Artificial Intelligence (AI): Computer-Generated Storm

Artificial Intelligence (AI): Computer-Generated Storm

Artificial Intelligence (AI) has taken the tech world by storm, becoming a central topic of conversation. Once a niche interest, it now concerns everyone. Machine learning and algorithms have long dominated this space, but AI promises something even smarter. These advanced models claim to produce human-like language, art, videos, and voices at impressive speeds. However, human input remains essential for their output. But do these advancements truly represent intelligence?

The Risks of Human-Like Output

The companies behind AI often focus on potential future capabilities, promising remarkable achievements with more data, control, and power. However, this human-like output poses significant risks. For example, scammers now use AI-generated voices to mimic family members, creating new avenues for fraud (The Guardian). These scams involve spoofed phone calls, claiming a family member is in trouble and needs money—an old scam with a new technological twist.

Artists are also under threat from AI-generated cover bands, which dilute their original work (Slate). Similarly, authors face fake books published under their names, damaging their reputations as they struggle to remove these fraudulent works. Deepfake technology exacerbates these issues, escalating concerns around online abuse and privacy (Boston University).

Data: The New Goldmine

Data has become the new goldmine, with AI models demanding more of it. Companies like Reddit have struck deals with Google and OpenAI to license content, setting a precedent for others (Reuters, The Verge). However, some companies are pushing back against their content being used for free to train models. For instance, the New York Times has filed a copyright lawsuit against OpenAI (Harvard Law).

This is just one of many ongoing legal battles. OpenAI’s consumer-focused chatbots and Meta’s open-source Llama model illustrate the rapid evolution of large language models. Open-source models, often developed without much fanfare, are making quick progress. Practical applications like NVIDIA’s DLSS 3, used for upscaling and frame generation, showcase AI’s potential, despite ongoing challenges. Here’s a video showcasing DLSS 3.

DLSS 4 is coming soon that video is two years old and we’re currently on version 3.8.

The Reality of AI Hype

Despite these advancements, much of the current AI hype feels like a marketing gimmick rather than a transformative tool. AI outputs have their uses but are also susceptible to misuse. Concerns about unregulated use by individuals and potential data breaches are already surfacing, as seen in the case of Star Health’s data leak (Life Insurance International). Imagine the risks when employees use such technologies without their employers’ knowledge, potentially exposing sensitive information to remote servers (Forbes). Something that has already happened leaking of information.

Addressing the Challenges

While I don’t see this wave of computer-generated content as an immediate threat, I have serious concerns about our ability to grapple with existing problems. Misinformation and disinformation thrive in an environment that prioritises engagement over quality, exacerbated by lax moderation practices. Tackling these issues would require overhauling business models and restricting who can post online—steps that could reinforce the dominance of existing tech giants and stifle new challengers.

The internet, built on non-profit code and maintained by a few volunteers, faces growing instability. Big tech has built empires atop this fragile foundation, often unwilling to share profits or cede control. With major regulatory powers like the USA, China, and the EU each pursuing their own visions, the once open World Wide Web increasingly resembles a series of closed-off walled gardens.

The Future of AI and Content

With the flood of computer-generated content on the horizon, distinguishing between real and fake will become increasingly difficult. As we silo ourselves into personalised content bubbles, our perspectives on reality may diverge further. Addressing these challenges will require a concerted effort to ensure that AI serves as a tool for enhancement, not exploitation.

For clarity, I did put this into ChatGPT for spell-checking and grammar edits. It is a useful tool but does not transform the world. Here is the problem without me telling you, you would not have guessed.

Good man and bad president Jimmy Carter

Good Man and Bad President Jimmy Carter

Jimmy Carter was a good man but a bad president. He was also unlucky. A one-term president, he served during a time of deep crisis—some of his own making, others beyond his control. The weak economy of the 1970s, hit by multiple shocks, defined his presidency. The oil shock of the decade led to high inflation and unemployment, causing widespread dissatisfaction with his leadership. One of his key decisions was appointing Paul Volcker as Chair of the Federal Reserve. While Volcker’s policies eventually reduced inflation, the benefits and credit largely went to Carter’s successor.

Carter’s style of governance was rooted in attention to detail, micromanagement, and telling hard truths—often to his detriment. He presented himself as an outsider and acted in a more human, smaller role, akin to a head of state. Above all, he prioritised public service and duty for the greater good—a trait that defined his post-presidential years. A reformer and a strong defender of civil and human rights, Carter did some of his most important work outside the White House. He never allowed his presidency to define him. Avoiding the lucrative path of paid speeches, he focused instead on the hard work of progress.

Above all else, Carter was a public servant—modest and honest. His biggest flaw was his stubbornness as an outsider, which left him isolated and unable to work effectively with his own party. However, this same quality became a strength after leaving office. While his presidency is widely considered a failure, he laid the groundwork for his successors’ successes.

The Iranian hostage crisis exemplifies his misfortune. Carter authorised a daring but failed rescue mission, yet he worked tirelessly until the final minutes of his presidency to negotiate their release. The hostages were freed mere minutes after Ronald Reagan took office. This incident highlights Carter’s bad luck and the potential humiliation inflicted by Iran—though whether the delay was intentional or coincidental remains unclear. Carter’s hard work often went unrecognised, but he never sought the limelight. Years later he did win noble peace prize.

He reminds me of the late Queen Elizabeth II: a public servant above all else, never seeking to enrich himself and always maintaining modesty, even while occupying a grand office. After leaving office, Carter never pursued wealth. Instead, he used his influence with a deep sense of public duty. His approach to leadership reflected a more European style—dignified and understated, though occasionally outspoken. It feels almost poetic.

His successor, Ronald Reagan, was his complete opposite—a pattern that seems to repeat in history. The contrast is evident today with Joe Biden and Donald Trump. The latter, a criminal, represents a bad man and a bad president. Biden, much like Carter, is blamed for issues largely beyond his control. High inflation has tarnished his reputation, and his party struggles to craft a positive narrative. Biden is passing on a recovered economy, but without receiving the credit. It feels tragically poetic that Carter passed away before Trump takes office again.

