Kingdom Come: Deliverance 2 Steelbook Edition for PS5 (Walmart Exclusive) $69 | Available on launch day See at Walmart Kingdom Come: Deliverance 2 Standard Edition $70 | $51 (was $60) on PC Get Steam key for $51 See at Amazon See at Walmart See at Best Buy Kingdom Come: Deliverance 2 Gold Edition $90 for console | $68 (was $80) on PC Get Steam key for $68 See at Amazon See at Best Buy See at Walmart Kingdom Come: Deliverance 2 Collector's Edition $200 | Available on Launch Day See at GameStop Kingdom Come: Deliverance 2 launched today, February 4, for PS5, Xbox Series X|S, and PC. The long-awaited sequel has earned great reviews, including a 9/10 review from GameSpot. If you didn't preorder a copy ahead of time and want to pick it up on launch day, you still have time to get a nice deal on the PC version or a free collectible with a physical copy for PlayStation 5.Walmart has an exclusive Steelbook Edition for PS5 that's available for the same price as the standard edition. PC players can take advantage of a great launch deal at Fanatical (a GameSpot sister site). If you use promo code FANATICAL15 at checkout, you'll only pay $51 for the standard edition or $68 for the Gold Edition. The Gold Edition comes bundled with the Expansion Pass, which includes three post-launch DLCs. The PC version is already $10 cheaper by default, which makes this discount even more enticing for those who aren't sure whether to play on PC or console.Continue Reading at GameSpot

MLB The Show 25 will be out this March, and as the first game in years to not release on day one for Game Pass, Sony's San Diego Studio had to make the case for you to spend your money at launch. New features coming to the game this year might just do that, with the sometimes-stagnant Road to the Show mode getting a big upgrade and Diamond Dynasty ditching a system players took issue with.Rather than complete a simple combine exercise before getting drafted by an MLB team, this year's Road to the Show mode will let you begin your career as a high-school player before making the jump to college and the pros.Authentic amateur-level audio has been included specifically for this, such as the loud "ping" of aluminum bats and the distinct crash of a player hitting a chain-link fence. Elsewhere, "hundreds" of new gameplay animations have been added, along with a new G.O.A.T. difficulty setting and an "ambush hitting" system.Continue Reading at GameSpot

Dandadan became one of the most successful anime series of 2024. It won over the masses with its riveting story, immaculate animation, and diverse cast of characters. Long-time anime watchers know the importance of having an exceptional character cast. Some anime tend to overlook this, which inevitably hurts their reputation.

The newly-added Xbox Game Pass game Lonely Mountains: Snow Riders has already hit half a million players. New games are added to Xbox Game Pass every month, with the end of January 2025 proving to be especially busy for the subscription service. The last couple of weeks saw multiple day one games added to Xbox Game Pass, including Citizen Sleeper 2: Starward Vector, Eternal Strands, Sniper Elite: Resistance, and Lonely Mountains: Snow Riders.

By TREVOR HOGGImages courtesy of Digital Domain and Disney+.WandaVision spin-off Agatha Harkness, the main antagonist in the Disney+ miniseries Agatha All Along, must travel the Witches Road to regain her powers. Created by Jac Schaeffer, the dark supernatural fantasy has been digitally enhanced by Production Visual Effects Supervisor Kelly Port and main vendor Digital Domain, which was responsible for magic effects for the Broom Chase and Agathas death and ghost. The visual effects work had to feel as real as possible, which meant keeping things grounded and limiting the amount of fantastical CG, like camera moves that could not be achieved in real life.Teen gets his mouth digitally sealed shut.The Broom Chase was filmed by drones going down each straightaway. The problem with the Broom Chase was that we were supposed to be cruising through this forest, and the drone only has so much runway before it has to make a turn. There was an array setup on a drone of three 8K cameras giving us coverage dead ahead and off to the left and right. We could then stitch that back together to give ourselves a large canvas to work with as to what we are going to see when were coming down the road.Michael Melchiorre, Visual Effects Supervisor, Digital DomainThat was a consistent directive throughout the entire show, states Michael Melchiorre, Visual Effects Supervisor at Digital Domain. What production tried to do on set is to shoot as much of it practically. When theyre walking down the road through multiple episodes, that was an enormous set build in a warehouse, and a lot of those shots were subtle extensions in the background. Witches Road was treated as a member of the cast with attention to detail ranging from the density of the leaves, the shape and height of trees, and the curvature of the road. There is one way through, and you can only go forward. We would use our digital forest to fill in anywhere it felt like, Maybe you could have turned off that way. The environment was built to withstand