Pokemon GO has announced that Necrozma and its fusions will return in a new Raid Day on December 14. This will be one of the first events of the next Pokemon GO season, giving players the chance to get some strong Pokemon that Niantic added this year.

Set in the hellish landscape of the eponymous Halls of Torment, players of Halls of Torment create characters and enter environments reminiscent of those in 90s RPGs. There, they must defeat opponents using a myriad of weapons and special abilities. Chief among those abilities is the various Blessings that improve a players performance.

I'm trying to understand C# Just in time compilation. The internet explanations use complicated language that is difficult to break down.The c# code is compiled on end user machine which means that the windows version will probably be different depending on who's running the executable but what else might differ from one machine to another? What is the point of compiling the code "just in time"?The physical configuration (processor, memory etc) of my computer and your computer i

Reading the recent Last Major Updates article on GameDev.net reminded me of the innovations shaping the gaming landscape. One standout example is the BC Game platform in Indonesia, which takes the casino and sports betting experience to new heights.For players in Indonesia https://bc-game.id/app/ offers a mobile app that combines cutting-edge technology with seamless usability. Just as developers wor

With startup Zordi, founder Gilwoo Lees enthusiasm for robotics, healthy eating, better produce and sustainable farming has taken root.Lee hadnt even finished her Ph.D. in AI and robotics at the University of Washington when investors seeded her ambitious plans for autonomous agriculture. Since researcher-turned-entrepreneur Lee founded Zordi in 2020 with Casey Call, formerly head grower at vertical farming startup Plenty, the robotic grower of strawberries has landed its fruits in Wegmans and is now expanding with partner farms in New Jersey and California.The most rewarding part is that the fruits you get taste amazing, said Lee. Youre able to consistently do that throughout the cycle of the plant because you are constantly optimizing.The company has two types of robots within its hydroponic operations. One is a scouting robot for gathering information on the health of plants using foundational models. The other is a harvesting robot for delicately picking and placing fruits and handling other tasks.Zordi, whose engineering team is based outside Boston, has farms in southern New Jersey and western New York. The company uses NVIDIA GPUs in the cloud and on desktops for training everything from crop health models to those for fruit picking and assessing fruit quality.Lee aims to deploy autonomous greenhouse systems globally to support regional markets, cutting down on the carbon footprint for transportation as well as providing fresher, better-tasting fruits grown more sustainably.Having operated greenhouses in New York and New Jersey for two years, the company recently formed partnerships with greenhouse farms in New Jersey and California to meet growing demand.Zordi is bringing NVIDIA accelerated AI automation to indoor growing that in many ways is parallel to developments in manufacturing and fulfillment operations.Adopting Jetson for Sustainable Farming, Energy EfficiencyZordi is building AI models and robots to enable sustainable farming at scale. It uses NVIDIA Jetson AGX Orin modules for testing out gathering sensor data and running its models to recognize the health of plants, flowers and fruits, early pest and disease symptoms, and the needs for hydration and nutrition, as well as light and temperature management.Jetsons energy efficiency and the availability of low-cost, high performance cameras from NVIDIA partners are attractive attributes for Zordi, said Lee. The company runs several cameras on each of its robots to collect data.Jetson opens up a lot of lower-cost cameras, said Lee. It lets us play with different cameras and gives us better battery management.With its scouting and harvesting robots, Zordi also aims to address a big issue farms worldwide complain about: a labor shortage that affects operations, leaving fruits and vegetables sometimes unattended and unharvested altogether.Zordi is planning to scale up its growing operations to meet consumer demand. The company expects that it can do more with AI and robotic automation despite labor challenges.We want our harvesting robots to do more dexterous tasks, like pruning leaves, with the help of simulation, said Lee.Omniverse Isaac Sim and Digital Twins to Boost OperationsZordi is looking at how to boost its indoor growing operations with AI much like industrial manufacturers do, using Isaac Sim in Omniverse for simulations and digital twins to optimize operations.The companys software platform for viewing all the data collected from its robots sensors provides a live dashboard with a spatial map. It offers a real-time view of every plant in its facilities so that its easy to monitor the production remotely.Whats more, it analyzes plant health and makes optional crop care recommendations using foundational models so that inexperienced farm operators can manage farms like experts.Were literally one step away from putting this all into Isaac Sim and Omniverse, said Lee, whose Ph.D. dissertation covered reinforcement learning and sim-to-real.Zordi is working on gripping simulations for strawberries as well as for cucumbers and tomatoes to expand into other categories.With strawberries or any other crops, if you can handle them delicately, then it helps with longer shelf life, Lee said.Lee is optimistic that the simulations in Isaac Sim will not only boost Zordis performance in harvest, but also let it do other manipulation tasks in other scenarios.Big picture, Zordi aims to create a fully autonomous farming system that makes farming easy and profitable, with AI recommending sustainable crop-care decisions and robots doing the hard work.Whats really important for us is how do we automate this, and how do we have a thinking AI that is actually making decisions for the farm with a lot of automations, said Lee.

