LOVO Building / Christoph Wagner Architekten + Wenke SchladitzSave this picture! Eric TschernowApartmentsBerlin, GermanyArchitects: Christoph Wagner Architekten, Wenke SchladitzAreaArea of this architecture projectArea:1200 mYearCompletion year of this architecture project Year: 2018 PhotographsPhotographs:ManufacturersBrands with products used in this architecture project Manufacturers: AGROB BUCHTAL, Carl Stahl, Cinca, SOLTIS Lead Architects: Christoph Wagner, Wenke Schladitz Architectural Designer: Stefan Tietke, Rainer Krautwurst, Nabih Alshaikh, Eyal Perez More SpecsLess SpecsSave this picture!Text description provided by the architects. LOVO is a 6-story residential building focused on the LGBTQ+ community, including inhabitants with refugee background. Located in Berlin's Friedrichshain-Kreuzberg borough, it was designed and developed by the Berlin based architects Christoph Wagner in collaboration with Wenke Schladitz, together with Schwulenberatung Berlin, an organization providing psychosocial counseling to gay, lesbian, bisexual, transsexual and intersex people. In 2014 Christoph Wagner and his partner, the artist Ulrich Vogl, found a plot next to the very central Ostkreuz train station. When a large refugee influx hit the city in 2015, the couple felt the need to help this population. Combining this wish with their own life experience in the LGBTQ+ community, they partnered with Schwulenberatung Berlin, who brought in new programmatic ideas and input on ways to deal with the property.Save this picture!Save this picture!Save this picture!The project's main intent was to create a way of living where people would cohabit and interact in spaces as randomly as in a city's neighborhood, instead of traditional community models where life tends to be restricted to the privacy of apartments. Due to its innovative spatial configuration and social agenda, even before opening its doors in 2018, LOVO was presented at the 2016 Venice Architecture Biennale as part of the German exhibition "Making Heimat. Germany Arrival Country." With 1200 m2 total, 31 shared units and 3 maisonettes, the building program is organized in 6 floors, evolving from shops and a caf where city and building dwellers mingle and community-oriented spaces at ground level to barrier-free assisted living on the first floor. The three floors above house 14m2 private rooms and common spaces, such as lounge, balconies, kitchen, bathrooms and laundry. To assure LOVO's inclusivity while also providing financial support for maintaining the building, the upper two levels contain rental duplex apartments for anyone wishing to inhabit such diverse environment.Save this picture!Save this picture!The East-West orientation unfolds in a strong interface with the street and the backyard, which is activated by the ground floor storefront and 200m long balcony strips covering the entire length of the facades. A public passageway connects the sidewalk with the garden at East, leading to a partially screened staircase facing the surrounding urban space. In a continuous flow, this vertical circulation extends towards communal loggias and kitchen one each floor, inviting dwellers to interact with each other. Atop the building three maisonettes are bordered at East by a spacious collective loggia, also having private balconies facing both the street and the backyard, assuring a direct relationship with the cityscape. Structured on concrete foundation, load bearing walls and slabs, the building exterior highlights large-format and light steel mesh balustrades. Contrasting ros and blue tones are blended with gray accents, imprinting a pleasing atmosphere, both inwards and outwards. Complementing these layers, pale red blinds create a distinctive yet harmonious combination, which reflect the mixed nature of LOVO.Save this picture!Save this picture!Save this picture!Save this picture!Project gallerySee allShow lessProject locationAddress:Neue Bahnhofstrae 1A, 10245 Berlin, GermanyLocation to be used only as a reference. It could indicate city/country but not exact address.About this officePublished on December 24, 2024Cite: "LOVO Building / Christoph Wagner Architekten + Wenke Schladitz" 24 Dec 2024. ArchDaily. Accessed . <https://www.archdaily.com/1002093/lovo-building-christoph-wagner-architekten&gt ISSN 0719-8884Save!ArchDaily?You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

2024 saw players battling everything from smoky-headed world-enders to really, really big snakes.2024 has seen the release of several classic game remakes, along with some incredible DLC expansions, long-awaited sequels, and engaging new IP. While quality storytelling and beautiful graphics certainly play a part in a game's reception, the base upon which many of the best games are built is fun, engaging gameplay. Boss battles are an integral part of this formula, and 2024 saw players fighting some seriously good big bads.From iconic characters like Masamune's terrifying owner to a comically cartoonish cobra from PlayStation's recent bot-based nostalgia trip, here are the best boss fights of 2024. For more, check out our picks for the 10 best games of 2024 and our favorites that didn't make the top 10. Lady Venomara (Astro Bot)Plenty of Astro Bot's bosses are large, but Lady Venomara's colossal form makes the player feel bite-size in comparison.Astro Bot is full of delightful surprises both big and small, and the final boss of the Serpent Starway nebula falls firmly into the former category. The golden cobra known as Lady Venomara is absolutely enormous, and despite the game's kid-friendly vibe, Lady Venomara offers a genuine challenge, with a variety of attacks that test players' mastery of the game's mechanics.This sophisticated serpent throws everything she has at the player. She regurgitates eggs full of enemies into the arena, swipes at players with her enormous tail, and knocks down rocks from the ceiling before covering the floor with purple venom that will kill players on contact. The biggest challenge isn't fighting Lady Venomara--it's surviving long enough to get a punch in.This boss fight is also elevated by the fact that players get to navigate it with help from a chicken-powered jetpack. Scylla and the Sirens (Hades 2)She may seem harmless at first, but this underwater songbird has some deadly powerful vocal cords.Scylla and the Sirens are an oceanic musical group and a trio of extremely tricky bosses who players will face when navigating through Oceanus in Hades 2. In addition to Scylla herself, players must also take down her Sirens: The Drummer and The Guitarist. The fight itself is enhanced by the delightful soundtrack, which in this case includes some of Scylla and the Sirens' greatest hits.During the fight, Scylla