any possible camera angle. There were a couple of shots where we opted for our full CG road, and they were indistinguishable from the plate versions. You could go right down to the ground level if you wanted to.For safety reasons, there were moments where fire simulations had to be relied upon.Despite the massive size of the Witches Road set, it was still not long enough for the Broom Chase. You had a road that would go straight, turn left and come around in a circle, Melchiorre explains. The Broom Chase was filmed by drones going down each straightaway. At the same time, the set pieces could be rearranged. There were trees on wheels that would be rolled in, and they would run the drone down again. You get these subtle variations. So many of the trees are gnarled and distinct that if you rotated them a little bit, it almost gave you completely different-looking trees because there werent straight trunks. The problem with the Broom Chase was that we were supposed to be cruising through this forest, and the drone only has so much runway before it has to make a turn. The road was always straight ahead, meaning they werent making hard lefts or rights on their brooms. There was an array setup on a drone of three 8K cameras giving us coverage dead ahead and off to the left and right. We could then stitch that back together to give ourselves a large canvas to work with as to what we are going to see when were coming down the road. For the speed of the Broom Chase, you lose real estate fast. Once you rephotographed those large 8K tiles with the camera that matches with the corresponding lens, you gain a little bit more real estate, but thats where we also built our fully digital recreation of the road that was used to extend and enhance.Tesla coils and lightning were used as inspiration for the magic.The purple magic of Agatha was fun to work with as it provided the greatest creative latitude.Despite the massive size of the Witches Road set, it was still not long enough for the Broom Chase.Witches on flying brooms are a staple of the fantasy genre. On set, there was a small saddle that was covered by the costumes for the most part, Melchiorre explains. We had some cases where it had to be painted out. Extensive previs was done to try to figure out what the sequence needed to look like, so there was an intent to shoot the plates to approximate that as much as possible. It worked out in a lot of cases, but for other ones, afterwards we went, This camera angle would be better. Once we had our plates and backgrounds sorted, knowing what this shot is going to be down the road, thats when we went to our animation team. We had the animators use our recreation of the forest to match what the chosen array footage was doing. Each member of the Coven was shot on a bluescreen hanging by a harness, acting and weaving as they were flying their broom. Compositing quickly extracted all of those characters to give the animators something to work with. The animators then took those and moved them down through our CG forest and matched the orientation of the plates we were using. That helped us keep our scale, position and depth of all the Coven members consistent between themselves and the forest trees. Otherwise, we could run into issues where their depth is based on what were seeing in screen space.A signature visual element is the blood moon.Tesla coils, lightning and WandaVision were points of reference for the magic effects. The magic was a big compositing development item, Melchiorre states. There was a scene in WandaVision where Agatha uses her powers to suck the life out of other witches, so we know what these things look like. The challenge was to replicate that and have six different versions of it, plus there is a gaggle of generic witches we see Agatha suck the power out of over the years. They were all various colors and strengths and had to be slightly different. On WandaVision, when we did Agathas powers, the effects team ran multiple simulations. For this show, it was calling back to the Ghostbusters beams or the Emperors lightning from Star Wars: Episode VI Return of the Jedi. We wanted to lean on those techniques, so all the magic that we see in Agatha All Along was created in Nuke with a combination of particle generation, Tesla coil and lightning elements, using the Higx Point Render plug-in in Nuke to produce noise patterns that we could then rotate around to some extent and get perspective on. There were instances where we wanted a bolt of energy to hit one finger [then transfer] to another. Compositors went in and literally drew lightning energy going from one finger to another.For the ghost effect, the face was most opaque part of the body to retain the performance of the actress.During the climax of the series, Teen gives his powers to Agatha. Agathas powers grow out from her like tentacles, and as it grabs Teens powers, it would alter his blue to her purple, Melchiorre remarks. When we did that, it would reverse the direction of the beam and suck back towards her. There were some interactive shots, but not for the most part. There was lots of elbow grease and compositing to relight parts of the plate and light up the hands and face, as