Dodgers centerfielder Cody Bellinger cheered the little intruder on as he backed up to the wall like a true outfielder, trying to escape a pair of masked employees who scooped him up so play could resume.
Word after the game was that Mets GM Zack Scott offered a roster spot to the enthusiastic kitty, envisioning the fast feline as a pinch runner. If the unidentified cat signs, he’ll earn the league minimum 438,000 cans for his rookie season.
Last night’s game was not the first time a cat has taken the field at a major US sporting event. On Nov. 4, 2019, a black cat scurried out while the New York Giants were hosting the Dallas Cowboys. Superstitious fans blamed the cat for the Giants’ subsequent losing streak, but the truth is the team was just terrible and kitty was simply reminding everyone of that fact.
Lara Croft has come a long way since the days when she was the polygonal, hyper-sexualized protagonist of the early Tomb Raider games.
Thanks to a reboot the new Lara is a smart, adventurous and brave young woman voiced and motion-capped by the talented Camilla Luddington, and she’s never felt more real. In Shadow of the Tomb Raider, Lara ventures to the Peruvian jungle to chase down Mayan artifacts, and among the many obstacles in her way are jaguars.
Gorgeous, magnificent, regal jaguars who seemingly manifest out of the mist and blend back into the green inferno at will.
Here’s our new Lara, now starring in her third game:
Like previous games, her adventures revolve around archaeological digs, ancient tombs and uncovering the history of humanity one find at a time. What would a Tomb Raider adventure be without a bit of danger?
After an opening sequence, Lara and her friend Jonah head deep into the Peruvian jungle. This being Tomb Raider, they can’t land like normal people — a powerful storm sweeps in, sending their plane crashing into uncharted territory.
Lara finds herself alone, lost in the jungle without her gear. The sounds of the jungle reach a fever peach, with birds fleeing branches and monkeys howling, heralding the arrival of the apex predator of the Americas: Panthera onca, the jaguar, a name that translates to “He who kills with one bound.”
Okay, stay calm! Remember your training! You’re face to face with an apex predator with the strongest bite force of any animal, but you can do this!
Besides, it can’t get any worse at this point.
Oh shit. Even the monkeys are like “Dayum! Grab the popcorn!”
Don’t panic! Maybe these jaguars are just saying hello!
Or maybe not.
What’s worth noting is that these are not cut scenes — what you see here are screenshots within the game engine. For people who aren’t familiar with video games, that means you’re looking at the game itself. This is what the gameplay looks like.
We have come a long, long way from this, haven’t we?
It’s a difference allowed by several generations’ worth of improved computer hardware and software, resulting in billions of additional polygons, millions of additional colors, improved lighting, physics, art assets, high definition textures, motion capture technology and all the little things that fuel progress from a world made from flat, blurry environments and cartoonish characters to a hyper-realistic, almost photo-quality world which makes incredible immersion possible.
Most of our readers may not be gamers, but for those who are, I’ll avoid spoilers here even though Shadow of the Tomb Raider was a 2018 release.
Suffice to say jaguars play a prominent role in the game and serve as the Big Bads, the game’s ultimate threat made even more terrifying by the knowledge that they can appear at any time and ambush our hero before she’s even aware of their presence.
Shadow of the Tomb Raider does a fantastic job of immersion, making all of the dangers of the jungle feel real through meticulously crafted visuals and sound, and a compelling story. And like everything else in life, it’s better with cats!
I’ve been playing Cyberpunk 2077 lately, as readers of this blog may have guessed by some of the references, and it is everything the hype said it would be: A dystopian story set in a grim, hyper-corporatized, ultra-capitalist future in which the masses worship the gods of consumption, virtually everything that humans come in contact with is synthetic, and nature is a forgotten dream that may or may not exist beyond the seemingly-infinite concrete and chrome of human sprawl.
It’s Bladerunner writ large and interactive, a retrofuturistic nightmare in which people voluntarily have their own eyes plucked out to replace them with brain-interfaced digital lenses and biomechanical grotesqueness is the societal norm. A future in which a person’s life amounts to the price their internal organs can fetch on the black market and the only civil liberties that exist do so by the forbearance of megacorporations.
Even if you’re not a gamer, unless you’ve been living under a rock you’ve probably heard of the game. It is, after all, one of the most highly-anticipated pieces of consumable media in modern history, and familiar actors have lent their voices and likenesses to the production.
One of the most depressing aspects of 2017’s Bladerunner 2049, the long-awaited sequel to the 1982 Ridley Scott classic, is the utter disconnect from anything natural.
Future Los Angeles is so choked with smog that the city exists in a perpetual twilight gloom. Animals have been purged from the Earth, and humanity has turned to farming insect larvae for protein in processed foods. Vegetation is so rare that the sight of a single sprout near the dusty carcass of an old oak tree fascinates Ryan Gosling’s antagonist character, K.
