MediaMarkt’s new Day without VAT is coming strong with discounts on OLED TVs, mobile phones and even video games

Just a few hours ago, MediaMarkt started a new edition of its star promo: Day without VAT. As usual, we have available a huge list of technology offers where we can find very good prices on cell phones, televisions, scooters, watches, air purifiers and, essentially, anything we need right now. The promo, which will last only until tomorrow at 9 in the morninghas very sweet offers. Below we leave you a selection of five that we find interesting: HW-Q990F/ZF Sound Bar by 698.35 eurosone of the best sound bars on the market. Xiaomi 15T Pro by 453.72 eurospowerful mobile with a 144 Hz screen and Leica camera. Galaxy S25 Ultra by 1,197.72 eurosa great Android mobile that still has some juice left in it for a while. LG OLED55B56LA by 798.35 eurosa 55-inch TV with bright colors that is ideal for watching movies. ‘Pokémon Pokopia‘ by 61.15 eurosone of the best games on Nintendo Switch 2 and in 2026. HW-Q990F/ZF Sound Bar We start with a Samsung sound bar and, in fact, it is one of the best from the Korean manufacturer. We are looking at a sound bar that comes with two independent speakers and a subwoofer to offer a total sound power of 756 Wideal if you want to set up a cinema in the living room. In addition, it is compatible with Dolby Atmos and, if you have a Samsung television, you can pair it with the TV speakers with Q-Symphony and thus achieve a better experience. It is available for 698.35 euros. Soundbar – Samsung HW-Q990F/ZF, Bluetooth, 756 W, Subwoofer and wireless Dolby Atmos, 11.1.4 channels, WiFi, Titanium Black The price could vary. We earn commission from these links Xiaomi 15T Pro If we are looking for a new Android mobile, this Xiaomi 15T Pro It is a very good option. We are looking at a device that has a 6.83-inch screen with a refresh rate of 144 Hzsomething that is not usually seen on many mobile phones and is ideal for having a fluid experience or reading text. In addition, it has a Leica signature photographic system, good battery and notable performance. comes out for 453.72 euros. Mobile – Xiaomi 15T Pro, Black, 256 GB, 12 GB RAM, 6.83 ” AMOLED, MediaTek Dimensity 9400+, 5500 mAh The price could vary. We earn commission from these links Galaxy S25 Ultra It is true that the new one is now available S26 Ultrabut he Galaxy S25 Ultra It is still a great buy in 2026. It has a 6.9-inch screen with one of the best anti-reflective treatments there isideal so that not even the sun bothers you when you are outdoors. In addition, plenty of power with the Snapdragon 8 Elite, a very complete camera system and it has six years of guaranteed updates left (it came out with 7, but a year ago). Costs 1,197.72 euros. Mobile – Samsung Galaxy S25 Ultra, Titanium Black, 512 GB, 12 GB RAM, 6.9″ WQHD+, Snapdragon 8, 5000 mAh The price could vary. We earn commission from these links LG OLED55B56LA This LG OLED55B56LA television is perfect for taking the leap into this technology, since it is a model with a good price right now (it costs 798.35 euros). It is a TV that offers pure black and very vivid colors, which will give you a great experience when watching movies at home. In addition, it also offers 0.1 ms and 120 Hz response time with VRR on its HDMI 2.1 ports, which is ideal for gaming. 55″ OLED TV – LG OLED55B56LA, 4K OLED, α8 AI Processor 4K Gen2, Smart TV, DVB-T2 (H.265), Umber brown The price could vary. We earn commission from these links Pokémon Pokopia We close this selection of offers with a video game, in this case with one of the best releases so far this year. ‘Pokémon Pokopia‘ is a title that is very far from what this franchise usually is with a video game where there is a lot of exploration, puzzles and tons of things to discover. It is, without a doubt, one of the best exclusives of nintendo switch 2 until now and comes out 61.15 euros. Nintendo Switch 2 Pokémon Pokopia (Game Key Card) The price could vary. We earn commission from these links Other interesting offers from MediaMarkt’s VAT-Free Day Some of the links in this article are affiliated and may provide a benefit to Xataka. In case of non-availability, offers may vary. Images | MediaMarkt In Xataka | The best mobile phones, we have tested them and here are their analyzes In Xataka | Best televisions in quality price. Which one to buy and seven recommended 4K smart TVs

300,000 kilometers from Earth you can now make video calls. Artemis II is using telemedicine technology

