Never mind typing on WhatsApp, swiping on Tinder, or scrolling on TikTok; even after all these years, few apps are able to turn you into a phone-obsessed zombie quite like Candy Crush.
More than a decade since it debuted on Apple and Google‘s app stores, the colourful tile-matching puzzle game remains an entertaining time sink for 238 million people worldwide.
It’s in many ways helped redefine what it means to be a “gamer”, now someone perhaps just as likely to be a commuting mother as a pasty teenager in a blacked-out bedroom.
Indeed, most Candy Crush players are women, and its huge player base has helped it make north of $1bn (£800m) in annual revenue for years.
Developer King has delivered more than 14,000 levels and thousands of hardcore fans have finished every one, no doubt melting away many bus and train journeys in the process.
Each time they polish off the latest new stages they’re made to wait a few weeks for the next batch, hopefully not enduring some kind of existential “what do I do now?” crisis during the downtime.
But those already pretty short gaps between level releases could well get shorter before too long, as every tech executive’s favourite buzz term – generative AI – makes its mark on game development.
“They are undoubtedly changing the way people work,” says Steve Collins, King’s chief technology officer.
“We have great talented artists, designers, and developers and these tools enable our teams to do more.
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“It’s really exciting for us – we are really only able to deliver to our players a small fraction of what’s in our head, so anything that removes barriers is a fantastic thing.”
Image: King’s chief technology officer Steve Collins
AI will ‘help creative people do more’
From writing novels to recording music, generative AI that can produce human-like content on a whim is arguably threatening the norms of the creative industries more than any others.
Why wait for a new Drake track when you could make one yourself? Does a money-driven film studio need to hire actors when deepfakes look indiscernible from reality?
Collins insists AI cannot replace the work of his London-based team, but rather enhance it.
“This is about putting tools in the hands of really creative and skilled people and letting them do more,” he says.
“Generative AI and large language models are really great at solving some repetitive and rule-based tasks, and that frees people up to be even more creative and focus on the skills they enjoy using.”
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0:47
AI: ‘My nightmare is to die then be in an advert’
‘Long history’ between games and AI
Just as this year has seen the likes of Google and Microsoft move to catch up with OpenAI’s ChatGPT, gaming companies will be keen to make the most of the power of AI so not to risk being left behind.
Some games, like the Xbox title High On Life, used the technology to generate art and voice-overs.
King’s own purchase of Peltarion, a Swedish AI company, last year looks particularly prescient.
Of course, gaming has always been at the forefront of where art meets technological innovation, and AI has been a buzzword within the industry for far longer than ChatGPT has been around.
Hop into an online game of FIFA and it won’t be long before you hear someone bemoan their computer teammates, while single-player games have long offered difficulty modes where AI dictates how tough your enemies are.
At King, bots are being used to test levels – playing through them as if they were humans to help hone the challenge.
Collins says: “We have 238 million players – and we can’t think of all of them as being an average player.
“Some want to be super competitive, some want to make a lot of progress quickly, some want a challenge, so we develop bots to play our games with different personas.”
This, he says, is the kind of utilisation of AI that frees up artists and designers to concentrate on making more and better levels.
It’s maybe part of why Collins, a computer scientist from Dublin, is optimistic about how his industry will take on a trailblazing role with AI in the years ahead.
“Like everyone, we’re very much in an experimental mode and still learning what this is capable of,” he says.
“Of course there are challenges in how you take advantage of it – you can’t guarantee the accuracy, you need to understand its limitations, there are serious questions to answer around content ownership and copyright.
“But I feel very optimistic about the innovations these technologies can bring.”
If those innovations mean more Candy Crush levels, busy mums and pasty teens alike will likely not complain.
Some of the biggest names in music – including Coldplay, Dua Lipa and Radiohead – have urged the government to honour a pledge to cap ticket resale prices and shutout touts.
