May 12, 20254 min readConvergent ‘Cuteness’ Is Making Dogs and Cats Look AlikePugs, Persian cats, and other smushed-face cats and dogs are more similar to one another than they are to the wild animals they evolved fromBy Rachel Nuwer edited by Allison ParshallJapanese Chin. Anna Koldunova/Alamy Stock PhotoWhat do Persian cats, Pekingese dogs and pugs have in common? They all share a dramatically distorted skull, with a flat, round face and a nose pushed up between their eyes. This unnatural morphology is the product of decades or centuries of artificial selection to make our pedigreed animals more closely resemble the intrinsic cuteness of human babies.These breeds have become so morphologically extreme, in fact, that the cats and dogs with these features now have skulls that are more similar to each other than to their own wild ancestors, according to new research in the Proceedings of the National Academy of Sciences USA.“Wolves and wild cats are quite distinct in skull shape, but by applying [selective breeding] pressure for babylike faces, we’ve caused short-faced dogs and cats to become very similar to each other,” says senior author Jonathan Losos, an evolutionary biologist at Washington University in St. Louis. “We’ve substantially erased 50 million years of evolution.”On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.Dogs and cats with round, flat faces—technically called brachycephalic, from the Greek for “short head”—show an unusual example of convergent evolution, which occurs when species independently evolve to become similar to each other because they face the same selective pressures. Normally this process is driven by natural selection—for example, birds and bats have both evolved to fly, and distantly related marine animals keep evolving to look like crabs. But in the case of brachycephalic cats and dogs, it’s caused by selective breeding to accommodate human preferences for babylike features, such as round, flat faces with high noses.“These are completely new skull shapes that only came about because of what humans want to see in their companion animals,” says lead author Abby Grace Drake, an evolutionary biologist at Cornell University.Human preferences, however, come with consequences for the brachycephalic animals involved—which could not survive in the wild. “We’re breeding them to look cute, but this has led to very horrible health problems for them,” Drake says. Pets like Persians and pugs often have so much difficulty breathing that they often require corrective surgery, for example, and they frequently suffer from problems with their eyes, teeth and neurological systems. They are also intolerant to heat and exercise because they lack adequate oxygen.Drake, Losos and their co-authors had originally set out to understand the diversity of skull shapes in cats and dogs. They collected skull measurements for 1,810 animals from various sources, including computerized tomography (CT) scans of pets from animal hospitals and specimens from natural history museums. Their sample included 148 domestic cats and 677 domestic dogs, including both purebreds and mixed breeds. Of the dogs, they classified eight breeds as extremely brachycephalic: Boston terrier, Brussels griffon, English bulldog, French bulldog, Japanese chin, Pekingese, pug and shih tzu. For the cats, Persians, Himalayans and Burmese fell into that category. The team also collected data from hundreds of skulls of dozens of wild species representing the majority of the Canidae and Felidae families, to which domestic dogs and cats belong, respectively.Chinchilla Persian Cat.Tierfotoagentur/Alamy Stock PhotoTo directly compare the animals, the team created three-dimensional models of each skull and marked anatomically similar points on them across species and breeds. The researchers found that skull shapes of brachycephalic animals are unlike anything that has evolved in nature; these breeds—whether cats or dogs—shared more similarities to each other in skull structure than they did to their wild ancestors. Specifically, their palate has been tilted up, which has drastically shrunk their nasal region and restricted their airway as well as the space at the back of their throat. Some Persian cats actually lacked nasal bones entirely.“People talk about evolution taking millions of years,” Drake says. “But if you isolate the gene pool with inbreeding and force massive selection pressures, you can produce a remarkable amount of diversity in a short period of time.” While this is fascinating from an evolutionary biology point of view, she and her colleagues emphasize that they do not think it is worth the health consequences for the animals. Losos agrees: “The welfare of the animals should be the first priority,” he says.One future question for researchers to investigate is the underlying genetics of brachycephalic features, he adds. Some evidence suggests that domestic dogs and cats each have different genes associated with brachycephaly. “Finding out more about the genetics would certainly be fascinating,” Losos says.Heather Lorimer, a geneticist at Youngstown State University, who was not involved in the research, agrees it would be worthwhile for scientists to investigate the genetics behind brachycephalic features.“Starting from a careful, descriptive paper like this one, it might be possible to home in on individual developmental control genes that affect specific skull structure elements,” Lorimer says. “This, in turn, could lead to understanding very specific changes that cause health issues, which could help in breeding choices to improve health and welfare of our pedigreed dogs and cats.”For those looking for a healthy pet that does not contribute to welfare issues, though, Drake has simple advice: get a mixed-breed animal from a shelter.

