Technology

FBC: Firebreak is missing Control’s weird charm

Published

9 months ago

June 19, 2025

FBC: Firebreak is missing Control’s weird charm

With FBC: Firebreak, Remedy Entertainment has entered the world of the first-person co-op shooter. Set in its Control universe — specifically the site of the first game, the brutalist nightmare office called the Oldest House — players control a member of the titular three-person team of the Federal Bureau of Control (FBC), tasked with addressing various containment breaches. Unfortunately, all the aspects that make Remedy’s worlds so intriguing are completely absent in this bare-bones co-op shooter, which offers nothing for either longtime fans or those invested in existing shooters.

Players in Firebreak are like firefighters or disaster responders, with each member occupying a different role: mechanic, water carrier, electrician. Across five recurring levels, teams must work to stop the spread of corruption, called the Hiss (a mysterious red entity that turns people into raging zombies and other types of creatures). Objectives vary from destroying Post-it notes to fixing fans, all while being assailed by swarms of various nightmare monsters.

Control, the central foundation of Remedy’s wider connected universe that also includes Alan Wake, is at its core weird. It’s how Remedy developers have described it — to me and others — allowing for fluctuations between the terrifying, the quirky, the odd, and the hilarious. The Bureau itself is a government agency tasked with containing bizarre items and reacting to huge and strange world events: for example, a traffic light that, when it flashes red, sends people to different locations, or a fridge that eats people if you stop looking at it.

In Remedy’s universe, FBC workers document, monitor, and research these sorts of items with the gray-faced enthusiasm of every bored researcher. The number of times the toy duck teleports needs to be logged as much as how many coffee filters need to be replaced in the break room.

That stone-faced reaction to the weird is only mildly present in Firebreak, with brief interactions with mission provider Hank Wilder, the security chief, detailing bizarre tasks in a slight monotone. Even player character barks demonstrate this. One of the player voice options is called “Pencil Pusher,” who, when receiving friendly fire, screams that such actions “violate office policy.” Health restoration involves characters huddling in a shower together; you can fix equipment by hitting it with a wrench.

As someone obsessed with Control, I was eagerly anticipating a return — particularly in the shoes of ordinary personnel, rather than the almost godlike head of the agency, Jesse Faden (who you play in Control). But that sense of unease that plays off the quirkiness is not here. The Oldest House and its enemies feel like little more than an aesthetic, or even a kind of mod, for a generic co-op shooter. There is no sense of progression, no overarching goal to which you are working. Levels and tasks repeat. There aren’t even creepy big-level bosses, like the terrors in Control, except in one area.

You will have seen all the game has to offer within a few hours, since each level has only three or four stages (with each successive stage in the same level taking you further in), and some stages can be completed within three to four minutes. As an example, one stage involves destroying replicating Post-it notes. Once you have destroyed a sufficient number, you rush back to the elevator as a horde descends. The second stage requires the same objective, only this time you gain access to a second area to destroy more notes. The third stage repeats this, only you go further in and face a boss. All end with rushing back.

While the game offers modifiers — such as harder enemies and corrupting anomalies that can slightly keep you on your toes — the core aspect wears out quickly. I do not feel I am making any headway in clearing out an entire level, since once cleared, there’s no indicator our team made any difference. The only incentive is to obtain better gear. At least the game doesn’t push microtransactions and is quite generous in its rewards, especially on harder difficulties.

Image: Remedy Entertainment

You also level up various roles independently: playing mainly as the mechanic, you will have to start from scratch if you switch to, for example, the electrician role. These roles do feel distinct, as you are given different gear and abilities. The mechanic can almost instantly repair broken equipment, a very useful skill given how many broken machines there are. But the game is filled with various hazards, such as fire and gunk, which the water soaker character — with their water cannon — can negate.

Shooting feels good, but guns are standard: shotguns, machine guns, pistols. Don’t expect weird weapons like the Service Weapon from Control. This is meat-and-potatoes destruction.

That’s precisely what disappointed me: ordinary workers in a world where fridges eat people is what made me love Control, and the idea of being able to play one of the lowly workers was exciting. Yet that charm is largely absent. I barely felt part of the FBC and it didn’t seem like I was containing anything.

In Control, you would clear rooms and see the game world change permanently. Obviously a co-op shooter can’t do things in the exact same way. But why not tie something like this to the host player? If I have to see the same level three times, progressing further each level, why not show some permanent change from a previous run? There’s no indication the world is reacting to the Firebreak team’s efforts.

In reality, Firebreak feels like one of the multiplayer modes that used to be tacked on to big-budget single-player games (think Mass Effect 3, for example). If players don’t feel like they’re making a difference as part of a team trying to stop an outbreak, why should we bother? The levels are akin to hero-shooter arenas, devoid of the deep lore of a Remedy game. At least with hero shooters, playing against other people keeps play constantly fresh. This felt like it was stale within a few hours, an avocado of a game.

I genuinely don’t know who Firebreak is for. Longtime fans of Control won’t find collectibles, environmental storytelling, or anything to even read. And those looking for meaningful multiplayer shooters have plenty of options already. This is a strange dim light for a studio that usually produces brilliance.

