The acclaimed 2016 action RPG Hyper Light Drifter won players over with its visual style, compelling themes and storytelling, and striking audio. Developer Heart Machine is looking to deliver this experience all over again with Hyper Light Breaker, which launches in Early Access in just a few days. Hyper Light Breaker is very different from Hyper Light Drifter, however, transitioning to 3D, opting for open-world roguelike gameplay, and otherwise going further back in its lore.

Human Within isn't quite a full-fledged VR game, but it's also not as hands-off as typical interactive fiction titles. Instead, Human Within blends elements of both, seamlessly transitioning from virtual reality gameplay to meticulously directed 360-degree live-action scenes where players make impactful narrative decisions. Somewhat ironically, Human Within leverages some of the latest technological advancements in digital media to tell a story about the potential risks of tech innovations.

It is quite rare to have such a protagonist as Tanjiro Kamado, for not only does he have the never-back-down fighting spirit, but also extreme kindness and empathy. Among all these protagonists, none has such a strong focus on the heros principles as Demon Slayer's protagonist, and yet Tanjiro extends beyond justice, righteousness, and mercyhe has kindness in his heart that affects everyone he meets. His fight is as much about overcoming inner evil as it is about winning the fight and finding the strength to help someone else come to terms with it.

Driving the future of smart mobility, Hyundai Motor Group (the Group) is partnering with NVIDIA to develop the next generation of safe, secure mobility with AI and industrial digital twins.Announced today at the CES trade show in Las Vegas, this latest work will elevate Hyundai Motor Groups smart mobility innovation with NVIDIA accelerated computing, generative AI, digital twins and physical AI technologies.The Group is launching a broad range of AI initiatives into its key mobility products, including software-defined vehicles and robots, along with optimizing its manufacturing lines.Hyundai Motor Group is exploring innovative approaches with AI technologies in various fields such as robotics, autonomous driving and smart factory, said Heung-Soo Kim, executive vice president and head of the global strategy office at Hyundai Motor Group. This partnership is set to accelerate our progress, positioning the Group as a frontrunner in driving AI-empowered mobility innovation.Hyundai Motor Group will tap into NVIDIAs data-center-level computing and infrastructure to efficiently manage the massive data volumes essential for training its advanced AI models and building a robust autonomous vehicle (AV) software stack.Manufacturing Intelligence With Simulation and Digital TwinsWith the NVIDIA Omniverse platform running on NVIDIA OVX systems, Hyundai Motor Group will build a digital thread across its existing software tools to achieve highly accurate product design and prototyping in a digital twin environment. This will help boost engineering efficiencies, reduce costs and accelerate time to market.The Group will also work with NVIDIA to create simulated environments for developing autonomous driving systems and validating self-driving applications.Simulation is becoming increasingly critical in the safe deployment of AVs. It provides a safe way to test self-driving technology in any possible weather, traffic conditions or locations, as well as rare or dangerous scenarios.Hyundai Motor Group will develop applications, like digital twins using Omniverse technologies, to optimize its existing and future manufacturing lines in simulation. These digital twins can improve production quality, streamline costs and enhance overall manufacturing efficiencies.The company can also build and train industrial robots for safe deployment in its factories using NVIDIA Isaac Sim, a robotics simulation framework built on Omniverse.NVIDIA is helping advance robotics intelligence with AI tools and libraries for automated manufacturing. As a result, Hyundai Motor Group can conduct industrial robot training in physically accurate virtual environments optimizing manufacturing and enhancing quality.This can also help make interactions with these robots and their real-world surroundings more intuitive and effective while ensuring they can work safely alongside humans.Using NVIDIA technology, Hyundai Motor Group is driving the creation of safer, more intelligent vehicles, enhancing manufacturing with greater efficiency and quality, and deploying cutting-edge robotics to build a smarter, more connected digital workplace.The partnership was formalized during a signing ceremony that took place last night at CES.Learn more about how NVIDIA technologies are advancing autonomous vehicles.