Magic: the Gathering has detailed more of its Final Fantasy card collection, and a message from Final Fantasy 7 character designer Tetsuya Nomura may hint towards the third part of the remake series. The card collection includes two of Final Fantasy 7 villain Sephiroth - "Fabled SOLDIER" and "One-Winged Angel" - which form a singular piece of art when combined. The first is Sephiroth in human form, the second is his evolved form as the final boss of the game. "This time around, I drew Sephiroth on both the front and back sides of the card," wrote Nomura in a message on social media. "I actually drew them so that they would join up if placed one on top of the other, so if you manage to get two of the same card and line them up, you'll see how the original illustration looked." FINAL FANTASY | Official Trailer | Magic: The GatheringWatch on YouTube He then added: "There is also a reason that the design for Safer Sephiroth is different from the original game, but I unfortunately can't share more about that." It's this latter comment that's got fans speculating the new artwork on the card may be taken from Final Fantasy 7 Remake Part Three. To see this content please enable targeting cookies. The biggest difference from the original game is that this Safer Sephiroth has both of his arms, where the boss form has one arm and one wing. Still, this is likely our first look at what's to come in the third remake game. Elsewhere in the Magic: the Gathering set, each iteration of Cid from across the series will be present. Cid is a recurring character who debuted in Final Fantasy 2 and has featured, in some form, in every game since, meaning the set will include 15 Cid, Timeless Artificer cards. Who's your favourite Cid? Check out a selection below. Pick a Cid! | Image credit: Magic: The Gathering The Final Fantasy x Magic: the Gathering collection will launch on 13th June and cleverly transposes gameplay from the RPG series into card form. There will be four Commander Decks available based on Final Fantasies 6, 7, 10, and 14, though all games in the series will be represented.

You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games here Epic Games won a crucial court battle with Apple, clearing the way for Fortnite’s future return to the iOS App Store in the United States. A California federal judge concluded that Apple violated a 2021 court ruling by limiting developers’ ability to direct customers to alternative payment methods. The ruling, released last week, blasted Apple’s restrictions, including a 27% cost on external payment links that affected developers such as Epic. This decision originates from the 2020 disagreement that resulted in Fortnite’s suspension from the App Store after Epic implemented its own payment method, which avoided Apple’s 30% commission. As a result, Epic swiftly resubmitted Fortnite for App Store certification. CEO Tim Sweeney expressed optimism that the game would return to iPhone users shortly, possibly within weeks, after a nearly five-year absence. The verdict enables developers to refer consumers to external payment methods, potentially making Fortnite more accessible and affordable. However, the game’s revival is not yet confirmed. Epic’s resubmitted app is still being reviewed, and Apple’s approval process may delay or prevent the relaunch. Fortnite iOS fans worried as App Store approval delays relaunch Epic Games’ attempt to reintroduce Fortnite to the US iOS App Store has met a stumbling block, with the game’s resubmission currently pending Apple clearance. According to a post by Fortnite leaker HYPEX, the approval process has taken more than 50 hours, despite Apple’s assertion that half of apps are evaluated within 24 hours and 90% within 48 hours. Fortnite has submitted for App Store approval, which still hangs in the balance. Image by VideoGamer. Epic submitted Fortnite on May 9, 2025, following a court ruling that ordered Apple to allow developers to link to external payment systems without penalty. This was a crucial step toward ending Fortnite’s nearly five-year hiatus from iOS, which began with its 2020 removal after Epic violated Apple’s in-app payment policies. Fans and Epic have both expressed displeasure with the lengthy review process. Epic CEO Tim Sweeney voiced confidence in a quick approval, citing significant regulatory consequences if Apple rejects the app. However, Apple’s relationship with Epic suggests caution. Apple’s continuing appeal of the contempt verdict raises additional concerns, since the firm may use the review process to delay Fortnite’s