We have normalized video calls so much that we hardly think about what happens behind when we press a button and another person appears on the screen. We do it daily, with WhatsApp, FaceTime or any other platformwithout stopping at the network, the servers and the connections that hold that conversation in real time. It is a technology that we take for granted, even when we use it thousands of kilometers away within the Earth itself. But as soon as we leave that environment and go much further, to hundreds of thousands of kilometers, what seemed everyday begins to take on another dimension. ‘Hello’ from space. That change of scenery we talked about has a very specific example in Artemis II. The mission took off on April 2, 2026 and has taken astronauts back to the Moon after more than 50 years without manned flights in that area. In the middle of that journey, a milestone has occurred that until now we had not seen on this scale: video calls made from deep space through a platform called VSee. Wiseman’s message. Beyond the technical milestone, there is a scene that sums it all up. Reid Wisemanmission commander, posted a message on X in mid-flight that allows us to understand what that connection really means. “Distance makes the heart grow fonder… it didn’t take 219,669 miles to remind me how much I love Ellie and Katey,” he wrote, alluding to his daughters. Ellie and Katey are precisely his two daughters, and the message has special weight because Wiseman was widowed in 2020, when his wife, Carroll, died. The figure is not minor either: at that moment, the ship was about 219,669 miles from Earth, about 353,500 kilometers. Click to see the original publication in X Before Artemis. Although what we are seeing now marks an obvious leap, the truth is that video calls in space are not an absolute novelty. On the International Space Station, astronauts have been using video communication systems for years, both to talk to their families and to collaborate with teams on Earth.Video exchanges were already taking place in 2010 for educational purposes, and by 2015 this practice is described as common within the station’s operations. That is to say, the novelty is not in speaking by video outside of Earth, but in doing so at this distance. The difference. The International Space Station moves in low Earth orbit, a few hundred kilometers high, while the Artemis II Orion capsule has reached hundreds of thousands of kilometers from Earth during its trajectory around the Moon. In addition, it reached distances that exceed historical records of manned missions, including the maximum so far attributed to Apollo 13. For this reason, everything indicates that a video call made at that point is the furthest ever made by humans. Why telemedicine. This is where one of the most striking questions appears. If we are talking about a video call, why not use conventional tools like the ones we use every day? The answer has more to do with the conditions of the communication than with the function itself. Solutions like those of VSee have been designed to operate in networks with high latency, data loss and unstable connections, just the type of environment that NASA had already been facing for years in its space communications. More than a question of brand or custom, the key is the robustness of the system. The network that makes it possible. For this conversation to be sustained, a good application is not enough. Behind it is a global infrastructure designed specifically for deep space: the NASA Deep Space Network. This system is supported by three large stations located at strategic points on the planet, in Goldstone (United States), Madrid (Spain) and Canberra (Australia), which work in a coordinated manner to maintain continuous contact as the Earth rotates. In the case of Spain, the Madrid station is part of the network that makes this type of link possible, something especially relevant to understand that these communications also depend on infrastructure located in Europe. Images | POT In Xataka | There is a spontaneous competition to design the “flag of Humanity.” And the best design is an engraving of the Pioneer

video store management and video game repair simulators

Micro-niches are one of the most fascinating phenomena on Steam: coming from no one knows where, putting developers thousands of kilometers apart from each other, thanks to them a handful of games come together that share thematic, aesthetic or mechanical features (what is known in the indie scene as multiple discovery). Now, surfing the wave of the nostalgia millennialseveral games from a new micro-niche coincide: management and work with retro overtones. Long live plastic. Long live the video store. In March 2026, two games about 90s video stores were released on Steam by two development teams who didn’t know each other within six days of each other. Neither knew of the other’s work, but both succeeded: they climbed the Valve store’s sales rankings and accumulated thousands of positive reviews. And the whole phenomenon says a lot about the cultural moment we are in. Retro Rewind. With the subtitle ‘Video Store Simulator‘, this game arrived on Steam on March 17, 2026. It was developed by Blood Pact Studios, a two-person team in Canada, and sold more than 100,000 copies in its first four days. The reviews, in the “Overwhelmingly Positive” category. Its mechanics are deliberately simple: you open a video store in the early 90s, order tapes from a catalogue, fill shelves by genre, charge fines for late returns and serve the customer who wants ‘Terminator 2’, of which there are no copies left. There’s even an adult section hidden in a corner and a pirate tape dealer that appears twice a week in an alley. Rewind 99. Six days before,’Rewind 99‘ entered Early Access with an almost identical premise but a different tone. Developed by Gunmetal Games, the game places the player in charge of the last video store in the city in 1999, fighting against the expansion of a streaming service called RentNet. ‘Retro Rewind’ is committed to pure single-player management, but ‘Rewind 99’ it is more complex: RPG-like progression, open world, side missions and online cooperative mode. Reviews within the framework of “Very Positive” and complete exit from Early Access in 2028. ReStory: Chill Electronics Repairs. Let’s go to another somewhat more cozy aspect of nostalgia millennial. ‘ReStory: Chill Electronics Repairs‘, developed by Mandragora and published by tinyBuild, is not about renting retro technology, but about manipulating it. Disassembling, cleaning, soldering and rebuilding cartridges in a Tokyo repair shop in the early 2000s is the central task of the game, which also not short of iconic ambitionas it includes officially licensed Atari consoles such as the 2600 and Jaguar, as well as mobile phones, cameras, digital pets and music players. The player’s work also affects the customers and the destiny of the store. There is a demo in limited playtest on Steam and the launch is scheduled for this year. Stores for millennials. This coincidence is explained by two phenomena that collide and whose fruits sprout here: on the one hand, the store simulator subgenre, which has been established on Steam for years thanks to titles such as ‘Supermarket Simulator’ or ‘Gas Station Simulator’, with thematic inventory management and customer service (with countless variants, from dating games to visual novels) as central mechanics. And on the other hand, nostalgia millennial which is now beginning to miss the latest developments in physical formats, such as cartridges, VHS or DVDs. Result of the pairing: the most endearingly turbocapitalist indie games of the moment. In Xataka | The internet has decided that 2016 was great and worth remembering. But there’s a problem: it wasn’t at all.