Jimmy Carter lived to the remarkable age of 100, serving as the 39th President of the United States and outlasting many of his successors. Trump, set to become the 47th president, underscores Carter’s extraordinary longevity. Carter was the oldest living former president, a title that now passes to Joe Biden—who originally endorsed Carter early in his career. This full-circle moment connects the oldest president, the oldest former president, and now the oldest to take office. Both men have been heavily influenced by Christian values and beliefs.

My knowledge of Carter was rather limited until his death. I knew about his work building homes and that he was an outsider. I never saw him giving speeches or trying to make money. He was a low-key public servant even outside of office, and he earned my respect. He is one of the great post-presidencies, redefining what it means to serve after leaving office. Carter created a blueprint for others to follow. There will not be another one like him—American politics is too toxic and dysfunctional now. The age of good chaps and gentlemen is over. A former peanut farmer, Carter was a good man but a bad president—a shining light for how politicians should conduct themselves out of office.

Festive music

Festive music

Today’s post is more light-hearted: my favourite popular Christmas music.
This will form part of a playlist. I don’t have any strict rules, apart from focusing on popular songs. Last year, I made a playlist—which you can find here—with various rules attached. This year, I’m being more flexible, sharing thoughts and a little bit of history along the way. Below are some songs—you may recognise a few.

The list is sorted by release date, showcasing a mix of classics and newer songs:

  • Deck the Halls by Nat King Cole (traditional carol; Nat King Cole’s version released in the 1960s, original carol dates back to 16th-century Wales)
  • Joy to the World by Nat King Cole (traditional carol; Nat King Cole’s version released in the 1960s, original written in 1719)
  • It’s Beginning to Look a Lot Like Christmas by Perry Como (1951)
  • Jingle Bell Rock by Bobby Helms (1957)
  • Rockin’ Around the Christmas Tree by Brenda Lee (1958)
  • It’s the Most Wonderful Time of the Year by Andy Williams (1963)
  • Sleigh Ride by The Ronettes (1963)
  • Happy Xmas (War Is Over) by John Lennon (1971)
  • Wonderful Christmastime by Paul McCartney (1979)
  • Walking in the Air by Peter Auty (1982, originally from The Snowman)
  • Do They Know It’s Christmas? by Band Aid (1984)
  • Last Christmas by Wham! (1984)
  • Merry Christmas Everyone by Shakin’ Stevens (1985)
  • Carol of the Bells by John Williams (traditional; this arrangement is from Home Alone (1990), original composed in 1914)
  • Santa Claus Is Coming to Town by Michael Bublé (2011, though the song dates back to 1934)

I may have added more songs than I originally planned, but these are classic Christmas tracks. I’ve included some well-known tunes that are played on repeat during the season. Growing up, I remember these songs being everywhere. Back then, music was more communal: you had the radio and, later, TV. Families would gather to listen or watch scheduled playlists together. You couldn’t pause or replay them, so you had to catch them live.

Today, music feels more personal. With headphones and streaming services, public music has become less common. Streaming allows us to play songs on repeat, turning us into our own DJs. Algorithms create playlists tailored to individual tastes, trapping us in personal bubbles. Unlike in the past, when everyone was exposed to the same songs, the shared experience of loving—or hating—a popular tune is disappearing.

Honestly, that’s a shame. The music industry has changed drastically, shifting from the golden age of physical media to the dominance of streaming. Many of these songs have been covered countless times, often based on older carols. Streaming has even shaped music itself, making songs shorter and faster-paced.

Among the more recent hits, All I Want for Christmas Is You by Mariah Carey (1994) is iconic. A modern favourite of mine is Snowman by Sia (2017)—it’s rather good. There are also Christmas covers in metal or rock styles, offering a fresh twist on traditional pop versions.

Lately, I’ve come to enjoy jazz at Christmas—it’s calming and refreshing. Examples include O Little Town of Bethlehem by Chris Botti or Oscar Peterson, both offering unique takes on this carol (originally written in 1868). Santa Claus Is Coming to Town by Bill Evans and a jazzy twist on Baby, It’s Cold Outside by Jimmy Smith and Wes Montgomery are equally brilliant.

Classic carols also have enduring appeal. O Holy Night (1847) and Jingle Bells (1857) are often covered. Carol of the Bells, with its Ukrainian origins, has become timeless. Once in Royal David’s City (1848) and Away in a Manger (1885) remind me of nativity plays, while The Twelve Days of Christmas (1780) is one I can never quite remember all the words to.

Some carols have ancient roots. The oldest I found is Jesus, Light of All the Nations, dating back to 4th-century France. It’s not widely known, and I’ve yet to find a modern performance. Another is The Friendly Beasts, a 12th-century tune still sung today, with a modern version written in 1920.

Modern interpretations, like A Mad Russian’s Christmas by Trans-Siberian Orchestra (1996), mix classical and rock. The band, oddly American, has loads of excellent Christmas-themed music. O Holy Night by Apocalyptica (2008), with its stunning use of violins, is soothing and relaxing.

Finally, I’ll mention Skating by Vince Guaraldi Trio (1965) from the Charlie Brown Christmas special and the Dance of the Sugar Plum Fairy (1892) from The Nutcracker. These remind me of Christmas theatre and festive imagination. For a fun twist, check out Don’t Shoot Me Santa by The Killers (2007) or Winter Lights by Ferran Leal (2020).

In total, this post features 34 songs. Thanks for reading—happy holidays or winter!

Today’s post is more light-hearted: my favourite popular Christmas music.
This will form part of a playlist. Apart from focusing on popular songs, I don’t have any strict rules. Last year, I made a playlist—which you can find here—with various rules attached. This year, I’m being more flexible, sharing thoughts and a bit of history. Below are some songs—you may recognise a few.

