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Amazon rolls out AI-generated dub of well-loved anime series Banana Fish

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Back in March, we reported that Amazon was embarking on a project that was going to be a bad idea that was going to make a lot of people mad, i.e., using artificial intelligence to generate dubbed voice tracks for anime series. Now, lo and behold, a whole bunch of people are exactly as mad as predicted, as the tech giant rolled out a new English dub of beloved anime series Banana Fish this month, completely generated by AI.

Originally published in manga form starting in 1985, Banana Fish was both controversial and influential at the time for several aspects of its story of a noble gangster investigating a crime ring using the titular drug to control people’s minds: Its violence, yes, but also its sexuality, whether that meant more explicit material happening in the criminal underworld, or the implied-so-hard-it’s-one-shade-short-of-canon relationship between main character Ash Lynx and his friend Eiji Okumura. The series was given an anime adaptation in 2018, produced by Japanese studio MAPPA, and syndicated internationally by Amazon. Although it released with English subtitles, the series never got an English voice track—until this week, when AI-generated Spanish and English versions of the show’s dialogue were offered as “beta” features for Prime Video viewers.

The response to the news has included a lot of very strongly negative reactions, for a lot of very strongly obvious reasons: Animation fans take their dubs and subs extremely serious regardless, and having voice actors be put out of work while a mega-giant foists off a product that can’t hope to match the richness of a fully voiced set of performances is an extra twist of the digital knife. Per CBR, at least one voice actor who’s worked on a number of big-name projects for Amazon in the past—Daman Mills, whose credits include Rebuild Of EvangelionDragon Ball Super, and One Piece—has stated on social media that he won’t work for the company again if they keep the AI-generated dub up. (Meanwhile, we popped up the show’s first episode for a minute just to make sure we weren’t talking out of our asses on the quality of the resulting dub, and woof, is that some hideously lifeless robot talking. If the goal here was to completely drain a vibrant, fascinating show of all life in the most piss-the-fans-off-way possible, that’s definitely one way to pull it off.)



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InShaneee
5 hours ago
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TV from around The Bend: The best "shows" of Blippo+

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“Another TV is possible,” is one of many taglines for Blippo+, a channel surfing simulator available on the Playdate, Switch, and PC that’s packed with original programming from an alien planet called Blip. The game hearkens back to a bygone era of broadcast television, a time before the streaming wars when you would have to flip through various channels to find something to watch, or tune in at just the right time to catch your favorite series. 

Blippo+’s catalogue is filled with a variety of shows carrying the aesthetic characteristics of basic cable in the 1980s and ‘90s, all created by a wide array of artists across various mediums thanks to the combined efforts of YACHT, Telefantasy Studios, Dustin Mierau and Noble Robot. Whether you’re looking for educational content, news, Solid Gold-style dance routines, a talk show, a soap opera, or anything else really, Blippo+ has a show for you. Its alien programming gives many of the popular streaming services of Earth a run for their money, and is a refreshing way to engage with art in the ways of the past for those of us who have grown into disillusioned luddites due to the state of the current media ecosystem. 

While you can’t go wrong with any of the shows beaming in from the other side of The Bend, if you really want to understand what makes Blippo+ special, you should go straight to the cream of the crop of what all us lowly humans from Earth get to tune into. 

Let’s start with Clone Trois. If you binge watched The Pitt earlier this year, and are now in need of more medical drama in your life, Clone Trois is the perfect medicine. The hospital soap opera appears on channel 18 of Blippo+, and the entire cast of doctors and nurses working at the show’s Oblivion Memorial Hospital are clones of the same person, played solely by the fictional actor Seemie Simmons (Olive Kimoto). An added layer of philosophical intrigue undergirds all of the typical workplace romance and attempted murder one can usually expect from this genre. How do all these already thorny relationship dynamics become further complicated when everyone is technically the same person? Are clones actually the same to begin with, or are they distinct independent beings? Clone Trois cleverly plays into this premise, with every character’s name being an allusion to their nature as copies: Nurse Echo, Doctor Ditto, etc. One begins to wonder what Planet Blip’s history with and ultimate stance on clones even is as the drama unravels from episode to episode. 