The video game has realized that it is no longer culturally relevant. So he’s taking desperate measures

If you have heard about the launch of new ‘Resident Evil’ and you go on TikTok looking to see something gameplay or how to defeat a specific zombie, be careful because you are more likely to end up watching videos dedicated to the back of its protagonist Leon Kennedy than to any weapons guide. You’re reading right: at his back, at his growls and the way he forces a closed closet, and not exactly at his return to Raccoon City. None of this is coincidental. Capcom, responsible for ‘Resident Evil’, has not only launched a tremendously anticipated title from a saga much loved by players, it has built a campaign to generate conversation, desire and, above all, a constant presence on networks. Thirst tweets (messages from fans expressing attraction or admiration for a character), clips designed to go viral and creative decisions aimed at provoking a specific reaction in the audience. fandom It is something that we usually see in marketing campaigns for cinema. A very obvious recent example may be that of the actor Jacob Elordi in the middle of promoting ‘Wuthering Heights‘ being a victim of countless fancams (those clips with images highlighting an actor or character). But no, this time we don’t have a Hollywood star but a fictional character; and the effect is the same. Capcom has joined the wave and in doing so has put many unknowns surrounding the video game industry on the table while beginning to clear up others. Because the question is not why this particular campaign has worked, but why the video game industry needs to do it now. Video games sell but they don’t create conversation The truth is that we cannot say that the video game industry is in the midst of a creative crisis, but rather in a crisis of cultural visibility and, therefore, it is beginning to react with strategies typical of other media. The list of video games that may interest us by theme, gameplay or aesthetics is infinite, but really that wealth remains largely for those who are already in the medium. For the general public, the video game is still something more opaque and specializedcompared to other cultural areas. The audience, even if they are not movie buffs or music fans, can be up to date with the big premiere of the week or a new album by Taylor Swiftbut it is difficult to know about the new game of Hidetaka Miyazaki. And the thing is, not only does it help that you like the product, but also the red carpets, the media interviews and the marathon weeks of promotion. Capcom would kill for this. Thus, we can stay up to date and find out about Zendaya’s new premiere thanks to a viral video talking about the theme of her looks for the red carpet or about Bad Bunny’s new album through a clip of her interview on ‘The Tonight Show’ with Jimmy Fallon. On the other hand, here the video game is at a clear disadvantage and does not generate that type of media attention and following outside of the endemic media. Cinema and music with trends, premieres and their stars constantly cross the public conversationa barrier that the video game cannot break. With few exceptions such as ‘Grand Theft Auto‘or a new generation of’Pokémon‘, few releases achieve a similar level of expectation. We are facing a striking paradox, we are talking about an industry that manages to generate more money globally, but at the same time has difficulties occupying that space in the collective imagination. This disconnection seems difficult to overcome, because although the ideas and quality of many titles are more than remarkable, there is an underlying problem that shakes the world of the industry. While income shows record numbers (the global video game market grew by 5.3% in 2025 to reach $195.6 billion), the truth is that the sector is going through a wave of continuous layoffs that hits both small studios and big companies that seemed untouchable like Epic Games with its totem Fortnite. These dynamics of layoffs, cancellations and restructuring show the structural tension that goes further of the games themselves and make it imperative to rethink, not so much what is done, but how it is presented. Video games have not known how to turn their icons into elements of constant cultural conversation. It is striking how some of its most emblematic characters such as Cloud Strife from ‘Final Fantasy VII’ or Ezio Auditore from ‘Assassin’s Creed’, despite their influence in the sector, barely permeate the broader collective imagination and only become icons recognizable mainly by those who already know the medium. And for this. Trailers or old classic events like the E3 or more recent quotes like Game Awards They are not enough to wake up the interest of the general public for new releases; recognizable “faces” and viral moments are needed. We already had a clue in 2023, if for the world of video games the title ‘The Last of Us’ is a reference, the king of the fancams Pedro Pascal and the HBO adaptation so that, through another format, this story would reach the global conversation, even increasing game sales. In this context, strategies like Capcom’s make complete sense: the aim is not to alter the product, nor the original idea, but to transform how it communicates, positions itself and, above all, how it becomes more visible beyond its own niche. Capcom and the twist “thirsty” New releases, such as in film or music, should also be an event with shared experiences and campaigns that transcend the news and Capcom has taken note. It even seems that the Japanese company has attended the “Margot Robbie school”: just as the actress throughout the promotion of “Wuthering Heights” commented and fangirled with all of Jacob Elordi’s romantic gestures during filming, making him the perfect Heathcliff; Capcom has moved that same logic to the world of video games. With a campaign that reaches not only hardcore … Read more

Thousands of people have fallen in love with seven dogs abandoned and on the run in the middle of China. It was just another AI video