best we could, to help tie to the proximity of the magic going by or hitting them. Youll see a number of shots where Agatha is being fired upon with lots of beams hitting her shoulders or torso. We always made sure that the intensity of the beam and contact point were in sync with each other. If a bright piece of beam came in, the piece that hit her would always be bright and dissipate out as a darker piece of beam that came behind it. Many of those were almost frame-by-frame dialing up to make sure that contact was tight. Much of it was achieved with interactive light on the character being hit. We did a little bit of distortion around the contact points to give a subtle movement to it. But as far as cloth simulations or replacing cloth, that wasnt one of the driving forces behind this. We wanted to keep it as tied to the plates as possible.The spectrum of magic colors included purple for Agatha, blue for Teen, green for Rio Vidal, orange for Alice Wu-Gulliver, yellow for Lilia Calderu and pink for Jennifer Kale. Purple was fun to do because it charges up the most and gets the wildest, Melchiorre notes. Most of Agathas stuff was done at night, so the purple popped against the night sky. When she was taking in all the power from Teen, her stuff goes well beyond anybody elses. Agatha is the character everyone loves to hate. Yellow was the toughest to get to show and feel hot, lit and bright in Lilia Calderus environment, which was more daylit; we only had a few shots of her magic. Each of the colors has a bright white core. The white core helps give the magic a heat and brightness that make it feel more like light instead of an oversaturated solid color.A shift in the color grading creates a more ominous atmosphere.The biggest thing that we had to focus on were artists, especially the compositors. Coming from a compositing background, knowing the productions goal, which was to try to use several techniques and methodologies from 30 to 40 years ago, [the challenge] was how can we stack our team with people who can do that? Nothing against younger compositors now, but they have never had to use practical elements and make something out of nothingMichael Melchiorre, Visual Effects Supervisor, Digital DomainDesiccation occurs to the recipient of the power sucking. This was tying back to WandaVision where Agatha does it to the Coven and Wanda, Melchiorre remarks. When she is sucking their powers, the victims face and skin dry out, sucks in, wrinkles and desiccates. On this show, we had a couple of hero ones, like when Agatha dies and Teen gets his powers drained from him. But we also had a Witches Through Time sequence toward the end of the series where we see how Agatha has been spending her time over the last hundreds of years conning other witches to unknowingly give away their powers. That meant another six or eight witches who needed to be desiccated. Back on WandaVision, it was one or two hero characters with a full 3D head rebuild that could be desiccated and animated. We did that same path for Agatha and Teen. There were full hero replicas of their heads that could be desiccated and animated and be shrunken and wrinkled as they lost their powers.The desiccation effect is applied to Agatha.[A]ll the magic that we see in Agatha All Along was created in Nuke with a combination of particle generation, Tesla coil and lightning elements, using the Higx Point Render plug-in in Nuke to produce noise patterns that we could then rotate around to some extent and get perspective on. There were instances where we wanted a bolt of energy to hit one finger [then transfer] to another. Compositors went in and literally drew lightning energy going from one finger to another.Michael Melchiorre, Visual Effects Supervisor, Digital DomainNot all of the actresses portraying the generic witches had scans done of them. For those, we opted to do a pseudo 2D/3D approach where we had a Gen Woman, our generic in-house woman rig, and we had one generic desiccation setup on that body and head, Melchiorre explains. With that, we gave it the same layers and AOVs that we would have had on one of the hero heads, but done to a generic face. Unwrapped textures were given to the compositors who then wrapped the textures back onto generic geometry that matched each one of the sub-witches as closely as we could. Each one had a slightly different nose, or the eyes were more spread out. They were tailored to each individual actress in compositing, then that generic set of desiccation tools, or layers that we used on our hero ones, would be transferred to each of the other witches. Compositing would take it from there and dial those in. It was more of a 2D approach, so we had to fight some things where it felt more of a texture on the face at times. We did a lot of that with light and shades to make it feel like there was more depth to the wrinkles than there actually was.The emergence of purple flowers and mushrooms indicates a rebirth for Agatha.Rio Vidal is revealed to be Death.Ghostbusters and Poltergeist influenced the ghost designs for Agatha and her mother Evanora Harkness. We went through numerous iterations of how much is too much because everybody has in their