Some of Blippo+’s shows are crucial to understand the larger fiction the game builds around the discovery of a cosmic phenomenon known as The Bend. Clone Trois is not one of those shows—and neither is Fetch!, an adorable claymation show on Channel 49. Claymie Stratford’s stop motion shorts visually recall obvious signposts like Gumby and Davey and Goliath, but with a slight surrealism closer to Adult Swim than Art Clokey. It never has the edge Adult Swim is known for, though, remaining playful and wholesome throughout. You could easily see Fetch! shorts running on Sesame Street. In our review we compared Blippo+ to MTV’s inventive bumpers from the ‘80s and ‘90s and the channel’s late-night animation show Liquid Television, and Fetch!’s bite-sized stop motion asides are a big reason why.

We’ll say it: we’re not above celebrity gossip, and we imagine few of us here on Earth truly are as we endlessly scroll through social media, learning about whatever controversial or scandalous thing our most popular humans have done in the last 24 hours thanks to the efforts of various verified accounts and users. Wouldn’t it be nice to partake in all the rumors without any of the weird baggage or discourse that comes with the names we recognize from our home world? That’s what Rubber Report offers, a gossip show that tells you of the whispers and tales happening on Planet Blip, hosted by Neomie Lifto (Chloe Coover) on the TVX network. Our Earthly lack of familiarity with the goings on of this alien society adds to the comedic effect of the program. All of the celebrity names and various locations mush into a funny word soup, while Neomie keeps the expected cadence and sentence structures of any talented gossiper. It creates the same feeling as when people parody the inherent silliness of Star Wars news for those of us lacking context, describing how “grungus” is angry with “the blorbo” or whatever the hell their names are. I laughed out loud the first time I watched Rubber Report in week two of the game’s timeline, and heard the words: “Boing boing, Blippers. It’s Neomie Lifto here with all your bounciest news.” Thank god for Neomi Lifto, and boing boing indeed. 

A few familiar faces from the so-called “alt comedy” world pop up throughout Blippo+; Whitmer Thomas co-stars on Confetti Cowboys, and Brent Weinbach is the always sleepy co-host of the (excellent) morning show Wake Up, Universe! Mitra Jouhari—who co-created and co-starred on Adult Swim’s Three Busy Debras, wrote for High Maintenance and Big Mouth, voiced Cleopatra on the Clone High reboot, and recurs on The Bear as Molly (Claire) Gordon’s roommate—has the most prominent role of the lot. As Barbara Lightworker, aka “the Psychic Barbara,” she hosts Psychic Weather on the Time Dilation Network. Jouhari’s effortless union of 900 phone line New Age rambling with the tone and tenor of a weather forecast remains delightful throughout Blippo+’s 10 weeks of programming, and might be the best example of a Blippo+ show that could easily stand alone as its own thing outside of the game’s framework. 

If you really want to get the most out of Blippo+, though, you’ll need to focus especially closely on the shows that contribute to its central storyline. Chief among them is State Of The State, a nightly news show hosted by Madeline Planet (Kate Adams). It should probably be the first show you watch every week, as it consistently introduces the latest developments in the ongoing saga of The Bend, with regular appearances from Blippian scientists like Dr. Zeph Boing (Kyle Mizono) and Ned Telson (Cosmo Segurson), as well as the enigmatic “Bendonaut” Michael Zero (Martine Syms), who becomes crucial to the story. Perhaps more importantly, it’s a fantastic entry point for one of Blippo+’s key strengths: its amazing collection of fantastical hair styles. It’s the first show in the rotation every week on Channel 2, which is basically as prime time as Blippo+ gets. 

