Subscribe to Nintendo Life on YouTube807k The legendary FPS DOOM has been released again and again over the years and distributor Limited Run Games has now announced a special bundle for DOOM + DOOM II limited to just 666 copies and priced at a whopping $666 USD (or your regional equivalent). The 'DOOM + DOOM II: Will It Run Edition' will be available for Switch and multiple other platforms with pre-orders opening next week. It will include multiple items that run doom including a box (yes, a box), a handheld cacodemon, and of course a regular physical copy of this two-in-one offering. Additionally, you'll also get Sigil and Sigil II, and much more. Fortunately, there are some cheaper options available.Subscribe to Nintendo Life on YouTube807kWatch on YouTube Here's the full rundown of everything included: DOOM + DOOM II Will it Run Edition - $666 DOOM + DOOM II Game* Box that Plays DOOM Two Piece Big Box Cassette Tape Soundtrack Set with Slipcase Includes Base Soundtrack and full IDFKR Soundtrack Floating Cacodemon - on Magnetic Base 3’ Cacodemon with 5’ Base Handheld Cacodemon - Plays DOOM Trading Card Pack includes five random cards Certificate of Authenticity *PC Edition includes Digital Steam Code And here's what is specifically included in the game pack: "Developed by id Software, and originally released in 1993, DOOM pioneered and popularized the first-person shooter, setting a standard for all FPS games. The critically acclaimed sequel, DOOM II, followed in 1994. Now the definitive, newly enhanced versions of DOOM + DOOM II are available as a combined product." Owners Receive: DOOM DOOM II TNT: Evilution The Plutonia Experiment Master Levels for DOOM II No Rest for the Living Sigil & Sigil II Legacy of Rust (a new episode created in collaboration by id Software, Nightdive Studios and MachineGames) A new Deathmatch map pack featuring 25 maps Altogether, there are a total of 187 mission maps and 43 deathmatch maps in DOOM + DOOM II. New Enhancements Online, cross-platform deathmatch and co-op for up to 16 players¹ In-game mod browser³ Choose between the original midi DOOM and DOOM II soundtracks or the modern IDKFA versions by Andrew Hulshult (including brand-new DOOM II recordings) Now on the KEX engine BOOM source compatibility makes it possible for hundreds of community-created mods from the past 25 years to be published in-game Accessibility options, such as a modern font to improve legibility, high contrast mode, text-to-speech, speech-to-text multiplayer chat and more Translated into 8 new languages: Mexican Spanish, Brazilian Portuguese, Polish, Russian, Japanese, Korean, Traditional Chinese and Simplified Chinese Existing Enhancements Upgraded visuals Modern controller support Weapon carousel for faster weapon switching Gyroscopic aiming Improved mouse and keyboard controls Local split-screen deathmatch and co-op for up to 4 players Featured community mods¹'²'³, including REKKR, Revolution!, Syringe, Double Impact, Arrival, and more! 60 FPS and native 16:9 support – up to 1080p Restored original in-game music using original hardware Quick Save/Load support DeHacked mod support As already noted, Limited Run will also be offering some more affordable alternatives including a DOOM + DOOM II Big Box Edition for $99.99 (or your regional equivalent) and then there's the standard edition for just $29.99. Big Box Edition - $99 DOOM + DOOM II Big Box Edition includes: DOOM + DOOM II Game* Two Piece Big Box Cassette Tape Soundtrack Set with Slipcase Includes Base Soundtrack and full IDKFR Soundtrack Trading Card Pack includes five random cards *PC Edition includes Digital Steam Code Standard Edition - $29 Along with this, Limited Run will be offering standalone DOOM-themed trading cards and is also releasing a DOOM + DOOM II NEO S Controller for $69.99: Download it now £395.99 in the UK for the console alone Would you be willing to fork out the asking price for the 'Will It Run Edition'? How about a standalone copy or 'big box' edition? Let us know in the comments. [source limitedrungames.com] Related Games See Also Share:3 2 Liam is a news writer and reviewer for Nintendo Life and Pure Xbox. He's been writing about games for more than 15 years and is a lifelong fan of Mario and Master Chief. Hold on there, you need to login to post a comment... Related Articles 'Switch 2 Editions' Are Supposedly A Switch Game Card And Download Code For The Upgrade Pack Update: Although My Nintendo Store reps are saying the opposite Nintendo Understands Switch Owners May Not Be "Ready To Jump To Switch 2" And it wants to keep those players "engaged" Best MicroSD Express Cards For Nintendo Switch 2 Your old Switch cards won't work, it's time for an upgrade

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shaken, not stirred A guide to the “platonic ideal” of a Negroni and other handy tips Perfumer by day, mixologist by night, Kevin Peterson specializes in crafting scent-paired cocktails. Jennifer Ouellette – Apr 11, 2025 12:53 pm | 6 Credit: Sean Carroll Credit: Sean Carroll Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Kevin Peterson is a "nose" for his own perfume company, Sfumato Fragrances, by day. By night, Sfumato's retail store in Detroit transforms into Peterson's craft cocktail bar, Castalia, where he is chief mixologist and designs drinks that pair with carefully selected aromas. He's also the author of Cocktail Theory: A Sensory Approach to Transcendent Drinks, which grew out of his many (many!) mixology experiments and popular YouTube series, Objective Proof: The Science of Cocktails. It's fair to say that Peterson has had an unusual career trajectory. He worked as a line cook and an auto mechanic, and he worked on the production line of a butter factory, among other gigs, before attending culinary school in hopes of becoming a chef. However, he soon realized it wasn't really what he wanted out of life and went to college, earning an undergraduate degree in physics from Carleton College and a PhD in mechanical engineering from the University of Michigan. After 10 years as an engineer, he switched focus again and became more serious about his side hobby, perfumery. "Not being in kitchens anymore, I thought—this is a way to keep that little flavor part of my brain engaged," Peterson told Ars. "I was doing problem sets all day. It was my escape to the sensory realm. 