return. The delay could stretch Fortnite’s iOS relaunch beyond the expected “next week” deadline, frustrating millions of mobile gamers eager to return to the battle royale. While Epic’s Rewards program, which offers a 20% return for utilizing its payment method, tries to entice players upon relaunch, the extended wait may dampen excitement. As the review process drags on, Fortnite’s return to iOS remains in limbo, with no clear relaunch date in sight. Fortnite Platform(s): Android, iOS, macOS, Nintendo Switch, PC, PlayStation 4, PlayStation 5, Xbox One, Xbox Series S/X Genre(s): Action, Massively Multiplayer, Shooter 9 VideoGamer Related Topics Fortnite Subscribe to our newsletters! By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime. Share

“I was hoping for a 1970s-retro comeback that wasn’t derivative, cartoony, or shallow,” says the owner of a gut-renovated high-floor unit in DC’s landmark Watergate complex. That nuanced design brief is ultimately what led her to architect and designer Nicholas Potts, whose interiors often celebrate an abundance of warm wood, metal, and stone. His innovative approach to harnessing angles, curves, and light was an added plus in a late-1960s modern-monument-style building with low ceilings, a convex façade, and sunset views of the Potomac River. Achieving the desired result, though, required more than a touch of geometric magic.“She saw it as an opportunity to commission a work of art that lived up to what the best of the Watergate could be,” explains Potts of the “young and vibrant” client and her pied-à-terre, which, during an earlier combination, had “been butchered with 1980s-style crown moldings and crystal chandeliers of the wrong kind.” In addition to stripping away remnants of the earlier renovation, AD PRO Directory member Potts, who lives locally with his museum-curator husband, characteristically resisted convention, reconfiguring the layout to suit the single homeowner’s lifestyle while artfully improving aesthetics and flow. (With a deft assist from project contractor BOWA, even the main entrance was moved to maximize drama and views.) “We took it down to nothing and rebuilt every space from scratch,” he says of the 3,000-square-foot project. A commodious living-dining-kitchen area was a key element for entertaining and, without children at home, the primary suite, on the opposite end, could assume equally spacious proportions.A view of the Watergate Complex’s distinctive monument-style façade. Constructed in the late 1960s, the complex, which also includes a hotel and office building, has been home to a host of legendary Washingtonians and was the site of one rather infamous political scandal. In the spirit of the building itself, designed by architect Luigi Moretti, classical rules of interior architecture and design were largely ignored. However, primary sources of historical inspiration were plentiful, and included the Vienna Secession movement, Art Deco, and Italian architect Piero Portaluppi, whose Villa Necchi Campiglio, at least in spirit, can be felt throughout. Instead of long, dead-end hallways and flat walls, rounded vestibules and floor designs delineate spaces, as with an onyx screen that hides the kitchen from the foyer without obstructing the river view. And while the walls in many rooms are covered in the same custom, bookmatched Okuome crotch veneers, the floors are varied and provide a veritable room map: mahogany diamond herringbone in the dining and living areas, vein-cut travertine in the entry and various baths, Lilac Reale roundels running through the dwelling’s core, all edged with a band of Verde Antigua marble—a nod to the Watergate’s own lobbies. The lighting, heightening a sense of perpetual golden hour, is a mix of vintage specimens by the likes of Gaetano Sciolari and newer fixtures created with and by Allied Maker, Blue Green Works, and Roll & Hill.In the curved entry hall, which was relocated during construction to maximize the impact of entry, is adorned with a custom Allied Maker ceiling fixture, Blue Green Works sconces, a chair by Campagna for Roll & Hill, and an anagama kiln–fired vessel by Noah Hughey-Commers. Adding the burnished-plaster bands above the veneers was a way of tricking the eye to raise otherwise unavoidably low ceilings. In the vestibule leading to the primary suite, Blue Green Works sconces illuminate the bookmatched Okuome crotch-veneer walls, seen throughout the home. “The cabinetmaker [Ferris Custom Cabinetry] used a warehouse and laid out every panel,” says Potts of the painstaking bookmatching