Drawing heavily on Bladerunner — as well as the seminal 1988 Japanese film Akira, William Gibson’s 1984 novel Neuromancer, Luc Besson’s The Fifth Element (1997), and even the 1979 action thriller Warriors (which is itself based on Xenophon’s Anabasis from 370 BC) — Cyberpunk 2077 is about violence, hedonism and human greed.
There is no room for the beauty of animals or nature in a future like this.
That’s why it’s surprising to find cats stalking the dim alleys of Cyberpunk 2077’s Night City.
The player’s character, V, can stop and pet stray cats he encounters throughout the game.
There’s even a hidden opportunity to adopt your own stray and take it back to your apartment in the game. Johnny Silverhand, the wise-ass character played by Keanu Reeves, is particularly fond of Nibbles the stray, who can be found amid piles of trash in the hallway outside V’s apartment.
Nibbles “doesn’t really do much besides lay around and take up space,” Screenrant notes. “Basically exactly what a cat does in real life. What an immersive experience.”
In another scene, V is conducting recon on a corporate target with Takemura, a Japanese ally, when a cat slinks by and lays down about 20 feet away.
Takemura says the cat is the first animal he’s seen in Night City, “except for the cockroaches, of course.” Then he wonders if the cat is a bakeneko, a Japanese spirit.
Night City is a technological achievement so impressive that it takes many hours just to get your head wrapped around how big and detailed it is. It’s easily the largest virtual city ever created, but it’s not just about sprawl — the city is truly vertical, from hidden subterranean depths and accessible street-level locales to highways, apartments and offices that claw at the sky, their peaks towering over ubiquitous flying car traffic.
The game is a form of entertainment, but it’s also a warning: This could be our future. Some would say it’s even likely to be our future.
Most of us are disconnected from nature. We’ve forgotten the stars and the night sky, which have been blotted out by smog and light pollution. We have wiped out more than two thirds of all the wildlife on the Earth and innumerable species teeter on the edge of extinction, including almost every example of iconic megafauna, from tigers and jaguars to orangutans, chimpanzees and elephants.
The interregnum caused by the global pandemic has reminded us that we share this planet with billions of other minds, with animals cautiously poking their heads out at the edges of civilization, wondering where all the humans have gone.
It’s fun to play in a dystopian future, but I don’t want to live in it.
Nintendo’s newest game has been out for all of one day and already cats are like “Nuh-uh.”
The idea behind Mario Kart Live: Home Circuit is clever yet simple and seemingly tailored for the pandemic era: Using a Nintendo Switch, players control a tiny Mario Kart equipped with a camera and race it around courses they design in their homes. Because players are controlling the kart through a screen and seeing things from the kart’s point of view, the game augments the race course by generating obstacles to dodge, coins to collect and opponents to race against.
It’s called augmented reality, because it adds layers of computer-generated imagery over things we can see with our own eyes. It’s the same concept behind smart glasses and floating heads-up displays.
But there’s one wild card Nintendo’s designers may not have anticipated: Felis catus.
Nothing grabs a cat’s attention quicker than a small, fast-moving object, and the little karts have been triggering the predatory instincts of countless cats.
Some cats go all “You shall not pass!” Gandalf-style on the karts:
For anyone unfamiliar with Assassin’s Creed, it’s a series of games that imagine eras of history as digital theme parks filled with grand adventures, with the player as the hero in the middle of it all.
In Origins you’re an Egyptian warrior marauding through a landscape of pyramids, sphinxes, temples, crocodiles and lions. In Odyssey you’re a Spartan-born mercenary sailing the Aegean with Herodotus by your side and Aspasia as one of your BFFs.
These aren’t recreations of the ancient world so much as they’re simulacra of what people living in the 21st century think ancient Egypt and Greece looked, sounded and felt like.
The latest installment, due to arrive in December, is Assassin’s Creed: Valhalla, which leans heavily on History Channel’s Vikings and Netflix’s The Last Kingdom for its visual style. The game covers the same territory as those shows as well, taking place during the Viking era when invaders from Norway, Denmark and Sweden relentlessly pillaged the Anglo-Saxon kingdoms of England.
The vikings were low-tech raiders — they didn’t have a real writing system, they left no enduring mark on architecture, their smithing techniques were inferior and their technological contributions to humanity were limited to shipbuilding and seafaring.
They raided the Anglo-Saxons, in short, because they wanted to loot shiny shit. Gold and silver chalices, precious gems, crucifixes, woodwork, iron weapons, anything of value worth hauling back to Scandinavia.
In Valhalla, players will assemble their own raiding parties, and apparently they can take cats. The video below shows the player character recruiting a “raider cat” for his longboat. There’s a short sidequest involved. From there, the cat accompanies the player and his vikings across the sea. Like a typical feline, the game’s cat likes to sleep and is usually found curled up in the front of the longboat, but don’t expect kitty to help out when the fighting starts:
Feline humor, news and stories about the ongoing adventures of Buddy the Cat.