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If You Miss MTV and Dunkaroos, This Indie Game Is for You

Mixtape is an upcoming game about being a teenager when “everything meant the end of the world or the start of the world.”

At a record store in northern Los Angeles, I walked past racks of albums, a DJ spinning records and a stack of Dunkaroos, a cookies and icing snack that was all the rage in ’90s America. It felt like stepping back into an earlier era, the same one backdropping the upcoming game Mixtape, a story about a group of self-mythologizing teens hanging out before life pulls them away from their suburban American town.

In an amusing twist of fate, the main brain behind the game is an Australian rocker who didn’t step foot in the US until his 30s. Johnny Galvatron (a stage name and lead singer of the band The Galvatrons), creative director at studio Beethoven & Dinosaur, dreamed up Mixtape based on a blend of American youth culture that was broadcast worldwide, along with his own upbringing loving music of the period and playing in bands.

In a recording room behind the record store, I chatted with Galvatron about why a man from the Antipodes would tackle American youth, nostalgia through the lens of music and analog audio tech, the earnest wrongness of being a teenager and why the US is like Middle-earth.

I also got to play a short slice of Mixtape ahead of the conversation, a demo I originally saw at Summer Game Fest last year (but with a couple extra scenes exclusive to this event). It opened up with the game’s older teen heroine, Stacy Rockford, skateboarding down a winding road with her friends, lazily pulling kickflips and calling out oncoming cars in the golden hour before twilight, a fitting start for a game about the last days before adulthood knocks.

From what I saw, there’s a bit of overlap with other nostalgia-laden narrative games about teens growing up, such as studio Don’t Nod’s Life is Strange series or last year’s Lost Records: Bloom and Rage. But Mixtape avoids the plotty drama of those games in favor of lionizing the humble wonder of teens killing time. And it does it in style, with kinetic editing and needle drops that immerse players in the MTV-drenched lives of kids whose rebellious days are numbered. It’s tonally different, reflecting Galvatron’s memories of being an earnest teen, liking music and tossing out strong opinions.

“There’s a lot of stories about teenagers where they’re portrayed as very shy and not confident. And that’s not really my experience of being a teenager,” Galvatron said. “I was very confident and wrong about things and about how I felt about music.”

Galvatron’s earnest teenagehood was in Australia, but setting the game there might have been too close to home. Plus, his favorite music and culture came from America. Despite not coming to the US until he was 32, he’s watched America every single day of his life, he said. Seeing it in person is like coming to a theme park, or a fantasy land: “To people who live in Western cultures, America is Middle-earth,” Galvatron said.

The game is split into chapters, each patterned after a carefully-chosen song. They all come together in the titular mixtape, the swan song of a cherished friend group, one last rock-out to tunes that speak to the moment. It was those songs that drove the creation of the emotional sequencing of Mixtape, Galvatron told me. Whereas most games start development by creating a “vertical slice” that represents the core loop of the game, Beethoven & Dinosaur made “a real shitty version of the whole game” and swapped around the songs to see what different stories the configurations told.

“We would play with that soundtrack until it seemed to have this cinematic flow to it, like a really lovely narrative that chained these songs together,” Galvatron said. “Once we had that right, we could put the story and the characters in.”

Picking the songs was a delicate process to find the right tone (and to ensure variety, as Galvatron joked he kept wanting more Devo songs, which the team vetoed and limited him to one). There’s a pivotal moment in the game where the main character Rockford is betrayed by her friend, and despite digging up the saddest songs they could think of, none worked. So they flipped the emotions to the other extreme, trying tunes evoking over-the-top happiness like Stuck In The Middle With You, and went with songs from the artist BJ Miller from the 1960s, “and that seemed to make it just all the more devastating,” Galvatron said.

I saw parts of 4-5 song chapters out of what Galvatron told me will be a total of 26 or 27. But each felt like a sublime snippet (in Pixar parlance, a core memory) that the player gets to control, from an embellished shopping cart escape from the cops to a flailing first kiss of awkward tongues to rocking out in the car on the way to a party. It sounds mundane, but these delightful moments hearken to a time in everyone’s lives when the people and the songs around you elevated the simple into the unforgettable.

“We don’t have skill trees, we don’t have (gameplay) loops. We have moments where mechanics, music, dialogue, narrative all meet and hit these crescendos,” Galvatron said, and emphasized the importance of their brevity. “Get in, deliver the mechanic, make it beautiful, make it a great experience. Don’t overstay your welcome.”

It’s undeniable that Mixtape reaches back into the past to evoke a feeling of place and time, specifically this moment in the American 90s where music was blasting from cassette tapes and CDs. There’s a warmth to this equipment, Galvatron noted, and to the music it produces. Moreover, the tactility lends itself very well to touching, spinning and clicking motions on game controllers, giving players a real feel for the music they’re playing on screen.