process, which was also overseen by project contractors from BOWA. “They did a lot of homework lining up rather crazy-shaped panels—we’ve got curves, we’ve got wide, we’ve got narrow pieces.” Just beyond, a circa-1970s Leola ceiling fixture by Gaetano Sciolari illuminates a sculpture by Krysten Cunningham, entitled Black Hypercube, from 2007. Similarly, the furnishings and artwork blend disparate periods and materials, creating a luxurious mix that, says Potts, is “inspired by the ’70s but certainly not a replication of it.” Whenever possible, the designer commissioned independent craftspeople to realize pieces that live up to their bespoke, museum-like surroundings: a concave Tom Bensari credenza, a chubby travertine dining table by Arthur Vallin, intricate metal door knobs by P.E. Guerin, millwork—including in the Prada boutique–inspired closet—by Ferris Custom Cabinetry. “I see my role in this profession as keeping artisans alive and keeping people making things,” Potts says of the surfeit of time-intensive appointments. Old-master canvases, meanwhile, hang alongside contemporary works, such as the geometric Krysten Cunningham sculpture standing guard in the primary suite’s antechamber.

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Goblins Khan This Oblivion Remastered mod turns Cyrodiil's infamous goblin wars into dynamic gobbo chaos with a chance of automatically erupting into a fresh cross-map scrap every week Naturally, you're still free to nick a totem yourself and lob it into the Imperial City, just to see what kind of shenanigans ensue. Image credit: Bethesda/NaiadGirl News by Mark Warren Senior Staff Writer Published on May 12, 2025 OG Oblivion's AI goblin wars are the stuff of legend. Oh, by the way, someone wrote in an obscure forum post or article you likely read after you thought you'd turned over every interesting stone in Cyrodiil, you can cause full-on goblin wars just by nicking their totems. Naturally, it's not taken Oblivion Remastered modders long to turn their attention to making this cool system with some typical 2006 limitations into something with even more wacky potential that's less reliant on you deciding to spend hours personally playing puppetmaster. To see this content please enable targeting cookies. Enter modder NaiadGirl's 'Enhanced Goblin Wars'. While it's not the first mod for the remaster to try its hand at improving the gobbo war mechanics - ImmortanJoel's 'Goblin Wars Remastered' scored that honour at a glance - it does look like the most detailed and expansive add-on for goblin fight club sickos right now. It makes the goblin wars dynamic rather than static. So, instead of there only being two goblin wars that start without your input in the base game, with any additional ones only happening if you personally get involved and trigger them by moving the seven different tribes' totems around the map, the gobbos will now start fresh conflicts on their own. "Every 5 in-game days, a new Goblin War has a 20% chance to trigger," NaiadGirl wrote, "Surrounded by shadow, sneaky goblin thieves steal a rival's totem when no one's watching, and place it in their respective lair. The War Chief of the wronged tribe will embark with a group of Greenskins to the opposition's lair, and attempt to take back what is theirs! That is, if they're able to cross Cyrodiil alive...whether they succeed or not, they'll be causing trouble in the countryside and cities alike." The mod also makes sure the goblins can pursue their totem no matter where in the world it ends up - even if that involves assaulting and breaking into the Imperial City itself, a tweak that'll be endlessly helping if you still fancy nicking totems yourself to cause chaos. Plus, the modder's included an optional Amulet of Goblin Friendship found near Vilverin, which as its name suggests will make every gobbo refrain from trying to bash your skull in. Very handy if you want to kick back with the popcorn and watch a goblin skirmish unfold from right up close, because the arena's just too boujee a means of fulfilling your need to watch some NPCs have a bloody barney. It's worth noting that the mod can add some extra complications to the quest Goblin Trouble by moving the totem it involves about, but NaiadGirl reckons it "shouldn't be game-breaking" so long as the quest marker still points to the totem in its new location. Make sure to check out the rest of our cool Oblivion Remastered mod coverage, including our recent interview with the modder who managed to make the first ever tweak to its world just one day after release.