The list is sorted by release date, showcasing a mix of classics and newer songs:

  • Deck the Halls by Nat King Cole (traditional carol; Nat King Cole’s version released in the 1960s, original carol dates back to 16th-century Wales)
  • Joy to the World by Nat King Cole (traditional carol; Nat King Cole’s version released in the 1960s, original written in 1719)
  • It’s Beginning to Look a Lot Like Christmas by Perry Como (1951)
  • Jingle Bell Rock by Bobby Helms (1957)
  • Rockin’ Around the Christmas Tree by Brenda Lee (1958)
  • It’s the Most Wonderful Time of the Year by Andy Williams (1963)
  • Sleigh Ride by The Ronettes (1963)
  • Happy Xmas (War Is Over) by John Lennon (1971)
  • Wonderful Christmastime by Paul McCartney (1979)
  • Walking in the Air by Peter Auty (1982, originally from The Snowman)
  • Do They Know It’s Christmas? by Band Aid (1984)
  • Last Christmas by Wham! (1984)
  • Merry Christmas Everyone by Shakin’ Stevens (1985)
  • Carol of the Bells by John Williams (traditional; this arrangement is from Home Alone (1990), original composed in 1914)
  • Santa Claus Is Coming to Town by Michael Bublé (2011, though the song dates back to 1934)

I may have added more songs than I originally planned, but these are classic Christmas tracks. I’ve included some well-known tunes that are played on repeat during the season. Growing up, I remember these songs being everywhere. Back then, music was more communal: you had the radio and, later, TV. Families would gather to listen or watch scheduled playlists together. You couldn’t pause or replay them, so you had to catch them live.

Today, music feels more personal. With headphones and streaming services, public music has become less common. Streaming allows us to play songs on repeat, turning us into our own DJs. Algorithms create playlists tailored to individual tastes, trapping us in personal bubbles. Unlike in the past, when everyone was exposed to the same songs, the shared experience of loving—or hating—a popular tune is disappearing.

Honestly, that’s a shame. The music industry has changed drastically, shifting from the golden age of physical media to the dominance of streaming. Many of these songs have been covered countless times, often based on older carols. Streaming has even shaped music itself, making songs shorter and faster-paced.

Among the more recent hits, All I Want for Christmas Is You by Mariah Carey (1994) is iconic. A modern favourite of mine is Snowman by Sia (2017)—it’s rather good. There are also Christmas covers in metal or rock styles, offering a fresh twist on traditional pop versions.

Lately, I’ve come to enjoy jazz at Christmas—it’s calming and refreshing. Examples include O Little Town of Bethlehem by Chris Botti or Oscar Peterson, both offering unique takes on this carol (originally written in 1868). Santa Claus Is Coming to Town by Bill Evans and a jazzy twist on Baby, It’s Cold Outside by Jimmy Smith and Wes Montgomery are equally brilliant.

Classic carols also have enduring appeal. O Holy Night (1847) and Jingle Bells (1857) are often covered. Carol of the Bells, with its Ukrainian origins, has become timeless. Once in Royal David’s City (1848) and Away in a Manger (1885) remind me of nativity plays, while The Twelve Days of Christmas (1780) is one I can never quite remember all the words to.

Some carols have ancient roots. The oldest I found is Jesus, Light of All the Nations, dating back to 4th-century France. It’s not widely known, and I’ve yet to find a modern performance. Another is The Friendly Beasts, a 12th-century tune still sung today, with a modern version written in 1920.

Modern interpretations, like A Mad Russian’s Christmas by Trans-Siberian Orchestra (1996), mix classical and rock. The band, oddly American, has loads of excellent Christmas-themed music. O Holy Night by Apocalyptica (2008), with its stunning use of violins, is soothing and relaxing.

Finally, I’ll mention Skating by Vince Guaraldi Trio (1965) from the Charlie Brown Christmas special and the Dance of the Sugar Plum Fairy (1892) from The Nutcracker. These remind me of Christmas theatre and festive imagination. For a fun twist, check out Don’t Shoot Me Santa by The Killers (2007) or Winter Lights by Ferran Leal (2020).

In total, this post features 34 songs. Thanks for reading—happy holidays or winter!

Xdefiant is weird

Xdefiant is weird

XDefiant is weird. The game is deeply confusing. On one hand, we have a Call of Duty arcade shooter mixed with a hero shooter, with core mechanics clashing. You can see hints of that conflict. The end result is a messy mismatch. Combine that with an art style that’s a mishmash of ideas, and the result is that XDefiant lacks any identity and feels ill-defined. Feels dated like an early 2010s game. I’m not sure who this game is for. Call of Duty veterans? That’s a tiny market. 

The gunplay is okay. Nothing to shout about, with a fast time-to-kill (TTK) that clashes with hero abilities designed for a much slower TTK. Map design feels like an arcade shooter—funnelling players down narrow paths with dozens of lines of sight you can’t cover. Common design for shooters nothing wrong with that. It’s colourful at times, but often dull, and boring, with generic characters—and that’s the problem. It’s a generic shooter. Nothing really stands out. It’s conservative in every respect and dull. Takes no risks.

As a shooter, it’s sort of fun but feels empty and lifeless. Does not use characters well at all. Nothing brings it all together and the result is bland. Only thing keeping you playing is progression, XP lock keeps players engaged. Attachments are behind that and weapons. Similar to other shooters. With shutdown everything is now unlocked. There’s no other gameplay hook that stands out. I’m left asking the question: who is this game for? Why was this made? Why?

Three hundred employees worked on this to deliver the bare minimum, and even then, it was delayed. Tons of basic features are missing or mismatched with the rest of the game. Some good news: the sound design seems to be okay. It’s an okay game, and that’s the problem. It’s just okay—a game with no clear direction. No single-player mode to fall back on, no co-op mode. Two most successful shooters of last decade have done something new. This game offers nothing new.

I’m no game reviewer, but I can see certain problems surely everybody else can. Unless this is a case of people investing time and not wanting to quit. Call of Duty is fast-paced. Its fast abilities rarely take you out of the action—that’s on purpose. Designers know you don’t want to die before using that super special attack. Yet that lesson is lost here. Worse still, some of the former designers worked on CoD. It seems to clone ideas without introducing anything new, being ultra-conservative without taking risks.

Unlike operators, which are skin deep, customisation in XDefiant is similar to hero shooters. But the problem is that everybody feels the same. Abilities don’t really have an impact. So why were they included? Dig further, and you’re left asking why certain choices were made. Why did the team go with such a fast TTK?

Feedback from Two Years Ago

My first impressions were pretty bad, and I didn’t enjoy the game. The core is deeply flawed in some respects.