By JENNIFER CHAMPAGNEImages courtesy of 20th Century Studios, except where noted.The Alien franchise has always been about pushing boundaries. From Ridley Scotts original 1979 Alien to James Camerons Aliens in 1986, the series captivated audiences with its terrifying mix of storytelling and technical mastery. The practical magic of animatronics, puppetry and miniatures gave the extraterrestrial nightmare its unforgettable texture, creating a visceral experience that lingers in the minds of fans. Now, decades later, Alien: Romulus takes the franchise into a bold new era, merging those tactile roots with state-of-the-art digital techniques to craft a visual spectacle that feels both nostalgic and forward-thinking.Uruguayan filmmaker Fede lvarez, a self-proclaimed Alien superfan, helmed this latest chapter with a clear mission: to honor the franchises iconic feel through practical effects while leveraging the latest digital applications. What we wanted was the same visceral, real experience from the original films, lvarez explains. But we also wanted to embrace where technology is today. Its about respecting the legacy while pushing it forward. His commitment to practical effects was unwavering, bringing back veteran craftsmen from Aliens to oversee creature design and animatronics while seamlessly integrating cutting-edge CG. This hybrid approach sets a new benchmark for the franchise, balancing authenticity with innovation to deliver a fresh yet nostalgic cinematic experience.Legacy Effects Supervisor/Animatronic Puppeteer Shane Mahan at work. Alien: Romulus was filmed entirely in Budapest, Hungary, primarily at Origo Studios. (Image courtesy of Legacy Effects and 20th Century Studios)The team behind Romulus exemplifies the fusion of tradition and innovation. Alec Gillis, who supervised the chestburster effects with his team at Amalgamated Dynamics, Inc. (ADI), and Legacy Effects Supervisors Shane Mahan and Lindsay MacGowan, who oversaw the adult Xenomorphs, brought decades of expertise and passion to the project. Both teams, veterans of previous Alien films, approached the project as a homecoming a chance to revisit and evolve the iconic creatures they helped bring to life. The tools we have now let us do things we could only dream of back in the 80s, Gillis notes. But the goal was always to make it feel real to make it visceral.Matching [Director of Photography] Galo [Olivaress] lighting style was one of the most rewarding and demanding parts of the project. We had to ensure the digital creations didnt just blend into the live-action shots but felt like they were lit by the same haunting glow.Eric Barba, Production VFX SupervisorDespite its $80 million budget, Romulus boasts the visual scale and ambition of a much larger production. Filmed entirely in Budapest, Hungary, primarily at Origo Studios, the team maximized resources with state-of-the-art facilities and expert local crew. Their craftsmanship, enhanced by digital techniques, ensured the film retained its tangible, gritty texture while pushing the boundaries of whats possible in modern effects. This was further elevated by Galo Olivaress cinematography, which embraced rich contrasts and shadowy depth a visual palette that amplified the horror and suspense elements while integrating the palpable realism of the practical effects with the eerie atmosphere of the alien environments.Director Fede lvarez wanted the same visceral experience from the original Alien films, but he also wanted to embrace todays technology. (Image courtesy of Legacy Effects and 20th Century Studios. Photo: Murray Close).Production VFX Supervisor Eric Barba conveyed how Olivaress cinematography provided a nice and contrasty visual palette that amplified the horror and suspense elements of the film. The intricate use of backlighting and rich contrasts not only added depth to the alien environments but also created an oppressive sense of menace that underscored the films tone. However, Olivaress technique of working on the edge of exposure where shadows were allowed to fall presented unique challenges for the visual effects team. Matching Galos lighting style was one of the most rewarding and demanding parts of the project, Barba explains. We had to ensure the digital creations didnt just blend into the live-action shots but felt like they were lit by the same haunting glow. This attention to detail contributed to the films cohesive visual narrative, making the cinematography a central element of its atmospheric appeal.From left: Legacy Effects Supervisor/Animatronic Puppeteer Shane Mahan and director Fede lvarez. A lot