The first Please, Touch The Artwork was a stylish puzzler inspired by Piet Mondrian and De Styjl, the Dutch abstract art movement that reached its height around a century ago. We enjoyed Belgian dev Thomas Waterzooi's cracking little curio immensely back in 2022, and this follow-up (which has been available elsewhere since February 2024) focuses on Belgian painter James Ensor. It's a decidedly simpler composition, but one that carries through the first game's humour and low-stakes, gallery vibes. Described in the PR blurb as "'Where’s Waldo' meets Modern Art", there's a touch of Python in the animation and sound effects of this "cosy hidden-object adventure". Split into six short chapters, you control a well-attired, genteel skeleton risen from the grave to wander Ensor's paintings collecting items at the behest of the artist's subjects. Each canvas hides everyday objects (whisky glasses, crucifixes, cats, matchsticks, regular sticks, shellfish, you name it). Simply tap on the characters, move from painting to painting fetching the items they request, return to them and open up a fresh path to new paintings - and, eventually, the exit. From the off, the extremely gentle challenge is framed with the extremely gentle plinking of Erik Satie's Gymnopédie No.1, and the classical soundtrack carries that tone throughout the hour it'll take to wander the entire gallery. For puzzle fans, we're talking spot-the-difference levels of difficulty here (there's literally a spot-the-difference painting), so anybody who's not on board with Waterzooi's zeal for the surreal and the ultra-sedate tone should move on immediately. Even if you don't tap the ever-present hint button at the top of the screen (which you can disable in the settings), it won't turn red until you've found every item in a given painting. Damaged canvases must be repaired by stretching gauze between set points without retracing previous lines. It's simple stuff but satisfying, whether you use the touchscreen or the left stick (we used a Pro Controller most of the time). Beyond that...well, there's really nothing beyond that. To describe specific elements would be to rob a fleeting game of a charming moment. If the screenshots here and the idea of a little, animated art-venture with Gilliam-style animation and silly sound effects appeals, you'll enjoy yourself. As with the first game, getting upset about the length would miss the point (the developer posted a 43-minute walkthrough back when the game first released); this is another pleasant palate-cleanser - or should that be palette-cleanser? Mechanically, the Where's Wally (sorry, we're British)-style gameplay is extremely simple and Please, Touch The Artwork 2 is a shallower experience compared with the first game. Then again, we weren't familiar with Ensor and his work beforehand; reading up after wrapping up made us want to speedrun the game again with fresh context. You needn't deep-dive into his entire oeuvre - a quick scan through Ensor's Wikipedia page will help you better appreciate the themes here. Still, residual goodwill from the original helped us overlook the mechanical simplicity this time. We're keen to see Waterzooi stretch himself on his next gallery jaunt, but we'd recommend getting your hands on this one regardless.

VCs are known to move in herds, which is why Eric Slesinger stands out a bit. While most American investors chase AI startups or U.S.-based defense tech startups, the former CIA officer is hunting for defense tech deals in Europe. In fact, Slesinger, founder of 201 Ventures, recently closed a $22 million fund focused on seed-stage European defense tech startups. His path from developing gadgets and software for CIA agents to becoming perhaps the only American VC exclusively investing in European defense tech also appears to be a prescient one. What would compel someone to leave “the best first job ever” at the CIA to pursue this specific ambition? As Slesinger told TechCrunch in a recent StrictlyVC Download podcast interview, the answer came from identifying a critical shift that many missed. “I left because I noticed that the private sector was increasingly playing a role in this competition that I previously had understood really to just be a government to government competition,” Slesinger explained. “What became obvious more so every day was that the private sector was playing such a big role here.” With degrees from Stanford in mechanical engineering and Harvard Business School, Slesinger’s background helped prepare him to bridge the gap between defense technology and commercial ventures. But it was his willingness to go against conventional wisdom that has made him interesting to investors, founders, and tech reporters alike. “I have always enjoyed going where other people tend to not want to go,” said Slesinger. “That was why I enjoyed the work at the CIA so much. A couple of things that people there used to say was, ‘go