Ultimately the most important show to that story, though—and the one that, in our view, most perfectly sums up the entire Blippo+ ethos—is Boredome, MainScreenTV’s teen issues show. It recreates the look and feel of a very specific style of program that was common in the 1980s and ‘90s: the “by teens, for teens” talk show that anybody who grew up watching Nickelodeon’s Livewire or any MTV show shot in front of a studio audience will immediately recognize. As hosted by Birdie Telstar (Josie Jensen), Boredome captures the polarities of lethargic disinterest and all-consuming passion that all teens can uniquely flip between at a moment’s notice, as its initially too-cool-for-school stars gradually start a movement that could shake the very foundation of Blippian existence. Blippo+’s creators might be a few decades removed from teenagerdom, and hell, who knows if teens are still like this (who knows any actual teens in the year 2025?), but they tap into something about the teenage experience that we hope remains to be true.

Clearly this isn’t a comprehensive guide to Blippo+’s 50 shows (plus the text-only Femtofax service), and we wouldn’t recommend that you skip any of them—even the (very) few that don’t really work. Fortunately, Blippo+ forces you to watch at least some of every show, every week, in order to unlock the next week’s worth of programming, so even if something leaves you cold you’ll need to at least tolerate it long enough to get to the next batch of good stuff. And hey, what resembles the TV of the past more than sitting through something you don’t care about until the show you actually like comes on?



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InShaneee
19 hours ago
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Canada Rolls Back Climate Rules To Boost Investments

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Canada's Prime Minister Mark Carney has signed an agreement with Alberta's premier that will roll back certain climate rules to spur investment in energy production, while encouraging construction of a new oil pipeline to the West Coast. From a report: Under the agreement, which was signed on Thursday, the federal government will scrap a planned emissions cap on the oil and gas sector and drop rules on clean electricity in exchange for a commitment by Canada's top oil-producing province to strengthen industrial carbon pricing and support a carbon capture-and-storage project. The deal, which was hailed by the country's oil industry but panned by environmentalists, signaled a shift in Canada's energy policy in favour of fossil fuel development and is already creating tensions within Carney's minority government. Steven Guilbeault, who served as environment minister under Carney's predecessor Justin Trudeau, said he was quitting the cabinet over concerns that Canada's climate plan was being dismantled.

Read more of this story at Slashdot.

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InShaneee
2 days ago
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Insert credit: Games still struggle to credit the people who actually make them

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When the hotly anticipated tactics RPG Demonschool came out earlier this month, what caught my eye the most wasn’t the vivid artstyle, the tongue-in-cheek humor, or the college setting. It was the credits. Alongside the usual list of names are a few sentences written by the game’s director Brandon Sheffield that outline exactly what Necrosoft’s team and contractors did for the game.

Thanks to these detailed credits, we know that Technical Director Shane Marks was “responsible for stitching everything together, developing and implementing underlying technologies […] and created the technique menu flow and accessibility options,” among other contributions. Similarly, Technical Audio Designer Vincent Diamante “implemented all music and sound effects and devised all sound effect and music systems.” Hayden Scott-Baron “refined minigame pacing and flow” and crucially “created fish outlines in fishing minigame” as a Designer. And so on. Without this level of depth, we could only guess what a “Designer” did on the game, as is the case with most credits.

It’s hard enough to get your name into a game you worked on, let alone have your actual contributions detailed to this extent. Many studios only credit those around at the launch of a game, regardless of the work those contracted or let go from the studio did for it during development. If you’re not around when it ships, you may as well not have been there at all. Some studios have the decency to go back and update credits if developers have changed names, but in most cases, a game’s credits stand as a monument to whoever was on the payroll at the time it shipped. What’s more, games with external partners are dependent on those partners providing their own list for the credits, with some only giving the company name.

In the past companies would even obscure credits for their internal teams, like when Capcom reduced the work of Yoko Shimomora on Street Fighter II: The World Warrior to the anonymised “Shimo-P.” This was often done to prevent their developers being poached by rival game companies, but also served to minimize their contributions and visibility—a particularly sore point in an industry where people are often assumed to be male. Atari’s reluctance to credit its developers infamously lead to Warren Robinett hiding his name within Adventure, making it one of the first easter eggs in games. Hiding names in games even became policy at publisher Atari when they saw how their players enjoyed the pursuit.