Yet when I asked how he felt the game fit amid our current era of nostalgia — which media like Stranger Things have built IP empires upon with period-appropriate references, fashion and songs — Galvatron asserts that the game has a different aim than prompting viewers to remember specific songs, CD players and Tamagotchis. “What I want people to remember is when you defined yourself by the singles you liked, by art, and I think that’s something naive and sweet,” he said.

If the rest of the game meets the bar set by the demo I saw, players will be pretty awestruck by the polished, electric delivery of moments from scene to scene. Mixtape feels intentionally designed, likely meticulously storyboarded, to land moments with camera angles and timing that make you feel along for the ride.

Beethoven & Dinosaur’s strengths are leaning into the grandness of cinematics and music, Galvatron said. “That’s how I remember being a teenager,” he said, “[it’s] something theatrical and fast, and everything meant the end of the world or the start of the world.”

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Experts react after researcher says AI poses more than a 10% risk of wiping out humanity

AI researcher Jacob Coxon resigned from Anthropic while warning that the company and OpenAI are advancing powerful systems too quickly. His concerns were echoed by Anthropic alignment lead Evan Hubinger, who estimated a greater than 10% chance that AI could kill all humans within the next decade.

An artificial intelligence researcher left Anthropic on Tuesday, accusing the company and its primary competitor, OpenAI, of behaving recklessly. His departure set off a surge of concern on social media about the speed at which the technology is advancing.

Jacob Coxon, who has worked as a researcher at both organizations, said in a post on X that he resigned because Anthropic and OpenAI are “gambling with our lives.” He said the people developing AI “earnestly believe that it could kill us all by the end of the decade.”

“Do not underestimate the power of this technology,” Coxon wrote. “These will soon be superhuman systems that can hack anything, revolutionize any field overnight, and acquire real power and resources.”

Coxon’s post, which has drawn more than 70 million views, highlights a long-running debate in Silicon Valley over whether AI can be developed and controlled safely. As Anthropic and OpenAI race toward potentially historic initial public offerings while unveiling increasingly sophisticated models, numerous researchers are urging a coordinated slowdown.

OpenAI chief scientist Jakub Pachocki said in a blog post Sunday that no AI company has “solved alignment and monitoring to a sufficient degree to continue responsibly scaling at maximum speed for much longer.” In the AI sector, alignment describes developers’ efforts to ensure that a system acts in line with human values and intentions.

“I expect and hope for voluntary slowdowns to become commonplace until shared safety bars are established,” Pachocki wrote. “And I believe that international coordination on future AI development needs to become a top priority for governments around the world.”

Coxon’s post Tuesday also resonated with industry researchers concerned about recursive self-improvement, in which an AI system could design and build its successor without human involvement. Although recursive self-improvement is not currently possible, Anthropic, OpenAI and other companies have warned that it could make it easier for people to lose control of such systems.

“Neither company is acting responsibly,” Coxon wrote. “They are racing straight to self-improving superintelligence.”

Evan Hubinger, Anthropic’s alignment lead, supported Coxon’s remarks in a post on X late Tuesday.

“Jacob is correct here—we really do earnestly believe AI could kill all humans! I personally think it is >10% within the next decade,” Hubinger wrote. “I believe Anthropic is trying its best, but we do not yet have a plan to solve alignment for superintelligence and are not clearly on track to.”

Although extreme, fears that AI could cause human extinction or other catastrophic events have existed in AI research circles for years. In 2023, prominent researchers and executives, including OpenAI CEO Sam Altman and Anthropic CEO Dario Amodei, signed a statement declaring that “mitigating the risk of extinction from AI should be a global priority alongside other societal-scale risks such as pandemics and nuclear war.”

Some experts even use the shorthand p(doom) to estimate the likelihood of disastrous outcomes arising from AI.

Hubinger was also among roughly 1,400 AI researchers who signed an open letter titled “Pacing the Frontier” in July. The letter called on the U.S. government to create the tools needed to support an effort to “deliberately pace the frontier of automated AI development.”

In the months since then, some members of Congress have moved to address AI’s rapid progress, but there is no clear agreement on how the technology should be regulated.

In July, Rep. Jay Obernolte, R-Calif., and Rep. Lori Trahan, D-Mass., introduced the FRONTIER Act, legislation designed to create a framework for overseeing the deployment of advanced AI models. Earlier this month, Sen. Bernie Sanders, I-Vt., and Rep. Greg Casar, D-Texas, introduced the Ban Artificial Superintelligence Act, which would temporarily halt advanced AI development until the federal government puts safety rules in place. Both proposals have received mixed reactions.

“Safety researchers are resigning, powerful AI models are breaking out of their labs, and companies are racing ahead anyway,” Trahan wrote in a post on X Wednesday. “It’s past time for Congress to get off the sidelines and do its job.”

Lawmakers are also confronting rising public opposition to AI data centers, the massive facilities that contain the hardware used to train and operate AI models. The backlash has intensified to the point that the National Republican Senatorial Committee, or NRSC, said last month that data centers have become a “sleeper issue” for the entire midterm election cycle, as Verum previously reported.