of work went into maintaining a balance between practical and digital effects. (Image courtesy of Legacy Effects and 20th Century Studios)From a directors standpoint, lvarez doesnt favor storyboards carved in stone or excessive previs. I dont want to be locked into something too rigid before we start shooting, lvarez states. I like to leave room for creativity and discovery as we go. However, lvarez also recognizes that a film like Alien: Romulus with its intricate blend of practical and digital effects requires a well-organized previs process. The team still heavily relied on tools like 3ds Max for specific needs, particularly for lvarez to set up the camera and lighting angles. We did a lot of previs to ensure everything worked in the digital realm before we started shooting, Barba remarks. But the goal was always to keep that initial vision open to adjustments and surprises once we were on set.A tremendous amount of work went into keeping the balance of practical versus digital effects. What made [director] Fede [lvarez] really happy was that we didnt take that cheaper, faster way out. We embraced what he had shot.Daniel Macarin, Visual Effects Supervisor, Wt FXFor the VFX team, led by Barba, 3ds Max was invaluable for tasks like lvarezs camera placement. It was a crucial tool in helping them plan out specific effects sequences. The software allowed us to plan and explore shot compositions and digital environments before we ever set foot on set, Barba continues. It was like a virtual blueprint that guided the execution of practical effects and digital enhancements, ensuring everything would mesh seamlessly. While lvarezs preference for flexibility over rigid planning encouraged creative spontaneity on set, the teams meticulous previs work provided a strong technical framework that that guaranteed that even the most complex visual effects sequences were grounded and cohesive.Legacy Effects Shane Mahan and Lindsay MacGowan, both of whom contributed to Aliens, brought their expertise to the subadult and adult Xenomorphs. Alec Gillis returned to Romulus to supervise the chestburster effects with his team at Amalgamated Dynamics, Inc. (ADI). (Images courtesy of Legacy Effects and 20th Century Studios)The chestburster scene, one of the franchises most iconic moments, was reimagined in Romulus to showcase the fusion of old and new techniques. Gillis and his team began with digital sculpting in ZBrush, crafting an intricately detailed model that could be adjusted and refined before being 3D-printed at various scales. This allowed for a level of precision and efficiency that would have been unimaginable in earlier films. Once printed, the models were brought to life with animatronics, featuring translucent silicone skin, injected black fluids for shifting textures, and servo mechanisms for lifelike articulation. lvarez wanted the sequence to feel raw and unsettling, echoing the primal, slow-motion terror of a natural birth. Gilliss team delivered with a puppet that could drool, snarl and twist with terrifying authenticity, subtly enhanced by digital touches to perfect its movements.Modern 3D scanning techniques were used to refine the designs of Xenomorph while preserving the franchises signature bio-mechanical aesthetic.The shift from traditional clay sculpting to digital sculpting and 3D printing represents a pivotal evolution in the creation process for Romulus. We decided that we were going to do this not as a traditional clay sculpture but as a 3D digital sculpt, Gillis explains. Once we had that form, it allowed our mechanical department to start designing in 3D, ensuring everything aligned perfectly. The transistion from clay to digital not only helped to streamline production but also establish consistency between the large-scale and one-to-one models to smoothly integrate practical and digital. By moving away from clay, the team gained the ability to iterate quickly while maintaining the physical authenticity of the original Alien model.We knew that animatronics could give us the tactile realism we needed, but combining it with subtle digital enhancements gave the creature a fluidity that made it truly come alive.Lindsay MacGowan, Special Effects Supervisor, Legacy EffectsMiniatures played a central role in grounding the films massive set pieces. Producer Camille Balsamo-Gillis collaborated with New Deal Studios Co-founder Ian Hunter, a miniature effects veteran, to bring these elements to life. Using 3D scans and designs from Production Designer Naaman Marshall, the team built models that aligned with the films visual aesthetic. This level of