'OK, my brain is melting—I need a completely different thing to do. Let me go smell smells, escape to my little scent desk.'" He and his wife, Jane Larson, founded Sfumato, which led to opening Castalia, and Peterson finally found his true calling. Peterson spent years conducting mixology experiments to gather empirical data about the interplay between scent and flavor, correct ratios of ingredients, temperature, and dilution for all the classic cocktails—seeking a "Platonic ideal," for each, if you will. He supplemented this with customer feedback data from the drinks served at Castalia. All that culminated in Cocktail Theory, which delves into the chemistry of scent and taste, introducing readers to flavor profiles, textures, visual presentation, and other factors that contribute to one's enjoyment (or lack thereof) of a cocktail. And yes, there are practical tips for building your own home bar, as well as recipes for many of Castalia's signature drinks. In essence, Peterson's work adds scientific rigor to what is frequently called the "Mr. Potato Head" theory of cocktails, a phrase coined by the folks at Death & Company, who operate several craft cocktail bars in key cities. "Let's say you've got some classic cocktail, a daiquiri, that has this many parts of rum, this many parts of lime, this many parts of sugar," said Peterson, who admits to having a Mr. Potato Head doll sitting on Castalia's back bar in honor of the sobriquet. "You can think about each ingredient in a more general way: instead of rum, this is the spirit; instead of lime, this is the citrus; sugars are sweetener. Now you can start to replace those things with other things in the same categories." We caught up with Peterson to learn more. Perfumer by day, mixologist by night: Kevin Peterson. EE Berger Perfumer by day, mixologist by night: Kevin Peterson. EE Berger Peterson drew on his unique interdisciplinary experience for his book, Cocktail Theory. EE Berger Peterson drew on his unique interdisciplinary experience for his book, Cocktail Theory. EE Berger Perfumer by day, mixologist by night: Kevin Peterson. EE Berger Peterson drew on his unique interdisciplinary experience for his book, Cocktail Theory. EE Berger Ars Technica: How did you start thinking about the interplay between perfumery and cocktail design and the role that aroma plays in each? Kevin Peterson: The first step was from food over to perfumery, where I think about building a flavor for a soup, for a sauce, for a curry, in a certain way. "Oh, there's a gap here that needs to be filled in by some herbs, some spice." It's almost an intuitive kind of thing. When I was making scents, I had those same ideas: "OK, the shape of this isn't quite right. I need this to roughen it up or to smooth out this edge." Then I did the same thing for cocktails and realized that those two worlds didn't really talk to each other. You've got two groups of people that study all the sensory elements and how to create the most intriguing sensory impression, but they use different language; they use different toolkits. They're going for almost the same thing, but there was very little overlap between the two. So I made that my niche: What can perfumery teach bartenders? What can the cocktail world teach perfumery? Ars Technica: In perfumery you talk about a top, a middle, and a base note. There must be an equivalent in cocktail theory? Kevin Peterson: In perfumery, that is mostly talking about the time element: top notes perceived first, then middle notes, then base notes as you wear it over the course of a few hours. In the cocktail realm, there is that time element as well. You get some impression when you bring the glass to your nose, something when you sip, something in the aftertaste. But there can also be a spatial element. Some things you feel right at the tip of your tongue, some things you feel in different parts of your face and head, whether that's a literal impression or you just kind of feel it somewhere where there's not a literal nerve ending. It's about filling up that space, or not filling it up, depending on what impression you're going for—building out the full sensory space. Ars Technica: You also talk about motifs and supportive effects or ornamental flourishes: themes that you can build on in cocktails. Kevin Peterson: Something I see in the cocktail world occasionally is that people just put a bunch of ingredients together and figure, "This tastes fine." But what were you going for here? There are 17 things in here, and it just kind of tastes like you were finger painting: "Hey, I made brown." Brown is nice. But the motifs that I think about—maybe there's just one particular element that I want to highlight. Say I've got this really great jasmine essence. Everything else in the blend is just there to highlight the jasmine. Taking a cocktail's temperature. EE Berger Taking a cocktail's temperature. EE Berger Garnishes are an important