When the contributions of the many people working on a game get obscured in this way, often people gravitate to “auteurs”—the recognizable names who frequently get top billing and are front and center during the press cycle of a game. Think producers like Sakurai or directors like Kojima. When people critique or compliment an aspect of a game an auteur worked on, often they attribute it solely to that lone recognizable person. Naturally this can lead to power imbalances in the workplace or those who worked hard on a game being forgotten, like how The Last of Us is associated with Neil Druckmann as much as it is with lead characters Joel and Ellie, despite Bruce Stanley directing the first game, leaving Naughty Dog before the sequel.

As games continue to ape films more closely, we now regularly see developer credits in games. Even that has its drawbacks, though. A film tends to be two hours in length and watched in one sitting, so pretty much every viewer has the chance to see the credits. With games taking anywhere from 10 minutes to 200 hours, and varying for every player, the chance anyone will see the credits is a lot lower on average. Some studios get around that by allowing players to view the credits from the main screen—as with Demonschool—but it’s far from a standard practice. And we still see weird situations like when Nintendo introduced a new Mario voice actor in Super Mario Wonder and refused to announce or confirm who it was until players played the game and learned through the credits that it’s-a Kevin Afghani.

Even if games properly credit their workers, it’s not like many people will intently watch them and understand what every job title means. We’ve all sat through film credits before and it isn’t long before the endless stream of names loses its meaning. Still, people should be credited for their work, and a credit is vital for finding more work within the industry. And in a move to get players to pay attention to their credits, some games prefer to add a level of interactivity to them. Take Undertale’s backer credits that you can dodge to unlock a secret fight, or the waves of punchable names in Astro’s Playroom. The interactivity lets players engage with the credits like they did with the game itself. All the same, I don’t think anyone could tell you what the third executive producer listed in a row did on the game.

And so we come back to Demonschool. The credits go a long way to demystifying game development for its players. What did Brent Porter do on the game as 3D Art Lead? Why, he “did most of the 3D modeling and rigging as well as creating most backgrounds,” of course! Not all of Demonschool’s credits have this level of depth, but this does a lot more for those who worked on the game than most other studios, and should be seen as a model for the industry at large going forward.


Catherine Masters is a games intern for The A.V. Club.



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InShaneee
3 days ago
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SEC Must Not Let Crypto Companies 'Bypass' Rules, Stock Exchanges Say

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The Securities and Exchange Commission's possible plan to grant crypto companies relief from regulation to sell "tokenised" stocks risks harming investors, a group of stock exchanges said in a letter to the U.S. regulator this week. From a report: Several crypto companies plan to sell crypto tokens linked to listed equities to retail investors who want to get exposure to stocks without owning them directly. But to sell the products in the U.S., crypto companies which are not registered as broker-dealers would need the SEC to give them a no-action letter or an exemption. SEC Chair Paul Atkins has said the agency is working on crafting an "innovation exemption" from securities laws which would enable crypto players to experiment with new business models. The World Federation of Exchanges (WFE), a group whose members include the U.S. Nasdaq and Germany's Deutsche Boerse, said in a letter dated November 21 that an exemption could create market integrity risks and undermine investor protections. "The SEC should avoid granting exemptions to firms attempting to bypass regulatory principles that have safeguarded markets for decades," WFE CEO Nandini Sukumar told Reuters.

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InShaneee
3 days ago
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Cook County law enforcement agencies get more money in 2026

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In early October, a coalition of 68 organizations representing policy advocates, faith leaders, and social service providers sent a letter to the Cook County Board of Commissioners. As the 2026 budgeting process got underway, they wanted lawmakers to freeze spending on law enforcement. The hundreds of millions of dollars devoted each year to jails and […]

The post Cook County law enforcement agencies get more money in 2026 appeared first on Chicago Reader.

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4 days ago
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