Movement feels heavy and sluggish, while sliding feels smooth with aiming. It’s an odd contrast that feels disjointed. It just feels bad playing this game with a controller right now. Each complaint I had flowed into one thing: I was not having fun. The game felt like a worse Call of Duty clone. If you want to clone a game, you need to make a better version of it or introduce a new gameplay hook. Instead, the designers seemed to blindly follow the trend without considering other options.

A super short TTK with poor hit detection feels awful together. I have no idea if that’s due to the tick rate or by design. I found it hard to trace players, as the art style bends people into the background. Maps don’t suit having so many game modes.

A big problem was the game’s lack of direction. Beyond being a shooter, crafting useful feedback became difficult. I simply didn’t like the game in its current state, and that’s okay.

Some good news movement feels better. The bad news is shotguns feel like they wanted a slower game still. Core of the game is still flawed with hit detection still iffy, kill trading a thing which is rather funny. Some more good news it feels better on a controller. It a bit more fun. Lacking something magic and seems to follow trends without something new to offer. Worse still seems to misunderstand each choice that CoD has made and follows it blindly. From former CoD devs that raises questions. Art style is better but people blend in. Lack of direction remains. I sort of like the game now but it still not good enough. It sucks to see it die.

You can see they wanted a slower game. Shotguns still feel heavy and less arcade-like. But the rest of the game doesn’t have the same level of weight. It’s subtle, but noticeable. There are hints they wanted a hero shooter. However, the game was pushed in the opposite direction, creating this weird mash-up monster. Okay, maybe that’s harsh. I remember making the same movement point during the beta—and I was downvoted for it. Good news: they backtracked. Bad news: my broader point about not having a clue what direction they wanted rings true. It just all over the place.

Netcode and hit registration issues stand out. If you’re going to make a game this generic, it better be technically brilliant. Yet this game isn’t. It’s built on a bunch of flaws that were already pointed out during the beta. Even after all the delays, these issues weren’t fixed. Credit where it’s due: they delayed the game. But given the barebones content at launch, what were they working on? Did all the artists become beta testers? For a competitive shooter, you need outstanding netcode. Was Ubisoft trying to make an esport title? If so, why combine hero shooter mechanics with CoD-style gameplay?

It’s a dead game now. It’s dated and generic, with its funeral set. Perhaps Ubisoft will learn its lesson. Small-scale projects, taking some risk, and focusing on a gap. I respect them for trying to bring all their characters together, but two games in one did not work. Rumours are a buyout is coming soon.

Making games is hard. Making a successful game is even harder. It sucks that this game is shutting down. It could have been rebooted, but that would have required serious retooling of the core experience. Ubisoft, in the end, did not want to do that—business, after all.

Syrian tragedy

Syrian tragedy

Syria’s Civil War: A Fragile Coalition of Enemies

Syria’s civil war is one of the most complex and bloody conflicts in modern history. As a non-expert, I’ll try to break down the situation, explain the key players, and provide an overview of recent developments. This war, which started over a decade ago, is anything but simple.

A Brief History of the Civil War

Syria’s civil war began in 2011 during the Arab Spring protests. What started as demonstrations against President Bashar al-Assad’s government escalated into a full-scale war. Government crackdowns turned into violent insurgencies, with rebels receiving support from NATO and the Gulf Cooperation Council. Meanwhile, Assad’s regime was backed by Iran and Russia.

Russia’s airstrikes, which began in 2015, devastated rebel-controlled cities, while Iran deployed proxy forces to help Assad. Even Israel got involved, targeting Islamic State (IS) fighters and gathering intelligence on Iran’s proxies.

By late 2018, the rebels had lost almost all their territory, holding only a few strongholds. The war seemed frozen, but new developments have reignited the conflict.

The Rise and Fall of Islamic State

In 2014, the Islamic State emerged as a major threat, taking territory from both the rebels and the government. However, by 2017, an international coalition had largely defeated IS, though the group remains an insurgent threat in eastern Syria.

Adding to the chaos, Turkey launched a 2016 invasion against IS, the Kurds, and the Syrian government. This multi-front conflict highlighted just how many factions are involved in Syria’s war.

A Stalemate That Shattered

For years, Syria was locked in a frozen conflict. Assad controlled much of the country, while rebels, including the Kurds and the Free Syrian Army, held smaller regions. The United States supported some rebel groups, while Turkey backed others—often creating tensions between the two NATO allies.

In 2019, a U.S. withdrawal from Syria left the Kurds vulnerable to Turkish attacks. The Kurds struck a deal with Assad for protection, but this alliance of convenience did little to change the overall stalemate.

Two recent events have now shattered this fragile balance:

  • The war in Gaza.
  • Russia’s ongoing war in Ukraine.

Iran and Israel’s Proxy War

Iran has long used Syria as a base for its proxies, including Hezbollah, to counter Israel and project power in the region. However, Israel’s retaliation to attacks by Iranian-backed Hamas in Gaza has decimated Iran’s proxy network. Hezbollah, which operates in both Syria and Lebanon, has suffered heavy losses in leadership, forcing it into a ceasefire.

These setbacks have significantly weakened Iran’s influence in Syria, making it harder for Tehran to maintain its regional dominance.


Israel’s Proxy War with Iran

Israel’s long-running proxy war with Iran is fundamentally about self-preservation. While Israel is strong enough to withstand most threats, its main objective is to reduce Iranian influence and ensure its own security.

A key area of interest is the Golan Heights, which shares a border with Syria. While some Israelis see the region as a strategic buffer zone, others view it through the lens of settlement expansion, adding to regional mistrust and unease.

Israel is particularly concerned about the possibility of terrorists, chemical weapons, or Iranian arms crossing into its territory. Beyond immediate threats, Israel seeks to degrade Iran’s ability to wage a shadow proxy war against it.

Looming in the background is the existential worry of Iran becoming a nuclear-armed state, which would make it the second in the region after Israel’s own unofficial nuclear capability.


Russia’s Waning Role

Russia, one of Assad’s main backers, has been weakened by its war in Ukraine. With resources stretched thin, Moscow can no longer provide meaningful support in Syria.

