In The Stone of Madness, the Gate of Saint Jeromes campaign begins after you hand the madness stone to Panecillo. This marks the start of a longer journey to escape the monastery. The first mission tasks you with uncovering the purpose of the strange key youve received. This is just the start of a much larger adventure filled with challenging puzzles.

Defending is one of the most difficult things to master in EA Sports FC 25. In challenging modes like Ulitmate Team Champions, patience and consistency are vital to defending successfully. A solid defense can win you games and separate the professionals from the masses.

Independent book stores can now get a cut of the ebook market. Today, Bookshop.org announced the addition of ebooks to its website. As it does with physical books, the online retailer prompts shoppers to designate a local book store at checkout, then sends part of the purchase price to that store. Since it started selling physical volumes in 2020, Bookshop.org has funneled more than $35 million to indie booksellers.During a recent chat, CEO Andy Hunter told me hundreds of stores have credited Bookshop.org with their ability to stay in business through the shutdowns caused by the pandemic. Now through the added ebook sales, those stores will have one more revenue stream and shoppers will have another way to support neighborhood stores. "It's not a good business strategy to say, 'Come to us for your books, but when you need an ebook, go to Amazon'" he said.The site will offer more than three million ebooks from every major publisher and the entire profit from the sale will go to the customer's chosen store. If a user doesn't designate a store, profits will partly channel into a pool for all participating bookstores and the rest will return to Bookshop.org. The company will also make money from publisher ads on its website. Because ebook prices are set by the publisher, titles will cost the same as they do from Amazon, Kobo, Google Books or elsewhere.In addition to the new category, Bookshop.org is also introducing a new reader app for iOS and Android devices today. Through the app, readers can explore curated lists of books, search the ebook catalog, read previews and add books to their wishlist. You'll still need to head to Bookshop.org on a browser to make purchases just as you do with other ebook sellers so they can avoid Apple and Google's steep in-app billing commissions. (Though, on tangental note, Bookshop.org's website now accepts Google and Apple Pay.)Reading books on the app should feel familiar to anyone who's used a tablet or smartphone ereader app, offering highlights, annotations, type and font adjustments and text searches. In addition to swipeable pages, you can also set the text to a vertical endless scroll mode, an option I haven't seen in other ereader apps.Bookshop.orgProbably the most intriguing feature is Quote Sharing. As I was talking with Hunter, he pointed out that when people share quotes from books on social media, it's often via a typed-out quote alongside a picture snapped of the physical page or the cover of the book. If you want to read that book, you're going to have to put in a little work to find it and buy it.With Quote Sharing in the Bookshop.org app or browser reader, up to 300 characters of text can be highlighted and shared on Facebook, X, Threads, Bluesky or anywhere else you can share regular weblinks. The generated link creates a formatted post with the quote, along with the book cover image. Anyone who clicks the link will be taken to a webpage with the quote in context, above a button to buy the book. Hunter says the goal is to "make conversations around books feel like a native part of the social web."As someone who is invested in ereaders, I asked whether Bookshop.org ebooks would be readable on Kindles or Kobos. Hunter told me his company is already working on compatibility with Kobo devices and has also been in talks with Amazon to potentially allow Kindles to display titles purchased from Bookshop.org. Integration with Kobo could come as early as this year; Amazon cooperation will likely take longer.Another forthcoming feature allows indie booksellers to sell ebooks directly from the bookstore's own website using Bookshop.org's tech. That partnership won't be available at launch but should go live in spring of 2025.Hunter told me a story from the initial investor phase from the print-only iteration of Bookshop.org. When potential investors learned he couldn't beat Amazon on price or speed, he was laughed out of the room. They assumed no one would be willing to pay more or wait longer for a book, no matter how worthy they thought independent bookstores might be.Five-plus years later, not only were those investors proven wrong the company's continued existence suggests at least some people can spare a few extra bucks and some patience to support bookstores now with ebooks, Bookshop.org can indeed match Amazon on both price and speed, since even the largest e-retailer can't discount ebooks and delivery is instantaneous no matter where you buy from.This article originally appeared on Engadget at https://www.engadget.com/mobile/tablets/bookshoporg-is-now-selling-ebooks-113033975.html?src=rss

