I’m lying on the roof of a bombed-out shopping arcade, watching tracer fire igniting the cool evening air about 500m from my position. Whoever wins that shootout will come my way when the fight is over. I don’t have the armour or weaponry to defend myself properly so all I can do is wait and hope they get in an abandoned car and drive right past.
Deep down, I know they won’t.
Call of Duty: Warzone, which is celebrating its first birthday this week, is only one of a number of battle royale titles competing for the attention of locked-down gamers in this weird new reality we’re inhabiting. Just like Fortnite, Apex Legends and PlayerUnknown’s Battlegrounds, it involves dozens of players landing on a limited expanse of land with the sole purpose of killing each other until only one remains. But there is something different about this spin-off from the famed military shooter series. It has so much dread and atmosphere it feels like a horror game. At least the way I play it.
Consider the setting: the fictitious eastern European region of Verdansk, a bludgeoned smörgåsbord of horror movie locales. There are the deserted towns, blasted airports and ruined TV studios of George A Romero’s zombie apocalypses, but there are also elements of rural horror cinema: the foreboding lumber yards, the rocky, windswept uplands, the squalid farms where carcasses of cows lie festering in the sun. These are the stark, threatening domains of Texas Chainsaw Massacre, The Hills Have Eyes, Dual and Deliverance, and like the unwary city-dwellers who find themselves stranded in the outbacks imagined by Tobe Hooper and Wes Craven, we’re always under threat from some shadowy, unknowable figure, lurking behind a jagged, broken window.
The attention to grim detail is what makes it. You’ll blunder into a house and find an unmade bed, a calendar with dates marked, a mobile spinning above a baby’s cot. These scenes of abandoned domesticity are another staple of zombie cinema; they are disturbing in themselves because they suggest a very recent catastrophe: something that made these people drop everything and run, and could still be there. The game also uses the sound of swarming flies in various locales, which hint at pestilence and death.
Indeed, the sound design is incredible throughout. When you’re hiding out in one of the many old abandoned buildings, you hear dust crumbling from the bricks above you or metal beams groaning. According to evolutionary psychologists, one of the reasons haunted house movies are so scary is that the noises they make – the creaking floorboards, the rustling of branches against windows – are similar to the sounds that alerted our prehistoric ancestors to the presence of potential predators out in the darkness. These instinctive “agency detection” mechanisms still keep us on edge when we hear them, and in Warzone they have added potency because we actually are surrounded by predators who want to kill us.
The gunfire and military vehicle sounds also add to this intimidating audio environment. From the screeching feedback of a ricochetting bullet to the monstrous roar of the A10 tankbuster’s front-mounted gatling gun, the development team has created multilayered, highly positional effects to immerse you in each deadly skirmish. Although these are doubtless based on authentic samples, they’re also weirdly animalistic, recalling the hyper organic sound design of the Alien movies and Walter Murch’s incredible work on Apocalypse Now, where whirling helicopter blades and swooping napalm drops become loaded with almost supernatural terror.
On the subject of Aliens, Warzone even has its own heartbeat sensor gadget that closely resembles that film’s iconic motion tracker. It allows players to locate enemies who appear as a bleeping points of light on a handheld display and the tension this generates, as the bleep gets closer, closely recalls a classic scene from the film.
The various military effects throughout the game also utilise two specific types of sound: infrasound, which creates unsettling vibrations, and non-linear sounds – sounds of a high amplitude, which feature rapid changes in frequency and harmony. These are sounds we instinctively fear: infrasound resembles the noises of natural disasters such as earthquakes and floods, while non-linear sounds resemble animal cries and human screams. Once again, these are commonly used in horror films, both in sound effects and in scores – the screeching violins in the Psycho shower scenes and the sonorous, vibratory strings of the Jaws theme, for example.
There have, of course, been other games that more obviously seek to replicate horror movie experiences in online multiplayer spaces: DayZ, H1Z1, Phasmophobia. But while these are all interesting and involving, the exquisite graphical fidelity, convincing animation and expensive production value of Warzone set it apart. It is cinematic in a way its rivals are not.
The recent Outbreak mode, an open-world version of the familiar Zombies Mode, and the introduction of zombie-infested areas into the Warzone map, have seen CoD teams doubling down on the game’s subtle horror underpinnings. Titles such as Prey, FEAR, Dead Space and Doom have explored the fecund and interesting relationship between first-person shooters and horror fiction. There is something uncanny about inhabiting the avatar in this way, and being under constant peril. Warzone isn’t meant to be a horror game, but playing in Solos as opposed to a team-based mode, and creeping from house to house, hyperaware there could be a player around any corner, it produces exactly the same unconscious responses in our brains. And ultimately, like Resident Evil, like Silent Hill, it’s a game about survival.
What Warzone hints at, and where online survival games such as Rust, Sea of Thieves and Ark are pointing, is toward a new style of tense, narrative adventure, set in open worlds with many players, and with stories that emerge dynamically from the fear and chaos. Horror is after all something best experienced with other people.