Russia’s naval and airbases in Syria remain strategically important, but its broader ambitions in the region have been curtailed. Both are used to supply Russian proxy forces in Africa and Assad’s regime. Once heavily reliant on Russian support, Assad’s regime is now showing signs of vulnerability. Russia used Syria to help provoke a refugee crisis in Europe and instability. Now it faces it own interests suffering from instability caused by its actions.


A Fragile Alliance of Frenemies

The rebels have taken advantage of Russia’s and Iran’s declining influence. Groups like Hay’at Tahrir al-Sham (HTS), once linked to al-Qaeda, have forged uneasy alliances with other opposition factions. While HTS remains controversial, its cooperation with other groups has strengthened the rebel coalition.

Turkey has played a crucial role, providing support to rebel factions while working to suppress Kurdish autonomy movements. Ankara’s involvement reflects both nationalist ambitions and a desire to reshape Syria’s future.

Interestingly, reports suggest that rebel-held areas have avoided widespread atrocities. Local elders have mediated disputes, creating a semblance of order amid the chaos.


Turkey: What Do They Want?

Turkey’s objectives in Syria extend beyond countering Kurdish nationalist movements. A key priority is reducing Iran’s influence and addressing the millions of Syrian refugees currently residing in Turkey, which have caused significant political unrest and domestic pressure.

However, there’s also an element of self-interest. Turkey sees a major opportunity to rebuild Syria and strengthen economic ties with the region. By doing so, it can not only diminish Iran’s and Russia’s influence but also gain significant leverage over both in economic and military terms.

Russia is already adapting to this new reality, as Turkey asserts itself as a key player in shaping Syria’s future.


Assad’s Mistakes and Collapse

Despite growing pressures, Assad refused to compromise. At a summit with Iran, Russia, Turkey, and Qatar, he was offered a way out but declined. This stubbornness, combined with economic collapse and defections from his army, has led to his regime’s rapid downfall.

Rebels are now advancing toward key cities like Damascus and Homs. Taking Homs would isolate the capital, dealing a significant blow to Assad’s remaining forces.


Iran and Russia Cut Their Losses

Assad’s defeat has forced Iran and Russia to reconsider their positions. Both countries have realized that salvaging his regime would require far more resources than they can afford. Iran, while weakened, may still maintain some influence through its remaining proxies.

Russia faces a greater loss: its warm-water port in Syria is critical for resupplying its African proxies and sustaining its global strategy. Losing it would be a major humiliation. Meanwhile, Iran’s loss of its land bridge to its proxies complicates resupply efforts, though it retains regional allies for now.


What’s Next for Syria?

The fall of Assad marks the end of one chapter but opens many questions about Syria’s future. Possible scenarios include:

  • A divided Syria, with different factions controlling separate regions.
  • A prolonged insurgency, as rival groups vie for power.
  • International mediation, though it’s unclear who would lead this effort—Turkey, Qatar, or another power?

Rebuilding Syria will require significant international support. Without it, the country risks descending into another brutal conflict.


A Fragile Victory

Assad has reportedly fled Syria, leaving the country in rebel hands. While this is a stunning turnaround, the coalition of rebels must now prove they can govern effectively. With Turkey holding significant influence, the international community will watch closely to see if peace can be maintained.

For Syria, the road ahead remains uncertain.

This conflict is filled with twists and turns, where friends and enemies often switch roles. I have focused primarily on the main players to provide an overview of the war, but there are countless other actors and layers of history that shape Syria’s ongoing tragedy.

Conclusion and Wrap-Up

Syria’s future hangs in the balance, divided among four powerful factions with conflicting goals. The U.S.-backed groups in the south, Kurdish forces in the northeast, Turkish-backed Islamist groups in the northwest, and Turkey itself all have stakes in the outcome.

Turkey’s dual objectives—repatriating Syrian refugees while undermining Kurdish autonomy—highlight the complexity of the conflict. This tug-of-war between regional powers risks sidelining the voices of the Syrian people, who remain most affected by the chaos.

Ultimately, Syria’s fate will depend on whether these external forces prioritize stability over self-interest. Without meaningful cooperation and international support, peace will remain elusive, and the suffering of ordinary Syrians will persist.

Xdefiant is shutting down

XDefiant is Shutting Down

I played the beta test for XDefiant back in 2023 – you can see my first impressions here. I wasn’t particularly kind in my review, as I found the game underwhelming.

Despite initial hype – with around 3 million players trying the beta – Ubisoft went silent for two months. When the game finally launched in 2024, it reported 10 million players over its first two weeks. But now, barely a year later, XDefiant is shutting down. The game has already been delisted, with servers scheduled to go offline in June 2025. Ubisoft has offered refunds for certain purchases and for items bought within the last 30 days, suggesting all in-game sales will be suspended.

When someone mentioned the shutdown to me recently, my first reaction was: That game actually came out? I couldn’t even remember playing it until I looked it up. That alone says everything: the game lacked any lasting identity. Its name and branding felt generic, like a shooter from a decade ago. I’m still surprised Ubisoft didn’t use the Rainbow Six branding to leverage an existing fan base. Oddly, while it avoided Rainbow Six in its name, XDefiant borrowed character factions from Ubisoft’s other franchises, including Far Cry, Watch Dogs, and Tom Clancy titles.


The Fallout

Ubisoft announced the shutdown alongside news of studio closures and layoffs. Two of the primary studios behind XDefiant – Ubisoft San Francisco and Ubisoft Osaka – are closing, resulting in 143 and 134 layoffs, respectively. Ubisoft’s Sydney office is also downsizing.

This game was supposed to be Ubisoft’s big entry into the live service genre, positioned as a direct competitor to Call of Duty. But it’s clear Ubisoft miscalculated. The company has faced a string of lacklustre releases and financial struggles, and XDefiant became another failure in its growing list of missteps.


Revisiting XDefiant

I revisited XDefiant, and to its credit, it’s more polished than it was during the beta. However, key issues remain, the biggest being its lack of progression. There’s nothing to keep players coming back.