element of presentation. EE Berger Garnishes are an important element of presentation. EE Berger Taking a cocktail's temperature. EE Berger Garnishes are an important element of presentation. EE Berger If you're dealing with a really nice mezcal or bourbon or some unique herb or spice, that's going to be the centerpiece. You're not trying to get overpowered by some smoky scotch, by some other more intense ingredient. The motif could just be a harmonious combination of elements. I think the perfect old-fashioned is where everything is present and nothing's dominating. It's not like the bitters or the whiskey totally took over. There's the bitters, there's a little bit of sugar, there's the spirit. Everything's playing nicely. Another motif, I call it a jazz note. A Sazerac is almost the same as an old-fashioned, but it's got a little bit of absinthe in it. You get all the harmony of the old-fashioned, but then you're like, "Wait, what's this weird thing pulling me off to the side? Oh, this absinthe note is kind of separate from everything else that's going on in the drink." It's almost like that tension in a musical composition: "Well, these notes sound nice, but then there's one that's just weird." But that's what makes it interesting, that weird note. For me, formalizing some of those motifs help me make it clearer. Even if I don't tell that to the guest during the composition stage, I know this is the effect I'm going for. It helps me build more intentionally when I've got a motif in mind. Ars Technica: I tend to think about cocktails more in terms of chemistry, but there are many elements to taste and perception and flavor. You talk about ingredient matching, molecular matching, and impression matching, i.e., how certain elements will overlap in the brain. What role do each of those play? Kevin Peterson: A lot of those ideas relate to how we pair scents with cocktails. At my perfume company, we make eight fragrances as our main line. Each scent then gets a paired drink on the cocktail menu. For example, this scent has coriander, cardamom, and nutmeg. What does it mean that the drink is paired with that? Does it need to literally have coriander, cardamom, and nutmeg in it? Does it need to have every ingredient? If the scent has 15 things, do I need to hit every note? Peterson made over 100 daiquiris to find the "Platonic ideal" of the classic cocktail Credit: Kevin Peterson The literal matching is the most obvious. "This has cardamom, that has cardamom." I can see how that pairs. The molecular matching is essentially just one more step removed: Rosemary has alpha-pinene in it, and juniper berries have alpha-pinene in them. So if the scent has rosemary and the cocktail has gin, they're both sharing that same molecule, so it's still exciting that same scent receptor. What I'm thinking about is kind of resonant effects. You're approaching the same receptor or the same neural structure in two different ways, and you're creating a bigger peak with that. The most hand-wavy one to me is the impression matching. Rosemary smells cold, and Fernet-Branca tastes cold even when it's room temperature. If the scent has rosemary, is Fernet now a good match for that? Some of the neuroscience stuff that I've read has indicated that these more abstract ideas are represented by the same sort of neural-firing patterns. Initially, I was hesitant; cold and cold, it doesn't feel as fulfilling to me. But then I did some more reading and realized there's some science behind it and have been more intrigued by that lately. Ars Technica: You do come up with some surprising flavor combinations, like a drink that combined blueberry and horseradish, which frankly sounds horrifying.  Kevin Peterson: It was a hit on the menu. I would often give people a little taste of the blueberry and then a little taste of the horseradish tincture, and they'd say, "Yeah, I don't like this." And then I'd serve them the cocktail, and they'd be like, "Oh my gosh, it actually worked. I can't believe it."  Part of the beauty is you take a bunch of things that are at least not good and maybe downright terrible on their own, and then you stir them all together and somehow it's lovely. That's basically alchemy right there. Ars Technica: Harmony between scent and the cocktail is one thing, but you also talk about constructive interference to get a surprising, unexpected, and yet still pleasurable result. Kevin Peterson: The opposite is destructive interference, where there's just too much going on. When I'm coming up with a drink, sometimes that'll happen, where I'm adding more, but the flavor impression is going down. It's sort of a weird non-linearity of flavor, where sometimes two plus two equals four, sometimes it equals three, sometimes it equals 17. I now have intuition about that, having been in this world for a lot of years, but I still get surprised sometimes when I put a couple things together. Often with my end-of-the-shift drink, I'll think, "Oh, we got this new bottle in. I'm going to try that in a Negroni variation." Then I lose track and finish mopping, and then I sip, and I'm like, "What? Oh my gosh, I did not see this coming at all." That little spark, or whatever combo creates that, will then often be the first step on some new cocktail development journey. Pairing scents with cocktails involves experimenting with many different ingredients Credit: EE Berger Ars Technica: Smoked cocktails are a huge trend right now. What's the best way to get a consistently good smoky element? Kevin Peterson: Smoke is tricky to make repeatable. How many parts per million of smoke are you getting in the cocktail? You could