By OLIVER WEBBThere have been leaps in technological growth over the last few years in the VFX and animation industries. With new developments across the board in virtual production, real-time technologies and LED volumes, 2025 is looking bright, though the industry is still recovering from the effects of COVID-19 as well as the strikes. Further to the technological advancements, there are skills in demand and education available to those looking to delve into the industry. The skillset required for implementing new tools and techniques with a sharp eye on the future while navigating the present is pivotal to keeping up and staying ahead. Following is a variety of viewpoints from industry professionals crossing the street at the busy intersection of VFX and animation.Wt FX doesnt use generative AI. Instead, for several years, theyve been developing and utilizing machine learning, embedded into their artists tools, such as Wts facial performance and image-based refinement systems. Wt FX contributed effects to A Minecraft Movie. (Images courtesy of Warner Bros.)Richard Frances-Moore, Senior Head of Motion, Wt FX At Wt FX weve been innovating and using virtual production since the cave troll sequence in The Lord of the Rings: The Fellowship of the Ring. Virtual production as a visualization technique supporting live-action, animation and performance capture grew as a key part of our workflow on many projects, especially on the Avatar series. For a while, it seemed like virtual production was a no-brainer as it saved costs in post-production and provided a better on-set experience for directors and actors. Since then, practitioners and productions have learned more about the strengths and weaknesses of virtual production high demand for upfront investment, complex scenarios and technical issues can lead to unplanned costs, causing some productions to become a little more cautious. However, with more industry understanding and standards, the scope for successful uses is now stabilizing, and ICVFX has become another piece of the filmmakers toolkit that will no doubt continue to develop and improve. We are continuing to push on our overall virtual production system, working on the integration of our pre- and post-production workflows, as well as integrating Unreal Engine as an option so we can connect and collaborate with productions using that platform.[W]ith more industry understanding and standards [for virtual production], the scope for successful uses is now stabilizing, and ICVFX has become another piece of the filmmakers toolkit that will no doubt continue to develop and improve.Richard Frances-Moore, Senior Head of Motion, Wt FXSSVFX was nominated for an Emmy for its work on the FX series Shgun. SSVFX completed hundreds of shots to bring CGI Osaka in the 1600s to life. (Images courtesy of SSVFX and FX Network)AI and machine learning are having a large impact on the industry at the moment. While we dont use generative AI, for several years, we have been developing and utilizing machine learning, embedded into our artists tools. Examples include our facial performance and image-based refinement systems, and demand for this technology is increasing. On set, AI allows us to provide real-time camera depth, improving the speed and quality of creating digital photogrammetry while reducing the footprint on set. Increased availability and the development of shared standards are also a big movement across the industry. With productions wanting the flexibility to share assets and work between facilities, this has led to the need for better platforms and systems like Open USD, MaterialX and even Unreal providing a form of shared format for some virtual production and previs workflows. We are embracing this wherever we can while maintaining flexibility and continuing to innovate where we still see there are opportunities for improving our work.Or-Bits is a 30-second TV commercial for a fictitious breakfast cereal. The AIE student led-production team was hired by a mock-client to deliver the spot according to a detailed brief. Some AI-generated still images were used in the mock-brief and appear in the commercial. All other work is 100% student-originated. (Images courtesy of AIE)Viktor Mller, CEO, Universal Production Partners (UPP)Is there any growth in terms of employment in the VFX industry? We are coming out of a disastrous time for our industry, and not just in VFX, but across the board. So many people lost their jobs last year. So many companies went under. Its a legitimate crisis. Despite that, were seeing more VFX in film and TV than ever. In a sense, youd think that would be good, but the films and shows you see now are overloaded with CGI elements and the number of CGI artists working on big projects is so gigantic that they cant even fit them all in the end credits despite