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Andy Hunter decided something needed to be done about the endless rise of Amazon in 2018the year that the e-commerce giant surpassed 50% of book sales in the U.S. market. I was concerned at that rate of growth, says founder and CEO of Bookshop.org. Hunter did a back of the napkin projection, and figured that by 2025, Amazon would have secured an 80% share of the U.S. market.That worried Hunter, who had long worked in the publishing industry, especially when paired with stats showing half of all independent, local bookshops in the country went out of business at the same time as Amazon became ascendant. I felt very strongly that books are too important to our culture to give complete control of them to a single monopolist-like retailer, says Hunter. The vision was what would become Bookshop.org, which is now launching an e-book initiative, enabling its users to download digital books. But whatever the tech, the mission has been the same: supporting local bookstores by allowing them to keep most, if not all, the revenue from book sales made through the website, while giving them a digital storefront at a time when customers do more and more shopping online. (Bookshop.org makes its money through direct sales, where it gets 20% of a books value; affiliate sales for other companies, where it gets 10%; and advertising from publishers.)Hunter began building the site in mid-2019, and launched it on January 28, 2020, with a small team of four people. At the time, he was working two day jobs, alongside Bookshop.org as a side project. It was a big gamblebut one that paid off. Within the first month, the site sold $50,000 of books. I considered that a success, but we didnt know if it was going to work, he admits. We only had eight months of cash runway before we would run out of money and disappear.While many businesses were negatively impacted by the pandemic, Bookshop.org benefitted from the world moving online. Within the first six weeks of covid-19, the company onboarded 1,200 bookstores, and fielded interest from the U.K.s Booksellers Associationresulting in the company launching in the U.K. in November 2020, ahead of the holiday season there. We launched right into peak trading season, says Nicole Vanderbilt, a former Etsy executive who led the U.K. arm of Bookshop.org. It was an immediate success.The platform has continued its growth in the five years since, embedding itself into the industry in a way that surprises even Hunter. Global revenue in December 2024 hit $8.6 million, $7.5 million of which was from the United States. Hunter believes its the personalized touch, and the knowledge that each purchase supports independent bookstores, that has helped the company succeed. We arent cheaper than Amazon and were not faster, he says. While the company tries to remain competitive on price and delivery time, it cant possibly compete with Amazons infrastructure or scale. Ultimately, the only reason you would ever buy a book from Bookshop or from one of our stores is because of your values, because you appreciate it culturally, he says. Thats why weve succeeded: because there are enough of those people who have shared the values that we have.So far, Bookshop.org has competed with Amazon only on physical book sales. But from today, its taking the fight to the tech giant with e-book sales, too. The company has developed its own e-book platform, accessible through a web browser or downloadable app for Apple and Android, designed to compete with Kindle, allowing shoppers to buy digital versions of their favorite books from independents. It cost us about $2 million and took about nine months longer than we thought it would, says Hunter. That outlay isnt all that significant for big tech firms, but it was for Bookshop.org, the CEO explains. Yet it was a necessary decision to remain competitive. E-books are about 15 to 20% of all books sold, and right now you cant buy them from your local bookshop, he says, pointing to a European vacation he took with his children last summer where they wanted to read on e-readers, but were forced into big techs grasp to do so. Audiobooks will also soon be released in the U.K. later this year, Hunter saysanother attempt to maintain feature parity with Amazon.The next five years of Bookshop.org will see the company pursue further digital options for customers, Hunter saysattempting to eke further into Amazons market share and to slow its spread as the dominant entity in the market. After all, that was the founding principle that motivated Hunter to set up his company: to stop Amazon reaching that forecast 80% share by 2025. We are eating into it, he says. I know weve eaten into it. But the analogy is that weve stolen a crumb from the giants mouth. Nearly four in five Bookshop.org customers say they used to buy books on Amazon, according to the companys own surveysmeaning theres an untapped market that can be tackled even further.