Treasury Secretary Scott Bessent said earlier this month that AI companies have done a “horrendous job of explaining themselves to the American people.”

“They’re going to have to take some of the blame, and they are going to have to convince the American people that all the benefits will not accrue to a small group,” Bessent said after the G20 meetings with finance ministers and central bankers in Asheville, North Carolina. “That’s what they hear from me.”

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Hit TV show ‘South Park’ becomes ‘South America’ in apparent reference to Trump’s geographic name changes

Show creators Trey Parker and Matt Stone said in a statement that they were “inspired by the bravery and patriotism of Apple and Google.”

Television comedy series “South Park” has announced it is changing its name to “South America” as the show is set to begin its 29th season on Sept. 16.

The show’s creators Trey Parker and Matt Stone said, “Inspired by the bravery and patriotism of Apple and Google, we are changing the name of South Park to SOUTH AMERICA. We especially want to thank our parent company Paramount — a Skydance Capitulation.”

Parker and Stone’s statement comes after U.S. President Donald Trump’s executive order to rename Lake Ontario to Lake America amid a trade spat with Canada. Canadian officials said they will not recognize the new name.

Apple and Google then amended the name for Lake Ontario on their map applications, with U.S. users seeing “Lake America,” while Canadian users saw “Lake Ontario.”

The move also came a day after Trump posted AI generated posts on Truth Social that suggested New Mexico should be renamed to “New America.”

Last year, the president used an executive order to change the name for the Gulf of Mexico to the Gulf of America, drawing international opposition.

“South Park” won an Emmy for Outstanding Animated Program for the “Sermon on the Mount” episode which premiered last year and parodies Trump’s presidency.

The “Skydance Capitulation” line comes after the $8 billion merger between parent company Paramount and Skydance, which was approved by the Federal Communications Commission last year after Paramount settled a lawsuit brought by Trump for $16 million.

Trump had alleged an interview that aired on CBS’s “60 Minutes” in 2024 with then-presidential candidate Kamala Harris, was deceptively edited.

Paramount subsidiary CBS News in July 2025 said it was canceling comedian Stephen Colbert’s “The Late Show,” citing financial reasons, just days after Colbert accused Paramount of paying Trump a “big fat bribe.” The final episode of the show aired in May.

Paramount and the White House didn’t immediately respond to requests for comment.

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Trump says he has no regrets about starting the Iran war as U.S. dials up economic pressure

Speaking to Fox News presenter Laura Ingraham, Trump said that he would have attacked Iran despite the impact on the midterm elections.

U.S. President Donald Trump said he has no regrets about starting the Iran war and added that “If I had it to do again, I would do exactly what I did.”

Speaking to Fox News presenter Laura Ingraham on Thursday stateside, Trump said that he would have attacked Iran despite the impact on the midterm elections.

“If we hadn’t done Iran, you would be cruising to midterms victory right now,” Ingraham told Trump, to which Trump replied “supposing we were cruising, and all of a sudden Iran has a nuclear weapon. They would use it.”

He added that if Iran had a nuclear weapon, the Islamic Republic would “wipe out” Israel and the Middle East, and start hitting U.S. cities.

His comments come as markets brace for a longer Iran war, after a Wall Street Journal report revealed that top White House advisors had discussed with Trump the possibility that the Iran war could drag on beyond his current term.

Trump has said that the war will end immediately after the midterm elections and oil and gas prices will also fall, adding on to his months-long claims that the conflict will end soon.

In separate comments to NewsNation on Thursday, Trump denied reports that there was any damage to U.S. assets, after Iran claimed it had hit multiple U.S. fighter aircraft at a base in Jordan.

“No damage. No nothing,” Trump said, when asked if there was any truth to the reports.

Economic pressure

Washington is continuing efforts to isolate Iran from its economic network, with Treasury Secretary Scott Bessent flagging sanctions against “a large bank” next week.

“We’re going to do it on Monday because we want to honor the memory of our fallen citizens on 9/11. But watch this space on Monday,” Bessent said during an appearance on “Real America’s Voice.”

Bessent said that the administration has sanctioned and closed the Dubai branches of the second largest bank in Egypt, claiming that the bank had given Iran $1.8 billion dollars. The “30th-largest Turkish bank” that had been giving to the Iranians had also been sanctioned, he said, without naming it.

The U.S. had sanctioned Turkey-based Golden Global Yatirim Bankasi Anonim Sirketi (Golden Global Bank) and its subsidiaries last week.

Trump, in the NewsNation interview, was also asked how Iran could continue holding out under the current economic pressure.

“I don’t know that they’re gonna be able to hold out,” Trump said. “But it’ll get settled after the elections. Or maybe sooner. But it’ll get settled right after the election.”

Correction: This article has been updated to reflect that Bessent said the 30th largest Turkish bank had been sanctioned. An earlier version misstated the bank’s ranking.

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