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About Majestic Forest
This process of dumping nearly $1 trillion into the U.S. banking system has already begun. How is it going to work? There is currently a $1.5 trillion short term bill hamster wheel that the U.S. Treasury has been running on like a crazed mouse since April. They issue about $1.5 trillion in short term paper every month and pay it back with about the same in new short term issuance. They have about $1.6 trillion stuck in their bank account at the Federal Reserve, and that money is now coming out to pay down that hamster wheel. The issuance of new short term paper is slowing down. All this new money is going to stuff banks so full of short term cash that they will be forced to slam it into the existing supply of short term paper to such an extent that the rates are going to go negative, nominally. Nobody knows how deeply, but it’s definitely coming, probably in the next few days.
Below is the graph of 1-month rates from CNBC. They are about to cross the zero boundary.
When that happens, commodities prices are going to get completely unhinged. The cash on corporate balance sheets is going to start losing purchasing power very fast. And that will only encourage more dumping of it, and increase the positive feedback loop now already in place.
About Majestic Forest
The company admitted to lapses in its internal approval process, described the error as isolated and noted the ad was removed within a few hours.
Limay reported implementing new safety measures for AI-generated gambling creatives, including specifying age-related prompts and reviewing the perceived age of AI outputs.
Despite these measures, the ASA found that the character’s age was not credibly verified. The prompts used to generate the AI image did not explicitly require the character to appear aged 25 or over. Without an independent verification process, the regulator determined the character still “seemed to be under 25”.
What is Majestic Forest?
Lower barriers to entry could significantly widen the pool of potential game creators. Curwen sees opportunities not only for established and emerging studios, but for operators, suppliers, entrepreneurs and potentially entirely new entrants.
“The big change is that technology can increasingly provide the infrastructure,” he says. “The creator provides the idea. And I think that will make the industry much more interesting.”
For Yggdrasil, Game in a Box and Studio in a Box are therefore intended to become more than tools for its own development operation. Curwen envisages them supporting a wider creator ecosystem, although he acknowledges that proving the model commercially must come first.