mind, This is a ghost, Melchiorre notes. There are a couple of things you must have. Ghosts usually have some white flowy mist; its translucent or sometimes transparent, but you need to be able to read what youre looking at. If you go too transparent, the background starts to take over. You cant be completely transparent because of the fact that the form doesnt affect whats behind it all. The key is being able to read the performance. Agathas ghost form was an all 2D approach. She was shot on set in a particular environment, which was great because we got her lighting to help us tie into the photography. We had to roto her out completely, rebuild the room behind her, and we laid her back into the plate through a number of luma keys and soft mattes. We subtly bring it back piece by piece to build the opacity of her ghost from her face outward. The face was always the opaquest part, but you could see through it. We kept the eyes, nose and mouth relatively intact. We never wanted to lose her eye direction. As we go out toward her arms and extremities, her gown gets softer, and thats where we tried to play up the transparency and translucency. The other thing people have in mind is that ghosts move slowly, so a lot of times the on-set fans were moving the cloth and hair too much. Compositors then re-timed the flowing fabric and reincorporated that back into her ghostly form. We used transparency to help bridge that gap between the fast-moving fabric and the slower extremities that we wanted to get. It was quite a puzzle to put together.Careful attention was paid to the contact points when the power-sucking effect was applied to characters.The Witches Road environment was an incredibly detailed digital asset, down to the density of the leaves, the shape and height of trees, and the curvature of the road.Agatha sacrifices herself to save Teen. Agatha uses her powers to suck in and take the power from Rio, who we find out is Death, Melchiorre explains. We wanted this sequence of death and rebirth to happen over two or three shots where Agatha hits the ground, and as she lays on the ground her body starts to rapidly decay and break apart. But at the same time, the grass, flowers and mushrooms of the backyard start to grow and cover her. The mushrooms also die, and from there we have a rebirth of her purple flowers to signify her rebirth as a ghost. What we were aiming for was the image of a nurse log in the forest, a decaying log with mushrooms and moss growing on it, but at the same time its beautiful to look at. There was talk early on about how we could do that in 2D. Luckily, that was abandoned quickly. The burial mound is a full CG simulation down to single blades of grass, little pebbles and dirt falling off. Our artists had control over the speed and size of every mushroom that comes up and dies.In the end, staffing was the major challenge. The biggest thing that we had to focus on were artists, especially the compositors, Melchiorre states. Coming from a compositing background, knowing the productions goal, which was to try to use several techniques and methodologies from 30 to 40 years ago, it was how can we stack our team with people who can do that?Nothing against younger compositors now, but they have never had to use practical elements and make something out of nothing, to some extent. There is a lot of per-shot work that needs to be done to make these elements work like the magic. It was all set up in Nuke, but each individual artist had to marry the elements in a way that is a bit different from getting another simulation from effects.

A new month means a new Xbox Game Pass lineup, and the first half of February is looking pretty good for folks with active subscriptions.Obsidian Entertainments Avowed leads the first-party charge with an all-new trip through the Pillars of Eternity universe when it drops on Game Pass day one later this month, but a few older titles will be made available to standard subscribers to help with the wait. These include the underwater Souls-like Another Crabs Treasure, Suikoden creator Yoshitaka Murayamas Eiyuden Chronicle: Hundred Heroes, and Starfield. You all know about Starfield, right? Please tell me I dont have to talk about Starfield anymore.Heres the full schedule:Far Cry New Dawn (cloud, console, PC) Feb. 4Another Crabs Treasure (console) Feb. 5 (added to Game Pass Standard)Eiyuden Chronicle: Hundred Heroes (console) Feb. 5 (added to Game Pass Standard)Starfield (console) Feb. 5 (added to Game Pass Standard)Madden NFL 25 (cloud, console, PC) via EA Play Feb. 6Kingdom Two Crowns (cloud, console) Feb. 13Avowed (cloud, console, PC) Feb. 18And, as always, old games have to make room for the arrival of new ones. I recommend checking out Koji Igarashis take on a non-Castlevania Castlevania in Bloodstained: Ritual of the Night and chill sorting game A Little to the Left before they leave on Feb. 15.A Little to the Left (cloud, console, PC)Bloodstained: Ritual of the Night (cloud, console, PC)EA Sports UFC 3 (console) via EA PlayIndivisible (cloud, console, PC)Merge and Blade (cloud, console, PC)Return to Grace (cloud, console, PC)Tales of Arise (cloud, console, PC)More details can be found on Xbox Wire.