They have joined artists including The Cure’s Robert Smith, New Order, Mark Knopfler, Iron Maiden, PJ Harvey and this year’s Mercury Prize winner Sam Fender to sign a statement calling for a cap to “restore faith in the ticketing system” and “help democratise public access to the arts”.
Other signatories include the watchdog Which?, FanFair Alliance, O2, the Football Supporters’ Association and organisations representing the music and theatre industries, venues, managers, and ticket retailers.
In the statement, the coalition says new protections are needed to “help fix elements of the extortionate and pernicious secondary ticketing market that serve the interests of touts, whose exploitative practices are preventing genuine fans from accessing the music, theatre, and sports they love”.
Labour had promised in its manifesto to put a stop to concert-goers being scammed or priced out of events by touts using bots to buy tickets in bulk the moment they go on sale, which they can then sell on for huge mark-ups on secondary ticketing websites.
In government, the party again made that promise – but more than a year after it vowed action, and seven months since its consultation on the issue closed, there has been no clear indication of when new laws will be introduced.
Image: Restore faith in the ticketing system, or Something Just Like This. Pic: AP
Image: This year’s Mercury Prize winner Sam Fender has joined the coalition. Pic: PA
The campaign comes as a new investigation from Which? found prolific sellers in locations including Brazil, Dubai, Singapore, Spain, and the US hoovering up tickets for popular events in the UK before relisting them at vastly inflated prices on StubHub and Viagogo.
How much?!
Which? found Oasis tickets for Wembley shows listed for £3,498.85 on StubHub and £4,442 on Viagogo.
A seat for the Minnesota Vikings vs Cleveland Browns NFL clash at Tottenham Hotspur was listed for £3,568.39 on StubHub, while a Coldplay ticket, also for Wembley, was £814.52 on StubHub.
And a ticket for the All Points East festival in London’s Victoria Park, headlined by Raye, for £114,666 on Viagogo.
The watchdog found it was often difficult for buyers to establish the seller’s identity or to contact them – despite the Competition and Markets Authority securing a court order in 2018 requiring Viagogo to outline the identity of traders.
Image: This year’s Mercury Prize winner Sam Fender has joined the coalition. Pic: PA
And there’s more…
Which? also found evidence of speculative selling – when tickets are listed on secondary sites even though the seller has not bought them yet.
Tickets for a Busted vs McFly show in Glasgow, which were available through Ticketmaster – the original seller – were simultaneously being listed on StubHub and Viagogo at double the price.
Government to set out plans ‘shortly’
Which? consumer law expert Lisa Webb urged Prime Minster Sir Keir Starmer to commit to legislation.
A government spokeswoman said it is “fully committed to clamping down on touts,” had listened to comments in response to the consultation earlier this year, and would set out its plans “shortly”.
Police will take no further action over alleged chants at a Bob Vylan concert in London.
Met Police had launched an investigation after allegations the singer, real name Pascal Robinson-Foster, was heard in footage saying “death to the IDF (Israel Defence League)”.
The footage was filmed at a performance supporting Iggy Pop, 78, at Alexandra Palace in May.
In a video, Mr Robinson-Foster is also alleged to have said: “Death to every single IDF soldier out there as an agent of terror for Israel.”
But the Met Police confirmed they are closing the investigation following advice from the Crown Prosecution Service (CPS).
Image: The Glastonbury performance led to a police investigation. Pic: PA
‘No further action will be taken’
A spokesperson for the force said: “On Wednesday 2 July, officers became aware of footage that appeared to have been filmed at Alexandra Palace in London on 28 May. An investigation was launched into the language used in the footage.
“Early investigative advice was sought from the Crown Prosecution Service who considered a number of potential offences but determined that, based on the information and material available, there would likely be insufficient evidence to take the case forward.
“As a result, officers have decided that no further action will be taken. We recognise the concerns that the footage caused, particularly among many in London’s Jewish communities.
“It emerged during a period where we have seen a concerning rise in antisemitic hate crime.