standardize the amount of time that it's in the box [filled with smoke]. Or you could always burn, say, exactly three grams of hickory or whatever. One thing that I found, because I was writing the book while still running the bar: People have a lot of expectations around how the drink is going to be served. Big ice cubes are not ideal for serving drinks, but people want a big ice cube in their old-fashioned. So we're still using big ice cubes. There might be a Platonic ideal in terms of temperature, dilution, etc., but maybe it's not the ideal in terms of visuals or tactile feel, and that is a part of the experience. With the smoker, you open the doors, smoke billows out, your drink emerges from the smoke, and people say, "Wow, this is great." So whether you get 100 PPM one time and 220 PPM the next, maybe that gets outweighed by the awesomeness of the presentation. If I'm trying to be very dialed in about it, I'll either use a commercial smoky spirit—Laphroaig scotch, a smoky mezcal—where I decide that a quarter ounce is the amount of smokiness that I want in the drink. I can just pour the smoke instead of having to burn and time it. Or I might even make my own smoke: light something on fire and then hold it under a bottle, tip it back up, put some vodka or something in there, shake it up. Now I've got smoke particles in my vodka. Maybe I can say, "OK, it's always going to be one milliliter," but then you miss out on the presentation—the showmanship, the human interaction, the garnish. I rarely garnish my own drinks, but I rarely send a drink out to a guest ungarnished, even if it's just a simple orange peel. Ars Technica: There's always going to be an element of subjectivity, particularly when it comes to our sensory perceptions. Sometimes you run into a person who just can't appreciate a certain note. Kevin Peterson: That was something I grappled with. On the one hand, we're all kind of living in our own flavor world. Some people are more sensitive to bitter. Different scent receptors are present in different people. It's tempting to just say, "Well, everything's so unique. Maybe we just can't say anything about it at all." But that's not helpful either. Somehow, we keep having delicious food and drink and scents that come our way. A sample page from Cocktail Theory discussing temperature and dilution. Credit: EE Berger I've been taking a lot of survey data in my bar more recently, and definitely the individuality of preference has shown through in the surveys. But another thing that has shown through is that there are some universal trends. There are certain categories. There's the spirit-forward, bittersweet drinkers, there's the bubbly citrus folks, there's the texture folks who like vodka soda. What is the taste? What is the aroma? It's very minimal, but it's a very intense texture. Having some awareness of that is critical when you're making drinks. One of the things I was going for in my book was to find, for example, the platonically ideal gin and tonic. What are the ratios? What is the temperature? How much dilution to how much spirit is the perfect amount? But if you don't like gin and tonics, it doesn't matter if it's a platonically ideal gin and tonic. So that's my next project. It's not just getting the drink right. How do you match that to the right person? What questions do I have to ask you, or do I have to give you taste tests? How do I draw that information out of the customer to determine the perfect drink for them? We offer a tasting menu, so our full menu is eight drinks, and you get a mini version of each drink. I started giving people surveys when they would do the tasting menu, asking, "Which drink do you think you like the most? Which drink do you think you like the least?" I would have them rate it. Less than half of people predicted their most liked and least liked, meaning if you were just going to order one drink off the menu, your odds are less than a coin flip that you would get the right drink. Ars Technica: How does all this tie into your "cocktails as storytelling" philosophy?  Kevin Peterson: So much of flavor impression is non-verbal. Scent is very hard to describe. You can maybe describe taste, but we only have five-ish words, things like bitter, sour, salty, sweet. There's not a whole lot to say about that: "Oh, it was perfectly balanced." So at my bar, when we design menus, we'll put the drinks together, but then we'll always give the menu a theme. The last menu that we did was the scientist menu, where every drink was made in honor of some scientist who didn't get the credit they were due in the time they were alive. Having that narrative element, I think, helps people remember the drink better. It helps them in the moment to latch onto something that they can more firmly think about. There's a conceptual element. If I'm just doing chores around the house, I drink a beer, it doesn't need to have a conceptual element. If I'm going out and spending money and it's my night and I want this to be a more elevated experience, having that conceptual tie-in is an important part of that. My personal favorite drink, Corpse Reviver No. 2, has just a hint of absinthe. Credit: Sean Carroll Ars Technica: Do you have any simple tips for people who are interested in taking their cocktail game to the next level? Kevin Peterson:  Old-fashioneds are the most fragile cocktail. You have to get all the ratios exactly right. Everything has to be perfect for an old-fashioned to work. Anecdotally, I've gotten a lot of old-fashioneds that were terrible out on the town. In contrast, the Negroni is the most robust drink. You can miss the ratios. It's got a very