Recently, I saved a major exclusive story from nearly getting killed at the eleventh hour. After developing the communications strategy, writing several versions of a pitch that a broader team of external partners would use over the course of the campaigns phases, and personally intervening when the opportunity was nearly lost after one of the parties involved fumbled, that same party later said to me, Thanks for your help.Help.Twenty years in public relations, including over a decade running a successful consultancy, and my strategic leadership was reduced to helpa word that carries centuries of loaded meaning for Black women in America. Its a word that seems disproportionately reserved for people of color, regardless of their role, impact, or level of experience.But this wasnt an isolated incident. Ive watched a familiar pattern unfold throughout my career: White professionals are dubbed rockstars for meeting basic expectations and praised for their brilliance for sharing a contrarian thought. Meanwhile, when Black and brown professionalsparticularly women of colordemonstrate exceptional results and seemingly do the impossible, were thanked for our help.Mislabeling leadership as help is a reminder that excellence isnt always enough to rewrite bias, especially for Black leaders, says Jenny Vazquez-Newsum, E.d.D., a leadership strategist, facilitator, and author of the book Untapped Leadership: Harnessing the Power of Underrepresented Leaders. It reinforces a long-standing systemic flaw that devalues the intellectual labor and expertise of Black professionals.Lets be clear about what help actually is. Help is being a fresh pair of eyes to review slides before a colleagues presentation. Help is picking up slack on a project when a teammate is out sick. What I and many other diverse professionals do every day isnt help; its leadership that drives business forward and enables teams to succeed.The language we use matters. When companies frame Black leadership as help, they perpetuate a subtle but powerful form of professional diminishment. This framing doesnt just affect individual recognition; it impacts career advancement, team dynamics, and business success. It reinforces an unconscious hierarchy where certain professionals are seen as leaders by default, while others must constantly prove their leadershiponly to have it minimized by being characterized as a supporting role.Language can be a subtle mirror of our biases, says Vazquez-Newsum. When we diminish Black leadership to help, we prescribe a subordinate narrative to extraordinary contributions. It undercuts expertise even if couched in good intentions or under a veil of gratitude.This systemic undervaluation has significant business implications. According to research from Russell Reynolds Associates, only 29% of Black professionals with 10-20 years of experience report satisfaction with their level of recognition, compared to 47% of their non-Black peers. Similarly, a LinkedIn survey of more than 2,000 Black professionals found that lack of recognition was a primary driver of turnover, with 33% citing it as a reason they considered leaving their jobs.The cost is substantial to businesses: Companies in the bottom quartile for both gender and ethnic diversity are 66% less likely to outperform their peers financially, per McKinsey data. When organizations fail to acknowledge Black leadership, they risk losing the very talent that could drive successwith Gallup estimating replacement costs reaching up to 200% of annual salary for leadership positions.The solution isnt simply swapping wordsits fundamentally shifting how corporate America recognizes and values leadership. Companies must create systems that properly attribute individual contributions and build cultures where excellence is recognized, regardless of who demonstrates it.Vazquez-Newsum emphasizes the broader business implications. Failing to acknowledge leadership where it exists is a business liability. Bias in language creates an unseen barrier in talent pipelines, costing organizations their most innovative thinkers. What some may dismiss as subtlety, others experience as a powerful deterrent, discouraging the very talent and contributions the companies need to thrive.She says that companies build a communication culture that fully acknowledges the weight of contributions. It should be standard practice to explicitly articulate the scope and significance of a colleagues contribution and align it with recognized leadership behaviors. Simple gratitude is not equivalent to adequate recognition.Theres help, and theres business leadership. Its time for companiesand individualsto recognize the difference.

A green-patinated copper shell topped with solar panels forms this "habitable power station" in Oxford, designed by local studio Adrian James Architects.Named Copper Bottom, the two-storey house is a self-build project created by studio founder Adrian James for his family on a sloping wildflower meadow high on Harcourt Hill.Aiming for a high benchmark of sustainability, Adrian James Architects designed the four-bedroom house with a simple cuboid form and a sculptural copper carapace that protects the structure from the sun and minimises its energy demand.Adrian James Architects has completed his own family house in Oxford"The starting points were a compact form, a roof maximising southerly aspect for solar panels, and an envelope which sheltered the windows from high sun," said James."These primary moves established the basics, then it was a case of sculpting this basic form to create something uplifting and resonant."On the ground floor, a double-height gallery space forms the heart of Copper Bottom. It sits alongside an open-plan living room and kitchen with a mezzanine level designed as a space for home working.The house is defined by its "origami-esque" shellUpstairs the house features four bedrooms, one with an ensuite, and an additional bathroom.Copper Bottom's defining feature is what the studio describes as its "origami-esque" shell. It features an angled roof plane that cantilevers out like a peaked cap to prevent high summer sun from entering the house's big south-facing windows but allowing low winter rays in.The roof blocks out the high summer sunOn the house's east and west flanks, creased bulges create deep reveals for the east- and west-facing windows.Meanwhile, on top of the house, two "ears" form ventilation stacks designed to draw in cool night air and expel hot air accumulated throughout the day during the summer months."There are subtle hints of something zoomorphic and something mechanistic, with paired ears and a prow," added James. "It is really about capturing a sense of dynamism in the form which puts a spring in your step."A green-patinated copper forms the shellOn the house's roof a huge array of 37 photovoltaic panels, angled towards the sun. The energy these generate is more than the house demands."The intention is for the house to be a habitable power station actually something we want all our designs to be," said James.This excess power means Copper Bottom is not only zero-carbon in terms of operation but it is also expected to offset the embodied energy associated with its construction.Read: Surman Weston self-builds "characterful family home" with three gardens in LondonThe house's superstructure has also been designed with a focus on airtightness. It is made of prefabricated timber panels clad with a system of lightweight timber trusses supporting a plywood skin. An air-source heat pump reduces the energy demand for water heating.Copper Bottom was designed to showcase the durability and versatility of recycled copper, a material James praised as durable, readily available and low maintenance.A brick feature wall features insideWhile copper does not continually corrode like other metals, it gradually patinates from its original brown colour to green verdigris when exposed to the air.Yet this process takes time and so to achieve Copper Bottom's green exterior the architect chose to use metal that had been prepatinated in a factory using a chemical wash.The architect chose a lime version of verdigris, rather than the usual turquoise, to harmonise with the house's surrounding greenery, including its mature trees and wildflower meadows.Porcelain tiles lined the ground floorsInside Copper Bottom, the interiors are kept light with white walls and minimal detailing. To create tactility and warmth, the studio has added a large feature wall in the central double-height space made of textured stock brick.This doubles as a wall for a stair leading to a mezzanine home office space, where a wide oak desk looks down over the dining table, through the double-height window to the garden and landscape beyond.The mezzanine has stained oak flooring and joineryLarge format porcelain tiles have been used on the floors downstairs, while upstairs the floors, joinery and doors have been made in stained oak. Large windows offer views over the rolling countryside and spires of central Oxford.The plot of land where Copper Bottom was built, which lies just on the edge of the Oxford Green Belt, was bought by James and his wife for the self-build project and originally formed part of the neighbouring property's garden.Other self-built houses recently featured on Dezeen include a "characterful family home" with three gardens by Surman Weston and Atwater House that the co-founder of the firm Design, Bitches and her architect husband built over two decades.The photography is by Fisher Studios.The post Adrian James Architects wraps Copper Bottom house in origami-like shell appeared first on Dezeen.

Dezeen's architecture and design working-conditions surveypaints an alarming picture of an industry under strain. Nat Barker reports.Josephine (not her real name) wanted to be an architect from a young age. But upon qualifying in 2010 and entering practice work in her native France, she quickly found things difficult."The conditions were really tough," she told Dezeen. "We had to work very long hours in a very stressful environment."More than 450 responses across 64 countriesAfter one too many 3:00am finishes, she decided to switch to architectural lighting design, hoping it would be less intense.Her next job, at a renowned studio in Germany, threw up a different set of issues, with a boss prone to sexually inappropriate behaviour and telling lewd stories.Josephine emigrated again to work for another architectural lighting studio in the UK, where she says she has experienced yet more sexism, stress, pitiful pay, constant overtime and a lack of progression.Now she is fed up, and is planning to move into user-experience design in search of a more fulfilling career."I'm very sad, because I like the field of architecture, and I have a lot of knowledge here, so I feel like I'm putting a cross on everything I did so far, and it's a shame," she said.Read: Shocking personal stories from Dezeen's working-conditions survey"Maybe I'm very unlucky, but at the same time, I have seen maybe five different offices, and so I have the feeling it's the norm."Josephine was a respondent to Dezeen's recent survey asking people to share their experiences of working in architecture and design.We received more than 450 responses in total from people in 64 different countries, from interns just starting out in their careers to CEOs who began in the early 1960s.Most worked for architecture studios, but we also heard from those at landscape architecture firms, engineering firms, design studios, interior design studios, property developers, public-sector bodies and brands.And while Josephine's experience is not the standard, nor