The image was undeniably powerful, almost cinematic. In the freezing darkness of the night, with temperatures below zero, a pack of seven dogs walked in formation on the shoulder of a highway. The video of just 11 seconds, published in chinese platform Douyinshowed a motley crew: a German shepherd, a golden retriever, a Labrador, a small corgi, and several mixed breed dogs. The clip went viral, quickly racking up more than 230 million views. The audience, saturated with news about wars and disastersfound an emotional balm in these animals. But what the network hailed as a miracle of loyalty and survival, the real version of the Disney movie Homeward Bound or the children’s series Paw Patrolturned out to be a completely prefabricated story. The birth of a viral myth. It didn’t take long for the internet machinery to build an epic narrative. From there, speculation became “truth.” Rumor spread that the seven dogs had escaped from a traffickers’ truck that was taking them to a dog meat slaughterhouse, and it was even claimed that they had walked 17 kilometers together. The anthropomorphization of the pack reached extraordinary levels. As illustrated by the comments of Internet userssocial networks assigned a role to each dog in this pack: the injured German shepherd was the “General” whom everyone protected; the golden retriever was the “guard” that was placed near traffic to shield them; Chinese rural dogs were the “guides” with a sense of direction; and the little corgi was the brave leader and “nurse” who walked 50,000 steps—twice as many as the rest—retracing his steps to make sure no one was left behind. The truth behind this story. The event, however, was much less romantic and lacked villains. Extensive field research carried out by reporters City Evening News dismantled the theory of the great escape. There were no meat traffickers, no kidnapping trucks, nor a 17-kilometer trip. Reporters located the village in Shuangyang district where the animals came from. Three of the most famous dogs belonged to Mr. and Mrs. Zhang: the corgi, affectionately called “Big Fatty” (Dapang); the German Shepherd, “Four Treasures” (Sibao); and the golden retriever, “Long Hair.” As the family explained, around March 13, the German shepherd simply went into heat. Since the dogs in the village usually roam freely, the males in the area were attracted to her and began to follow her, going just 4 or 5 kilometers away until they reached the highway. The rescue was not out of a movie either. Although volunteers from rescue bases such as Tong Tong or Bitter Coffee (led by Professor Liu) used drones to search for the herd, the resolution was purely customary. As detailed City Evening NewsMr. Zhang had a dream in which he was feeding his dogs. Convinced that they were alive, he went out to look for them in neighboring towns and found them safe and sound in the walled patio of a house where they had entered to take refuge. The other dogs in the video turned out to be pets of other neighbors in the area, such as Messrs. Guo and Jing, who returned home on their own. The engine of deception. If the story was so simple, how did it become a global phenomenon full of false details? The answer is in technology. According to an in-depth analysis of cnnalthough the original clip of the dogs walking on the highway was authentic, the story was hijacked and inflated using Artificial Intelligence. After the video went viral, AI-generated “spin-offs” proliferated: cinematic posters of the seven dogs, fake trailers showing their “exciting escape” and hyper-realistic images of the animals tearfully reunited with their supposed owners. The reason is purely economic, since “attention is money on the Internet”, as TJ Thomson explainsassociate professor of digital media at RMIT University. Content creators saw a golden opportunity to capitalize on a trend. As Tama Leaver, a professor at Curtin University, adds, inventing or embellishing these stories using AI is “a very effective way to increase an account’s numbers quickly.” The implications beyond. Although it may seem like an endearing and harmless anecdote, this viral hoax has tangible consequences. On the one hand, it perpetuates stigmas. Although since SCMP contextualizeciting the Dalian Animal Protection Association, that pet theft for meat is a real problem in some areas of northern China (which prompted genuine concern from many), in this specific case the false narrative fueled the fires of racism. As pointed out cnnthe invention of the “meat factory” fueled negative stereotypes against Chinese citizens, something especially dangerous in a climate of growing xenophobia. On the other hand, there is the damage to our information ecosystem. Chinese state media and the Jilin tourist office had to intervene to deny the rumor. as quote Guardianauthorities warned that this incident “reflects deficiencies in the dissemination of information online, where subjective speculation is easily taken as fact.” Professor Tama Leaver warns about danger of complacency: If we let our guard down and accept AI-generated images without questioning them because they are “cute dogs”, our critical skills will be atrophied when faced with false images about serious topics, such as war conflicts. @cnn A viral video showed a group of dogs in China who were purportedly captured to be eaten, escaped, and made the long journey home. The problem? The story’s not real. CNN’s Jessie Yeung explains how this kind of misinformation can spread. #cnn #news ♬ original sound – CNN The fragility of our eyes. The ending of “The Adventures of the Seven Dogs” in Changchun did not require an epic soundtrack, but a leash. Owners now leash their dogs during the mating season. However, the trail they leave on the network is deep. In an era dominated by AI and the desperate search for clicks, our need to consume happy endings it makes us deeply vulnerable to manipulation. The true story of the German shepherd or the corgi teaches us a hard journalistic and social lesson about the contemporary internet: as Professor Thomson … Read more

The length of “a day” on all the planets in the Solar System, explained in a revealing video of just one minute