wide temperature and dilution window where it's still totally fine. I kind of thought of them in the same way prior to doing the test. Then I found that this band of acceptability is much bigger for the Negroni. So now I think of old-fashioneds as something that either I make myself or I order when I either trust the bartender or I'm testing someone who wants to come work for me. My other general piece of advice: It can be a very daunting world to try to get into. You may say, "Oh, there's all these classics that I'm going to have to memorize, and I've got to buy all these weird bottles." My advice is to pick a drink you like and take baby steps away from that drink. Say you like Negronis. That's three bottles: vermouth, Campari, and gin. Start with that. When you finish that bottle of gin, buy a different type of gin. When you finish the Campari, try a different bittersweet liqueur. See if that's going to work. You don't have to drop hundreds of dollars, thousands of dollars, to build out a back bar. You can do it with baby steps. Jennifer Ouellette Senior Writer Jennifer Ouellette Senior Writer Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban. 6 Comments

Ringworld through the ages Ringworld Larry Niven (Gollancz) Ringworld by Larry Niven was published in 1970 to huge acclaim, winning both Hugo and Nebula awards; it’s been in print ever since. It came out when humans had just landed on the moon and it looked like we might be on our way to the stars. The title alone evokes a particular golden age of science fiction, when (mostly male) writers wrestled with big physics and big ideas, imagining far-off futures where humans had galactic-scale adventures.Advertisement Authors like Niven wanted to imagine what might be out there in the universe, and they took pride in trying to get the science right. With Ringworld featuring in the New Scientist book club this month, it seemed like a good time to revisit the novel, having last read it as a teenager. How did this 55-year-old work stand the test of time? After all, many books from this era have dated badly. Sometimes it is because science has now rendered their plotlines silly; sometimes it is because the sexual politics (or other cultural aspects) have begun to stink over the decades. Well, to start with, this book is stuffed full of ideas! You can see why it was a smash hit and ended up being part of a sprawling network of follow-up stories, prequels and spin-offs. Given how much internal lore is thrown at us, I found the novel surprisingly zippy and exposition-light. Our 200-year-old hero Louis Gridley Wu, a human and seasoned adventurer, is approached by Nessus, an alien known as a puppeteer, and asked to come on a mysterious mission in exchange for access to new technology. Ringworld evokes a golden age of sci-fi when writers (mostly men) wrestled with big physics and big ideas Wu and Nessus are to be joined on their adventure by a feline, warlike “kzinti” alien called Speaker-to-Animals (the animals in question being other species), and a young human woman named Teela Brown, whose qualities become evident only later in the story. This gang travels to the eponymous Ringworld and, after being fired on by an ancient security system, crash-lands on it. The Ringworld is the star of this show. It is an ancient artefact of almost unimaginable scale: a ribbon world, looped around a star, 1.6 million kilometres wide and with an inner surface area the size of 3 million Earths. With a diameter of 305 million kilometres, it is fashioned from a substance with amazing tensile strength. On the terraformed inner surface of the Ringworld, a civilisation has fallen, but life goes on. Wu and the gang must travel a vast distance across the inside of the ring to look for a way to leave it; along the way, as you might expect, they have plenty of adventures. As for the mores of this 1970 novel, there are things a modern editor would probably want to cut, and they might well want the female characters to be given more depth. The science, meanwhile, was thoroughly picked apart by readers at the time, so much so that Niven’s follow-up, Ringworld Engineers, published a decade later, was basically a riposte to all those who had nitpicked the mechanics of Ringworld. This isn’t my favourite Niven; that is A World Out of Time. However, revisiting Ringworld has made me hungry to plunge back into his universe. I plan to reread some of his other classics, like The Mote in God’s Eye, as well as Ringworld‘s follow-ups, because there are so many interesting questions that go unanswered in the first book. Emily also recommends… The Draco Tavern Larry Niven (Tor Publishing) Strictly speaking, this section should be entitled “Larry Niven also recommends”. I exchanged emails with him recently in order to plan an interview, and I asked him which one of his books he would particularly recommend to me. He immediately replied with The Draco Tavern. I haven’t had time to read it yet, but I am very happy to pass on this recommendation from the man himself. Emily H. Wilson is a former editor of New Scientist and the author of the Sumerians trilogy, set in ancient Mesopotamia. The final novel in the series, Ninshubar, is out in August. You can find her at emilyhwilson.com, or follow her on X @emilyhwilson and Instagram @emilyhwilson1 The art and science of writing science fiction Explore the world of science fiction and learn how to craft your own captivating sci-fi tales on this immersive weekend break. Find out more Topics:

We all bring a lot of things to work with us.Laptops, reusable water bottles, and countless charging cords have become vital to our everyday routines.As a result, we need bags that are well-equipped to hold our belongings and, if we choose wisely, help us look effortlessly stylish.So, Business Insider asked successful men across industries to share the bags they carry each day. From designer totes to commuter backpacks, here's what they recommend. The CEO of one advertising agency is loyal to his Tumi backpack. The Warren backpack from Tumi. Tumi Brent Comstock, 29, is the founder and CEO of BCom, a Nebraska-based advertising and media agency that works with NGOs and Fortune 500 companies.On work days, he always carries his Warren backpack from Tumi. It has numerous pockets, is made from nylon with leather detailing, and retails for $595."It's perfect because it fits all of the things I need, but more importantly, it fits in every possible compartment on a plane," he said. "People regularly ask me: 'Where did you get that backpack?'"Comstock said he keeps both a laptop and a tablet inside the backpack."I realize that's a lot of unnecessary weight for something that basically does the same thing," he said. "But one of them is inevitably charged, and one of them is not — at all times." An engineer and content creator uses a designer bag shaped like a pastry. The Croissant bag from Lemaire. Estrop/Getty Images Jodi Go is busy. In addition to being a full-time software engineer, the 27-year-old is a popular content creator who makes videos about style and interior design.While on the go, he carries the $1,965 large Croissant bag from French brand Lemaire. It's made from nappa leather, sold in four colors, and has a removable pouch that sits inside."I love it so much," Go said of his bag, which he purchased while visiting Japan. "I wear it almost every single day."Inside, he carries his laptop, Sony headphones, power banks, filming supplies, and skincare products. Osprey makes the go-to duffel carried by the CEO of a growing drink brand. The Transporter 65 duffel from Osprey. Osprey Bawi Agua Fresca is a "better for you" drink brand founded by Victor Guardiola. Speaking with BI, the 27-year-old CEO said he carries the $180 Osprey Transporter Duffel 65 to work each day."I got this bag three months ago," he said. "Before that, I was cramming my North Face college backpack. Eventually, I was like, 'No, dude, you are no longer an undergrad. I think you can afford to upgrade this basic.'"So he did. With the much larger Osprey duffel — it measures 24 inches tall, nearly 14 inches wide, and almost 16 inches deep — he carries toiletries, extra clothes, a pair of slides, his laptop, and a work journal. The latter is the most crucial to him."I've run my business with these little journals since we started," he said. "I'm literally looking at my archive stack of them now. I clear one about every 40 days or so." A venture capital investor alternates between a casual backpack and a luxury duffel. The Canfield Classic Holdall duffel from Shinola. Shinola Bradford Jones, 28, is a principal at SignalFire, where he invests in startup tech companies. While commuting, he always has one of two bags in hand.For "very serious" work days, he uses the $995 Canfield Classic Holdall from Shinola. It's made from natural grain leather and is sold in two colorways. Jones prefers the black option."I bring that with me when I'm going on work trips and going into really big meetings," he said. "It's a very classic leather bag."For more casual occasions, he uses the same Jumpman Jordan backpack he's carried since his days as a college athlete. One equity research analyst uses a durable backpack from Osprey. The Nebula 32 bag from Osprey. Osprey Bobby Mollins, 35, works for the research firm Gordon Haskett. In 2023, BI named him a rising star in his industry.Speaking with BI, Mollins said his Osprey backpack can "handle everything" — from Citi Bike rides through Manhattan to hot days in Miami."It's super easy to carry," Mollins said of the bag. "If I'm getting on a plane and it's under the seat in front of me, I don't care if it gets stepped on or whatnot. I've had it for years. I've taken that bag hiking in the Cascades in Washington. I've also taken it throughout Europe. It can take a beating."While the specific style that Mollins carries has been discontinued, he says the brand's $140 Nebula 32 design is very similar."As long as I can put my laptop in there, a bottle of water, a smoothie bottle, my headphone case, a charger, and a pen or two, that's all I need," he said. A former Fortune 500 employee turned influencer swears by his Michael Kors backpack. Alex Nicoll carries his Michael Kors backpack. Alex Nicoll "I was just talking to some friends about it this weekend: a leather work bag just makes you feel so much more put together and, for me, confident," Alex Nicoll, 29, told BI.The content creator said he uses the Hudson commuter backpack from Michael Kors, which is made from leather and retails for $448.Inside, he regularly stores his AirPod Pros, a Goyard card holder, and a Creed cologne atomizer to refresh his scent throughout the day. Tote bags are a staple accessory for this venture capitalist. YSL's Rive Droite tote bag. YSL Bryce Johnson, 25, invests in early-stage software companies at Primary. Rather than carrying one work bag all year, he told BI that he uses different styles depending on the season.In the fall and winter, for example, he carries a $113 Womleys backpack that you can buy on Amazon."Keep it simple forever," he said. "I do not splurge on backpacks."In the spring and summer, lighter totes are his preferred style. He alternates between an $85 YSL Rive Droite bag and a $35 zippered option from Stanford University.