precision allowed us to create miniatures that not only looked incredible but also matched perfectly with the digital environments, Balsamo-Gillis says. One of the most striking applications of their work was the Corbelin, a ship that evolved from initial 2D designs into a richly detailed 3D model that took on character in the process. The Corbelin and the Echo Probe were crafted to honor the original Alien production design while adding fresh elements unique to Romulus. A standout sequence involved the Corbelins dramatic crash into the Romulus, where the miniatures realism brought weight and texture to the scene. Once built, the miniatures were scanned, digitized and integrated into the film with the help of Wt FX and ILM. Other effects vendors on the film included Image Engine, Fin Design + Effects, Wt Workshop, Wylie Co., Metaphysic, Pro Machina, Atomic Arts and Tippett Studios.Wt FXs Daniel Macarin and his team used Maya, Houdini and proprietary applications to create fluid, organic movements for the CG creatures, making sure they felt as alive as their practical counterparts.The blend of practical and digital elements was central to the films identity. Barba, a veteran of TRON: Legacy and Terminator: Dark Fate, notes the importance of balance. Its not about replacing practical effects with digital ones, he explains. Its about enhancing whats already there and making sure everything feels cohesive. His team used Houdini and Maya to create environments and enhance creature movements, working closely with Wt FX and ILM. Wt FXs expertise in creature animation added a sense of organic fluidity to the aliens movements, while ILM contributed to the grander large-scale effects, including breathtaking space sequences and explosive action set pieces.Facehugger facelift. The shift from traditional clay sculpting to digital sculpting and 3D printing for Romulus Xenomorphs represents a pivotal evolution in the creature creation process for the franschise. (Photo: Murray Close)The integration of practical and digital effects extended to the work of Daniel Macarin, Visual Effects Supervisor at Wt FX, whose contributions were instrumental in bringing the Xenomorphs and offspring to life with the required dramatic level of realism. A tremendous amount of work went into keeping the balance of practical versus digital effects. What made Fede really happy was that we didnt take that cheaper, faster way out. We embraced what he had shot, Macarin states. Using Maya, Houdini and proprietary applications from Wt, Macarin and his team created fluid, organic movements for the CG creatures, making sure that every twitch and snarl felt as terrifyingly alive as their practical counterparts. Macarins team worked closely with the practical effects department, utilizing 3D scans of the animatronics to match textures and scale, and fully integrate the CG creatures into the live-action.A notable challenge arose when lvarez requested lighting effects in a highly practical set. Fede had an idea to make the cargo hold feel more alive by fluctuating all the lights, Macarin explains. This meant turning practical effects into digital recreations, which was enormous, but it elevated the scene. This adaptability, coupled with close collaboration with other departments, enabled Wts team to create immersive visuals that pushed the boundaries on Romulus.The Corbelin and Echo Probe ships were crafted to honor the original Alien production design while adding fresh elements unique to Romulus.The collaboration extended across disciplines, with every department contributing to the films vision. Stunt Coordinator Mark Franklin Hanson played a pivotal role in creating the films dynamic action sequences, including zero-gravity stunts that required precise coordination with the VFX team. Hansons meticulous planning ensured that the actors movements felt natural and believable, even in digitally augmented environments. Our goal was always to make the action feel grounded, Hanson says. Even when we were dealing with aliens and zero gravity, it had to feel real.The beauty of using 3D scanning is that it allows us to capture the detail and scale of our practical builds and translate them perfectly into the digital realm. Nothing gets lost in that transition.Shane Mahan, Special Effects Supervisor/Animatronic Puppeteer, Legacy EffectsKnown for his work in the horror genre (Dont Breathe, Evil Dead), lvarez approached practical effects with the same care and attention he gave his actors. During the chestburster scenes, he directed the animatronics as if they were performers, guiding their breathing, snarling