These are certainly fun things to think about, as I’m hiding out on a rooftop, low on ammo and armour, waiting for the inevitable sound of approaching footsteps.
Several key research areas have been identified by NUI Galway to work towards for 2026.
NUI Galway’s recently launched research and innovation strategy includes a €5m investment on support for its multi-disciplinary research teams as they grapple with several global issues.
The strategy, which lays out plans for the university’s next five years of research, focuses on six areas: antimicrobial resistance, decarbonisation, democracy and its future, food security, human-centred data and ocean and coastal health.
“As a public university, we have a special responsibility to direct our research toward the most pressing questions and the most difficult issues,” said to Prof Jim Livesey, VP for research and innovation at NUI Galway.
“As we look into the future, we face uncertainty about the number and nature of challenges we will face, but we know that we will rely on our research capacity as we work together to overcome them,” Livesey added.
The plan focuses on creating the conditions to intensify the quality, scale and scope of research in the university into the future. This includes identifying areas with genuine potential to achieve international recognition for NUI Galway. It also aims to continue to cultivate a supportive and diverse environment within its research community.
NUI Galway has research collaborations with 3,267 international institutions in 114 different countries. The university also has five research institutes on its Galway city campus, including the Data Science Institute, the Whitaker Institute for social change and innovation and the Ryan Institute for marine research.
Its research centres in the medtech area include Science Foundation Ireland’s Cúram and the Corrib Research Centre for Advanced Imaging and Core Lab.
The university will also continue to involve the public with its research and innovation plans through various education and outreach initiatives. It is leading the Public Patient Involvement Ignite network, which it claims, will “bring the public into the heart of research initiatives”.
France has hailed a victory in its long-running quest for fairer action from tech companies after Facebook reached an agreement with a group of national and regional newspapers to pay for content shared by its users.
Facebook on Thursday announced a licensing agreement with the APIG alliance of French national and regional newspapers, which includes Le Parisien and Ouest-France as well as smaller titles. It said this meant “people on Facebook will be able to continue uploading and sharing news stories freely amongst their communities, whilst also ensuring that the copyright of our publishing partners is protected”.
France had been battling for two years to protect the publishing rights and revenue of its press and news agencies against what it termed the domination of powerful tech companies that share news content or show news stories in web searches.
In 2019 France became the first EU country to enact a directive on the publishing rights of media companies and news agencies, called “neighbouring rights”, which required large tech platforms to open talks with publishers seeking remuneration for use of news content. But it has taken long negotiations to reach agreements on paying publishers for content.
No detail was given of the exact amount agreed by Facebook and the APIG.
Pierre Louette, the head of the media group Les Echos-Le Parisien, led the alliance of newspapers who negotiated as a group with Facebook. He said the agreement was “the result of an outspoken and fruitful dialogue between publishers and a leading digital platform”. He said the terms agreed would allow Facebook to implement French law “while generating significant funding” for news publishers, notably the smallest ones.
Other newspapers, such as the national daily Le Monde, have negotiated their own deals in recent months. News agencies have also negotiated separately.
After the 2019 French directive to protect publishers’ rights, a copyright spat raged for more than a year in which French media groups sought to find common ground with international tech firms. Google initially refused to comply, saying media groups already benefited by receiving millions of visits to their websites. News outlets struggling with dwindling print subscriptions complained about not receiving a cut of the millions made from ads displayed alongside news stories, particularly on Google.
But this year Google announced it had reached a draft agreement with the APIG to pay publishers for a selection of content shown in its searches.
Facebook said that besides paying for French content, it would also launch a French news service, Facebook News, in January – a follow-up to similar services in the US and UK – to “give people a dedicated space to access content from trusted and reputable news sources”.
Facebook reached deals with most of Australia’s largest media companies earlier this year. Nine Entertainment, which includes the Sydney Morning Herald and the Age, said in its annual report that it was expecting “strong growth in the short-term” from its deals with Facebook and Google.
British newspapers including the Guardian signed up last year to a programme in which Facebook pays to license articles that appear on a dedicated news section on the social media site. Separately, in July Guardian Australia struck a deal with Facebook to license news content.
Boeing’s CST-100 Starliner capsule, designed to carry astronauts to and from the International Space Station, will not fly until the first half of next year at the earliest, as the manufacturing giant continues to tackle an issue with the spacecraft’s valves.
Things have not gone smoothly for Boeing. Its Starliner program has suffered numerous setbacks and delays. Just in August, a second unmanned test flight was scrapped after 13 of 24 valves in the spacecraft’s propulsion system jammed. In a briefing this week, Michelle Parker, chief engineer of space and launch at Boeing, shed more light on the errant components.
Boeing believes the valves malfunctioned due to weather issues, we were told. Florida, home to NASA’s Kennedy Space Center where the Starliner is being assembled and tested, is known for hot, humid summers. Parker explained that the chemicals from the spacecraft’s oxidizer reacted with water condensation inside the valves to form nitric acid. The acidity corroded the valves, causing them to stick.