Dominik Ebebenge is a former official at Legia Warsaw, but now finds himself working on a truly unique football video game with Copa City – he sat down with Daily Star to talk about his career transitionTech09:00, 12 Apr 2025Copa City is doing something uniqueFootball truly is the world’s game, played or followed by most of us on this Earth. It’s big business, too, particularly in video games.While EA FC 25 dominates the on-pitch action and eFootball looks to overthrow it, Football Manager has taken the management side of things to new heights — although the cancellation of this year’s game certainly wasn’t ideal.‌Article continues belowStill, as more and more upstarts look to break into your virtual first eleven, there’s one game going about its business a little differently.Copa City, pegged for a 2025 release, is the debut title from Triple Espresso, and is focused on celebrating the effect football can have on the cities that host it.Daily Star sat down with Dominik Ebebenge, a former club official at Legia Warsaw and now co-founder of Triple Espresso, to talk about the vision of Copa City — and why there’s never been a better time to be the underdog.‌Players can work on fan zones, policing, and even catering“I'm a dreamer. I’ve always been,” Ebebenge starts when describing his unique career path.That initial dream was to work at Legia Warsaw, his boyhood club. He did so from the age of 16, working his way from a volunteer position to becoming the club’s head of sports.‌Noting a time in his life when he was “obsessed” with Football Manager, Ebebenge says his work at the club gave him an “extreme amount of exposure to a certain network” of contacts.Studying at Bath University, he split his time between studies, lectures, and travelling to European games and organising logistics of the football club.Triple Espresso’s co-founders were the owners of Legia Warsaw at the time and, after selling the club, the three wanted to stay linked with football. After initially leaning into esports, the team began a chapter “when we started making those key connections in terms of building our early team to start conceptualising the idea of introducing a new perspective into the existing football games landscape”.‌Ebebenge describes Copa City as a game about “everything that happens before that first whistle”.Copa City is intended to be complimentary to existing video gamesWhile the initial reveal of Copa City perhaps made it look akin to a Football Manager rival, Ebebenge explains it’s much closer to a management sim.‌“You are involved in everything from selling tickets to preparing catering zones,” he explains, pointing to the game being a delicate balancing act between the “needs and the wants of two different sides”.Those two sides are meeting in a one-off kind of event, where matches are held at a neutral location and you’ll need to manage elements that would otherwise be held behind the scenes.Pointing to the success of recent sports documentary series on streaming services, Ebebenge says the focus is on “where the camera follows before the game”.‌I asked if his prior career as a football club executive helped clubs buy into what the game is offering. After all, the studio has already secured the likes of Bayern Munich, Borussia Dortmund, Arsenal and Flamengo.“One hundred percent,” he says. “And I guess that answers or is partly an answer to the question that we hear all the time: Why hasn't anyone done it before?“We’ve heard that in some big places, to be honest. It’s not rocket science, but it takes some combination of some unique background stories and context to create that kind of an environment.”‌The team has already secured licenses for Bayern Munich and ArsenalThat focus on a special one-off event means you won’t be managing tactics, hiring staff, or negotiating transfers.Ebebenge says the focus remains on offering a complimentary experience that doesn’t encroach too much on other titles, although does acknowledge the current state of football games makes it a great time to kick off (see what we did there?) something new.‌I asked about the delay and subsequent cancellation of Football Manager 25, and he confessed that the team sees it as a “great opportunity”.“We've seen a certain momentum growing when it comes to the streaming platforms and clearly there's a common denominator in terms of that [behind the scenes] theme,” he said.“We see the industry being at a certain crossroads with what happened between FIFA and EA, and then obviously the delay of Football Manager.”‌So what about the time following launch? Is there scope for an annual franchise with Copa City? Ebebenge’s answer surprised us.“Right now we’re focused on a certain exciting selection of clubs, but we definitely see other avenues and other possibilities out there,” he added.“No one's ever said that football is the only theme that we have to show, and we see, you know, wider possibilities in that perspective that we are creating. There's so much more to be shown in football as it is, so we are already full of ideas for the future.Article continues below“Hopefully we’ll have a launch that we dream of and everything will go according to play, and we’re going to be here to stay for a good while.”For the latest breaking news and stories from across the globe from the Daily Star, sign up for our newsletters.‌‌‌

