Denkiworks’ debut lets players pull off tricks and pull pints in a stunning, Japan-inspired setting

A freeloading tanuki, mounting debt, and a town full of possibilities will sound familiar to fans of Animal Crossing. Alas, while you won’t find accountability from Tom Nook, Kyoto-based studio Denkiworks has stepped in to heal your financial trauma with a BMX-filled adventure in which a mammal finally pays the price for their years of bad behaviour. “Even Japanese people ask why it’s a tanuki,” jokes Liam Edwards, a game designer at Denkiworks. “They have such a mythological background to them; they’re almost like dragons in terms of their mythology.”

In Tanuki: Pon’s Summer, you play as an adorable but irresponsible critter named Pon, who’s bled the coffers of the local shrine – his home – dry by buying video games and snack food instead of preparing for its semicentennial matsuri. As a result, the shrine is in total disrepair, and important architecture and cultural artefacts – such as the ema stand and the chōzuya – are left cracked and broken, unbefitting a festival half a century in the making.

Online multiplayer changed the trajectory of games, but the cost of keeping servers running means every virtual world is doomed to die – sooner or later

Nevan Hagarty had an idea. If he and other Halo 3 players stayed online the night of 13 January 2022, they could delay the impending server shutdown. Players knew this was coming: it had happened to Halo 2 when its Xbox Live servers were turned off in 2010, and a group managed to stay logged into the multiplayer servers for weeks.

And so, players gathered online before the server shutdown to pay homage and to mourn the game they loved so dearly. And, maybe, to keep it online for a little longer. “I must have played ’til about 4am the night of the shutdown, trading stories with so many players about their love of the game and their experiences over the last 15 years,” says Hagarty, 22. “It was a really wholesome experience I won’t forget.”

Bayreuth festival theatre, Bayreuth
For the festival’s 150th anniversary, the creative team have turned to AI to generate visuals reflecting Wagner’s tetralogy’s past, present – and future. The hyperactive result is a dismal, mindless mess

Unveiled the same week in which tech company Anthropic admitted that its AI model Claude had gone rogue during testing, Bayreuth festival’s new AI-generated staging of Wagner’s four-part Ring of the Nibelungen is at least timely. But anyone who assumes that the cycle’s obsession with knowledge, power and possession might make it an ideal forum for reflection on AI as a major contemporary frontier will be disappointed, as will anyone hopeful about AI’s creative potential within opera.

Commissioned to mark the festival’s 150th anniversary, the production is “curated” – emphatically not “directed” – by a team led by German stage director Marcus Lobbes. He apparently spent weeks in dialogue with AI models about possible interpretations of the Ring. According to the programme book, “power structures, capitalism, mythology, gender roles, nationalism”, all came up. So far, so mainstream Wagner reception. But if these human-machine exchanges were revelatory, you wouldn’t know it from the resulting staging, which uses AI “as an extension of a cultural memory that is never complete”.