the long end titles we have now.The AIE VFX Class of 2023 won the 2024 Seattle Film Festival prize for Best Animated Short for their senior project, Spare Parts. (Images courtesy of AIE)I would say that virtual production or AI programming is probably the fastest-growing field. But in the end, they will take jobs from other disciplines. I think everyone knows that were in what people are calling The Great Contraction. We had this boom-time of Peak TV and just tons of films being made for both theatrical and streaming, and now the bubble has burst and there arent enough projects, even compared to previous years. The craziness after COVID brought new talent into the industry, which is great news but, at the same time, it has overloaded the market. Another downside is that this saturation hasnt necessarily improved the quality in the VFX industry but has rather increased average capacity. As we move forward into the new normal, companies will need to focus on efficiency and develop really good pipelines to stay successful.At UPP, were always striving toward a more equitable and diverse workforce, and Im very proud to report that we have gender parity at our studio. Having a diverse group of artists and technicians has always just seemed like smart business to me, but, in our industry, women in particular are seriously under-represented, especially in technical and leadership roles. We have numerous women running various departments including the head of our film and TV department and while were happy to discuss every one of them, we also hope to get to a place where we dont need to talk about it at all because, frankly, it should just be nothing special. It should be the norm. But I think were gradually moving in the right direction as an industry.Jonathan McFall, Head of CG and VFX Trainer, National Film and Television School (NFTS)VFX has been an evolving industry since the beginning with pioneering and breakthrough technologies now making their way into summer blockbusters every year; however, a lot of the core departments and skills remain the same. A modeler makes the model, and an FX artist makes the FX, but things have become more sophisticated within each department with the introduction of USD into company pipelines, allowing for variants in the models, textures, lights, FX and more. Software like Unreal and Houdini are also playing a larger role in productions, and virtual production stages arent just used for the biggest films anymore. Therefore, key skills like understanding USD workflows, shotgrid, lighting, Houdini, virtual production, Unreal and, of course, comp will all help you to gain entry into the industry. These are highly in-demand skills.National Film and Television School (NFTS) VFX students in the U.K. working with a virtual production screen. (Image courtesy of NFTS).The industry may at one point have been more dominated by male figures, but these days it is becoming increasingly more diverse. The National Film and Television School strives to encourage and support people from all backgrounds to feel confident to pursue a career in visual effects, with outreach and over 1 million of funding available for U.K. applicants. There is such a wide range of skills that are needed across many roles ranging from very creative roles in the art department and texturing to very technical roles in FX or pipeline. There are jobs for anyone who wants to work in VFX!Sir David Attenborough tests the technology at Mars Volume in the U.K. (Image courtesy of Mars Volume and Bild Studios)The National Film and Television Schools (NFTS) Visual Effects (VFX) MA is renowned for the 360-degree practical training our students receive, learning creative problem-solving across the VFX pipeline. Our VFX Labs are cutting-edge with dedicated workstations that replicate those used in the VFX industry. Each machine has current industry-standard software, including Maya, Unreal Engine, Nuke, Nuke Studio, Photoshop, Substance, Houdini, Resolve, Reality Capture and PTGui. The students have access to the studio 24 hours a day and are part of a small cohort who receive personal and group tuition, gain experience on set and an understanding of the entire production pipeline. The expansive site, tucked away in a small Buckinghamshire village, offers 18 dedicated shooting spaces for students including a 7,000 sq. ft. main stage, a 4k television studio and virtual production volume.Rowan Pitts, Co-Founder, MARS Volume and Bild StudiosMARS is one of the U.K.s longest-running virtual production brands, delivered by the experienced workflow specialists at Bild Studios. Since its launch in 2021, MARS volume has become one of the bigger LED volumes in the U.K. (25.5 x 5m), with its facilities used by productions such as Netflixs 3 Body Problem, Disneys Culprits and Asif Kapadias 2073, and the MARS team