The Universe is full of unknowns for humanity. What’s more, even data that we know ends up being questioned and reformulated, such as: the distances between planets in the solar system. In fact, as a millennial, when I was a child I learned all the planets at once and then I had to forget about Pluto. However, a reasonably solid and most interesting piece of information is How long is a day on a planet in the Solar System?information that on Earth is approximately 24 hours (23 hours and 56 minutes, specifically). This duration is due to the average time it takes our planet to complete a rotation on its own axis, although translation has an influence. Furthermore, it has evolved historically due to the gravitational pull of the Moon. Thus, and in general terms, we can establish that to estimate this duration, factors influence its radius, its orbit and also interactions with other celestial bodies. The reality is that we are facing a non-intuitive pattern with results that defy logic. To solve the question numerically, the popular science channel The Brain Maze has a great video the most agile and visual to clear our doubts with the figures in just one minute: Now we know how much, but it is even more interesting to understand why. As a summary, there are certain general rules that are met: paradoxically the largest planets are those that rotate the fastest and those closest to the Sun have suffered the effects of gravitational tides in such a way that they have slowed down to almost a stop. Although we already told you that there are quite a few anomalies. The counterintuitive pattern for determining how long a day is The Sun and the planets of the solar system. The sizes are to scale, but the distances are not. By Edits by Pepedavila. Source image on Commons edited by Farry, credited by original uploader to “Martin Kornmesser”, and later an anonymous edit re-credited it to “zaria mayers”. – Edit of File:Planets2008.jpg by Farry., Public domain, https://commons.wikimedia.org/w/index.php?curid=20584284 Giant planets have shorter days than the Earth and in short, they spin fast because they grew fast. When the Solar System formed, these early planets accumulated gas and dust with angular momentum. The gas giants captured so much material in a short time that they were able to preserve almost all of that original angular momentum. They go without brakes and it shows: it takes Jupiter less than 10 hours to make a complete revolution on itself, despite the fact that compared to Earth, it is more than 300 times its mass and 11 times larger. With Saturn this also applies, but for Uranus and Neptune the explanation is incomplete: the ice giants also spin fast for the same reason, but their history is much more eventful, either due to collisions or disturbances in the early days. On Mercury and Venus the days become eternal. The rocky planets close to the Sun found a brake in the tides. Mercury is so close to the star that its gravity has dissipated its original rotation over time. If you were on the surface of Mercury looking at the Sun, you would see it stop, move backwards, and move forward again: it is the effect of its elliptical orbit and its slow rotation, compared to its orbital speed. In fact, even has a double dawn in some parts of the planet. Venus is also slowed down by the sun’s gravity, but it also rotates in the opposite direction. Because? Good question, for you, for me and for science in general: it remains a mystery, although there are hypotheses. A curiosity to reinforce the rarities of Venus: a day lasts longer than its own year, it takes 243 Earth days to rotate on itself and only 225 to complete its orbit around the Sun. By the way, the fact that a day on Mars and on Earth lasts practically the same is, according to science, almost certainly a coincidence. This similarity and other factors have fueled for decades the idea that Mars is the ideal candidate to host life. In Xataka | We have been deceived by the distances of the Solar System: the closest neighbor to Neptune is Mercury In Xataka | The true size of all the planets in the Solar System, explained in a clarifying video

Nintendo knows that most people who go to its parks and watch its movies have never touched a video game. and he loves it

The success of the park Super Nintendo World and of the Mario’s first animated film (with a sequel just around the corner that also promises to break the box office) has confirmed what the company has known for years: that its characters are worth as much inside a console as in an outdoor version. The strategy coordinated by Shigeru Miyamoto, creator of Mario, points towards an entertainment model where the video game is only the origin, not the objective. Not just video games. Shinya Takahashi, senior CEO of Nintendo, He has been repeating a phrase for years which sounds almost like a wake-up call: “People see us as a video game company. But we have always considered ourselves an entertainment company.” The distinction is important: Nintendo was founded in 1889 in Kyoto as a manufacturer of Hanafuda cards. It went through toys, taxis and hotels before reaching video games in the seventies. Software and consoles have been its core business for decades, but they were never the only thing the company thought it could do with its characters. The problem is that for a long time all of the company’s forays outside of video games had been failures. 1993: disaster. The most famous case is the live-action Super Mario Bros. movie from 1993. Nintendo transferred the rights through a simple licensing agreement and did not participate in the production. The result was an experiment that It raised only 40 million dollars with a budget close to 50 and which is remembered as one of the worst video game adaptations in history (although over time it has acquired, thanks to its outlandish production design, a well-deserved cult status). Miyamoto himself acknowledged the root of the problem with that film in an interview, and why it took them so long to try again: “We were afraid of all the failures of IP adaptations of the past, where there is a license and a distance between the original creators and those of the films.” The consequence of that failure was almost thirty years without giving up film rights to its main franchises. Nintendo stopped licensing its IP to external studios and only allowed occasional appearances of his characters in films like ‘Wreck-It Ralph!’ or ‘Pixels’, none with real creative control. New adaptations. When Nintendo sat down to negotiate with Universal and Illumination for an animated film, the conversation started from a different beginning. Miyamoto served as executive producer and was involved in every significant decision, from casting to animating key characters. The same logic was applied to the construction of their first amusement park, Super Nintendo Worldin collaboration with Universal and announced in May 2015. Construction of the park in Osaka began in 2017. The investment reached 351 million dollarsa scale comparable to what Universal once dedicated to the Harry Potter franchise. A real game. Super Nintendo World is designed so that visitors feel like they are in Mario’s world. They wear an NFC bracelet with which they interact with the question blocks, collect coins, complete challenges and end up facing Bowser Jr. as the final boss. There is no controller, but there are game mechanics, score markers, hidden secrets, and a slight internal narrative. Attention to detail permeates spaces such as bathrooms and restaurants. Nintendo is doing well. The financial results support the bet. According to Comcast data released during an earnings call, CFO Jason Armstrong noted that Universal Studios Hollywood (home to one of the two Super Nintendo Worlds in the United States) recorded its best gross profit in that period of the year in its entire history, thanks to the impact of the Nintendo park, and experienced an increase in visitors of 15%. The Super Mario movie has also been extremely profitable: 1.36 billion dollars worldwidebecoming in just 26 days the first adaptation of a video game to exceed one billion. It was the second highest-grossing film of that year, only behind ‘Barbie’. New philosophy. There is a quote from Takahashi that sums up this new business philosophy: “We knew that Mario was adored by video game fans, but the park helped us understand that Mario also has non-gaming fans.” and Miyamoto adds: “There are many people who know who Mario is but have never played the game.” The park’s target audience, according to Takahashi, is not any age group or any specific player profile: “It’s all-encompassing, whether it’s someone who knows Mario from the games or a kid who’s never played before.” Mario is an IP that generates value regardless of whether its audience has ever touched a controller. In other words, he is a much more valuable client, because there are no limits regarding age or hobbies. It doesn’t stop, it doesn’t stop. The expansion continues: Donkey Kong Country opened in Osaka in December 2024, expanding the space of Super Nintendo World by 70%. Epic Universe, Universal’s new park in Florida inaugurated in May 2025has its own Super Nintendo World. And there is a version under construction in Singapore. Takahashi has mentioned that franchises such as ‘Splatoon’ or ‘Zelda’ are part of the expansion plans into new media, although there are hardly any specific announcements. Of course, the sequel ‘Super Mario Galaxy’ arrives on April 1. Video games are just one more link in a chain of dividends that have turned Nintendo into a very different company than it was a few years ago. In Xataka | No one would think of leaving ‘Super Mario 64’ on for 14 months. But whoever does it will find a surprise