where others don’t go and do what they can’t do.’” As for what U.S. VCs were missing, from Slesinger’s point of view there were three things. First, “Europe has individual entrepreneurs that are just as hungry, just as high conviction, and just as smart as anywhere else in the world.” Second, “European governments waited way too long to rethink what the arrangement on their own security meant, and therefore hadn’t actually taken a critical eye towards it.” And third, “Europe was quickly being seen and will, in my opinion, continue to be the site of serious gray zone competition,” meaning activities by state or non-state actors that fall between traditional peace and outright war. Perhaps the most surprising aspect of Slesinger’s European venture has been the cultural resistance he says he encountered regarding defense investments. In 2022, after moving from the U.S. to Madrid, he started the European Defense Investor Network, which now includes entrepreneurs, investors, and policymakers. In a 2023 Medium post, Slesinger wrote about how his European VC colleagues were afraid to talk about their defense related investments. Unlike in America, he told TechCrunch, defense tech investing in Europe “was seen as uncouth, something that should be done but not spoken about, and certainly not spoken about in polite company at the dinner table.” (Slesinger quickly added, “I’m exaggerating a little bit, but there’s a kernel of truth there.”) He says that cultural hesitance resulted in “many founders thinking about it, deciding not to build a company in the [defense] space.” Now that’s changing. The NATO Innovation Fund — the world’s first multi-sovereign venture capital fund, backed by 24 NATO allies and launched in the summer of 2022 after the Russia-Ukraine war broke out — has helped. Indeed, it’s a significant backer of 201 Ventures. Techcrunch event Exhibit at TechCrunch Sessions: AI Secure your spot at TC Sessions: AI and show 1,200+ decision-makers what you’ve built — without the big spend. Available through May 9 or while tables last. Exhibit at TechCrunch Sessions: AI Secure your spot at TC Sessions: AI and show 1,200+ decision-makers what you’ve built — without the big spend. Available through May 9 or while tables last. Berkeley, CA | June 5 BOOK NOW So has the attention garnered by up-and-coming defense tech startups on the continent, including Munich-based Helsing, which is developing AI for use on battlefields and is currently valued at more than $5 billion by its investors. Another up-and-comer in Slesinger’s portfolio is Delian Alliance Industries, an Athens-based outfit developing surveillance towers to detect autonomous threats. Delian has so far raised seed funding but is a hot ticket that’s surely being actively courted by VCs. With eight investments to date, 201 Ventures focuses on technologies that address that gray zone competition because, in Slesinger’s words, it’s “happening at scale in Europe, and it will for the next couple of decades.” These market dislocations, he said, “whether they’re price inefficiencies or a government playing a larger role in a market that it might otherwise if not for wanting a sovereign capability . . .these gray zone dislocations actually are a good form of alpha.” In addition to Delian, another of Slesinger’s bets is Polar Mist, a Swedish startup producing maritime drones with advanced navigation capabilities. Other focus areas include hypersonics and subsurface mapping. One challenge in funding defense tech startups is the longer development timeline compared to traditional venture investments. Slesinger acknowledged this tension in his chat with TechCrunch: “If you have a 10-year-venture-fund life cycle, that’s a real thing that we sort of have to do things to try to accelerate or bend a little bit.” Slesinger also thinks that “European companies ought to be doing more lobbying at much earlier stages.” Both raise questions about whether his gamble will pay off for investors. At the same time, his early vision for a more autonomous European defense ecosystem is becoming embraced by a whole lot of other investors these days as geopolitical tensions rise and Europe rethinks its security arrangements. Data published earlier this year by the NATO Innovation Fund and the research group Dealroom showed that European startups working on defense and related tech raised 24% more capital in 2024 than in 2023, hitting $5.2 billion — surpassing even AI funding. With President Donald Trump returning to office in January and casting doubt on the U.S.’s commitment to European defense, that figure is likely to climb even higher.

In Hyper Knife, where medical breakthroughs come at a moral cost, Dexter Studios craft dark, immersive visual effects that pull viewers deeper into this cerebral and haunting drama! © Vincent Frei – The Art of VFX – 2025 The post Hyper Knife: VFX Breakdown by Dexter Studios appeared first on The Art of VFX.