has been on set delivering virtual production for HBOs House of The Dragon and Apple TVs Masters of the Air.Participating and collaborating on open-source software has positioned DreamWorks to more easily maintain and share assets across TV series and features such as The Wild Robot. (Image courtesy of DreamWorks Animation and Universal Pictures)Theres been a trend from bigger is better to recognizing that strategically-sized LED volumes are more cost-effective and work better overall for production. Thats how our business has channeled over the last few years. We are around a 50/50 split between scripted drama and branded content. We are based at our permanent virtual production facility in West London, but the team is mobile and can take virtual production services on the road with them as pop-up solutions. MARS volume is fully serviced, and we often get involved in the world-building of the digital environments for the shoots that come through. Our pop-up service involves building bespoke LED volumes for film shoots at other locations and providing a team to run and operate them as well.Virtual production certainly has an important place in the future of film production. As awareness grows around how a volume can be used, that unlocks producers ability to understand the true value gained with virtual production shooting, and the return that they will receive from shooting on a volume. While it may appear more expensive initially than a traditional studio, if you factor in the savings that could be made, both in terms of time and efficiencies, and in terms of how much content can be shot within a single day, then virtual production can come into its own. We now see experienced producers shooting on MARS volume, who can generate a huge scene throughput by carefully pre-planning and scheduling, proving the efficiency gains to be made are real.Bill Ballew, Chief Technology Officer, DreamWorks AnimationOne of the trends we have seen in the industry over the last few years is an increase in the participation and collaboration on open-source software. With the widespread involvement in the Academy Software Foundation (ASWF) by both studios and third-party tool creators, the viability and usefulness of these projects have increased manyfold. Today, these serve as a basis for nearly every studio, utilizing standard data representations and sharing functionality that has become ubiquitous. As an early adopter of the Linux operating system in the 1990s, to open-sourcing our proprietary renderer, OpenMoonRay, in 2023, we have seen tremendous value in leveraging and contributing to these best-of-breed community solutions. This gives us two major areas of benefit: 1) It allows us to focus our engineering on efforts that differentiate our films, provide unique creative looks and empower our artists, and 2) The common industry building blocks and standards are positioning us to more easily maintain and share assets across our TV series and features.Ed Bruce, Senior Vice President, SSVFXIt has always been the case that technology and creativity go hand in hand. Each year, new technology can help advance creative limitations or inspire the creativity to push further. Over the last few years, technical advances have been coming thick and fast. AI and machine learning are on a rapid growth trajectory bringing many new tools into vendors workflows and pipelines. It can be a challenge to navigate through to ensure a net benefit versus just adapting to change.Launched in 2021, MARS Volume is one of the more agile LED volumes in the U.K. The MARS team is mobile and can take virtual production services on the road. (Images courtesy of MARS and Bild Studios)Ultimately, our goal is about delivering beautiful storytelling imagery on time for the right price. If machine learning can play its part in that, then it is worth adapting to. At the moment, however, many of the tools can be a minefield to navigate regarding security, which is of key importance to us and our clients. Datasets must exist within the boundaries of a secure network, and any communication outside of that network comes with an incredible risk.At SSVFX, one area we specialize in is facial augmentation and de-aging. This is an area where weve seen AI advancements promising easier, faster and better outcomes. However, weve found that this is not the case with our proprietary tools and workflows that we continue to adapt and build upon. Weve found we still hit the quality, time and cost better than what the machine learning approach is currently delivering, plus there is no dataset or security concern and, more importantly, no infringement with actors contractual concerns regarding AI. The ability to make nuanced changes to service the clients direction can be very challenging with the current AI tools. This isnt an issue within the