In the current narrative of Helldivers 2, the valiant Helldivers are engaged in a long-term operation in Automaton space. Players just wiped out the mobile jet brigade, and are now striving to hold Chort Bay from flanking attacks. While the three-front galactic war rages on, developer Arrowhead Game Studios is throwing some more complications into the co-op shooter, as well as a few new tools for the battlefield.A new update, Patch 01.002.101, is set to go live this Wednesday, and it has some great quality-of-life fixes. Players can once emote while falling in order to express their dismay with the current circumstances, and jog while holding heavy items like SEAF artillery shells. Perhaps most interestingly, the new patch adds big buffs to gas weapons. These toxic weapons struggled to compete with other backpack and weapon slots, but the noxious effect now lasts longer and focuses on targeting as many enemies as possible. The full patch notes can be found on Arrowheads Steam page.At the end of January, players noticed a Spacetime Fluctuation Indicator which occasionally gave an intense glow. Super Earth command did not deign to explain this new warning sign to Helldivers, but on Feb. 4, I couldnt help but notice that it has changed to a Dark Energy Accumulation meter, with the accompanying text: The Meridia Singularity speeds up as Dark Energy accumulates. The Meridia Singularity is a wormhole that players created last year, when the planet became a Terminid Supercolony. Helldivers pumped Meridia full of dark fluid until it collapsed in on itself, and weve all been anxiously watching the gaping void in space since.On a brighter note, players are starting to discover shovels on certain maps, and are experimenting to see how they can put the tool to good use. The shovel is unavailable as a stratagem or weapon, and must be found at a point of interest on a mission. However, Arrowhead added melee weapons to the game with the Omens of Tyranny update, adding a stun lance and baton as potential picks for the secondary slot. We may see the shovel join that class of weapons in the future.Arrowhead will also release a new Warbond on Thursday, dubbed Servants of Freedom. It contains such goodies as a portable hellbomb, an armor mod that causes your corpse to explode and take out surrounding enemies, and a series of particularly troubling helmets that are carved to look like a human faces.

In Seattles historic Wedgwood neighborhood, a 1970s home has been revitalized for modern living, thanks to a collaboration between Best Practice Architecture and Ainslie-Davis, a family-owned contracting firm with a sentimental connection to the property. The home, originally crafted by the late uncle of the Ainslie Davis team, has been reimagined to accommodate the evolving needs of a young family while respecting its architectural lineage.The project, affectionately named The Wedge(wood), embodies a thoughtful balance of preservation and transformation. The redesign begins with the heart of the home the kitchen. Outdated and enclosed, the space was opened up to establish a fluid connection to the dining area. A wooden bench now anchors the room, seamlessly transitioning between the kitchen and dining space. The addition of a lowered leaf on the kitchen island encourages the childrens active participation in meal prep, making the space as functional as it is welcoming.The redesign also honors key original features, such as the sunken living room and its vintage wood-burning stove, giving nostalgic nods to the homes past. To better integrate this space with the adjacent kitchen and dining areas, the architects replaced partial-height walls with custom wood shelving, maintaining openness while subtly delineating the zones. The shelves wrap the seating area without disrupting sightlines to the outdoors.One of the most significant structural changes was the conversion of a covered porch into a dedicated mudroom. In a city known for its rainy weather, this space featuring patterned tiles and ample storage provides a practical and cheerful entryway for managing wet gear. This update added valuable square footage to the home, directly addressing the needs of the active household.Upstairs, the renovations continued with the addition of a full bathroom and the reconfiguration of an underutilized great room into a bedroom and playroom for the familys younger members. The primary suite underwent a transformation that maximized natural light from clerestory windows and introduced an airy connection between the bedroom and a newly designed spa-like bathroom. By removing the top portion of a dividing wall, the space now offers serene views of the surrounding trees and sky, enhancing the homes tranquil ambiance.For more information on Best Practice Architecture, visit bestpracticearchitecture.com.Photography by Rafael Soldi, courtesy of Best Practice Architecture.