_{FBC: Firebreak is available now on the PC, PS5, and Xbox Series X / S. It’s also available for Game Pass and PlayStation Plus subscribers.}

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Technology

Two of my favorite color e-book readers are the cheapest they’ve been in months

Published

10 hours ago

March 23, 2026

Press Room

Two of my favorite color e-book readers are the cheapest they’ve been in months

Color isn’t essential in an e-reader, but let’s be honest, it’s a nice perk that can bring digital books, magazines, comics, cookbooks, and other publications to life. The catch is that color ebook readers tend to be substantially pricier, which makes today’s deals stand out. Right now, the Kindle Colorsoft (16GB) and Kobo Libra Colour are matching their lowest prices to date, with the Amazon e-reader going for $169.99 ($80 off) at Amazon and Best Buy, and the Libra Colour going for $199.99 ($30 off) via Rakuten’s online storefront.

At their core, both are excellent e-readers with 7-inch, 300ppi E Ink displays, which drop to 150ppi when viewing color. The Colorsoft’s display is slightly more vibrant in most instances, but the difference isn’t dramatic. Each also offers IPX8 water resistance, so you don’t need to worry about spills and can comfortably read in the bath or by the pool.

Which one makes more sense for you largely depends on where you buy your books, how much storage you need, and whether you like to take notes. The Colorsoft is great if you’re heavily embedded in Amazon’s ecosystem, as buying and accessing Kindle books is intuitive and doesn’t require any sideloading. As the more affordable option in Amazon’s lineup, the standard Colorsoft delivers a nearly identical reading experience to the Signature Edition, and it supports Amazon’s “Send to Alexa Plus” feature, which lets you send notes or documents to Amazon’s AI-powered assistant for summaries, to-do lists, reminders, and more. The downside is that it lacks wireless charging and an auto-adjusting front light — which are standard on the step-up model — and comes with 16GB of storage instead of 32GB.

That said, if I didn’t already own so many Kindle books, the Libra Colour would be my pick. It offers double the storage at 32GB and includes intuitive physical page-turn buttons. You can also write notes while reading, given that it offers stylus support, and it includes built-in notebook templates, as well as the ability to convert handwriting to typed text. It also supports EPUB and a wider range of file formats, and lets you save articles for offline reading with Instapaper. And it also offers adjustable warm lighting, which makes reading at night a little easier on the eyes.

Technology

Robot plays tennis with humans in real time

Published

11 hours ago

March 23, 2026

Press Room

Robot plays tennis with humans in real time

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A humanoid robot is now rallying tennis shots with a human in real time. It runs without a script or remote control, so it can react instantly on a tennis court.

The robot stands about 4 feet tall, giving it a compact, human-like frame. Galbot Robotics released a video showing its robot going shot-for-shot with a human player. The system behind it is called LATENT and runs on the Unitree G1.

And it is not just returning the ball. It is moving, adjusting and competing during live play.

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CHINA’S COMPACT HUMANOID ROBOT SHOWS OFF BALANCE AND FLIPS

A humanoid robot rallies tennis shots with a human in real time, reacting without scripts or remote control during live play. (Galbot Robotics)

Why this tennis robot is different from others

Most athletic robots you have seen follow scripts. They perform pre-programmed actions or rely on a remote control. This one operates differently. It reacts to a human opponent in real time, tracking fast-moving balls, shifting across the court and returning shots with surprising accuracy. It also adjusts to changing trajectories and unpredictable shots during rallies. Researchers say it can sustain long rallies with millisecond-level reactions and full-body coordination. That marks a major step forward.

How the AI learned to play tennis

Training a robot to play tennis is extremely complex. Tennis involves:

Tennis ball speeds can reach up to 67 miles per hour
Split-second racket contact
Constant movement across a large court

Capturing complete human gameplay data is difficult. So the researchers used a different method.

Training the robot using motion fragments

Instead of recording full matches, they focused on small segments of movement:

Forehands
Backhands
Side steps

They gathered about five hours of motion data from five players. The sessions took place on a compact 10-by-16-foot court. That space is more than 17 times smaller than a standard tennis court.

RESTAURANT ROBOT GOES HAYWIRE, SENDS TABLEWARE FLYING BEFORE BREAKING OUT IN DANCE MOVES

Humanoid robots designed by Galbot Robotics select items from a shelf at the Shanghai New Expo Center in Shanghai, China, on July 26, 2025. Galbot Robotics also designed the tennis-playing robot that learns movement fragments and applies them in live competition. (Ying Tang/NurPhoto via Getty Images)

How the robot plays tennis during live rallies

The system first learns individual movements. Then it combines them into coordinated sequences. That allows the robot to:

Move toward the ball
Strike it with control
Recover and reposition

To improve performance, the team trained the model in simulation. They varied physical conditions such as mass, friction and aerodynamics. This helps the robot adapt to real-world unpredictability. As a result, the system responds dynamically instead of following a fixed routine.

How well does it actually perform against humans?

In testing, the system achieved up to 96% success on forehand shots in simulation. In real-world trials, the robot can sustain rallies with a human and consistently return the ball across the net.