traditional approach.Every year, new tools and technology will be created to support the VFX team. Some will be adapted and become a staple within our workflows, others will fall away. Its important for us at SSVFX to continue to stay informed and adaptive to these advancements.Joseph Bell, Principal, HDRI ConsultingI think people were surprised by how slowly VFX work has started to pick up after last years SAG-AFTRA and WGA strikes. Focus on the strikes masked an enormous drop in project commissioning by the major streamers compared with the year before, driven in part by pressure on the streamers to reach profitability. To give just one example, Disney+ spent around 40% less on commissioning content in 2023 than in 2022. And 40% fewer productions started principal photography in the U.S. in Q2 2024 than in Q2 2022. This dramatic decrease in the amount of film and TV commissioning, with the U.S. being especially hard hit, had a huge impact on employment in the visual effects industry worldwide. A lot of skilled VFX professionals have been out of work for many months in some cases, more than a year. With Disneys streaming services reaching profitability in mid-2024 and Paramount close behind, production should finally pick up. As an industry, this is a great time to reassess how we operate and what we can do to make companies and careers more resilient for the future.Countries with strong domestic film industries and those that are less reliant on work from U.S. productions to stay busy, such as Japan, Vietnam and to some degree France, have been less impacted than countries where a large majority of the spend on high-end VFX comes from the U.S. studios.Joseph Bell, Principal, HDRI ConsultingUPP has become one of the most active and versatile visual effects and post-production houses in the Central Europe, and has contributed VFX to Gran Turismo (above) as well as Barbie, Conclave, Five Days at Memorial and Blade Runner 2049, on which UPP CEO Viktor Mller served as Visual Effects Supervisor. (Image courtesy of Sony Pictures)Its difficult to highlight growth when so many VFX professionals around the world have spent large portions of 2023 and 2024 without work. Countries with strong domestic film industries and those that are less reliant on work from U.S. productions to stay busy, such as Japan, Vietnam and to some degree France, have been less impacted than countries where a large majority of the spend on high-end VFX comes from the U.S. studios. We are seeing growth in the number of roles for which knowledge of RT3D tools like Unreal Engine is becoming important. Knowledge of these same tools equips VFX companies and artists to work on VR/AR/XR, gaming and immersive projects. Among the various new technologies currently making their mark on the industry, real-time 3D is going to have the most far-reaching and enduring impact.Andy Romine, Senior VFX Instructor, AIEThere continue to be perennial opportunities for junior artists in lighting and compositing roles, though skills like rigging, VFX and Creature FX are always in high demand. Theres also been a recent surge in opportunities for traditional VFX artists who have experience working in real-time, e.g. Unreal Engine, for use in previs and virtual production pipelines.We model a real-world studio environment at AIE, so in addition to learning the technical skills required for a career in the VFX industry, students are taught to work in teams to real and simulated client briefs, manage asset creation and deadlines, and develop an online portfolio they can use to apply for a job. Students have access to state-of-the-art workstations and are instructed in industry-standard software including Maya, Renderman, Houdini, Katana, Nuke and Substance Suite. Every week, our Lunchbox program brings in professionals to talk about their experience in the industry and provide our students with opportunities to network. We have regular contact with members of the Visual Effects Society that AIE sponsors who give Lunchbox talks, provide mentorship and detailed portfolio reviews.The ability to make nuanced changes to service the clients direction can be very challenging with the current AI tools. This isnt an issue within the traditional approach.Ed Bruce, Senior Vice President, SSVFXBecause of Seattles importance as a game development hub and our parallel game art track VFX students are exposed to real-time game engines like Unreal 5. Our students have gone on to work at a variety of VFX houses from boutiques to major studios. Weve also had graduates migrate to the game industry with their crossover skills. Recent notable projects from grads include The Mandalorian, Deadpool & Wolverine, Doom Patrol and Destiny 2. The VFX Class of 2023 won the 2024 Seattle Film Festival prize for Best Animated Short with their senior project, Spare Parts.