will attack players who get too close, shoot spike-covered projectiles at players who get too far away, hit players with a series of four rotating beams, and "sing" (read: scream) at players to cause damage. Meanwhile, The Drummer and The Guitarist will use red casts and other AoE moves to keep Scylla's target on their toes. There are also bubbles containing musical notes that cause damage if touched, and a variety of other deadly environmental risks in the arena. If there's one thing you want to avoid doing in this fight, it's standing in one place for too long.On the bright side, these seafaring songbirds all share hitpoints, so damaging one of them damages all three of them. The best strategy is to focus on attacking one band member at a time while avoiding the multitude of attacks being flung your way. Taking Scylla and her Sirens down for good requires patience, planning, and practice. The Sphinx (Dragon's Dogma 2)Nobody's head should be able to tilt that far. Dragon's Dogma 2 is full of unique (and often disturbing) enemies for players to challenge in battle, but the Sphinx--an optional boss that can be fought after correctly answering 10 of its riddles--definitely stands out from the crowd.The ensuing boss fight sees players taking on a frightening (yet undeniably beautiful) creature with a mouth that opens just a little too wide, irises that inexplicably dilate along with her pupils, and a head that tilts a tad too far. Every inch of the Sphinx's design teeters right on the edge of the uncanny valley, and even her boss fight itself is a riddle. If players don't fight her "correctly," she'll go flying off into the sunset after growing bored with the player's lackluster moves.The key to beating the Sphinx is attacking her non-human body parts. After solving her final riddle, players are given a brief moment in which they can attack. Leaving her face and upper body untouched is key here, as the only way the full boss fight can be triggered is by ignoring her human features and and instead focusing attacks on her hind legs, tail, and wings. Manage to hit her in the right spot before she flies off, and the true fight will begin. Again, players can only succeed if they continue only attacking the Sphinx's animal body parts. Even one hit to her face or chest (be it with weapons or magic) will see her flying off and abandoning the fight early and leaving the player lootless. Liv (Tactical Breach Wizards)This turn-based battle will leave you with sweaty palms.Tactical Breach Wizards spends the entirety of its runtime building up a set of rules and obstacles to tangle with. While there are enemy types that can upend the player's usual approach, it's usually one single challenge that can be overcome, and the game's difficulty tends to come from the combination of these enemies being presented. At one point, players face off against Liv, who possesses such overwhelming power as to appear invincible: Take her out, and she simply comes back to life, only stronger. That first encounter with Liv is ultimately a gimmick fight, but she returns in the final level, and this time the situation is even more extreme.In this fight, Liv not only can self-revive (albeit a limited number of times), but she'll swap position with another object or even one of the player's allies when she's attacked. That means the player has to work out a way to effectively attack both the spot where she is currently and where she's going to end up, ideally without knocking out a teammate. This creates a wonderful dynamic that pushes the player to leverage every lesson and bit of mastery of character abilities that have been developed over the course of the game. Completing the fight feels like a real accomplishment, in addition to the satisfying narrative implications of dealing with this threat to the world. Erlang Shen (Black Myth: Wukong)Dat axe, though.Erlang Shen is a secret boss in Black Myth: Wukong, and finding him is (literally) half the battle. Erlang can only be fought after players have found and completed the secret area in each chapter of the game (excluding Chapter 3 and Chapter 6), finished the Treasure Hunter's quest (Chapter 3), beaten the Great Sage's Broken Shell, and located the Great Pagoda. After interacting with a wall at the Great Pagoda Keeper's shrine and triggering a cutscene, players will find themselves fighting Erlang on Mount Mei's snowy banks.Erlang is no slouch, and the ensuing battle is a difficult one. Erlang can summon a spectral hound, shoot swords at the player, and deal thunder damage that will leave players suffering from the Shocked status effect if hit. As the fight progresses and players chip away at Erlang's stance bar, he'll introduce different, difficult-to-dodge moves. One sees him soar into the air, manifest a comically huge axe, and fling it directly at the player's face. Taking a hit from this thing is far from comical, though players who successfully dodge it will have an opportunity to damage Erlang in the moments after the oversized weapon hits the ground.Between the fight's setting, the game's satisfyingly smooth combat, and the sheer spectacle of a guy throwing around an axe the size of a small house, the secret battle with Erlang makes for a fight that's both challenging and fun. Imurah and the Chaos Demon (Warhammer 40,000: Space Marine 2)Sure, you've fought Imurah before... but have you met his little friend?By the time Space Marine 2 players encounter this boss fight, they'll have already faced Imurah once. But at the end of the game, Imurah wants a rematch, and decides to shuffle the board in his favor by opening the Warp and summoning a Chaos Demon that can quickly flatten players who aren't prepared to face it. Taking down Imurah may not sound that hard--after all, players have already beaten him once by this point in the game--but surviving the Chaos Demon's attacks long enough to deal damage to Imurah takes some serious skill.The Chaos Demon has some extremely difficult-to-dodge attacks that include balls of lightning, columns of damaging light that move toward the player, and a ground-shattering spear attack (yes, this enormous creature is wielding an enormous weapon) that causes a shockwave effect players must avoid. Players who survive the demon's onslaught will get a chance to attack Imurah before being transported back to the Chaos Demon again for some more death-dodging.Eventually, one of the Chaos Demon's eyes will glow red as the ground beneath the player's feet begins to explode. Damage the eye enough and the demon will back off for a little while, though Imurah's tactics grow more aggressive each time you encounter him.Ultimately, this boss fight leads into the final scenes of the game, so we'll spare you the spoilers, but