Watching the demo, it appears competitive. At times, the robot places shots away from the human player. That suggests more than a simple reaction. It points toward early forms of decision-making.

There are still limits. The robot can look unstable at times. Its motion is not yet as fluid as a trained athlete. High or unpredictable shots may still present challenges. Even so, the progress is clear.

Why this matters beyond tennis

This breakthrough goes far beyond tennis. It shows how robots can learn complex human skills without perfect data. The same approach could apply to:

Football
Badminton
Industrial work
Search and rescue

Any task that lacks complete motion data could benefit from this method. That is the bigger picture.

WORLD’S FASTEST HUMANOID ROBOT RUNS 22 MPH

A robot dances at the launch ceremony of a Galbot Robotics retail store in Beijing, China, on August 7, 2025. The company has also designed a 4-foot robot that returns tennis shots with millisecond reactions and full-body coordination. (VCG/VCG via Getty Images)

Could robots compete with humans one day?

The path forward is becoming clearer. Today, the robot rallies. Next, it competes. In time, robots could train with or challenge professional athletes. Exhibition matches between humans and machines may become part of the sport. That future no longer feels far away.

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Kurt’s key takeaways

This demo shows how quickly things are changing. Robots are no longer stuck following scripts. They can now react, adjust and compete in real situations. What used to feel far off is starting to show up right in front of us.

So here is the question: If a robot could outplay you on the court, would you still want to compete, or would you rather train with it? Let us know by writing to us at Cyberguy.com.

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Kurt “CyberGuy” Knutsson is an award-winning tech journalist who has a deep love of technology, gear and gadgets that make life better with his contributions for Fox News & FOX Business beginning mornings on “FOX & Friends.” Got a tech question? Get Kurt’s free CyberGuy Newsletter, share your voice, a story idea or comment at CyberGuy.com.

Technology

AI influencer awards season is upon us

Published

22 hours ago

March 23, 2026

Press Room

First came the AI beauty pageant. Then the AI music contests. Now, there is an award for AI Personality of the Year — perhaps the inevitable next step for the AI influencer economy as it transforms from quirky novelty into a serious and lucrative industry.

The contest, a joint venture between generative AI studio OpenArt and AI-powered creator platform Fanvue, with backing from AI voice company ElevenLabs, opens on Monday and runs for a month. The organizers said it is intended to “celebrate the creative talent ‘behind’ AI Influencers” and recognize their growing commercial and cultural clout.

Contestants will compete for a total prize fund of $20,000, which will be split between an overall winner and individual categories of fitness, lifestyle, comedian, music and dance entertainer, and fictional cartoon, anime, or fantasy personality. Victors will be celebrated at an event in May that the organizers are dubbing the “‘Oscars’ for AI personalities.”

To enter, you must develop your AI influencer on OpenArt’s platform and submit it at www.AIpersonality.ai. You’ll be asked for social media handles across TikTok, X, YouTube, and Instagram, as well as the story behind the character, your motivations for creating it, and details of any brand work.

Among those assessing contestants are 13‑time Emmy‑winning comedy writer Gil Rief, the creators of Spanish AI model Aitana Lopez, and Christopher “Topher” Townsend, the MAGA rapper behind AI-generated gospel singer Solomon Ray. According to a copy of the judges’ briefing seen by The Verge, contestants will be scored on four criteria: quality, social clout, brand appeal, and the inspiration behind the avatar. Specific points include reliably engaging with followers, portraying a consistent look across social channels, accurate details like having the “right number of fingers and thumbs,” and having “an authentic narrative” behind the avatar.

The contest is open to established creators and novices alike, though existing AI influencers will still need to submit material produced on OpenArt’s platform, Matt Jones, head of brand at Fanvue, told The Verge.

Despite being designed to celebrate creators of virtual influencers, Jones said that entrants don’t need to publicly identify themselves. “If a person who created this amazing piece of work wants nothing to do with the press or to expose themselves or to have their name out there, that’s obviously fine,” he said. “There would be no need to thrust anybody into the limelight here. We would just celebrate the piece of work.”

That creators can remain anonymous feels odd for a contest judging authenticity, particularly in an AI influencer ecosystem built on fictional people, fake personas, and fabricated backstories. That same anonymity has also helped grifts flourish with little accountability, from the AI white nationalist rapper Danny Bones to MAGA fantasy girl Jessica Foster.

There’s familiar baggage too, including persistent questions about originality, whether AI-generated work, or even a likeness, has been lifted from real creators, and whether these tools simply reproduce the same old biases in synthetic form. Organizer Fanvue has already faced criticism for this in the past: in 2024, a Guardian columnist described its “Miss AI” beauty pageant as something that “take(s) every toxic gendered beauty norm and bundle(s) them up into a completely unrealistic package.”

To Fanvue’s Jones, creators inevitably leave something of themselves in the AI characters they make. “You can’t help but put a little bit of yourself into the stories that you tell and the characters that you make,” he said, urging creators to “lean into that.” The idea feels at home in the influencer economy: not strictly real, but a form of synthetic authenticity the internet already knows how to handle.

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