Screenshots are a core pillar of the smartphone experience. When you come across something you simply must share with friends, family, or followers, taking a screenshot is often the fastest way to do so. But if you recently bought a brand-new Android phone, and especially if youre coming from an iPhone, you might have no idea how to take screenshots.Unlike iPhones, which are all made by Apple, Android phones come from many different manufacturers. You might be trying to figure out how to take a screenshot on your Google Pixel, Samsung Galaxy, OnePlus, Nokia, or Motorola. All are running Android, but each deals with Android in its own unique way. Luckily, screenshot shortcuts have largely been standardized, and the tips below should work on most moderns Android devices.If these general tips dont help, or you want to dive deeper, look up the manual for your specific phone to see all the ways you can take screenshots on it.How to take a general screenshot on AndroidFirst, try this: Press and release the Power and Volume down buttons at the same time. If it worked, youll see an onscreen flash, and your screenshot minimized as a thumbnail. This gesture should work on most modern Android devices, including those from Google, Samsung, and OnePlus. Its the evolution of the traditional shortcut where youd hold down the Home button (remember that?) and the Volume down button. Credit: Jake Peterson The exact timing of these button presses may vary per phone, so experiment with your device. The Pixel I have available, for example, takes a screenshot when you quickly press and release these buttons together, but you may need to hold the buttons together for a second or more for it to work. Another shortcut that works on some versions of Android is to hold down the Power button until you see expanded options appear. If your phone and Android version supports it, you should see a Screenshot option here. How to take a screenshot with voice controlIf youre a voice control person, your phones digital assistant will likely take a screenshot if you ask it to. For example, say Hey Google, take a screenshot, and the assistant will follow suit. You can also pull up your assistant with a keypresslike long-pressing your Power buttonand ask that way.How to take a gesture screenshot on AndroidDepending on your phone, you may have the option to take a screenshot using a gesture. On Pixel, for example, this option appears when you pull up from the bottom of the display as if you were switching apps. When you do, you should see a Screenshot option appear on the bottom of the screen for the app youre hovering over. You can also do this with three button controllers by pressing the Overview (square) button.You can also use a feature called Quick Tap to take screenshots. Quick Tap assigns a function on your phone to activate after you double-tap the back of your device. To set this up, head to Settings > System > Gestures > Quick Tap, then enable the toggle next to Use Quick Tap. Take screenshot should be the default option, but if not, select it. Going forward, you can use the index finger on your hand that's holding the phone to quickly double-tap the back of your device. When done correctly, this will trigger a screenshot. On Galaxy phones, you can head to Settings > Advanced features > Motions and gestures, then enable Palm swipe to capture. Going forward, you can swipe your palm across the display to take a screenshot. How to take a screenshot with your Galaxy's S PenIf you have a Galaxy phone with an S Pen, you can use your stylus to take a screenshot. To do so, take out the S Pen, tap the Air command menu icon, and then tap Screen write to take a screenshot. Note: With the Galaxy S25 Ultra, Samsung removed Bluetooth functionality with the S Pen, which means Air command features (like screenshots) won't work.How to take a scrolling screenshot on AndroidA scrolling screenshot (or full page screenshot) takes a picture of the entire page youre visiting, rather than just the portion that appears onscreen. Theyre great for saving longer pages, like news articles. If you know how to take a screenshot, you almost know how to take a scrolling screenshot. Start by taking a screenshot as you normally would, then choose the scrolling capture button that appears next to the screenshot thumbnail. On Pixel, that's Capture more; on Galaxy, it's Scroll Capture, and on OnePlus, it's Scroll. Here's how things continue, at least on Pixel: Android will open a new window, showing the entire page in one long image. The original screenshot appears in a crop window: You can resize it to take a screenshot of any section of the page, or, most usefully, drag the bottom of the crop window all the way down to take a screenshot of the full page. Other smartphones may handle the particulars a bit differently, but the general function should be the same. Credit: Jake Peterson How to screen record on AndroidIf you're looking to record your phone's display, none of the above will help. Instead, you'll want to use Quick Settings. To start, swipe down from the top of the screen, then tap Screen record. Choose whether you want to record A single app or your Entire screen, then choose whether to record audio (and its source). If you've chosen Entire screen, choose whether to Show touches on screen or not (helpful if using the screen recording to show