suffice it to say that Imurah and the Chaos Demon are some of the most challenging bosses players have battled in 2024. Belial (Stellar Blade)Stellar Blade is full of phenomenal bosses, but this eldritch horror gets our vote.Stellar Blade has no shortage of challenging boss fights (looking at you, Raven), but the creature's organic-alien-meets-military-murderbot design makes it truly stand out. Described in-game as Orca Aerospae Company's "flagship combat robot," Belial "served as the sword of humanity on the battlefield." But its sacrifices were seemingly forgotten by humanity, and Belial was left to rot among the corpses of its fellow fallen Naytiba.Belial, understandably, wasn't pleased with this fate, and it rose from the ashes like some sort of horrifying robotic phoenix. Appearing to subsist solely on a diet of unfiltered rage, Belial makes for a challenging foe on the battlefield, combining agility and strength to decimate its opponents. Belial dual-wields a pair of swords (one organic, one made of metal), which it sometimes fuses together to create a horrifying chainsaw-like contraption that can deal devastating damage.This boss's lore, design, frightening agility, and incredible theme song make for a challenging fight to the death as players work to chip away at Belial's four(!) health bars Louis Guibern (Metaphor: ReFantazio)Metaphor: ReFantazio's main antagonist makes for a truly formidable opponent in combat, and players will battle him more than once as they progress through Metaphor's main storyline. Most of the enemies players face throughout the game have vulnerabilities to specific types of damage, but Louis isn't one of them. Additionally, he favors an attack called Royal Coercion, which lowers the player's damage and defense, making an already difficult opponent even more challenging. But on the bright side, Louis also has no resistances to specific types of damage, so players have a bit more leeway when it comes to taking him out.When players approach Louis again at the end of the game, they'll be met with an arduous three-phase fight, but this boss fight also has a hidden surprise for players who relish a challenge. Prior to the final fight showdown, players will be directed to destroy a series of Melancholia Crystals. Each destroyed crystal will weaken Louis and make him easier to face in combat, but declining to destroy the Melancholia Crystals will see players facing Louis in a more brutal form, and beating him without shattering the crystals will also unlock the Star Shatterer achievement.Still, there's a price to pay for leaving those Melancholia Crystals intact. Your party members won't be able to use their Archetypes' most powerful weapons in this fight, lowering the party's overall damage output. Even worse, Louis will be far stronger, with more health and way more potential for destruction. Those un-shattered crystals mean Louis will have eight Turn Icons per round in the final battle, and he will always use Soul Scream on his last turn, giving him an additional four moves and resulting in a staggering total of 12 turns per round. Needless to say, this is a fight players will want to prepare for. Sephiroth (Final Fantasy 7 Rebirth)Sephiroth's iconic One-Winged Angel theme song makes this fight delightfully nostalgic.Fighting the One-Winged Angel is (and has always been) a difficult task. When players face Sephiroth at the end of Final Fantasy 7 Rebirth, they'll soon discover that he has no vulnerabilities yet plenty of resistances. He can't be stopped, slowed, poisoned, silenced, petrified, or put to sleep. Berserk, Debrave, Defaith, Deprotect, Deshell, and Proportional Damage also have no effect on him, and the fight is a long one. Square Enix does show players some mercy in the form of checkpoints, so there's no risk of having to start entirely from square one if you fail, but facing Sephiroth is no small task. Initially, players will have Zack at their side, but after successfully finishing the initial phase of the fight, the two will be separated, and Cloud will be forced to face this bewinged baddie's final form--Sephiroth Reborn--without Zack. Thankfully, another friendly face will appear to fight at Cloud's side.Sephiroth's weapon of choice, the iconic Masamune, is as deadly as ever. Although a couple of swipes from his blade won't do you in, Masamune has some serious reach, and it can be easy for players to find themselves trapped on the receiving end of one of his HP-decimating combo attacks. Sephiroth has a multitude of moves in his arsenal, and they're all best avoided if possible. His "Skewer" move can prove to be particularly troublesome, as he'll disappear from sight before reappearing close to the player and promptly giving them the Aerith treatment.The key to surviving this fight is staying close enough to Sephiroth to deal damage, but being ready to dodge at any second to avoid getting turned into a shish kebab. His relentless attacks, the fight's fantastically nostalgic soundtrack, and the tear-jerking cutscenes players witness leading up to (and during) the fight make Sephiroth one of the best boss battles of the year. The Witness (Destiny 2: The Final Shape)Despite The Witness appearing to consist mostly of smoke, guns will still do the trick here.This boss fight marked the end of Destiny's 10-year Light and Darkness Saga, finally allowing players to go toe-to-toe with the biggest bad in the game. Seeing so many of Destiny's familiar faces joining together (including former enemies, like Savathn) to take down the ultimate threat adds a touch of nostalgic joy to an otherwise intense fight.The Witness fight starts out as the final (and very challenging) encounter of The Final Shape's raid, Salvation's Edge. But to actually finish the fight, the action concludes during a special 12-player mission--a first in the series' history, and an approach that lets anyone see the story through, even if they can't complete the raid. Players must first fight their way to The Witness, then focus on taking out its various minions--referred to as Omens of The Witness--while avoiding devastating attacks from The Witness itself. Despite the fact that The Final Shape's final boss looks like a cloud of e-cig vapor in a fancy coat, The Witness is surprisingly sturdy, and its attacks pack a serious punch.Destiny's biggest big bad is absolutely enormous in size, and stays fairly stationary throughout the fight, manifesting giant hands that reach down from the sky to flatten unsuspecting Guardians and summoning deadly projectiles that effectively turn the arena's entire surface into an AoE nightmare. Maintaining cover while also knowing when to abandon that cover to avoid serious damage is vital to surviving the encounter.Once The