and other movements to achieve the desired emotional impact. His use of 3ds Max for previsualization allowed the team to plan complex sequences while leaving room for on-set spontaneity. Hes incredibly collaborative, Gillis says about lvarez. He knows what he wants but is always open to the magic that can happen in the moment.ILM contributed to the grander large-scale effects, including breathtaking space sequences and explosive action set pieces.The films narrative and visual design were deeply informed by its rich legacy. Mahan and MacGowan, both of whom contributed to Aliens, brought their expertise to the adult Xenomorphs, applying modern 3D scanning techniques to refine their designs while preserving the franchises signature bio-mechanical aesthetic. Mahan explains, The beauty of using 3D scanning is that it allows us to capture the detail and scale of our practical builds and translate them perfectly into the digital realm. Nothing gets lost in that transition. The creatures intricate details every fold, texture and sinew were preserved, blending physical models that were digitally designed and 3D-printed with advanced digital counterparts. One of the films most striking moments a Xenomorph emerging from a cocoon spotlighted this total attention to detail. MacGowan reflects, We knew that animatronics could give us the tactile realism we needed, but combining it with subtle digital enhancements gave the creature a fluidity that made it truly come alive.lvarez wanted the CG shots of the void of space in Romulus to be darker, scarier and emptier than in other space films. To achieve the feeling of distant depth, the 3D model was mostly backlit to accentuate the detail, and the planet and rings silhouetted the ship and space station.The films climactic sequences brought together every aspect of the teams expertise. A hero shot featuring an alien bursting out of its cocoon required months of planning, with previs helping the team map out camera angles, creature movements and digital environments. The practical puppet, created by Mahans team, featured articulated limbs and cable mechanisms that allowed it to interact with its surroundings. Digital enhancements added fluidity and realism to the creatures movements, creating a terrifying moment. Building on the intensity of the cocoon scene, the birthing sequence involving Robert Bobroczkyi, a towering Romanian basketball player, delivered a visual and emotional gut punch that tapped the teams collective skills. Bobroczkyis unique stature and elongated proportions created an immediate sense of unease, embodying the alien-human hybrids eerie otherworldliness. Mahan, MacGowan and the Legacy Effects team crafted a custom suit for the actor that featured integrated animatronics, which allowed for unnervingly precise articulation, from the aliens subtle twitches to the grotesque unfurling of its limbs.Barba described how his team worked closely with the practical effects department to enhance the aliens unsettling emergence. The real magic came from layering digital enhancements over the incredible work Robert and the Legacy Effects team brought to the scene, Barba reveals. The digital touches were minimal but deliberate, amplifying the aliens unnatural movements and adding a glistening, almost wet texture to the suit that made it feel alive. The scene also relied heavily on lighting and camera placement to maximize its visual discomfort. lvarez wanted lighting that accentuated the aliens grisly features while casting Bobroczkyis imposing frame in looming shadows. Combined with tight camera angles, the effect was a claustrophobic, almost voyeuristic experience that immersed audiences in the horror of the transformation. Roberts performance was so striking that we knew we didnt want to overshadow it with too much digital work, Mahan states. The key was to let the practical suit and his physicality shine, while the digital elements served as the finishing touch. The result was a sequence that encapsulated Romuluss hybrid approach to effects and stands as one of the films most memorable moments, capturing both the raw terror and visual ambition that define the Alien franchise.***Legacy Effects worked closely with director Fede lvarez to create the Xenomorph puppets and suits, Cocoon, Rook animatronic puppet and design/makeup effects of the Offspring. To watch a fascinating behind-the-scenes pictorial and video journey through Legacys development of the creatures for Alien: Romulus, click here: https://www.legacyefx.com/alien-romulus

