Drake’s Flying iPhone

From Studio Wibbly..

Putting legal ethics aside for a moment regarding how OpenAI trained its models on Ghibli and manga content, you must admit that the results are rather impressive and demonstrate how far generative AI has progressed.

When it comes to training AI on public and copyrighted content, we’ve effectively allowed search engines, since the early days of the internet’s consumerisation (circa 1993), to crawl websites and index (including copyrighted) content for users to find information. Without this, achieving the level of accessible information we enjoy today would have been extremely challenging. Personally, I wouldn’t have learned nearly as much as I know now without platforms like AltaVista back in the day—and later Google and Microsoft Bing.

There have been attempts to make search engines pay for collecting extensive snippets of information, and these efforts are ongoing. However, I struggle to see how this could work without diminishing the utility of finding information. One viable approach is monetisation through partial indexing—allowing enough content to be searchable while placing full access behind paywalls. Platforms such as Medium and Substack are increasingly adopting this model, and search engines are beginning to support such content better. It’s entirely possible that AI could follow suit (if it hasn’t already), though AI models can also be trained offline.

Let us not forget examples like Napster and LimeWire—applications that enabled illegal music file sharing and were immensely popular. What followed? The emergence of services like Rhapsody, Spotify, Tidal, Deezer, Apple Music, and Amazon Music. Even Napster transitioned into a legal streaming service for a time. These solutions transformed an industry plagued by piracy into one generating revenue for creators (albeit with complications). AI is still in its infancy—akin to Napster’s early stage.

Regardless of these debates, AI is here to stay whether we like it or not. I suspect existing search engines will eventually evolve into fully AI-driven systems with reasoning capabilities to enhance relevance.

On a lighter note, OpenAI’s latest model is remarkably adept at generating comic strips. Mild spoilers for the Apple TV show Severance follow: I found the Muppet-themed comic amusing because the system steadfastly refused to use prompts like “Kermit” or “Fozzie” but rendered results when I used “generic frog puppet” or “fuzzy bear puppet” instead. It clearly understood my intent. Interestingly, Star Wars posed challenges I couldn’t yet resolve, whereas Star Trek worked seamlessly.

With a bonus – “kind” of fixed the Muppets one. Still looks a bit odd, but it’s A.I., I can’t leave it notes.

The weird and wacky world of phone scams..

I keep my phone set to Do Not Disturb during workdays because, well, I’m at work and it’s not at all convenient to receive personal phone calls where there are few places and opportunities to take them. There are a few people in my contacts that can bypass this (for emergencies), but otherwise everything has to be an email or a voicemail until I can deal with things either late(r) in the evening or at the weekend.

I was checking notifications that had been silenced during a small break and discovered this transcription in voicemail from a UK mobile phone number (which was identified as coming from Vodafone):

So I downloaded the audio, ran the Chinese portion through a transcription service and ran the transcription text through Google Translate and got this:

So I’ve blocked the number, reported it via TrueCaller (which can now identify calls in real time – I’m no longer using EE’s spam blocking service as its too limiting in terms of being able to provide feedback – needs a UI via the EE app or website that allows customers to manage blacklists, whitelists and reported numbers).

I’m getting more spam and potential phishing calls lately (along with O2 trying to get hold of me despite me telling them by email that they can either reply to me via email or get me BEFORE 9am – more complaints are going to be winging their way – they haven’t learned anything from the Communications Ombudsman). The strangest one – apart from this one – is a caller from Atlanta, Georgia and a few calls from New York. If I do try to answer it, the line drops. I can only suspect dodgy things are going on…

Death Stranding 2: Oh I Do Like To Be Beside The Seaside

Auteur and one-time visitor to my place of employment, Hideo Kojima, has finally confirmed the release date of the much anticipated sequel to Death Stranding, Death Stranding 2: One the Beach. And it looks insane. Available exclusively on the PS5, it’ll be released on the 26th June this year.

It will also eventually be released on the PC – and the Mac – but for the time being it’ll only be available as an exclusive title for the Playstation 5. It’s still powered by Guerilla’s Decima game engine, but there looks to be have been some significant improvements which look absolutely gorgeous – some of the landscapes are significantly impressive.

The game also introduces the likeness (e.g. 3D scan of the person, but performance and voiced by an actor) of film directors George “Mad Max” Miller as a one-handed ship’s captain, and Fatih Akin as some kind of living/sentient, stop-motion animated doll. Norman Reedus returns as Sam, as does Léa Seydoux, and the likeness of director Nicolas Winding Refn as Heartman (who also turned up with Kojima at our offices).

This, along with Grand Theft Auto VI, is my most anticipated game of 2025. But from a storytelling perspective, this is the granddaddy of them all. The first game drew me into a surreal world whereby humanity faces an extinction event and that there are links between the worlds of life and death. It has been the only computer game to make me openly weep when its time to say goodbye to one of the characters – the storytelling, music and performances as well as the gameplay truly provide a unique and wonderful experience that transcends film and television. And speaking of music, I’m delighted that Woodkid is mainly responsible for the soundtrack this time. Woodkid is an ex-VFX artist turned musician and I’ve been a fan for his for a long time. So very much pumped for that.

If Kojima has done it again – and I truly hope that he has – this is going to be the game of year for me even with GTA VI nipping at its heels.