someone how to do something). Then, hit Start recording. Your phone will count down from three, then start recording. To stop recording, swipe down from the top of the screen, then hit Stop.If you don't have the option, swipe down from the top of your display, then tap the pencil icon. Here, find Screen record, then tap and drag it to the position where you want it. Where do screenshots go on Android?When you take a screenshot on your Android phone, they'll end up in your photos app. For example, I use Google Photos on my Pixel, so to retrieve my screenshots, I open Photos, choose Collections, then choose Screenshots. If you need to take screenshots on your other devices, check out our guides below:All the Ways to Take Screenshots on WindowsHow to Take a Screenshot on a MacHow to Take a Screenshot on a Chromebook

The idea of eating a pile of onions seems absolutely absurduntil you caramelize them and make them into soup. Suddenly, and your entire family is talking about an onion dinner with great reverence. You might think its the cheesy raft of bread floating on top that wins hearts, but students of umami know to credit the sweet, hearty, caramelized flavor from a mountain of slowly cooked sliced onions. Caramelizing onions is an annoying business, which is why Id like to present you with a version that doesnt demand helicopter babysitting.If youve ever successfully caramelized onions before, you know it takes at least 45 minutes to do it properly. In order to get silky-soft, deeply browned strands of onion in your average pot, youve got to cook them over low heat and stir them frequently to prevent burning. Knowing that youre already signing up for a bit of a process regardless, why not make the technique less precarious with the mighty Dutch oven?French onion soup was made for the Dutch ovenThis method does take plenty of time to cook, but the weighty material of a Dutch oven allows for evenly distributed heat, allowing you to cook the onions slowly, without the dreaded hot spots that threaten scorched alliums. This method essentially braises them in their own buttery onion broth until they're extremely soft. The lid keeps the moisture in, so the flavors can fully blossom and the onions won't start browning too fast. Eight to 10 cups of sliced onions will cook down to less than half of this volume. Credit: Allie Chanthorn Reinmann Dutch ovens have the added benefit of being enamel glazed. When fond (the bits of food that stick to the bottom of the pot and brown) occurs in a regular pot, you have to scrape it up pretty quickly so it doesnt scorch. The glass finish of a Dutch oven doesnt seem to burn fond as quickly, and the slick surface easily releases it whenever you get around to stirring.With this low-maintenance method, you can basically chill for the first 45 minutes. You'll then face roughly 15 minutes of intermittent action in the middle, before letting the soup simmer away for another 20 minutes. (All the while, youll be enjoying the most intoxicating aroma of caramelized onions and butter.) Caramelized onions before adding any beef broth. Credit: Allie Chanthorn Reinmann This soup is broth-y but full of soft, velvety onions, and rich in umami. Plus a slab of cheesy bread never hurt anyone. (Though they seem like small additions, I must insist on the herbsthey elevate the dish, and once you let them simmer for 15 minutes youll smell the difference.)Low and Slow French Onion Soup RecipeIngredients:4 tablespoons unsalted butter8 to 10 cups sliced onions (use a variety or one type)1 teaspoon saltA splash of sherry vinegar (about a tablespoon or so)A splash of dry red wine (about a tablespoon or so)3 cups of beef broth6 sprigs of thyme2 small bay leavesSlices of stale hearty bread for toppingSemi-firm cheese for topping1. Melt the butter in a Dutch oven over medium-low heat. Add the onions and salt, and give it all a thorough toss. Cover the pot with its lid and let it simmer and cook the onions for about 15 minutes.2. Remove the lid and stir the onions. They should be very soft and theyll have released a lot of water. If its bubbling viciously, reduce the heat for a steady simmer. Let them continue to cook, uncovered, for another 30 to 45 minutes, but come around and give them a stir every 10 minutes or so to check on things. The buttery onion water will reduce during this time.3. At the end of this cooking time youll notice a few brown bits develop and the onions will become more golden. This is when you need to be more present. Continue cooking the onions, but scrape and stir them every three to five minutes. Theyll begin to darken. Do this until youre happy with the color of your onions. If they ever become too dry, you can add a splash of water to help deglaze the fond on the bottom of the pot.3. Stir in the sherry vinegar and wine, then add the broth and herbs. Let this simmer together for 20 minutes on low heat. You can cover the pot, but crack the lid.4. Meanwhile, top the bread slices with cheese. (Classically a gruyre is used but you can use Swiss, pecorino, provolone, or anything with a little bite.) Broil the sliced bread to melt the cheese.5. Remove the herbs from the soup. If you have extra stale bread, chop it up and drop some into the bottom of each soup bowl. Spoon the soup into the bowls and shave some cheese over it. Then top each serving with a slab of cheesy bread.