is it uncommon. Dozens of people had similar stories.Architecture "operating on a culture of exploitation"The good news is that most people seem reasonably content overall, with 73 per cent of respondents saying they either "definitely" or "mostly" enjoy their job.Being able to work creatively overwhelmingly emerged as the main reason given, alongside the wide variety of tasks and the satisfaction of problem-solving or seeing projects complete.But all that appears to come at a considerable cost. Even among those saying they liked their job overall, numerous problems were identified.More than half (52 per cent) indicated their job does not match up with what they expected before they started.In what many may find unsurprising, low pay and excessive workloads appear to be commonplace.Only 29 per cent of respondents said they feel well paid or paid about right, while 45 per feel somewhat underpaid and another 25 per cent feel severely underpaid.Meanwhile, two-thirds of respondents reported regularly having to do unpaid overtime. Nine per cent said they do so every day, while 15 per cent said they do so most days. Some said they have unpaid overtime written into their contracts."The industry is operating on a culture of exploitation," said an architectural assistant at a large architecture firm in the UK."I have a genuine passion for architectural design and innovation, but this is difficult to hold onto when I can barely afford to live, despite this job taking over my life."A huge 80 per cent said they have experienced unrealistic expectations of work in the past five years."Unrealistic expectations of work is almost a standard in an environment where the clients don't abide by contractual agreements, request unpaid design changes and managers just accept everything in order to preserve a good relationship with the clients," remarked an architect working in China."It was literally like life or death"Troublingly, our survey results also indicated widespread issues with poor workplace culture within architecture and design.For instance, 61 per cent of respondents said they have witnessed or experienced rude, belittling or demeaning behaviour in the last five years.More than half (52 per cent) reported unnecessarily harsh criticism of work, and 30 per cent have witnessed or experienced bullying.A recurring theme in respondents' answers was intense pressure and disrespectful behaviour from clients translating into highly strung senior members of staff acting poorly towards those below them.In one particularly extreme case, a woman who had been a teacher at an inner-London high school and decided to make a career change into interior design lasted only a year at an architecture and interiors studio before she became seriously ill from stress and had to quit."I was used to pressure but this was pressure like nothing else, it was literally like life or death," she told Dezeen. "It would be like, 'the client doesn't like what we've done, this is a nightmare and it's all your fault'."Employed as an assistant designer on a salary of 23,000, she worked until past midnight the night before her wedding on plans that were eventually unused.On another occasion, she found herself hiding in a cupboard to eat cold rice with her hands after sneaking out of a five-hour meeting without breaks."I could say that my bosses were awful people," she reflected. "I don't think they were. I think they were under a lot of pressure and stress. They were really amazing architects, and it's just a shame that the outside pressures took away some of their humanity."Other respondents told stories of public tellings-off, being shamed for doing less overtime than colleagues, being chastised for going out on the weekend, being asked to skip lunchbreaks and being loudly criticised over the phone within earshot.There were also three claims of senior staff members sleeping with junior female workers who then received preferential treatment, and another three claims of redundancies in retaliation for pushing back on workloads.A handful of people reported suffering lasting psychological damage from their experiences at work.Half of women experience sexism or misogynyEspecially concerning was the reported experience of women who responded to our survey.Out of 217 women, an alarming 107 (49 per cent) said they have witnessed or experienced sexism or misogyny at work in the past five years.Seventeen said they had witnessed or experienced harassment of a sexual nature. Examples given included inappropriate touching by male co-workers.Meanwhile, among 97 respondents who consider themselves to be part of an ethnic minority in the country they work in, 19 (20 per cent) reported witnessing or experiencing racism.One architect, at a firm in the US, discovered that women of colour were consistently getting paid less than their peers.The issue was denied by partners until they were threatened with legal action. At that point she was given a pay rise though the wider issue was not rectified.Read: "Working yourself to the point of exhaustion is no longer a badge of honour"In another case, an interior designer at an architecture firm in the UAE said a director openly joked about not interviewing job candidates who were "too brown".Being able to address issues within the workplace also emerged as a common concern.Among respondents who have complained about working conditions in the past five years, only 12 per cent said it led to action that resolved the issue.Many others decided not to complain for fear of repercussions or in the belief that it would make no difference, with several citing a lack of HR within their workplace or a sense that the problems were normalised."It feels like a lost cause"Plenty of other trends emerged in written answers to the survey.Younger staff often described feeling victimised, while