Witness's minions are dealt with, players hop onto a platform right in front of their massive foe and finally get to square up with the smoky-headed creature. Not unlike Lady Venomara, the main challenge isn't dealing damage; it's managing to survive The Witness's bone-shattering attacks long enough to have time to deal damage. The Witness fight marks the end of an era for Destiny players, and though Bungie has plans for the game's future, The Witness will be a hard act to follow. Messmer the Impaler (Elden Ring: Shadow of the Erdtree)This fight is as mes(s)merizing as it is horrifying.Elden Ring's 2024 expansion, Shadow of the Erdtree, introduced 10 new bosses to From Soft's 2022 fantasy RPG, and while all of them bring something special to the table, Messmer The Impaler is a definite standout. Like the Sphinx from Dragon's Dogma, Messmer's appearance blends beauty with horror. The son of Queen Marika is a demigod clad in gorgeous regal armor and has a relatively normal face, but his limbs are unsettlingly long and wiry, his nails look more like claws than human fingers, and there's a two-headed abyssal serpent living inside his armor--a gift from his mother, who later removed one of Messmer's eyes and replaced it with a protective seal to prevent the serpent's powers from potentially being used against her.True to his title, Messmer wields an enormous spear, and he isn't shy about using it. He also wields fire magic, and is immune to both Sleep and Madness. Naturally, players will want to be as fire-resistant as possible, but the first phase of the fight is fairly straightforward. Messmer's early spear attacks make it fairly easy to dodge behind him and get a few hits in.The real challenge starts when players deplete Messmer's health to 50%. At this point, he'll take a quick break to apologize to his mother, pluck out his artificial eyeball, and crush it in his hand, destroying the limits Queen Marika placed on his powers in the process. When the fight picks up again, players will be facing Base Serpent Messmer, a horribly corrupted version of the demigod that is effectively a sphere of horribly bent limbs and ruined flesh. His spear attacks become even more unforgiving, forcing players to choose between healing, hitting, and getting the hell out of the way. When all else fails, Messmer will briefly turn into a gargantuan snake that can breathe fire and dive fangs-first at the player.Despite Messmer's viciousness in battle, his increasingly frightening physical appearance, and the sheer amount of frustration FromSoft's boss fights can sometimes elicit, it's hard to finish this one without feeling a little bit bad for the monster Marika turned her son into. Messmer hesitates briefly before plucking out his replacement eye--indicating that he's not some sort of senseless being that can't feel pain. In a blink-and-you'll-miss-it shot of his face, the writhing scales of a serpent can be seen in the empty socket. Much like the abyssal serpent itself, this unforgettable boss fight is one that worms its way into the player's head. Eddie Dombrowski (Silent Hill 2)The Silent Hill 2 remake turns a once underwhelming fight into a haunting, heart-pounding masterpiece.In the original 2001 game, this boss fight was fairly underwhelming, but Bloober Team's 2024 remake of Silent Hill 2 reworks a once-uninteresting boss fight into something truly special. The original fight was essentially two people standing in a room and clumsily shooting at each other, but the 2024 remake changes the setting to a foggy walk-in freezer with sacks of raw meat hanging from the ceiling. The meat sacks provide some amount of cover, but also prove to be an obstacle, especially with the fog obscuring the player's view of Eddie. The room is dimly lit, with the flash of Eddie's gunfire serving as the only visual indicator of his position for a large portion of the fight. He's not pulling his punches, either--Eddie can very easily kill the player in just two shots on Hard Mode.While the improved level design and combat mechanics play a huge part in making the fight a terrifying one, this deadly game of cat-and-mouse is made all the more unnerving by the differences in Eddie's characterization. The original game painted him as an insecure jerk and not much more, but the remake gives players deeper insight into Eddie, his motivations, and who he is as a person. Watching his mental state slowly unravel over the course of the game makes every cutscene he's in feel extremely tense, like there's an invisible thread in Eddie that's one wrong look away from snapping. Ultimately, it does snap, and both the game's protagonist and the player themselves are forced to grapple with what it means to take a life. While Eddie certainly isn't any more likable than he used to be, Bloober Team's take on the character does make him more believable and three-dimensional. When he finally falls to the floor at James' feet, his baseball cap falls off, revealing a head of blond hair that looks quite similar to James' own. The message is clear: Yes, he's a jerk. But he's not any more or less of a person than James is, and although he forces the player into combat, it's hard to finish the fight without wondering if there could have been another way.The obvious effort Bloober Team put into improving the Eddie fight is deserving of praise in itself. Turning a formerly snooze-worthy opponent into one that arguably surpasses the likes of Pyramid Head is no small task, and the heart-pounding tension of this battle combined with its surprisingly emotional conclusion is what makes it our favorite boss fight of 2024.More Best Of 2024:Our Favorite Games That Didn't Make The Top 10Best PS5-Exclusive Games Of 2024Best Switch-Exclusive Games Of 2024Best PC-Exclusive Games Of 2024Best Xbox Games Of 2024Best-Reviewed Games Of 2024Best Of 2024 hub

Players looking for the best games on the Switch not made by Nintendo will find these titles hit the ball out of the park.

One of the best and most beloved parts about Dragon Ball Super was the fact that this entry in the franchise really expanded upon the universe of the series. By introducing Beerus and Whis, the concept of Gods of Destruction and Angels was introduced, which was then explained further with regard to the multiverse, of which there are 12 in total, each ruled by their own God of Destruction with an Angel attendant.

Wuthering Waves has shared an official trailer and new information about the features, Echoes, and lore that are coming in Version 2.0. The update will introduce the nation of Rinascita and a plethora of new characters. Wuthering Waves Version 2.0 is set for release in early 2025 and there are high expectations about the next main explorable region in Solaris-3.