Its been a minute, but the Savage Planet franchise continues! Were back for number two same folks, same franchise, same studio, but with a new name: Raccoon Logic.Formerly Typhoon Studios, we originally developed Journey to the Savage Planet (originally released in 2020 and currently available as part of the PlayStation Plus Game Catalog). Now our new sci-fi co-op adventure Revenge of the Savage Planet, a comical survival story of explorers entertaining themselves to death, is set to blast off on PS5 and PS4 in May 2025.Youll build and customize your own habitat, explore the alien landscape, scan everything, catalog everything and hopefully figure out how to survive. With more planets, our sequel is a bigger and brighter universe. With co-op from the start and a new third person perspective, youll run, jump, shoot and collect your way through four vibrant planets, crafting and upgrading your abilities while uncovering hidden secrets within.Today were revealing a fifth, secret planet filled with some not so natural creatures, while members of our team share insight into the design philosophies behind its creation.First, check out the video below!Play VideoIn this new world, exploration is still a must! There are creatures to capture, lakes to swim, mountains to climb, rails to grind, and a secret den of fun to uncover. Our fifth world features an interior lair, a stark contrast to our organic and natural open worlds, with the goal of making our world anything but predictable! Heres some of our team to explain more:A world inspired by retro arcades and 90s entertainmentFilled with fresh challenges, insane verticality, and unique modified creatures, this final world answers all the games lingering questions. Studio Head, Reid SchneiderOur digital juxtaposition is a narrative vehicle to reinforce the mystery of something beyond the natural sights of our planets. We speak to Slappis character through this dark and dangerous lair he created. Of course, we still have all the weird and wacky alien creatures were known for. Lead Designer, Steve MastersThe sound design went in the opposite direction as well, contrasting our instrumentation with a very digitally produced feeling. We began with a pinball machine meets game show set tone, but as it evolved, we focused on being inside a giant computer with playful 8-bit sparkles. Audio Director, Cameron JarvisWe wanted to bring entertainment value and robot toys are intriguing and fun! We looked back to various retro arcade gaming sources of inspiration to develop this nostalgic vibe. We embodied a hard surface modeling style with retro wave neon colors paying homage to 90s entertainment. Art Director, Erick BilodeauLocal and online co-opIn Revenge of the Savage Planet, there are many ways to play, including online co-op with cross-play and couch co-op (local split screen). And if you arent feeling up to sitting on the same couch with another real human being, we also have single-player mode!Our systematic design approach creates extraordinary interactions and outcomes that you can explore and experiment with. Weve designed it into the world, the characters, your entire experience. Every time you play, youll discover something new and experience it differently. Producer, Noemie LEcuyerWishlist on PlayStation Store to stay informed of the May launch week specials, including an in-game trash panda suit and launch discount. Pre-order, purchase, and launch details to be revealed soon.Thanks for supporting the Savage Planet franchise. Revenge of the Savage Planet launches on PS5 and PS4 in May 2025. Onward and upward!

Ahead of its premiere on Jan. 11, Netflix released the final trailer for Sakamoto Days, the upcoming anime adaptation of the hit Weekly Shnen Jump manga. The series revolves around Taro Sakamoto, a former hitman once notorious throughout the criminal underworld. But after getting married and settling into retirement, Taro started a new life as a kindly convenience store owner. After Taros cover is blown, hes forced to enlist the aid of Shin Asakura, a former assassin gifted with telepathy, to help him run his shop and protect his family from harm. The trailer does a terrific job of selling the premise and offbeat humor of Sakamoto Days, with Taro being semi-forced out of retirement to fend off the slew of assassins dispatched to collect the bounty on his head. The real draw of the trailer, however, is the voice talent attached to the series. Matt Mercer of Critical Role fame will voice Taro Sakamoto in the English language dubbed version of the anime, with Dallas Liu (Netflixs Avatar: The Last Airbender) cast to voice Shin. Other actors attached to the anime include SungWon Cho (Delicious in Dungeon), WWE superstar Alexa Lexi Cabrera Bliss, and Xolo Mariduea (Cobra Kai).Sakamoto Days premieres on Netflix on Saturday, Jan. 11.