older workers frequently said they are undervalued. There were also multiple claims of classism.Architects were often angry about what they see as waning respect for the profession in the construction industry, with several reporting rudeness from clients juxtaposed with spiralling expectations.Some respondents bemoaned poor running of their companies, with frustration over fruitless work done to enter competitions unsuccessfully and what one person termed "suicidal bids"."The profession is broken on so many levels," summarised one UK architect. "Working in a small practice I felt exploited and undervalued, but running a small practice I found it was very difficult to get the work done and make any money!""It feels like a bit of a lost cause, when at the same time, it feels like the world needs architects to be creatively thinking up solutions to our challenging societal problems," they added.Architects, and those in western countries, are not the only people frequently struggling."This industry is terrible for mental health and personal life," said the owner of an interior-design studio in Singapore.It is important to emphasise that these stories are not representative of everyone's experiences, and to acknowledge that our survey only captures a tiny snapshot of the millions of people who work in architecture and design worldwide.But there are indications in the findings that discontentment about working conditions may lead the architecture and design fields to lose a significant amount of talent in the coming years.Only 26 per cent of respondents were positive that they want to stay working in the industry for a long term.Another 11 per cent expect to leave within the next five years, and a further nine per cent are already actively seeking to change careers.That equates to roughly one in five people working in architecture and design who are expecting to move elsewhere in the foreseeable future.Meanwhile, only 10 per cent of respondents said they would "definitely" recommend a career in architecture or design to someone younger.A much greater proportion (19 per cent) said they definitely would not, while another 23 per cent said they probably would not. Most of the rest (46 per cent) said they would, but with caution.Many of our respondents were clear: regarding client expectations, salaries and working hours, things need to change. Whether that will be possible is less certain.Thanks to everyone who took the time to respond to our survey. The illustration is byMarie Mohanna.Dezeen In DepthIf you enjoy reading Dezeen's interviews, opinions and features,subscribe to Dezeen In Depth. Sent on the last Friday of each month, this newsletter provides a single place to read about the design and architecture stories behind the headlines.The post Dezeen survey points to "broken" architecture and design industry appeared first on Dezeen.

The Nintendo Switch kicked off a handheld gaming renaissance that didnt immediately catch on in the PC market, aside from a few lesser-known brands like GPD and AYANEO. It wasnt until Valve, the creator of the biggest PC game distribution platform, launched the Steam Deck that it picked up, well, steam among other PC manufacturers like Lenovo and ASUS. Now we have almost a dozen products in this niche category, but the Steam Deck remains a popular choice.Almost like the Switch itself, the Steam Deck hasnt changed its design or most of its specs since it launched in 2022, only coming out with an OLED model a year later. There are definitely smaller and more portable designs now available, but it isnt exactly a behemoth compared to some that now have 8-inch or even 11-inch screens. Apparently, it was still too big for someones backpack, leading to this rather curious mod that guts the Steam Deck of the things that make it special, effectively turning it into a portable gaming mini PC.Designer: crastinator-proThe appeal of handheld gaming PCs like the Nintendo Switch and the Steam Deck is that they are pretty much all-in-one computers that you can take with you anywhere and play on the go. You dont need to attach a monitor or peripherals to use them, making them easier to carry, at least in theory. Compared to the Switch, however, the Steam Deck and other handheld PCs are pretty big and thick, not gigantic but bulky enough to be inconvenient to some people.The Steam Brick is a DIY solution that cuts the Steam Deck down to a brick, almost literally. It basically removes the screen and the controllers, cuts the metal frame down to size, and crams all the core components, including the battery, back into a 3D-printed enclosure. It still runs, of course, but now its just a box thats like a mini PC with a built-in battery.Whats the point, you might ask? Its for easier portability, to the point that you can simply throw the Steam Brick into a backpack and not worry about scratching the screen or damaging joysticks and buttons. Youll need a screen and a controller to actually use the computer, of course, but AR glasses like Xreal are quite accessible these days. You can argue that these peripherals actually add even more to what you need to bring and remove the ability to just quickly play a game any time, but the designer said that he almost always uses the glasses with the original Steam Deck anyway.Unlike other Steam Deck mods, this particular project is even more difficult, even for seasoned modders and makers. The one advantage is that the Steam Deck actually has an official repair guide from Valve and iFixit, making it slightly easier to know your way around the internals. Given how some AR glasses need a portable device to connect to, the Steam Brick could actually be the blueprint for a portable AR PC as well.The post Steam Deck mod removes the screen and controls for a different portable experience first appeared on Yanko Design.