MrBeast makes a video and everyone copies him

Content on YouTube and other video networks is becoming more and more like fast food: clone flavors, different packaging (although with few differences). MrBeast It is currently the global reference on the platform and has sparked a race to replicate its challenge-show-prize format, flooding other people’s profiles (both North American creators and Spanish streamers) with content with very few differences between them. What we have lost along the way: the personality that turned YouTube into an alternative to traditional television. What are these videos about? A hook in the first ten seconds, absolutely obscene amounts of money at stake (figures like $250,000 in weekly challenges), many people screaming a lotan editing rhythm that doesn’t let you breathe. This is how Jimmy Donaldson’s channel, better known as MrBeast, works, and this is how those of hundreds of creators work who, to a greater or lesser extent, have copied his visual grammar, which ranges from the speed of editing to the video thumbnails themselves. In Spain, Its most relevant copier is Ibai Llanos. But is everything as the same as it seems? According to some studies, yes. This 2024 analysis discussed how YouTube’s recommendation system tends to reduce the diversity of content that reaches the viewer, favoring what researchers call “densely interconnected content communities.” The mechanism is circular: the algorithm rewards what already works, the creators replicate what the algorithm favors, the viewer sees more of the same. Whether it is all part of a plan or something that has simply evolved in that direction is a dilemma that remains subject to discussion. The practical result is a platform where the average video thumbnail includes a face with an open mouth, a large red number, and some high-value object. Youtube Product Manager has recognized that the algorithm drives 70% of all views on the platform, meaning that more than the creators themselves, it is the system that decides what thrives and what doesn’t. And YouTubers have to study it and embrace it if they want to upload. of visits. The first times. For years, around the middle of the last decade, YouTube was a platform that encouraged experimentation: the first big channels, like PewDiePie or the Vlogbrothers, and in Spain people like the foundational AuronPlay, ElRubius or Wismichu, to name just a few, made spontaneity a format and built their video empires on their own personalities. Long, sometimes chaotic videos, where the audience’s loyalty did not come from the spectacle but from the identification with whoever was speaking to the camera. It was parasocial content in the most literal sense: the hook was to sit down and watch someone, week after week, and feel like you knew them. How he triumphed. MrBeast spent, by his own account, between 20,000 and 30,000 hours studying YouTube before building the most viewed channel on the platform. In 2023, a 36-page internal document titled “How to Succeed in MrBeast Production” (or ‘How to Succeed at MrBeast Production’, an onboarding manual for new employees) was leaked online. Its content was revealing: the content of the videos formulated as engineering to retain the viewer with precise metrics, tested formats and detailed analysis of important elements of the videos, such as the so-called “wow factor”, and the suggestion of never reusing the same format twice in a row so as not to fatigue the audience. The triumph. This industrial production manual applied to entertainment worked like a charm: the youtuber brought in 54 million dollars in 2022 alone and surpassed 300 million subscribers in 2024, becoming the first individual channel to reach that number on YouTube. MrBeast himself knows perfectly well that he makes a very imitated model. On the topic declared: “many people copy me every day, but it would be hypocritical to get angry with them”, referring to the fact that his fortune comes from studying previous content that worked. Nobody is blameless. Among his most notable copiers are A4 (Vlad Bumaga), Brent Rivera, Yolo, Morgz. It is copied. In 2023 Ibai Llanos issued the second edition of ‘The Last One Standing’: Ten streamers locked in a square, the one who lasts the longest wins 50,000 euros (in the first edition it was 30,000). Ibai himself made it clear that the format was based directly on MrBeast videos (“it’s great in the United States”). He did it in his own style, of course: he not only published a summary of the event, but it was broadcast live in an eight-hour stream. The relationship between the Spanish-speaking ecosystem and MrBeast had another interesting crossover. In July 2024, Ibai, Rubius, Spreen and Quackity participated in a video by the North American creator with fifty content creators from around the world. The video has more than 447 million viewsalthough the Spanish streamers appeared for just a few seconds. Ibai acknowledged that “Compared to North American YouTubers and streamers, we are insignificant”, That has not prevented the formula from continuing to be replicated on a local scale. The productive infrastructure of Ibai (Kings League, The Evening of the Yearthe Ibainéficos) responds to a similar logic: the event-show as a unit of content and money as a narrative engine. In the case of Ibai, the truth is that the Spanish creator strives to maintain his personality, although most of his formats and approaches would not exist without the precedent of MrBeast. Where are we going? MrBeast seems to sense that the formula has a limit, and there are signs that he is aware of the exhaustion that his own formula generates. In September 2025, the YouTuber himself described one of his most recent videos as “less screaming, slower, more story, more emotion,” and the video surpassed 83 million views in four days. The spectacle continued to predominate (two ex-boyfriends had to remain chained to win a large amount of money), but the feelings and drama were just as high as the substantial prizes. New tiger costume or the same old striped pajamas? In Xataka | Chichén Itzá and the Mayan ruins … Read more

