged that streaming services have a role to play and in fact they are a “positive and powerful addition to the movie and TV ecosystems.” Still, he said he wants movie fans to know that “streaming alone can’t sustain the film industry as we knew it before COVID.”
“Streaming can produce great content, but not movies of Dune’s scope and scale,” he said. “Dune is by far the best movie I’ve ever made. My team and I devoted more than three years of our lives to make it a unique big screen experience. Our movie’s image and sound were meticulously designed to be seen in theaters.”
Kyle MacLachlan, who starred in the original Dune, also questioned the move to bring Dune to HBO Max. “I think the simultaneous release is kind of the wave of the future. It’s disheartening though because a movie like that is meant to be seen on the large screen,” he said.
Villeneuve isn’t alone in criticizing WB’s move to bring its 2021 film slate to HBO Max on day one. Christopher Nolan, the director of Inception and The Dark Knight, said the movie studio’s 2021 films are being used as loss-leaders to subsidize HBO Max.
“In 2021, they’ve got some of the top filmmakers in the world, they’ve got some of the biggest stars in the world who worked for years in some cases on these projects very close to their hearts that are meant to be big-screen experiences,” Nolan said. “They’re meant to be out there for the widest possible audiences… And now they’re being used as a loss-leader for the streaming service–for the fledgling streaming service–without any consultation. So, there’s a lot of controversy. It’s very, very, very, very messy. A real bait and switch.”
Dune, which is based on the Frank Herbert novel, is slated to release in theaters and on HBO Max on October 22. It stars Zendaya, Timothee Chalamet, Jason Momoa, Josh Brolin, Oscar Isaac, and Dave Bautista, just to name a few from its massive cast.
Though the running joke is every game seemingly has some Dark Souls element, developer Round8 Studio’s Lies of P takes that sentiment literally by adapting Carlo Collodi’s children’s novel The Adventures of Pinocchio into a macabre third-person hack-and-slash action-adventure game.
In Lies of P (spotted by PC Gamer), you play as the puppet mechanoid Pinocchio who must fight through the sprawling, plague-ridden European city of Krat to locate the famed Geppetto. But that’s not you’re only objective: Pinocchio must also uncover the secret of Geppetto’s disappearance.
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It seems the game is more inspired by Pinocchio’s story than a direct adaptation of it. Collodi’s plot is a familiar one, especially to families with young kids. Geppetto wants to become a famous puppeteer, so he carves a marionette out of enchanted wood. The doll comes to life and finds himself in a twisting narrative to become a real boy whose nose grows when he lies. There’s a bit more to it, but it’s a metaphor for the human condition–a tale about honesty and consequences.
You can check out Lies of P’s official story trailer above.
Lies of P flips most of that on its head while keep the core story’s trappings. For example, Pinocchio is a machine instead of a puppet, meaning you can swap pieces out like Sekiro: Shadows Die Twice.
And per the Steam store page, Lies of P is “an action souls-like game” in which you craft weapons and employ skills to defeat enemies. This wouldn’t be a Pinocchio narrative without the lies, though, and it seems the game incorporates that into a humanity mechanic similar to Dontnod’s Vampyr; the more you lie, the more human you become. It’s unclear exactly how lying will impact the game. However, the story trailer’s description confirms becoming human comes with some perks.
Lies of P doesn’t have a release date yet, but it’s confirmed to have been “built from the ground up” for PC, PlayStation 5, and Xbox Series X|S.
The first 13 episodes of the Shaman King reboot are now streaming on Netflix.
Much of the 2021 version of Shaman King can be boiled down to “too little, too late.” The manga may have once been a popular alternative to the Big Three, offering a different kind of hero to Naturo, Ichigo, or Luffy, with a laidback protagonist in a horror-inspired world full of ghouls and spirits. But in 2021, anything that could have made the show stand out feels like a duller version of better-made series. It doesn’t help that the animation itself feels like a throwback to early ’00s anime — and not in a good way. If you are a fan of the manga, the show’s extremely faithful adaptation should be a delightful walk down memory lane, but for newcomers, the show leaves a lot to be desired.
Shaman King started out as a Weekly Shonen Jump manga written by Hiroyuki Takei, and it was first adapted back in 2001 — a time before Naruto, Fullmetal Alchemist, or Bleach, but after Dragon Ball Z had completed its run. It’s easy to see why a manga that never broke out as much as One Piece or Naruto could find a huge audience by beating its competitors’ anime adaptations. Though the 2001 adaptation was well-received, it quickly caught up to the manga and started telling its own original story. So when Netflix announced a new anime remake, there was reason to rejoice, as Shaman King fans could get the Fullmetal Alchemist: Brotherhood treatment, a show that revisited the story after the manga was completed to great success.