“We continue to work closely with community representatives to understand those concerns, to ensure the safety and security of Jewish Londoners and to provide reassurance moving forward.”
It followed footage of Mr Robinson-Foster allegedly leading a chant of “death, death to the IDF” during a BBC live-streamed performance at Glastonbury Festival, in June earlier this year, leading to an investigation from Avon and Somerset Police.
A man, in his 30s, understood to be Mr Robinson-Foster, had voluntarily attended an interview on Monday in relation to the band’s Glastonbury performance, the force said.
Police added the individual was not arrested but an investigation is ongoing.
After the Glastonbury appearance, the group were dropped from a number of festivals.
Actor and director Samantha Morton has said councils who fail to prevent the deaths of children in care should face manslaughter charges.
Warning: This story contains references to suicide.
In a powerful interview with Sky News, the Oscar-nominated, BAFTA-winning actor and director, who grew up in care, said Britain’s care system needs to be “completely rethought”.
It comes after a Sky News documentary, A Girl Called Nonita, told the story of 18-year-old Nonita Grabovskyte, who died in the care of the state following a catalogue of failures by those responsible for her care.
Nonita took her own life on railway tracks in December 2023, just two weeks after her birthday. She had previously told doctors and social workers that she intended to kill herself as soon as she turned 18. But nothing was done to prevent her death.
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Unseen: A girl called Nonita
“I was a child of the state, just like Nonita,” Morton told Sky News.
“I was put in care at birth until I got the letter to say I was no longer the council’s responsibility. I was kicked out at 16 and put into a homeless hostel.”
After spells of homelessness, she found a local TV actors’ workshop and managed to secure roles that would eventually lead to Hollywood.
But she says she has never forgotten her childhood, which saw her in and out of children’s homes and foster families.
“The lack of care historically is shocking,” she said. “But the lack of care today is worse. Back then, it felt like there was at least some comeuppance.
“The system now is not fit for purpose. It needs root and branch reform. It needs to be completely rethought.”
The young people who grew up in care who have died in England since 2020
2020: 40
2021: 30
2022: 60
2023: 90
2024: 80
Source: Department for Education
The data shows a sharp rise in deaths among care leavers – young adults who have aged out of the care system and are expected to live independently, often with little or no support.
The Department for Education only began collecting data for care leavers aged 22 to 25 in 2023, meaning the true scale of deaths over the past decade is likely to be far higher.
Morton says councils should be held more accountable for the deaths of children in their care, especially if local authority failings contributed to deaths.
Image: Pic: Invision/AP
‘State manslaughter’
“A failure to care has massive consequences,” she told Sky News. “And the consequences are that people like Nonita die. I believe that that is a kind of state manslaughter.
“And individuals who fail to do their job properly should be in a dock.”
Education Secretary Bridget Phillipson has told Sky News that deaths of care-experienced young people should “shame us all”.
All deaths of children in the care of the state must be reported to the government via the Child Safeguarding Incident Notification Scheme.
But there are doubts as to whether all deaths are being reported.
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Phillipson: ‘Nonita was failed on so many levels’
‘Shames us as a country’
Ms Phillipson told Sky News she has asked officials to urgently review the process to check for underreporting.
“I’m concerned about serious incident notifications – about making sure we’re receiving all notifications of such incidents taking place,” she said.
“Because it’s only if we know what’s happening, if we fully understand what’s going on in the lives of children, that we as a government, as a country, can provide the support they need.”
Ms Phillipson added: “It shames us all as a country that we so badly fail many of the most vulnerable children who’ve experienced such appalling trauma and abuse in their early lives.
“I read every single notification personally – and it always stays with you. Every case is a child or young person who deserved better.”
If you have been affected by any of the issues raised in this story, help, and support is available. You can call Samaritans free on 116 123 anytime day or night. You can also email jo@samaritans.org or visit www.samaritans.org to find support online.