Nintendo made a console announcement Thursday, but not the one everyones been expecting: Lego and Nintendo are teaming up once again, this time to remake the classic Game Boy console in Lego form. The kit is expected to be released in October.Build the classic Nintendo system in LEGO form. Coming October 2025. pic.twitter.com/XEyhbARqXq Nintendo of America (@NintendoAmerica) January 9, 2025Nintendo posted a 15-second teaser clip on social media on Thursday, featuring close-up beauty shots of different Lego pieces, including the Game Boys iconic purple controller buttons and a Lego brick D-pad. Game Boy music accompanies the clip.Naturally, the comments section and quote posts on X are both a mix of excitement and bafflement that Nintendo would announce a Lego console right when hype for its next-generation console, likely called the Switch 2, is at its highest. The past few weeks, in particular, have been stuffed full of leaks, including full on 3D mock-ups of the console. Nintendo has confirmed that it is making another console, expected out this year, but has said very little else about whats to come.The Nintendo Game Boy Lego kit is part of Legos larger offering of Nintendo-themed kits, which includes a remake of the Nintendo Entertainment System and a retro television, a $300 Lego Great Deku Tree, and a bevvy of Mario kits.How much will the Lego Game Boy kit cost? The short video teaser doesnt say. With the kit being nearly 10 months from the noted release date, it might be a while until theres more information.

Pink Ribbon Eels are a special fish that can only be caught during Infinity Nikkis Take the Bait, Pink Ribbon Eel! event.Youre told that Pink Ribbon Eels can be found in the waters from the Leisureely Anglers to the Swan Gazebo, but even with that information it can be a little difficult to find the eels. On top of that, the event is only available for a limited time, so more weight is being added to your shoulders.But, dont fret as were here to help! Heres how to get Pink Ribbon Eels, along with where you can find them and all of the rewards you receive from Mitcheli.How to get Pink Ribbon Eels in Infinity NikkiPink Ribbon Eels arent guaranteed to spawn at their fishing spots, but there is an indicator that tells you when theyve spawned. Keep an eye out for fish blowing pink bubbles at any of fishing spots between the Leisureely Anglers and the Swan Gazebo as only Pink Ribbon Eels are the only fish to blow pink bubbles.To get a Pink Ribbon Eel, send out your line towards the pink bubble-blowing fish and catch them as you would any other fish!Keep in mind, Pink Ribbon Eels take one real world day to respawn, so if youve already caught some and youre not spotting anymore pink bubbles, you may need to wait until the next day. Luckily, as the event goes on, more Pink Ribbon Eels will spawn, so stay patient! The event ends on Thursday, Jan. 23, so make sure to get all of your surprise gifts before then.All Pink Ribbon Eel locations in Infinity NikkiPink Ribbon Eels have a chance to spawn at the one of the nine fishing spots marked on the map above.Some of the fishing spots are a little harder to reach than the others. To get to the circled locations, youll need to hop on the lily pad near the northern location and speak with Croaker Boatman. Theyll drive their lilypad boat towards the middle of the lake and show you two fishing locations.All Pink Ribbon Eels rewards in Infinity NikkiTo turn in your Pink Ribbon Eels, interact with Mitcheli at the marked location on the image above. After you interact with her, shell give you a special gift as long as you provide her with a Pink Ribbon Eel that matches the desired weight.Heres a list of all the special gifts we received from Mitcheli:2 kg 100 Diamonds3 kg Only the Willing title3 kg 55,000 bling3 kg 80 shining particles3 kg 55,000 bling3 kg 80 shining particles5 kg 55,000 bling5 kg 80 shining particles5 kg 55,000 bling5 kg 80 shining particles5 kg 55,000 bling1 kg 100 blingThe last Pink Ribbon Eel can be any size, and Mitcheli will provide you with bling that is equal to 100 times the weight. From this point on, Mitcheli will provide you with some bling as long as you turn in more Pink Ribbon Eels, but the reward will not be anything close to the 55,000 bling that she previously provided.If youre looking for more info about Infinity Nikki, we have a beginners guide, a gameplay explainer, and a guide noting where to unlock more clothes.