Editors note: This post is part of the AI Decoded series, which demystifies AI by making the technology more accessible, and showcases new hardware, software, tools and accelerations for GeForce RTX PC and NVIDIA RTX workstation users.The AI Decoded series over the past year has broken down all things AI from simplifying the complexities of large language models (LLMs) to highlighting the power of RTX AI PCs and workstations.Recapping the latest AI advancements, this roundup highlights how the technology has changed the way people write, game, learn and connect with each other online.NVIDIA GeForce RTX GPUs offer the power to deliver these experiences on PC laptops, desktops and workstations. They feature specialized AI Tensor Cores that can deliver more than 1,300 trillion operations per second (TOPS) of processing power for cutting-edge performance in gaming, creating, everyday productivity and more. For workstations, NVIDIA RTX GPUs deliver over 1,400 TOPS, enabling next-level AI acceleration and efficiency.Unlocking Productivity and Creativity With AI-Powered ChatbotsAI Decoded earlier this year explored what LLMs are, why they matter and how to use them.For many, tools like ChatGPT were their first introduction to AI. LLM-powered chatbots have transformed computing from basic, rule-based interactions to dynamic conversations. They can suggest vacation ideas, write customer service emails, spin up original poetry and even write code for users.Introduced in March, ChatRTX is a demo app that lets users personalize a GPT LLM with their own content, such as documents, notes and images.With features like retrieval-augmented generation (RAG), NVIDIA TensorRT-LLM and RTX acceleration, ChatRTX enables users to quickly search and ask questions about their own data. And since the app runs locally on RTX PCs or workstations, results are both fast and private.NVIDIA offers the broadest selection of foundation models for enthusiasts and developers, including Gemma 2, Mistral and Llama-3. These models can run locally on NVIDIA GeForce and RTX GPUs for fast, secure performance without needing to rely on cloud services.Download ChatRTX today.Introducing RTX-Accelerated Partner ApplicationsAI is being incorporated into more and more apps and use cases, including games, content creation apps, software development and productivity tools.This expansion is fueled by the wide selection of RTX-accelerated developer and community tools, software development kits, models and frameworks have made it easier than ever to run models locally in popular applications.AI Decoded in October spotlighted how Brave Browsers Leo AI, powered by NVIDIA RTX GPUs and the open-source Ollama platform, enables users to run local LLMs like Llama 3 directly on their RTX PCs or workstations.This local setup offers fast, responsive AI performance while keeping user data private without relying on the cloud. NVIDIAs optimizations for tools like Ollama offer accelerated performance for tasks like summarizing articles, answering questions and extracting insights, all directly within the Brave browser. Users can switch between local and cloud models, providing flexibility and control over their AI experience.For simple instructions on how to add local LLM support via Ollama, read Braves blog. Once configured to point to Ollama, Leo AI will use the locally hosted LLM for prompts and queries.Agentic AI Enabling Complex Problem-SolvingAgentic AI is the next frontier of AI, capable of using sophisticated reasoning and iterative planning to autonomously solve complex, multi-step problems.AI Decoded explored how the AI community is experimenting with the technology to create smarter, more capable AI systems.Partner applications like AnythingLLM showcase how AI is going beyond simple question-answering to improving productivity and creativity. Users can harness the application to deploy built-in agents that can tackle tasks like searching the web or scheduling meetings.Example of a user invoking an AI agent in AnythingLLM to complete a web search query.AnythingLLM lets users interact with documents through intuitive interfaces, automate complex tasks with AI agents and run advanced LLMs locally. Harnessing the power of RTX GPUs, it delivers faster, smarter and more responsive AI workflows all within a single local desktop application. The application also works offline and is fast and private, capable of using local data and tools typically inaccessible with cloud-based solutions.AnythingLLMs Community Hub lets anyone easily access system prompts that can help them steer LLM behavior, discover productivity-boosting slash commands and build specialized AI agent skills for unique workflows and custom tools.By enabling users to run agentic AI workflows on their own systems with full privacy, AnythingLLM is fueling innovation and making it easier to experiment with the latest technologies.AI Decoded WrappedOver 600 Windows apps and games today are already running AI locally on more than 100 million GeForce RTX AI PCs and workstations worldwide, delivering fast, reliable and low-latency performance. Learn more about NVIDIA GeForce RTX AI PCs and NVIDIA RTX AI workstations.Tune into the CES keynote delivered by NVIDIA founder and CEO Jensen Huang on Jan. 6. to discover how the latest in AI is supercharging gaming, content creation and development.Generative AI is transforming gaming, videoconferencing and interactive experiences of all kinds. Make sense of whats new and whats next by subscribing to the AI Decoded newsletter.