Shotguns still feel heavy and clunky compared to the smooth handling of assault rifles. The maps are vibrant, but the overly dark character designs hurt visibility. While Ubisoft has made slight improvements in this area, it’s still not where it needs to be.

The map design follows the arcade-style formula of Call of Duty. A standout feature is that weapons and attachments are not locked behind progression; everything is available from the start. This is a refreshing change from grind-heavy systems, but it’s also a double-edged sword. Without progression hooks, there’s little incentive to keep playing. The game’s basic daily challenges and camo unlocks tied to levelling feel like afterthoughts.

If XDefiant had launched in 2023 with its current polish, it might have stood a better chance. But the delays and absence of essential features at release doomed it. To me, it feels like a carbon copy of Call of Duty – well-executed but saddled with the same flaws. It’s a fast time-to-kill game with restricted movement and map design, seemingly tailored to make casual players feel good.


Lessons Not Learned

Ubisoft’s belief that XDefiant could rival Call of Duty was naive. Call of Duty’s free-to-play offering is a global juggernaut, consistently among the top five games. Once again, it’s the lower-level developers – not the executives who made these decisions – paying the price for failure.

Live service games can be incredibly profitable, but success demands a long-term vision, a steady content pipeline, and robust management. Ubisoft seemed to skip these steps, relying on a few beta weekends and a delayed launch. The lack of basic content at release was shocking.

This shutdown echoes Concord, Sony’s live service shooter, which was cancelled just two weeks after its October 2024 launch. At least Ubisoft can claim XDefiant lasted longer. But it’s frustrating to see publishers repeatedly chase trends without learning from past mistakes.


A Broken Industry Model

The deeper issue lies in the rising costs of game development, which have fostered a risk-averse, short-term mindset. This stifles creativity, leading to fewer new games, longer development cycles, and an overreliance on updates for existing titles.

Perhaps the solution is to balance smaller, experimental projects with a few major releases every couple of years, alongside a single well-supported live service game.

The gaming industry’s COVID-era boom is over, and many studios are scrambling to adapt. Until the industry rethinks how games are planned, developed, and released, we’ll continue to see more XDefiants: trend-chasing projects burdened by mismanagement and poor execution.


A Missed Opportunity for Preservation

One final frustration is that XDefiant will not be preserved. Game preservation is crucial, and it’s a shame Ubisoft didn’t consider making the game open source or revamping its assets to avoid IP conflicts. Instead, it’s being written off as a tax loss – another casualty of corporate thinking.

Preserving games, even flawed ones, matters for gaming history. Sadly, XDefiant will soon be forgotten, a fate it could have avoided.

Bedtime Blog: Balancing Hope and Concern on Assisted Dying in the UK

Bedtime Blog: Balancing Hope and Concern on Assisted Dying in the UK

I’m writing this blog post at 10 p.m., so it’s going to be a quick one before bed. Originally, I planned to write something a couple of days ago, but the subject of the assisted dying bill brought back memories I did not want to revisit. Today’s subject is the Terminally Ill Adults (End of Life) Bill.

It’s a private member’s bill, something which almost never gets passed, making its way through the House of Commons. The last time a bill like this was debated was in 2015, yet now it has passed its second reading.

You can read the bill here: Full Bill PDF

At 38 pages long, it seems to be rather strict in outlining when this new legal power can be used.

I broadly support the bill, but I still have some concerns. My first concern is that the safeguards may be too strict, potentially making the process too lengthy. I’m unsure whether the safeguards will have the desired impact or might cause unintended negative effects instead.

I also have a deep mistrust and fear about state abuse. It wasn’t long ago that the NHS issued ‘do not resuscitate’ orders for some patients during the COVID pandemic without transparency. Alongside historic abuse in care homes, vulnerable people in society have been treated poorly for a long time.

That said, I am reminded of my own painful experiences watching family members die slowly and painfully, with no hope of recovery. Ending it all would have been a much better option than hopelessly fighting against the odds.

Arguments against the bill often include concerns about poor social care, poor outcomes, and inadequate end-of-life care. I don’t view these as valid arguments because the people making them have had the opportunity to address these problems but have chosen not to.

I hope this bill brings these issues to the forefront, but the current government already has a long list of problems to tackle. Radical reform of deep structural issues is likely to take a back seat to more immediate concerns. I’m cautiously optimistic that we might finally address this, but after 14 years or more of neglect, the state is in a massive hole—far weaker, doing more with less, lacking expertise, and barely functioning in some areas.

My next big concern is that this bill will place additional burdens on already stretched resources. I also have deep-seated concerns that some people, particularly the disabled and vulnerable, may be coerced into taking this route. There’s a risk that a future government might exploit this law for headline-grabbing purposes, with potentially devastating consequences. Given the past abuse of power and lack of moral standing, these fears are not unfounded.

I suppose the broader issue here is a deep mistrust of the state, something I hadn’t considered as fully until today. On one hand, I support this bill; on the other, I worry about its implications.

However painful my memories are, this decision should not be taken lightly. Crossing the Rubicon on such a significant issue demands caution. This could be one of the biggest societal changes in the UK for generations. Perhaps it will finally lead us to discuss ageing and death more openly. Maybe, in time, we’ll be ready to talk about other taboo subjects, like sex and relationships.

Who knows? What I do know is that this was a historic day. For the first time I can remember, the House of Commons was silent when the bill passed. It restored a bit of my faith in politics. Perhaps this new Parliament is better than the last.

James Bond: 60th Anniversary and Top 10 Theme Songs

My Top 10 James Bond Theme Songs

“James Bond Theme” – Monty Norman and John Barry (1962)
The James Bond Theme is based on an earlier melody Monty Norman composed for a play, originally inspired by Bad Sign, Good Sign. Despite legal battles over its authorship, Norman’s creation became one of cinema’s most recognisable pieces, while John Barry’s orchestration gave it the unmistakable brassy punch that we now associate with Bond. This theme laid the foundation for the franchise’s musical legacy.

“Goldfinger” – Shirley Bassey (1964)
Shirley Bassey’s soaring vocals made Goldfinger an instant classic. Despite technical challenges during its recording and producer Harry Saltzman’s dislike of the track, it was released unchanged. The result is one of the most iconic Bond themes, embodying the franchise’s glamour and intrigue. For many, it remains the defining Bond song.