Nintendo are repeating some very old mistakes with the Switch 2 – Reader’s Feature GameCentral Published April 12, 2025 9:00am Are Nintendo making some schoolboy errors? (Nintendo) A reader points out how console manufacturers always seem to have trouble following up a big success and suggests Nintendo could fall into the same trap as everyone from Atari to Xbox. I have been reading bits here and there on the Switch 2; hearing opinions on YouTube, etc. from different people. I don’t have an interest in the console, I was never going to buy it, and it looks to me like they are just playing it safe with the same name and look of the console. But I’m a bit confused by their pricing strategy on games. Some that seem like a reskin of old classics are bumped up to full price and what’s with charging for some upgrades, never heard of Smart Delivery? This happened before with Nintendo, over the 3DS price after the DS success, and lowering the price for GameCube. Perhaps they may end up doing the same with the Switch 2. What I don’t want is for this to set a precedent for game price rises, that publishers may jump on. Also, Nintendo need to be careful they don’t add fire to any negativity that can hamper their launch, especially in this internet age. Here’s the thing, and it’s a warning from history. Gaming companies have, going back decades, shot themselves in the foot after having a successful product. Firstly, I’m thinking of the Xbox One. All Microsoft had to do was release a powerful Xbox 360 successor and all the extras would have followed with it. Heck, they could even have called it the Xbox 360-2 and it might have sold more than the Xbox 360. But instead they alienated gamers with always online, DRM controversy, performance issues, etc. and a launch event that looking back still makes me cringe. The Xbox One reveal was an event I still feel to this day Microsoft did not need to do. It was only to copy Sony but in the end it ended up helping PlayStation’s cause and hurting Xbox one. And not to mention how fast they backtracked on used games and Kinect. The Irony being a lot of what they preached has come true today. Sony, after the hugely popular PlayStation 2, almost botched the PlayStation 3 with its price and other issues. Nintendo, after the Wii, badly miscalculated the allegiance of the casual userbase it had and the Wii U flopped. Go back further and you get to Sega after the Mega Drive. The bloated add-ons for it and the Dreamcast. Everyone seems to fondly remember the Dreamcast but too bad that no one bought it when it was getting rolled over by the PlayStation juggernaut at the time. Going further back: Atari sinking after failed consoles. I’m pretty sure they made big on the Jaguar being 64-bit and were then accused of false advertising by people saying it technically wasn’t. Plus, they only had awful games for it, and a strange joypad, and that failure pretty much consigned Atari to history as a console maker. Also, the fate of Commodore. They released a C64 console to try and cash in on the C64 computer, but it was quickly forgotten. Lord knows how many other consoles have fallen by the wayside due to bad decisions and high prices that took out a large chunk of the market. Sometimes it just seems that companies routinely misjudge the mood of the gaming market and what consumers may want. It’s always amazed me, in the gaming hardware industry, how companies, after having a successful product, then make some of these odd choices afterwards and almost ruin the brand name. Now, I’m sure Switch 2 will sell very well but with what game attach ratio and how many will end up as used consoles in stores? If it’s a console relying on the casual market, Nintendo should already know how volatile that could be. I think Sony and Microsoft, who are rumoured to be working on handhelds, are watching the Switch 2 to see how it pans out and then make their plans. Also, as we have seen this console generation, the userbases have shrunk – will Nintendo buck the trend? [Well, they certainly have with the Switch – GC] More Trending Sony have been the most consistent gaming hardware performer. But at times even they have made odd choices to ruin PlayStation. So many companies in gaming have ruined their success by a list of bungled decisions down the decades. So, this is just a little warning: no gaming company should assume success is guaranteed just because of an installed base, because in this industry it isn’t. By reader Stephen The Xbox One was not a good follow-up to the Xbox 360 (Microsoft) The reader’s features do not necessarily represent the views of GameCentral or Metro. You can submit your own 500 to 600-word reader feature at any time, which if used will be published in the next appropriate weekend slot. Just contact us at gamecentral@metro.co.uk or use our Submit Stuff page and you won’t need to send an email. GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy

Project Files: https://www.patreon.com/posts/126484273 . This is the 25th part of the tutorial series, where we are going to implement a Real Time Strategy game using Unreal Engine and C++. In this episode, we are going to work on the action panel. This will usually include build options and other actions the selected characters can perform. As the first action, we will add a build house button to the action pane. So we would be able to click on the button and go into place house mode and place a house on any valid location of the map we need. Full C++ RTS Playlist: https://www.youtube.com/playlist?list=PLNTm9yU0zou5_PYxEdjNbAgbVRn-daOga . Unreal Strategy game with Blueprints series: https://www.youtube.com/playlist?list=PLNTm9yU0zou4Eulmi8YIfzHiNZEzfbSMk ► 👇 𝐒𝐮𝐩𝐩𝐨𝐫𝐭 𝐓𝐡𝐞 𝐂𝐡𝐚𝐧𝐧𝐞𝐥 // 𝐁𝐞𝐜𝐨𝐦𝐞 𝐀 𝐏𝐚𝐭𝐫𝐨𝐧! https://www.patreon.com/codelikeme ►Patrons will have access to project files of all the stuff I do in the channel and other extra benefits Join this channel to get access to perks: https://www.youtube.com/channel/UClb6Jh9EBV7a_Nm52Ipll_Q/join Like my facebook page for more content : https://www.facebook.com/gamedevelopersclub/ Follow me on twitter : https://twitter.com/CodeLikeMe2 Follow me on reddit : https://www.reddit.com/user/codelikeme #CodeLikeMe #unrealengine #ue5 #ue4 #indiegamedev

Nature, Published online: 09 April 2025; doi:10.1038/s41586-025-08790-wDense calcium imaging combined with co-registered high-resolution electron microscopy reconstruction of the brain of the same mouse provide a functional connectomics map of tens of thousands of neurons of a region of the primary cortex and higher visual areas.

RT Joseph CrossBetter look at some of the beautiful Runner key art the team cooked up:)