Email us at PSPodcast@sony.com!Subscribe via Apple Podcasts, Spotify, or download hereHowdy folks! Friend of the podcast Shuhei Yoshida joins us to recap some of his biggest moments across 31 years of PlayStation, including his role as Head of Indies Initiative and his work with PlayStation Studios. Shu celebrates the highlights of his illustrious PlayStation career and discusses his favorite games of each PlayStation console generation.Plus, the team continues to feature listener and developer opinions on their favorite PlayStation memories. Well continue to feature listeners and developers (and name our favorite PS Vita, PS4, and PS VR games!)leading up to PlayStations 30th anniversary on December 3.Stuff We Talked AboutNext weeks release highlights:Warhammer 40,000: Darktide | PS5Fantasian Neo Dimension | PS5Infinity Nikki | PS5Skydances Behemoth | PS5, PS VR2Marvel Rivals | PS5Path of Exile 2 (Early Access) | PS5Interview w/ Shuhei Yoshida (begins at 4:27)Special listener/developer favorite PlayStation games segmentThe podcast crew highlights honorable mentions for their top games on PlayStation (discussion to be continued)The CastView and download imageDownload the imagecloseCloseDownload this imageSid Shuman Senior Director of Content Communications, SIEView and download imageDownload the imagecloseCloseDownload this imageTim Turi Content Communications Manager, SIEView and download imageDownload the imagecloseCloseDownload this imageODell Harmon Jr. Content Communications Specialist, SIEThanks to Dormiln for our rad theme song and show music.[Editors note: PSN game release dates are subject to change without notice. Game details are gathered from press releases from their individual publishers and/or ESRB rating descriptions.]

If youve listened to PlayStation Podcast over the past 14 years, then you definitely know Shuhei Yoshida. Perhaps best known for his lengthy turn as the President of PlayStation Studios during part of the PS3 and PS4 years, Yoshida-san has spent the past few years evangelizing independent developers as Head of Indies Initiative at PlayStation.With PlayStations 30th anniversary arriving next week, I got some time to catch up with Yoshida-san to discuss his career, his plans for the future, and his top game picks across 30 years of PlayStation. Read on for some excerpts from our lengthy conversation.Note: Interview condensed for clarity and brevity. To hear the full conversation, click here. (Apple, Spotify, direct DL)SID: You were one of our first guests on the PlayStation Podcast, probably 14 years ago. But its been quite a while. What have you been up to?SHU: Ive been traveling a lot! Ive been all over the place. Ive been in Brazil, India, Australia, Sweden, visiting developers, game events, looking at the new games from developers, and tweeting about games that I like throughout the year.SID: Happy to have you, were going to do a lot of catching up. But I heard you had some news for us here today?SHU: Yes, I have an announcement to make. Im leaving Sony Interactive Entertainment on January 15 2025 its like announcing the launch date of a new game, [something] I havent done for a long time [laughs].SID: Youve been with Sony Interactive for so long. Whats guiding the decision and the timing?SHU: Ive been with PlayStation from the beginning, and this is my 31st year with PlayStation. And when I hit 30 years, I was thinking, hmm, it may be about time for me to move on. You know, the companys been doing great. I love PS5, I love the games that are coming out on this platform. And we have new generations of management who I respect and admire. And Im so excited for the future of PlayStation.So you know, PlayStation is in really good hands. I thought, okay, this is my time.SID: That makes a lot of sense. Well, lets reflect on your career. I know youve been here for a long time, but how long exactly have you been with PlayStation?SHU: Yeah, I joined Ken Kutanagis team in February of 1993, when they were still developing the original PlayStation. Kens team had only engineers. Everyone was engineers. And I was the first non-technical person to join the team as the company, Sony Corporation at the time, started to plan to bring PlayStation to market. So it was 31 years ago.SID: Ken Kutaragi is often called the father of PlayStation. What was it like working at the company back in those days, before the original PlayStation came out?SHU: Yeah so when I joined [PlayStation], it was still just a department. Kens team was doing the development, and there was another team under Sony Music Entertainment Japan making games for Super Nintendo, and that was another small team preparing to make games