Borderlands 4 debuted earlier this month on PC, Xbox Series X|S, and PlayStation 5. However, Switch 2 owners were supposed to get the game on October 3. Now, Gearbox Software has delayed the Borderlands 4 Switch 2 port 10 days before its release after citing a need for it to have more time in development.Gearbox made the announcement on social media, and wrote that it "did not take this decision lightly." The statement goes on to say that Gearbox is "committed to ensuring we deliver the best possible experience to our fans, and the game needs additional development and polish time to do that. Our hope is to also better align this release with the addition of cross saves, which we are working on and recognize is very important. We will update you all on the new release timing once we've fully adjusted our plans."Greetings, Vault Hunters - We need to share that the release of Borderlands 4 on Nintendo Switch 2 is being delayed. We do not take this decision lightly, but are committed to ensuring we deliver the best possible experience to our fans, and the game needs additional development Borderlands (@Borderlands) September 23, 2025 The publisher also noted that all Borderlands 4 Switch 2 pre-orders will be canceled per Nintendo's policy. Players can initiate a refund now or wait until Friday, September 26, when they will be issued automatically.Continue Reading at GameSpot

Yakuza 0 Director's Cut fans might be disappointed to learn that the game's PS5 and Xbox Series X/S versions will be missing its multiplayer mode at launch. Developer Ryu Ga Gotoku Studio has announced that Yakuza 0 Director's Cutwill end its Nintendo Switch exclusivity on December 8 and launch on current-gen PlayStation and Xbox consoles and PC. However, there seems to be a catch.

Energy efficiency in large language model inference has improved 100,000x in the past 10 years demonstrating that accelerated computing is sustainable computing.At Climate Week NYC, taking place through Sept. 26 in New York City, NVIDIA is showcasing how accelerated computing is propelling the sustainable energy transition and advancing climate research.The summit brings together researchers, startups, scientists, technologists, nonprofits and policymakers to discuss bold ideas for climate action. This years theme is energy: where it comes from, how to scale it and how AI can optimize the grid in newfound ways.Throughout the week, NVIDIA will be highlighting its own innovative climate technologies, as well as a pair of recently published product carbon footprint reports on the emissions intensity of NVIDIA GPUs.AI Usage Isnt Black and White It Can Actually Be GreenAI can play a critical role in stabilizing energy grids by pinpointing anomalies at a rapid rate. These timely insights can allow operators to respond to issues efficiently before they affect the larger grid.Forecasted AI-Induced Energy Savings Across Energy-Intensive Sectors by 2035SectorSubsector2035 AI Energy Savings (%)2035 Demand: Reference Case Scenario (in petajoules)IndustryIron and Steel31,160IndustryCement4500IndustryChemicals210,440IndustryAluminum4260IndustryPaper21,860IndustryOther813,650TransportationLight commercial vehicles68,160TransportationHeavy duty trucks33,670TransportationCars34,460TransportationBuses61,690TransportationAviation43,120TransportationShipping4940TransportationRail7530BuildingsResidential14,780BuildingsNon-residential41,760Data Sources: Davide DAmbrosio et al., Energy and AI (Paris: International Energy Agency, April 2025) and Net Zero America: Potential Pathways, Infrastructure, and Impacts, Princeton University, as featured in CSIS report AI for the Grid.According to Net-Zero America Projects calculations, if AI applications are fully adopted, nearly 4.5% of projected energy demand in 2035 will be saved across the three most energy-intensive sectors industry, transportation and buildings.NVIDIA joined a Climate Week panel discussion on AI: Powering a More Productive Energy Future yesterday following the release of Center for Strategic and International Studies findings on AI and energy. Panelists included Crusoe Energy Systems, a company that builds and operates clean computing infrastructure, and Emerald AI, a startup developing an AI solution to control data center power use during times of peak grid demand.This discussion centered around how AI will advance sustainability solutions at an unprecedented pacefrom responsible grid and power infrastructure scaling to reliable transportation and nuclear energy optimization.Startup Ecosystem Advances AI Energy Efficiency, Sustainability ProjectsEmerald AI, a NVIDIA NVentures portfolio company, is collaborating with NVIDIA on a recently unveiled NVIDIA Omniverse Blueprint for building high-performance, grid-friendly and energy-efficient AI infrastructure.This new reference design enables the transformation of data centers into fully integrated AI factories optimized so that every watt of energy contributes to intelligence generation.As a collaborator on NVIDIAs reference design for giga-scale AI factories, were helping prove that AI compute can be power-flexible, said Varun Sivaram, founder and CEO of Emerald AI. Its a paradigm shift with a massive prize: unlocking 100 gigawatts of untapped power grid capacity and resolving AIs energy bottleneck while promoting affordable, reliable and clean power grids.Emerald AI is a member of the NVIDIA Inception program for startups, within the Sustainable Futures initiative. These companies are pioneering developments in fields such as green computing, sustainable infrastructure, wildlife conservation and more.Sustainable Futures members Vibrant Planet, FortyGuard, Pachama and Wherobots are also attending this weeks summit.Decreasing the Carbon Footprint of NVIDIA Products and OperationsNVIDIA is continuously working to decrease its own carbon footprint.Its first product carbon footprint summary comparison was recently released revealing a 24% reduction in embodied carbon emissions intensity between NVIDIA HGX H100 and HGX B200 baseboards.Scope and methodology of the product carbon footprint analysis for NVIDIA HGX B200.NVIDIA will continue to publish product carbon footprint summaries of newly released products to spotlight improvements in energy efficiency and sustainability.In terms of NVIDIAs physical footprint, all offices and data centers under the companys operational control run on 100% renewable energy and carbon-free electricity is purchased to cover 100% of the companys leased data centers footprint.NVIDIA headquarters in Santa Clara, CaliforniaApplying AI to Climate and Weather ResearchHigh-resolution, AI-powered weather models are helping strengthen energy systems and reduce vulnerability to unpredictable climate events.When used to support energy grid stability, these simulations can help utilities more precisely direct maintenance crews to remove obstacles close to power lines ahead of storms.AI-driven climate models are also poised to increase the adoption and usage of renewables across the energy grid by lowering costs and ramping up efficiency.Josh Parker, head of sustainability at NVIDIA, and Holly Paeper, president of commercial HVAC Americas for Trane Technologies, spoke during a Climate Week NYC fireside chat at the Nest Climate Campus.With these climate models, grid operators can accurately determine factors like the amount of power wind turbines will generate on a given day, or how much energy collected in solar batteries will need to be saved to compensate and keep a citys lights on and stable.These insights can help energy providers manage load and lower the cost of adopting renewables, presenting a path forward to decarbonize the grid.The NVIDIA Earth-2 platform offers tools, microservices, and reference implementations that help developers build applications to simulate and visualize weather and climate predictions at a global scale.Work powered by Earth-2 is featured on an array of panels at Climate Week, including Columbia Universitys GenAI for Climate Science, AI for Energy and Energy for AI, Where the Internet Lives, Presented by Google, and the AWS Climate Tech & AI Forum.Learn more about NVIDIA Earth-2 and sustainable computing solutions.