If youve ever complained about the dominance of digital special effects in modern Hollywood movies, Werewolves was made for you. The new action-horror movie, now available for digital rental or purchase, has a delicious premise a year ago, a supermoon turned a billion people into werewolves for one night. Now, its about to happen again, and its up to the most jacked molecular biologist in the world (Frank Grillo) to stop it. It also relies almost entirely on practical werewolf effects, crafted with great care.Director Steven C. Miller tells Polygon that he knew from the start that he wanted his pulpy thriller to have as many practical werewolves as possible. He painstakingly worked with effects maestro Alec Gillis and an experienced team with a background at The Jim Henson Company to create an army of hulking 8-foot-tall beasts that could lay siege to the world.Miller, who calls the movie a crazy one to make, has relevant experience making action films (Marauders, Escape Plan 2: Hades) and horror films (Automaton Transfusion, Silent Night), and he was able to combine these experiences for a ludicrously fun midnight movie. (Next up for him: an action-comedy called Under Fire with Dylan Sprouse and Mason Gooding, with an eye on a 2025 release.)Polygon spoke with Miller about his philosophy on practical effects, the details on how Werewolves creatures were put together, and the challenges that come with such an ambitious project.This interview has been edited for concision and clarity.Polygon: I wanted to talk specifically about the werewolf design, which is a lot of fun and very different from what were seeing from most modern creature designs in movies. When you first joined the project, what were your immediate priorities on how you wanted the werewolves to look?Steven C. Miller: Look, my immediate priority was practical, right? How many practical werewolves can I put on screen? That was important. And then it became about how I could make them look as menacing as I can. Because I felt like [cinema] kind of went away from that for a while, where they became either humanoid wolves or they became sparkly wolves, or they were just wolves, literal wolves in the wild. So for me, it was about trying to get back to that classic 80s sort of man in a suit vibe, and still give them some bulk and make them as menacing as possible.Were there any smaller decisions you were particularly happy about in evoking that kind of feeling? Im thinking specifically about how the heads are designed.I mean, the heads were a big deal, right? Especially the elongated snout, and making that snout feel like it was even a little bit more raptor than wolf. That gave it a little bit more of a menacing tone, with the teeth and how long it was. And then the head being bigger almost than the body, than the shoulders, made it feel also a little bit more heavy. And it really was more heavy for the guys in the suits.And then all of the animatronics that were built inside the head those guys did such a fantastic job of maneuvering. Every detail of that face was maneuverable, even down to the snout, to the teeth, to the drool, to the tongue. It could do anything I needed it to do on cue. So having all of that freedom really allowed me to play with the wolves and give them emotion and a sort of vibe that I hadnt seen in a while.Whats the breakdown of how the animatronics fit together?You have the basic suit that the performer would put on, which was about 50 pounds, 60 pounds. These guys in these suits are probably 7-foot-ish, and then the head is about another foot. Once it goes on, the head attaches so the performers actually looking out the neck hole. So all of the animatronics inside are maneuvering the head completely. Whatever motion that head is doing is being controlled by animatronics. The performer is really only moving the body.So you can imagine, when he actually puts his head down to get into wolf form, hes almost completely blind. Hes just basically looking at the ground. So everything was choreographed really without their heads on, almost like a dance. And then they had to memorize it and go into all of these fight sequences almost in the dark, trying to do them as memorization. So if you do that on top of having the animatronic guys running all of the gizmos in the head and all of that, having to match synchronicity-wise, it was just a huge undertaking. But the crew was just so great at figuring it out. It was a lot of fun.Who handled the animatronics?Its a specific team that [werewolf designer/effects creator] Alec Gillis brought on. It was his team of puppeteers. I know a lot of them worked really heavily with Muppets and Fraggle Rock. They were really, really gifted individuals who understood how to move, animatronic-wise. And they have to be really good listeners, because theyre hearing me shout out all different kinds of movements, and theyre having to do that instantaneously or try to make that work with whatever the wolf performer is doing inside the body.We had so much fun whenever the wolf performer would come up and talk to me, I asked the performers if they would move the wolf mouth while he was talking.It mustve felt like a blessing to be able to have people whove worked with The Jim Henson Company on a project like this youre bringing in the best.And that, to me, was important when youre doing a werewolf movie. When youre doing a movie called Werewolves, if the werewolves dont work, the movie doesnt work. And so from day one, all of the money we had really went toward Alec Gillis and his team creating the wolves. It went toward the animatronics.We shot all this in Puerto Rico, so you have to bring this whole team to Puerto Rico. A lot of people dont really understand that on a small budget like this, bringing anyone from the States to a location and having to house them, and everything that takes, is a huge expense on a small movie like this. So we really made it a point that we were going to take on that, because we felt like they were really the most important pieces of the movie. We dove in headfirst.Sometimes these kinds of practical effects get augmented in post with VFX; sometimes they dont. What was your approach on Werewolves?My approach was, I didnt want to touch them after I shot em. If there was a werewolf on screen that wasnt digitally created from the beginning, it was not touched. The suit is what the suit is. We didnt clean up anything. We didnt touch it digitally. Obviously theres color correction going, but as far as touching up or cleaning up, I really refuse to do it, because I really wanted the movie to stand on its own and give Alec and them I just trusted them that much. I felt like [the werewolves] looked good enough on screen that I wanted the art to show. I didnt want to touch that.I wanted to let them be what they were. And if it was a tad clunky, I felt like that was the vibe, and that gave it the flavor I was looking for anyway, that 80s material that they had. They didnt have ways to touch [effects] up later back then. So you live with it, and I liked it.You suggested there are other werewolves on screen that werent practical Im guessing some were digital effects in the background for scale?In the background, we had digital guys that were giving us some effects more of the werewolves running through the town square. I think theres like three of em. But the cool thing about that is, even the visual effects supervisor was on from day one. So I had him in there with our practical creators, hands on, scanning everything from the beginning, so the digital effects were matching my practical effects, and not the other way around. It tends to happen sometimes when you get to post-production, youre like, Oh no, we need to create these things, and theyre creating it based on not being there. So with the visual effects and practical [teams] being there together, I was able to make calls of saying, Hey, these guys are going to look a certain way. I need the visual effects to also feel just as, for lack of a better word, clunky as the original, and not have this overly overt smoothness that these guys couldnt do. So yeah, they all were working as one, and it came together really well.This is an ongoing discussion, both in Hollywood and outside of it, about the dichotomy between practical and visual effects. Is that something you felt particularly strongly about just for