The problem is that, just like FMA: Brotherhood, Shaman King’s first few episodes assume you’re familiar with the first adaptation, so it rushes through through the initial story way too quickly. It follows 13-year-old Yoh Asakura, a boy who can see ghosts and comes from a long line of shamans. He aspires to participate in a grand tournament that only takes place every 500 years in order to become the Shaman King, so he can live the rest of his days free of worries. From the opening scene, we’re given mountains of information without a single moment to breathe. An ancient prophecy about an evil spirit swiftly gives way to the introduction of main characters, something that keeps happening every 15 minutes or so for the duration of the 13 episodes available on Netflix.
In making the adaptation more faithful to the manga, Shaman King got rid of filler episodes — arguably the two most hated words for anime fans next to “CG animation” — but in the process, it seems to have forgotten that a lack of plot advancement does not equal filler. Without moments to take it all in, the show finds no other way to convey information (and there is a lot of it!) than exposition-heavy conversations where characters explain to one another things they should already know. Worse yet, though the show features some interesting mythology and power systems, they are not nearly as complex or thought-out as something like Hunter x Hunter, making the endless explanations a colossal waste of time when many viewers are way ahead of the characters most of the time.
What little actual story we do get is quite entertaining. Yoh is different enough from Deku, Tanjiro, or Yuji Itadori to make his story interesting, while Ren’s backstory is reminiscent of Avatar: The Last Airbender in the best possible way. Yoh’s laidback attitude is particularly fun to see play out during fight scenes, as he tries his best to come out on top without putting in too much of an effort. Sadly, we rarely see full fight sequences play out. The animation by Studio Bridge tends to over-rely on still frames, speed lines, or simply cutting to black right at the moment of impact.
In some ways, it is kind of nostalgic, and fits with the rest of the anime, which feels like a time capsule to the early ’00s, where anime characters had more cartoonish designs and loud, over-the-top humor. The character designs, in particular, feel like they’re from another era, with exaggerated body proportions and one character that looks like a Funko figure.
What little actual story we do get is quite entertaining.
Still, while the new Shaman King tries to recapture the magic of the manga, the story feels too aged to stand out among the dozens of other shows currently airing, and the rushed pacing and lackluster animation don’t help. If you’re a fan, or looking for a throwback battle shonen anime, you might get some enjoyment out of Shaman King, but even then, you might be better off watching an actual ’00s battle shonen anime.
One of the ways that Battlefield 2042‘s story will be told is through named Specialists, who are each representatives of one of Battlefield’s normal classes. A new video gives an overview of what you can expect from Kimble “Irish” Graves, who is an Engineer Specialist.
Irish is actually a returning character from Battlefield 4, where he fought as a United States marine. Following the events of that game, Irish became a “no-pat,” which are Battlefield 2042’s mercenaries. In the new video, you can see Irish using an array of abilities, including a deployable cover that gives him portable protection during a firefight.
Irish will also have access to a gadget that shoots down projectiles, and he’ll have the veteran perk. This will give him additional armor and grant additional armor benefits from downing enemies. If you’re interested in learning more about Irish and how he’ll fit into the game’s story, check out our breakdown video of a cinematic trailer featuring the character.
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Marvel’s Shang-Chi and the Legend of the Ten Rings will be released nationwide on September 3, but it recently had its theatrical premiere in Los Angeles. While that means the rest of us will still have to hang in and wait for a few more weeks to see it, the good news there is Angelenos, including critics and folks in the movie industry, seem to be loving it.
The most praised aspect of the film is the action sequences–which shouldn’t come as a shock to fans who have been following Marvel movies all this time. And also, if you’re able to (safely) see the movie come September, many have confirmed there is a post-credits scene.
#ShangChi is an absolute triumph, unexpectedly spiritual and emotionally complex, with some of the very best action in the MCU. @SimuLiu is your new favorite Avenger and the movie’s myriad influences (everything from Jackie Chan to Hayao Miyazaki) pay off big time). Astounding.🐉 pic.twitter.com/72Yubnb4KV
Shang-Chi And The Legend Of The Ten Rings is PHENOMENAL. Get hyped. Even fight scene/action sequence is better than the last. @SimuLiu fully embraces the marvel superhero role. Amazing imagery. Killer soundtrack. You’ll want to see this on the big screen. #shangchi
Shang-Chi and the Legend of the Ten Rings earns the title of the best superhero film of 2021 so far. The action scenes are simply spectacular, especially the train & skyscraper scene. Best martial arts I’ve seen in a long time. Simu Liu & Awkwafina are terrific. #ShangChipic.twitter.com/M0EEMJqKu3
Shang-Chi and the Legend of the Ten Rings will be followed byEternalsin November and Spider-Man: No Way Home in December. Beyond that, Marvel haslots more films lined up for 2022 and 2023, including Doctor Strange in the Multiverse of Madness, Thor: Love and Thunder, Black Panther: Wakanda Forever, and The Marvels.