has tested its humanoid robot in a real factory (and there is video)

For years we have heard the same promise: humanoid robots working side by side with us in factories, warehouses or even in our homes. It’s an idea that appears again and again. However, when we go down from that stage to the ground of a real plant, the story changes quite a bit. There it is not enough to walk or grab objects; everything must happen precisely and be repeated many times without errors. In that context, each small advance begins to have a different meaning. The latest news from Xiaomi. Lei Junfounder, president and CEO, posted a message on his official WeChat account to update the status of the company’s robotics project. The executive explains that a humanoid robot developed by the company has already begun “doing practices” within one of its automobile factories. The manager also links to a published technical article describing the first tests carried out with the robot under factory conditions. Let’s see. What exactly has the robot done in the factory. According to the text, The humanoid robot has been put to the test in a very specific position within the automobile manufacturing process: placing self-tapping nuts on parts of the vehicle’s floor. In practice, the system collects these nuts from an automatic supply equipment and deposits them in the positioning tool where the automated screwing of the position is then carried out. The Chinese firm places this operation in the pressure casting workshop, on ground components after that process. Three figures that help understand the test. Xiaomi explains that the humanoid robot performed this work for three hours of continuous autonomous operation within that position. In that period, it achieved a success rate of 90.2% in the simultaneous placement of the nuts on both sides of the piece, a percentage that the company defines as the number of correct operations compared to the total number of attempts made. Another fact that stands out is the work pace, since the system managed to adjust to a production cycle of up to 76 seconds. This is an important fact because in an industrial line, each operation must fit into very specific times so that the process does not break down. behind the scenes. Xiaomi points out that its humanoid robot is based on the Xiaomi-Robotics-0 model, described as a VLA-type model that integrates vision, language and action within the same system. According to the company, this approach makes it easier for the robot to understand the tasks it must perform, perceive its environment and execute the movements necessary to complete them. The training is also complemented with reinforcement learning, a technique that allows the system to improve its behavior based on the experience accumulated in the physical world. The faults that the robot can find on the line. In its technical description, Xiaomi also points out several scenarios in which the operation may fail. One of the main problems appears during the alignment process between the self-tapping nut and the positioning pin, which must be well centered and seated before screwing can proceed. If this fit is not precise enough, a blockage may occur during the process and the assembly remains incomplete. Additionally, the orientation of the nut inside the robot’s hand can vary with each grip, and the company cites factors that complicate adjustment, such as the knurled structure inside the nut, the magnetic attraction force of the pin, and, in some cases, environmental interference or working angle limitations. The predecessor. To better understand this advance, it is worth remembering that Xiaomi has been exploring the field of humanoid robots for some time. In 2022 the company presented CyberOnea prototype that appeared at one of its events showing basic capabilities such as walking or holding objects. At that time the company itself made it clear that it was a project in an early stage of development. What we see now seems to be situated in another type of scenario: less demonstration on a stage and more tests within a plant, where the objective is to check if these machines can respond to the demands of a repetitive process. Looking to the future. The company also hints that this experiment is just one part of a larger project. Xiaomi points out that it is testing its humanoid robots in various jobs within the factory, including box transport tasks and operations related to the installation of exterior elements of the vehicle. In fact, in his WeChat post, Lei Jun states that the company wants to contribute to the deployment of humanoid robots in smart manufacturing and proposes a medium-term forecast. According to his estimate, in the next five years there could be large quantities of these machines working in his factories. Images | Xiaomi In Xataka | Huawei presents its AI supercluster to the world: it is a nod to Chinese Big Tech and a message to NVIDIA