this movie? Or is that a philosophy you hold in general?I am a fan of artists, and I was pretty adamant in my first posts when the trailer came out that people understood the movie is 90% practical, but the 10% that are visual effects are really fucking strong. And that I was going to stand behind the visual effects artists that did a lot of work on this movie, and made sure they got their due, because they did do some really great work. They created some really great wolves that, in my opinion, its hard to tell if theyre there or not.I mean, theres visual effects in this movie that you wouldnt know [were there]. The roof opening, for instance, is all visual effects. Those guys did a really fantastic job themselves. Im just a big fan of artists I think all of that [digital work] can be done well and can be done together, and people wouldnt have any idea. So its tough for me when people are like, Oh no, it can only be practical. I disagree. I like the idea of having new school and old school married together. Its all about uplifting the work of artists.These kinds of practical suits and animatronic rigs, and the experts to make them work, can be very expensive which may be one reason a lot of movies go for digital effects, which have gotten cheaper. But another reason is that complicated practical effects can create limitations in terms of what you can shoot and how you can shoot. How did that come up for you on this movie? How did you work around your barriers?The biggest limitations are when you want [the werewolves] to get into gigantic fights. We have a whole sequence where wolves are fighting each other at the end in rain, and theyre on wires. So at those points, you start to really feel their limitations, and you have to really start tapping into that creative gene if youre going to stick with the idea of it being practical. My DP was really great at figuring out how to light them and shoot them. And then its just about coming up with really creative, clever solutions. You almost feel like youre like a kid again in the backyard with your friends, trying to find out Whats the best way we could make this character do this without some fancy equipment? We did one where we would set the wolf on the bed of a truck, and we would shoot off the bed of the truck. So it looks like hes running, but hes just sitting on a truck. You know what I mean? So you just start getting really creative. Things start flowing out of this kind of stuff. And to me, thats when the best ideas come out.I also felt like there was some creativity from a storytelling perspective too. One of my favorite elements of this movie is it feels like, Forget even making a first movie, were just going to make a movie that feels like a sequel. Thats so much fun especially because I would imagine trying to make the first movie, where a billion people turn into werewolves, was not going to be a practical possibility.Yeah, exactly. And I also felt like the audience has seen that movie. Creating it in your brain, even though were only giving you little bits and pieces here, you can imagine what that other world could be, even if we couldnt get there yet. I feel like thats a lost art in a lot of movies, where they feel like they have to tell you every single thing, because they think younger audiences wont get it. Well, I disagree. I think younger audiences are really smart, and I think theyre also enjoying the ride, and they want to have some fun thinking about it as they go. So thats what we were trying to do.This movie really harkens back to a certain era of pulpy midnight thriller, with the werewolves designs and the plot. One of my favorite details is ripped-as-hell Frank Grillo being one of the worlds premier molecular biologists. I love that. That feels like such a throwback to 80s action characters. Did you grow up watching and loving those kinds of movies?I grew up watching those for sure. I feel like Im an 80s kid at heart when it comes to movies, and I like cinema as far as where you were able to suspend your disbelief and just watch the movie and have fun. Thats what I did growing up, and thats what those movies were. They didnt care if the character looked the part, as far as being a biologist, but he was the guy that was going to save the day.That harkens back to movies like Terminator, the kind of movies I grew up loving and enjoying Alien, Aliens, those kinds of movies. Your everyday character was going to take control and save the day. Pulp and cheese. You just want to throw it all at the screen and let the audience just have a blast.Werewolves is available for digital rental/purchase on Amazon and Apple TV.

Count Orlok looms over Nosferatu like the Cloverfield monster. While he is among the first voices we hear, and the first faces we see, the full reveal of Orloks form comes much later. When we see him in all his glory with all the sores, sylphlike limbs, and ponderous movements he looks like a reanimated corpse. Bill Skarsgrds mannerisms mark a striking difference from the comparatively youthful (and alive) Ellen, played by Lily-Rose Depp.This was exactly as director Robert Eggers hoped. I enjoy the fact that he is represented like a folk vampire, Eggers told Polygon ahead of the films premiere. These early folk vampires look like corpses, and theyre in this state of putrefaction.Eggers said the goal for Orloks look wasnt really to be a flip of the bird (or the bat, as the case may be) to noted resplendent vamp like Twilights Edward Cullen or True Bloods Bill Compton. Rather, it was yet another expression of Eggers constant aim: historical accuracy and immersion. His directive was What does a dead Transylvanian nobleman look like? which led him to Skarsgrds look, long sleeves, where ample fabric would communicate his wealth and eerie movement.Still theres a distinct sense of evolution as an audience member. If horror really is an expression of the anxieties of the time, Orloks decrepit form signifies something very different than the rash of undead that arrived in the 2010s. To Eggers and certainly in Nosferatu theres something powerful in what a more folkloric vampire represents; not a gleaming beauty or impossible love, but something corrupted, unnatural, and maybe even disturbingly familiar, if you were one of the townsfolk whose loved one emerges from a grave.Like most Nosferatu stories, Orlok is represented in Eggers film as more of a horror than a hunk; he also represents a sort of forbidden desire for Ellen. To have the attraction to this figure I think he was probably a beautiful man at some point, but now hes covered in maggots, the director said. Thats interesting to me.Eggers, for his part, was eager to bring out the sexual subtext of Nosferatu, calling his version a clear demon lover story and likening it to Wuthering Heights (which he reread while trying to crack the script). Depps Ellen is both a catalyst for Orloks awakening and her own pull to something darker, while also being a victim to 19th-century society.As much as she is a victim of the vampire, she can see into another realm, and has a certain kind of understanding that she doesnt have the language for, Eggers said. But people are calling her melancholic and hysteric and all of these things. And tragically, the only person that she can kind of connect with is this demonic force, this vampire, this demon lover. [And] Orlok is also alone.Its notable that in Eggers Nosferatu its her connection with Orlok that awakens him, ensnaring her and those around her into his game. Its the pull between the two that is constantly teased apart in the film, a thing she runs from as much as it sends her into a trance. Nosferatus power lies in not trying to make that repression legible with a drop-dead gorgeous vampire. Instead, Orloks pull is both rejoinder and repulsion, amorous and grotesque in equal measure. That connection between Ellen and Orlok, between 2024s Nosferatu and past iterations of this story, between folk vampires and their more modern kin is what makes it go so hard.Something thats great about the Max Schreck performance [from the 1922 Nosferatu] is how hes so slow, Eggers said. Obviously theres some sped-up camera stuff, but in general: Theres a way in which Nosferatu is like the Terminator. Hes not getting anywhere fast, but hes going to get you, and theres no fucking way hes not.Nosferatu arrives in theaters on Dec. 25.