Of the several pristine, beach-ladened islands that extend from New England and New York, Nantucket is perhaps the most remote. Jotting off Cape Cod, this smaller and quainter outcrop has a strong seafaring character and maritime tradition, fishing and whaling in previous centuries. Though it counts among some of the costliest vacation and second home destinations in the United States, it remains less glitzy and more authentic than nearby Marthas Vineyard or The Hamptons. During the 1960s and 70s, Nantucket was home to a thriving art and craft scene; creatives seeking out respite and renewed inspiration in a serene if sometimes rugged waterfront setting.When tasked with the complete retrofit of the 1960-built Beachside Hotel, multidisciplinary New York practice Parts and Labor Design (PLD) chose to honor that history by introducing a sophisticated and cohesive scheme, all while ensuring it would still draw in a wide range of guests.The Beachside Hotel is a design-forward, family-friendly lifestyle hotel, appealing to everyone, not just folks with children but its very welcoming to them, which is unique for Nantucket, PLD co-founder Jeremy Levitt says. We wanted families, children, and parents to have an equally great experience.Preserving and even restoring much of the original white cedar shingle facade the vernacular architectural style here the firm also maintained the original layout of the multi-structure property, which centers on a courtyard lawn reimagined by Miroslava Ahern Landscape Design Studio. Theres also a pool and various seating areas with choice views. PLD mostly set its sights on carefully revamping common spaces and guest room interiors. The use of locally sourced materials, quality finishes, and art from talents based nearby made all the difference.The overall intervention renders in a warm earth-tone palette with hints of salmon-like orange and sea-foam green; a slightly Art Deco-esque articulation popular at the moment. Rattan, as well as mid-toned wood wall and ceiling paneling, brings in a beachy vide. Custom amoebic-shaped furnishings nod to the late mid-century modern period referenced. This comprehensive, leaning residential, approach is perhaps best evidenced in the lobby.Its the main gathering point, almost like a living room for the hotel, Levitt describes. We designed a beautiful tile-clad fireplace that guests can congregate around as well as the main bar, which straddles the exterior wall, making it easy to access whether youre inside or out.He, his partner Danu Kennedy, and their team outfitted the space with original art by Rhode Island-based talent Sean Spellman and Gayle Fitzpatrick. Brown-toned velvet seating is accentuated by Schumacher pillows. A one-off tiled coffee table developed under the auspices of PLDs collectible design franchise Known Work is joined by custom seagrass-woven pendant lamps, mosaic vases by Maxine Metbo, and terracotta vessels by Diego Olivero Studio.The checker-pattern terracotta tile floor continues outdoors as it interplays with wild grasses before enclosing the pool. Other common spaces include a game room; as well as areas that double as intimate dining rooms, yoga studios, and cinemas. Some of this offering caters to children while being in ear and eye shot of their parents sitting and enjoying a cocktail at the pool, Kennedy explains. Each is outfitted with an eclectic mix of vintage and new artworks.A particular emphasis on textiles, celebrating the re-emergence of American craft in the 1960s and 70s, carries through the mid-century modern beach house inspired guest rooms, each with individual access outdoors and facing the courtyard. Patchwork quilts cover beds with headboards upholstered in plush linen. Context-referential tapestries, paintings, and drawings by the likes of Ron Abedra, Frank Wallace, and Alexandra Merker add to the domestic atmosphere. What were looking to bring to this area is really a place that can accommodate families without compromising on design or experience, Kennedy concludes.What: The Beachside HotelWhere: Nantucket, MassachusettsHow much: Guest rooms starting from $360Design draw: A reimagined getaway on highly desirably yet remote Nantucket island that is both family-friendly and style-forward. Multidisciplinary New York firm Parts and Labor Design imbued the hotel with a sophisticated site-responsive outfit nodding at the locales history as a creative haven.Book it: The Beachside HotelGo virtually on vacation withmore design destinations right here.Photography byMatt Kisiday.