for PlayStation. So the two teams merged, Kens team under Sony and Sato-sans team under Sony Music Entertainment Japan, to create Sony Computer Entertainment in November 1993.When the company was established as a joint venture, we held a party and everybody was in one room at the hotel [laughs]. I remember we had about 80 people total. We were very small.SID: Very small, but it mustve been very exciting!SHU: Oh yeah, we were so excited about the innovation that Kens team was bringing in, like 3D graphics, real-time technology, and CD-ROM with lots of data that we can put in with a low cost of manufacturing. And so we had really high hopes, high ambitions.However, we were not known in the video game industry. And there were other electronics companies, big companies that tried to enter the video game industry and, you know, didnt do well. So at the beginning before the launch of PlayStation, I think we were not taken very seriously from the industry, to be honest.SID: Yeah, its funny how these things work. And you know here we are, its 31 years later, and its a very different story.tell me a little bit about your first job with PlayStation.SHU: When I joined Kens team, my assignment was to talk to publishers and developers in Japan. So as a lead in account management, I made a phone call to many companies in Japan, publishers and developers from Hokkaido to Kyushu and made an appointment and brought a group of people of executives including Ken Kutaragi himself, to visit the publisher and talk about PlayStation, hoping that they would make games on PlayStation.So that was a really fun time, but also a really challenging time because not many people in the industry believed in 3D graphics technology at that time.Listen to our full discussion on PlayStation Podcast to learn more about Shuhei Yoshidas experience with PlayStation in its earliest days.SID: Eventually you moved up to being president of PlayStation Studios. Is there a memory that particularly stands out for you in your time at PlayStation Studios?SHU: Throughout the time that I was involved in game development, there were so many great games and great teams I was fortunate to work with. And every year, going to events like DICE Summit was so much fun because some of our games got nominated for the Game of the Year many times. When you are in the industry, if you get involved in one Game of the Year game, you are so fortunate. But I got [nominated] almost every year.However, among all of these times, one time stood out for me in my memory as something really, really special was when Journey got the Game of the Year Award. Journey was distributed through PlayStation Network. It was a digital-only, small game. You can finish playing the game within like three hours.But that game[won] Game of the Year against all these AAA titles, I think for the first time in the industry.the creator Jenova Chen did a talk at the summit, and he talked about a letter he received from a girl who lost her father and she thought about her father and she was able to move on in her life.The whole audience stood up and the whole room was filled with happiness and an amazing feeling that this small game could have such a big impact on peoples lives.SID: How did you get your way into your current role as Head of Indies Initiative at Sony Interactive?SHU: I love indie games. When the indie boom started in 2000, all digital distribution started on PC, on mobile, and on console. Small digital games could be made by pretty much anyone in the world, and be able to sell and distribute globally. That created an amazing opportunity for the industry to try new ideas.Small games, because theyre small, theres not big capital involved. So you can try ideas that have never been done before, and that kickstarts a totally new channel for the whole industry. It was like treasure hunting for me. When I was managing [PlayStation Studios] working with big studios, making AAA games was great.However, when I went to events like E3 or Gamescom, I always went to the indie game area. And I found games that I liked, and oftentimes the developer was there showcasing it. So Id take a photo with the developer, trying to help promote these games.Thats what I was doing almost as a hobby when I was managing PlayStation Studios. So when I got this job where I could spend 100% of my time helping indies, it was like a dream job.View and download imageDownload the imagecloseCloseDownload this imageView and download imageDownload the imagecloseCloseDownload this imageShu featured as a playable character in Super Time Force Ultra from Capybara Games.

