I really enjoyed this video from John Linneman, painstakingly retracing the history of the "Road Rash" series. I do feel compelled to make an addendum of sorts to his 3DO section however, with some clarifications and corrections.
The 3DO was only expensive in 1993; in 1994 the price dropped to $400, and by the time the PSX and Saturn came out, it was $250-- more than a hundred dollars less than those two machines after you factored in a game plus a memory card for the former. The 3DO did not fail because it was expensive.
I don't know how the roads are drawn in "Road Rash" on 3DO, but the scenery is not "polygonal" with "texture maps applied"-- the 3DO does not have any kind of 3D geometry hardware at all! Every single thing in a 3DO game is a "sprite"-- a quad. Dave Needle's custom graphics co-processors-- the "CEL Engine"-- allow you to provide Z coordinates for "sprite" corners, and the hardware knows how to draw the "sprite" in a perspective-correct manner. You can "glue" these angled "sprites" together, positioning them so they are touching, to make "3D" environments.
For each frame in the game's loop, the quads, or "sprites", are fed into the provided API in the form of a linked list, with flags for each one to activate various built-in hardware effects, such as brightness, color tint, alpha transparency, or rotation.
Linneman discusses the ports to other platforms, but those aren't apples-to-apples with the 3DO original: the PSX and PC renderers were re-created from the ground up to use actual polygons, which undoubtedly required a lot of asset re-work to convert the quads into viable textures which artistically looked faithful to the 3DO's quad renderer. You can see this when John turns on geometry rendering in his PSX emulator: triangles! As for the Saturn port, like the 3DO Sega's hardware was also quad-based-- so I'm assuming they could lift the assets straight over, and just re-write the "CEL Engine" calls to do whatever the Saturn needed to draw the frame.
As for the music, I wouldn't say that the 3DO's custom DSP is "sequenced music" per se, although it does fundamentally operate with samples I suppose. He is correct about why licensed music isn't used during gameplay: the 3DO has a pretty big bottleneck with the disc I/O, so the music would start skipping during races had they opted that route. It doesn't skip during the menu transitions, but that's because they buffer an absurd amount of song time, since they have memory to burn when the race engine is being used.
The 3DO DSP soundtrack is by Don Veca, the same guy who did the "Road Rash 3" music on the Mega Drive. Personally, I like his "Road Rash" music better than Rob Hubbard's, all due respect.
As for why the PSX port uses a lower color-depth and dithering: the 3DO's hardware supports totally arbitrary color depths for its assets; you can load a 5-bit quad, for example, and the hardware can draw it. This allowed 3DO developers at the time to maximize VRAM usage. The PSX, by contrast, can only use powers-of-two for texture and sprite color depths. In the case of my hypothetical 5-bit color usage, a PSX port would need to jump all the way up to 8-bit color-- impossible, due to a lack of VRAM-- or drop down to 4-bit color, and introduce dithering. Most 3DO-to-PSX ports look worse on the PSX for this reason, "Road Rash" included.
Everything Within the Ideology
The opening premise in this video is positively hilarious-- it's Vee at his best. Joking aside, here is an article where the Left's ideology takes a dark turn. Combine it with some of the things mentioned in this thread, and it paints a bleak picture of the realities of young kids today.
People often say to me, "But Sniper, every generation thinks kids are going to turn out poorly!", or, "But events very often seem bad to people at the time!" All of that is undoubtedly true-- but I counter with the observation that what we're experiencing today is unprecedented: never in human history have we had a small cabal of borderline-trillionaires with the technology and will to institute global serfdom-- and never before have we had hundreds of millions of small children essentially living in the matrix, while being "educated" by groomers.
Legitimacy
I think the answer to Vee's question here boils down to, "Is Hamas the 'legitimate' elected state apparatus for Palestine?" If the majority of the people there really do support Hamas, then like it or not they are Israel's negotiating partner. Conversely, if the people there vote for Hamas under extreme duress, ala North Korea or the old Soviet Union, then the case could be made, as the speaker states, that the path towards a "two-state" solution is unclear.
The reason this answer's Vee's question is because, if the people there are simply voting for Hamas under pressure, but don't authentically support Hamas, the European politicians could them claim-- perhaps with some truth, although we do know what their true motives are, and it's not to increase the quality of life in Europe-- that Palestinian refugees are A-OK for Europe, because they don't actually support Hamas.
Vee goes on to blame "the current thing" phenomenon on pragmatism-- "'the current thing' brings in more ad revenue...". I think that's part if the story-- but the larger concern for these people is ideological; they ride the wave of and propagate "the current thing" to "strike when the iron is hot", and so either spread or react on behalf of-- depending on how self-aware they are-- their worldview in those moments.
Of course, none of this justifies Israel dropping massive bombs and thus flattening an entire city's worth of children.
Insomniac Leak
I don't get all of the hand-wringing in the opening discourse of this Digital Foundry video.
I skimmed through much of the leaked material, and it's unclear to me why companies aren't this transparent as a matter of course. Why does our current culture so value corporate secrecy? For instance, Sony could have just dropped this slide deck onto their website for everyone to see, voluntarily. Ditto for the "Wolverine" demo and presentation videos; isn't there value, "Agile Manifesto"-style, in getting things in front of the end customer early ("fail early"), versus big banging it all at once later and then getting the negative feedback? The popularity of Steam's "Early Access" program attests that value.
Tellingly and some way into the conversation, Richard Leadbetter puts forth this principle: that there is a "statute of limitations", so-to-speak, and after that time passes, then it's ok to discuss the leaks because by then the leak is simply a "fact of life". But isn't the leak a "fact of life" the instant it occurs? What Leadbetter is admitting is that the hand-wringing is all about the feels-- because the facts won't have changed: we already knew-- materially-- immediately that the leak was the outcome of a ransomware attack.
To summarize, I think Digital Foundry and their ilk are wildly overstating the "harm" done by leaks such as this-- indeed, the only "harm" put forth in the entire discourse is that Linneman thinks people are too stupid to know that a game with no textures isn't finished; and that the pearl-clutching reactions are emotions-based virtue signaling, because it was stated that after some magical, arbitrary amount of time it's "ok" to discuss the leaked material.
One thought which crossed my mind: on some level, games "journalists" like the Digital Foundry people may feel threatened by leaks such as this, which could cause them to overestimate "the damage" in their minds-- after all, the normal route via which private corporate information gets unveiled to the public is either through direct advertising by the corporation itself, or just as commonly it is handed to outlets such as Digital Foundry, for carefully-curated and selective drip-feeding. But in the case of a leak, the media loses its gatekeeper status and thus its reason for existing.
All of that said, I'm not condoning the cracking into people's servers, as those servers are private property. I can understand that, if the home addresses of people were part of this leak (I haven't seen that, but maybe it was in there), then that becomes very uncomfortable or theoretically dangerous; and I do understand that Sony's share price is impacted by this uncontrolled release of information. But everything I have seen from the data exposed has been the kind of information I wish companies would simply make public anyway.