Cloud of Darkness (Chaotic) is a high-end duty in Final Fantasy 14, added as part of patch 7.15. This 24-man raid is a hard boss fight that will require lots of coordination to clear, but the rewards are worthwhile.Fans of The Crystal Tower raid series, the Cloud of Darkness Eden raid fight, and of Final Fantasy 3 will likely want to get in on it, since theres two mounts you can get from clearing this fight.Below, we explain where to unlock Cloud of Darkness and where to exchange the loot from the raid in FFXIV.Where to unlock Cloud of Darkness (Chaotic)To unlock Cloud of Darkness (Chaotic), youll need to talk to the Wandering Minstrel in Tuliyollal as a level 100 combat class. (This is the same place you unlock Dawntrail extreme trials from.) You will also need to have completed the base Dawntrail main scenario quest.You can find the Wandering Minstrel in the location below:Once you unlock it, you can register for the duty in the high-end duty finder. Youll need an item level of at least 710 to participate. Youll need to make a party via party finder or some other means to take on this fight.Where to trade in Cloud of Darkness (Chaotic) lootFor each clear of Cloud of Darkness, youll get Clouddark Demimateria. You can trade in the demimateria you get to Uahshepya in Solution Nine, at the location below.The loot costs as follows:Dai of Darkness mount: 75 Clouddark Demimateria IIShroud of Darkness mount: 99 Clouddark Demimateria IA Half Times Two hairstyle: 49 Clouddark Demimateria IIClouddark top and leg armor: Three Clouddark Demimateria IClouddark head, gloves, and boots: Two Clouddark Demimateria IThe Dais of Darkness mount and hairstyle can both be sold on the marketboard as well, so if youre hankering for those, you can spend a hefty chunk of gil instead of doing this tough content. The other items (the armor and Shroud of Darkness mount) are market prohibited.

Some of Canadas most darling design vernacular is recorded within the historic walls of urban dwellings that continue to endear audiences. Architect Biran OBrian of WORKS OFFICE, in collaboration with interior designer Gillian Segal, adds to the countrys rich architectural accomplishments with a charming residential renovation project in Vancouvers enviable Annex neighborhood. Here, a distinct heritage is infused with modern ingenuity for a Victorian-era informed domicile contemporized through Art Deco detailing. Bold geometry, striking forms, and inky hues all help to bridge the gap between past and present visual languages while leaving room for dialogue into the future.Rather than resist it, OBrians structural solution capitalizes on the main facades whimsical composition, which comprises a few distinctive pieces original to the houses construction. The angled wall off the front elevation and a previously underutilized bay window on the buildings south side are integral to the restructured relationship of local context with its current expression as well as its physical presence and expansion.Id say that Im far more interested in working with and emphasizing the quirks and idiosyncrasies of buildings than I am in removing or rationalizing them, OBrian says. In plan, the bay window was extrapolated into its implied circle. That circle became the singular rotunda of space that extends from the ceiling of the first floor up to the roof. Tangents and additional curves and circles emerge from that rotunda and move throughout the house.The homes curved partitions celebrate circulation as they anchor the volume vertically while providing cues for lateral movement through curvaceous tendrils that extend into individual rooms features that echo Segals ethos. We often live in such rectilinear spaces, curves always speak to me with the warmth softness, and feminine grace they radiate, she says. They provide a great juxtaposition to some of the harder aspects of any space.The 3,900-square-foot residence is only typical of modern new-builds as it unfurls programmatically: a sprawling open kitchen, dining, and living space on the ground floor; bedrooms and a study on the first floor; guest and principal suites on the second floor; and a lower level housing the lounge and gym. Spatial and aesthetic solutions, as teased by the exterior, are delightfully nuanced.The clients, a family of four, invite excitement and intrigue inside with treatments carefully curated by Segal to create interest from tension between existing elements and contemporary concepts. Stained wainscoting and cement tile applied in a classic checkerboard pattern reference historical traditions whereas unexpected textures, extruded walls, and unique approaches to daylighting appeal to contemporary sensibilities. Daring reds, dark greens, and deep blues exude grandeur from cabinets, countertops, carpets, and upholstery in primarily public areas contrasted by more private spaces awash in dreamier hues or creamy off-whites.Subversive home furnishings also heighten the awareness of duality as it exists in the home. Though dubious looking, the silver chainmail chairs are surprisingly comfortable. And lighting fixtures by Anna Karlin and Josef Hoffman nod to the Art Deco era without being ostentatious resulting in approachable sculptural forms.This project was a very paired down, modern interpretation things were focused. Streamlined forms. Rich, bold, and unique materiality. While something truly authentic to Art Deco would be overwhelming in todays world, Segal explains. Using select components and reinterpreting for this project created something that feels very warm, bold, special, and timeless.To see more works by the collaborators visit gilliansegaldesign.com and worksoffice.com.Photography by Ema Peter and Scott Norsworthy.