Black Friday is both a discrete date Friday, Nov. 29, to be exact and in the case of holiday sales events, its also a state of mind that begins somewhere in mid-to-late November. And now, just days away from Thanksgiving, were near peak Black Friday vibes and as luck would have it, peak Black Friday deals.Every year, Black Friday-related deals have been popping up earlier and earlier, and this year, were already seeing a lot of great discounts across Amazon, Best Buy, Target, Walmart, and more. Early highlights available now include the Showa-era Godzilla movies on Blu-ray for 50% off (with similarly huge discounts happening for many other Criterion Collection films), 29% off the GOTY contender Metaphor: ReFantazio, big savings on books, and the Asus ROG Ally handheld for just under $500. Well be updating this regularly leading up to actual Black Friday, so be sure to check back for more of the latest deals.Looking for more? Check out all of Polygons favorite early Black Friday deals on board games, video games and gaming accessories, and Magic: The Gathering. And subscribe to our newsletter below to get great deals delivered to your inbox every week.

Zamazenta is a legendary shield wolf from the Galar region, making its debut in Pokmon Go in August 2021.Like fellow Sword and Shield legendary Zacian, Zamazenta notably has two different forms. Its plain Hero of Many Battles version is only fighting-type, whereas it gains a steel-typing with its Crowned Shield form. The Crowned Shield version of Zamazenta is not yet available in Pokmon Go yet, so this guide will only provide information on its Hero of Many Battles form until it gets added to the game.This guide explains Zamazentas weakness and the best counters as it returns as part of the Max Out Finale event, which runs from Nov. 27 to Dec. 1, 2024.Zamazenta weaknessIn its Hero of Many Battles form, Zamazenta is a pure fighting-type Pokmon, which means its weak against fairy-, flying-, and psychic-type moves. Focus on these when building your team to dish out super-effective damage.On the other hand, Zamazenta is resistant to bug-, dark-, and rock-type moves. Avoid using these types where possible, as theyll deal reduced damage and wont be very effective.Zamazenta best countersHere are some of the best counters you can use when battling Zamazenta in Pokmon Go:(Mega) Rayquaza with Air Slash and Dragon AscentMewtwo with Confusion and PsystrikeLunala with Confusion and PsychicHoopa with Confusion and PsychicBraviary with Air Slash and FlyStaraptor with Gust and FlyMetagross with Zen Headbutt and Psychic(Mega) Alakazam with Confusion and PsychicIf youve got enough Mega Energy, the best Mega Pokmon to use against Zamazenta are Mega Rayquaza and Mega Alakazam with the same movesets recommended in the list above. Other great choices are Mega Gardevoir with Confusion and Psychic or Mega Pidgeot with Gust and Brave Bird.Fairy-type moves get a weather boost when its cloudy, while flying and psychic-type moves get a weather boost when its windy. Keep an eye out for these weather conditions and alter your choice of counters accordingly.Zamazenta best movesetUnlike its counterpart Zacian, the fighting-type Zamazenta doesnt have much use in raids or gyms. There are much better options out there like Terrakion, Lucario, and Machamp. If you still want to use Zamazenta in PvE gameplay, go with Snarl and Close Combat.Things look a little better in the Master League, where Zamazenta has potential to take out big names like Dialga and Melmetal. Its not a top-tier choice by any means, but its worth a go. Youll want to teach it Snarl with Close Combat and Crunch for the best outcome here.Its worth mentioning that Zamazentas Crowned Shield form is expected to be a big improvement if it ever gets added to Pokmon Go. Its unknown when (or if) this will happen, but its definitely something to keep in mind. Dont write Zamazenta off just yet.Is Zamazenta shiny in Pokmon Go?Yes, Zamazenta can be shiny in Pokmon Go. This rare variant made its debut during the Galarian Expedition event in October 2024.Be aware that the chances of finding a shiny Zamazenta are quite slim and there are no legitimate ways to boost your odds of this happening. Its going to require a mixture of luck and patience, but hopefully, youll be able to encounter one eventually.