“On Her Majesty’s Secret Service” – John Barry (1969)
This instrumental theme introduced a synthesiser to Bond’s world, marrying futuristic sounds with Barry’s signature orchestral grandeur. Often overlooked, it is a dynamic piece that stands out in the series for its boldness and innovation. Its brassy, pulsating energy mirrors the film’s tension and style, earning its place as a standout.

“Live and Let Die” – Paul McCartney and Wings (1973)
Paul McCartney and Linda McCartney created the first rock-inspired Bond theme. Its fusion of orchestral drama, reggae interludes, and explosive rock gave the franchise a fresh edge. Paul insisted on performing the song himself, fending off suggestions that another artist should sing it. The result is a thrilling, genre-blending masterpiece that redefined Bond’s soundscape.

“For Your Eyes Only” – Sheena Easton (1981)
Sheena Easton made history as the first performer to appear in the opening credits of a Bond film. The romantic ballad reflects the emotional undercurrents of the film, while Bill Conti’s score perfectly complements her tender performance. Interestingly, Blondie had also penned a theme for the film, but producers chose Easton’s version, which aligned more closely with Bond’s aesthetic.

“The Living Daylights” – a-ha (1987)
a-ha’s The Living Daylights merges the synth-pop energy of the ’80s with Bond’s signature orchestral elements. Despite reported creative tensions between the band and John Barry, the track’s electric vibrancy remains a highlight. It encapsulates Timothy Dalton’s gritty take on Bond while nodding to the franchise’s evolving identity.

“GoldenEye” – Tina Turner (1995)
Written by Bono and The Edge of U2, GoldenEye balances modernity with Bond’s classic flair. Tina Turner’s sultry, powerful vocals pay homage to the grandeur of earlier themes while ushering in a new era for the series. Its cryptic lyrics and dramatic arrangement complement Pierce Brosnan’s debut perfectly.

“The World Is Not Enough” – Garbage (1999)
Garbage delivered a unique take with this alternative rock-inspired theme. Shirley Manson’s haunting vocals and the song’s orchestral flourishes evoke the Bond mystique while exploring a darker tone. The lyrics, written from the villain’s perspective, provide a compelling twist that enriches the film’s narrative.

“Skyfall” – Adele (2012)
Adele’s Skyfall channels the essence of classic Bond themes while infusing a modern sensibility. Her insistence on reading the script to align the lyrics with Bond’s journey paid off, creating a track that is as poignant as it is grand. This song marked a triumphant return to form for Bond, winning an Academy Award for Best Original Song—the first Bond theme to do so.

“No Time to Die” – Billie Eilish (2021)
At just 17, Billie Eilish became the youngest artist to record a Bond theme. Written with her brother Finneas, the track captures the sombre tone of Daniel Craig’s final outing as 007. Its understated melody and haunting lyrics reflect Bond’s emotional struggles, serving as a fitting farewell to Craig’s era.


Honourable Mentions and Misses

Some Bond themes, like We Have All the Time in the World by Louis Armstrong, hold a special place for their emotional resonance, while others, such as Madonna’s Die Another Day, feel experimental to a fault. While Die Another Day embraced electronic influences, its heavy use of autotune and techno I don’t enjoy.

For me, instrumental pieces like On Her Majesty’s Secret Service stand out for their innovative blending of tradition and modernity. Tracks like GoldenEye successfully merge past and present, capturing both the nostalgia of Bond and the excitement of reinvention.


My Favourite Theme Song

Choosing a favourite Bond song is no easy task, but for me, Skyfall takes the crown. Adele masterfully captures the essence of Bond, making the song personal and deeply tied to the character’s journey. Winning an Academy Award cemented its legacy, and it set a trend for the franchise, leading to two more Oscar-winning themes. For its emotional depth, cinematic scale, and unforgettable delivery, Skyfall remains unparalleled.

Fixing trust: A Message to Second Dinner

Fixing trust: A Message to Second Dinner

Marvel Snap faces several critical issues that need urgent attention. Two major problems stand out:

  1. Card Acquisition
  2. Series Drops

In February 2024, I shared my concerns about series drops on my blog and Reddit. At the time, I didn’t fully grasp the broader challenges the game was facing. Since then, my understanding of these issues—and how they might be fixed—has deepened.

Here’s my message to Second Dinner: you’ve lost my trust. I no longer believe you’re acting in the players’ best interests to resolve these problems. What I want is simple: regular communication about these issues and a discussion of potential solutions. A bi-weekly or monthly update would demonstrate that you’re listening and working towards fixes.

I’m not asking for a detailed timetable—software development timelines can and do slip. But if you continue down this path, you risk killing your game. Many games have followed similar trajectories, and the results are rarely good. You’ve already had months to address these concerns, and the patience of many players, including myself, is running thin.


Addressing the Core Problems

1. Card Acquisition

The current card acquisition system is slow, frustrating, and heavily skewed against players—especially newer ones. With five new cards released each month (one season pass card and four spotlight cards), resources like spotlight caches and the token shop are stretched thin by design. This creates several issues:

  • Spotlight System Lockouts: Some cards, like Baron Zemo (released in April 2024), remain inaccessible for months. Zemo has not appeared in a single spotlight cache and costs a staggering 6,000 tokens—resources that take weeks or months to collect. Even then, players must wait for his occasional appearance in the token shop.Marvel Snap decks are small and highly optimized, so many cards don’t have equivalent substitutes. Without access to key cards like Zemo, players are locked out of entire archetypes. If they finally acquire the card months later, the meta may have shifted, making their effort feel wasted.
  • Resource Scarcity: The game’s limited token acquisition and spotlight cache availability worsen the issue. Players are forced to make tough choices that often feel unrewarding, especially when meta-defining cards are out of reach.
  • New Player Turnoff: Snap does a great job onboarding players in Series 1 and 2, but Series 3 (with 109 cards and growing) throws them into a chaotic grind. Without clear paths to unlock archetype-defining cards, new players quickly become frustrated and disengaged.
Suggested Fixes for Card Acquisition
  1. Curated Unlocks in Series 3: Once a player enters Series 3, every level could provide a curated card, giving them control and direction over their collection.
  2. Catch-Up Bundles: Introduce affordable bundles for specific archetypes to help new and returning players catch up.
  3. Resource Improvements: Increase token rewards and spotlight cache availability to make the system more player-friendly.