Video games have grown a lot this year. But the money goes to China, Roblox and the owners of mobile platforms

The global video game industry had a turnover of around $185 billion in 2024 and continues to grow. But there is a catch: this growth does not reach the studios or the area that traditional players look at, those of the console wars and the old PC Master Race. Matthew Ball’s usual annual report leaves a less complacent diagnosis: revenue is concentrated in China, on platforms like Roblox and on the owners of mobile operating systems. The rest survive as best they can. The Old Times (2021): There is still talk about how great the year 2021 was for video games. It seems like it was yesterday when the pandemic (insert meme of Grandpa Simpson telling stories to the kids here) confined hundreds of millions of people to their homes, and games (mobile, console, PC, free, subscription) absorbed the benefits of that confinement. As Ball, CEO of Epyllion, analyzes in The State of Video Gaming in 2025the factors that drove that peak were an extraordinary sum of factors: mobile platforms, free-to-play models, games as a service, the cross play and new genres like battle royale and social play. Downhill. The flip side of that was a much bigger recession than expected: global spending on video games fell 3.5% in 2022 and barely recovered a few percentage points towards the end of 2024. According to the consulting firm MIDiA Research, the sector had enjoyed growth of 26.3% in 2020 and 9.8% in 2021, and the rebound was inevitable. According to Ball, the engines that had driven the industry between 2011 and 2021 stopped all at once: the smartphones They were no longer surprising with each interaction, social networks were paralyzed, the free-to-play was normalized. 6.5% of total gaming time in 2023 corresponded to new video games, says Ball, and only four titles shared half of that percentage. Layoffs in full force. He report also speaks how the sector’s layoffs since 2022 illustrate this adjustment: more than 44,000 jobs, 61% of them concentrated in North America. This does not mean that it is the end of the industry or that the same pattern is being repeated. crash 1983, as has been said (the industry is too diversified and globalized to repeat a systemic collapse of that magnitude). What we are paying is the cost of having built a structure designed for an industry in continuous growth during the pandemic. The Chinese monster. Ball puts on the table that global spending on video games grew by approximately $10 billion between 2021 and 2025. But… where did that money go? The report assures that to Beijing: about 4,000 million of that growth is from the Chinese market, and another 1,500 million are from titles developed in China sold in international markets. In total, Chinese publishers have racked up about half of global growth since 2019. And there are more data: Gamer spending in China reached $49.2 billion in 2024, with a base of 722 million active gamers, more than double the total population of the United States. China is already the first market in the world by income. Not foreigners. Very significantlythat market remains almost closed to foreign games. 84% of Chinese gamers’ spending goes on titles produced in China, and that percentage has increased, as unusual as it may seem: 20% of Chinese domestic spending goes on imported titles (a figure that also registered a decrease of 5% between 2023 and 2024). It is comparable to what happens with cinemawith local films devouring foreign ones at the box office. A situation favored by a combination of factors: First, the Chinese regulatory framework favors national titles through a licensing system; second, development costs are substantially lower than in the West; Finally, the work culture of the country’s studios allows for more intensive production cycles. You don’t have to dig far to find examples of great Chinese international successes: ‘Genshin Impact‘, from miHoYo, raised more than $3.5 billion in its first year70% outside China with a character design rooted in anime. ‘Honor of Kings‘, from Tencent, dominated the Chinese mobile market for years before making the international leap with adaptations of character names. AND ‘Black Myth: Wukong‘, developed with support from Tencent, sold ten million copies in its first three days launching in August 2024, betting on the opposite of assimilation: an unequivocally Chinese mythology without thematic concessions to Western taste. Roblox sweeps. The numbers sing: 70% of the growth of the video game market outside of China in 2025 was absorbed by ‘Roblox‘. Which is an infrastructure on which millions of creators build interactive experiences using the platform’s own tools. Players access it for free and spend real money on cosmetic items and access within these worlds, transactions that are carried out in Robux, the ecosystem’s virtual currency. Of every dollar spent,’Roblox’ historically retained around 70% leaving the creator with approximately 25 or 30 cents. In September 2024, ‘Roblox’ announced a new delivery model for paid games that increases the creator’s commission up to 70% on titles that sell for $49.99. What does this translate into? In 2024, ‘Roblox’ paid around $923 million to its creators (an increase of 25% compared to 2023), while its total revenue grew by 29% until reaching 3.6 billion dollars. Its intentions are colossal: CEO David Baszucki stated that the company’s goal is to capture 10% of the global video game content market. Some more questions. Just to finish outlining the portrait: ‘Roblox’ registers sustained net losses (a accumulated deficit of 3.5 billion) with the logic of the platform in the expansion phase, sacrificing immediate profitability. Some observers they point because ‘Roblox’ has become the video game equivalent of YouTube, a platform that extracts value from the work of its creators in the form of data, advertising and infrastructure. And one last thing: two titles on the platform (‘Blox Fruits’ and ‘Brookhaven RP’) each accumulate 60% of the monthly gaming hours of all of Electronic Arts. 30%. If the global video game market reached an all-time high in … Read more

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