2. Series Drops

The series drop system is another source of frustration. While Snap does a great job onboarding new players with curated card pools in Series 1 and 2, Series 3, Series 4 (27 cards), and Series 5 (73 cards) create an unmanageable bottleneck. Players face daunting odds when trying to acquire specific cards, leaving many unable to build competitive decks.

Key Problems with Series Drops
  1. Inconsistent and Bloated Drops: Series 3 has 109 cards (soon to be 112), making it nearly impossible to acquire specific cards in a timely fashion.
  2. Unclear Schedule: Players have no visibility into when cards will drop or why certain cards are chosen.
  3. Poor Value: Recent series drops often include underwhelming cards, offering little to address the core accessibility issues.
Proposed Fixes for Series Drops
  1. Predictable Schedule: Establish a regular, transparent schedule for series drops.
  2. Cap Series Sizes: Limit Series 4 and 5 to a maximum of 20 cards each, with older cards moving down more consistently.
  3. Lower Token Costs: Reduce the cost of Series 4 cards to 1,000 tokens and Series 5 cards to 2,000 tokens to improve accessibility.
  4. Remove Duplicate Spotlight Cache Cards: Ensure players don’t waste resources on cards they already own.

Moving Forward

Second Dinner, the time to act is now. Your players need regular communication to rebuild trust and stay engaged. Developer blogs, forums, or live updates would provide much-needed transparency and show players you’re serious about addressing their concerns.

Take inspiration from Warframe’s developers, who host weekly and monthly update streams to discuss progress and engage with their community. While your monthly season updates are appreciated, they feel more like marketing tools than meaningful communication.

We’re not asking for miracles, but we do expect accountability and meaningful progress. The longer these issues go unaddressed, the harder it will be to retain your player base. Listen to the community, address these problems, and show us that you’re committed to making Marvel Snap the best game it can be.


Final Thoughts

I know these aren’t perfect, catch-all solutions, but they’re a starting point for dialogue. What do you think, fellow players? Are these issues affecting your experience? Let’s discuss.

Neutrality matters: Bank of England

Neutrality matters: Bank of England

Ah yes, a blog about the Governor of the Bank of England, Andrew Bailey, and his comments on UK/EU relations. Procrastination at its finest—I’m dodging my other drafts because this feels more worth talking about. Andrew Bailey recently gave a speech at Mansion House about growth, and you can find the transcript here. The UK government has made growth a cornerstone of its platform. Without growth, we can’t have better public services.

There’s loads to say about this speech, but journalists have been a bit naughty by not publishing the full section that’s causing headlines. Here it is, quoted in full:

Now, as I have said many times, as a public official I take no position on Brexit per se. That’s important. But I do have to point out consequences. The changing trading relationship with the EU has weighed on the level of potential supply. The impact on trade seems to be more in goods than services, that is not particularly surprising to my mind. But it underlines why we must be alert to and welcome opportunities to rebuild relations while respecting the decision of the British people.

But, we should not focus just on the effects of Brexit. The picture is now clouded by the impact of geopolitical shocks and the broader fragmentation of the world economy. I will own up to being an old-fashioned free trader at heart. It’s a British characteristic, I like to think. My point is this: amidst the important need to be alert to threats to economic security, let’s please remember the importance of openness. Openness is an important determinant of productivity. There is nothing new about saying this, just to be clear.

The first point is simple: Bailey should stick to speaking about policy matters and decisions delegated to him. That means avoiding topics reserved for the government. When officials break that norm, it increases the likelihood of political appointments—people chosen not for expertise but for their loyalty to the government’s messaging. For an independent central bank, this is a massive challenge to its independence.

This norm exists for a reason. If future governors are picked for loyalty over skill, the quality of decisions will decline, and the central bank’s independence could crumble entirely. It’s not just central bank governors—look at the USA right now. You’ve got people with no experience or expertise holding office because of loyalty. It’s a total mess. And if you want a closer-to-home example, think of UK magistrates. They often have no legal experience but still help run the legal system. That already causes massive miscarriages of justice. Now imagine amateurs running the state itself.

Such comments also risk fuelling resentment, which already exists in some political quarters. Remember Liz Truss? She called out Bailey for simply doing his job during the fallout of her mini-budget.

Bailey is, of course, right in what he’s saying, but urging the Chancellor to act isn’t his job. His role is to set monetary and financial policy as effectively as possible within the framework of government decisions. That’s already difficult enough. Just look at how the central bank had to step in to stabilise the financial system after Liz Truss’s mini-budget. That fiasco caused bond market turmoil, massive losses, and a serious hit to pension values.

The temptation to comment must be enormous, given the job and the platform it provides. Journalists are relentless in trying to get a juicy quote to spark drama. But, just like the King or Queen stays silent on politics, or a deputy coach avoids publicly criticising the head coach, central bank officials need to adhere to the principle of collective responsibility. For Americans, think of it like the Hatch Act. These norms exist for a reason: they prevent the government’s reputation and decision-making from being publicly undermined. Would you invest in a company where employees openly disagreed with the CEO? People can have different opinions, but sometimes, your role demands silence.

Bailey raises valid points, but he could’ve expressed them more diplomatically. Given how quickly journalists pounced on his remarks, it’s clear he should’ve said less—or nothing at all. Let’s be honest, most people don’t have the reading comprehension to fully understand his nuanced message. The Chancellor might do well to send Bailey a strongly worded letter reminding him where the line is.

As much as Bailey’s comments reflect valid concerns, the bigger issue here isn’t Brexit or even growth—it’s how we protect the independence of our institutions. Norms exist to safeguard against political interference, and when they’re ignored, trust erodes. We’re already seeing attacks on institutions and the resulting collapse of trust. The last few years have given us enough warning signs to know better. It’s worth reflecting: would you feel the same if it were someone with different views at the helm? Institutions thrive on neutrality, and we lose that at our peril.