By TREVOR HOGGImages courtesy of Framestore and Warner Bros. Pictures.After a successful collaboration on Guardians of the Galaxy Vol. 3, Visual Effects Supervisor Stphane Naz and Framestore reunited with filmmaker James Gunn and Production Visual Effects Supervisor Stphane Ceretti for Superman. Among the highlights of the 590 visual effects that had to be created were the entirely digital Krypto the Superdog, the Fortress of Solitude, the nanite-blooded Engineer, CG animatrons, Krypto welcoming Supergirl, and a battle that occurs inside the Fortress of Solitude.The Fortress of Solitude gets extended with crystals while the performers in the mocap suits are turned into the robots helping Superman to recover from his injuries.I was quite excited because Superman was much closer to the comic books and not like a sequel or prequel of something existing. It was more about how we create a new version of Superman, and James [Gunn] was keen to be close to the comic books. Even the designs of Krypto and the Engineer, you feel much closer to the comic books. The comic books are not dark, and Superman is way closer to that spirit.Stphane Naz, Visual Effects Supervisor, FramestoreA Soviet astronaut canine that appeared in Guardians of the Galaxy Vol. 3 proved to Gunn that Framestore could handle Krypto. The brief with Cosmo was to have a real dog, and because James Gunn liked our approach, he said, Okay, next time I have a movie with a dog, it will be you, explains Stphane Naz, VFX Supervisor at Framestore. Even though Krypto is based on James Gunns dog Ozu, the dog itself doesnt exist. On Cosmo, we had a real Golden Retriever and took photogrammetry with the idea being to match the existing dog on set. For Krypto, James came with a lot of references of his dog, but Ozu was not white and is small, so it was not possible to match him pixel to pixel. By the way, Ozu is absolutely crazy and never does what youre expecting. On all the shots that we sent to James, it was always a clip of his dog doing something close to what you have in the shots. However, sometimes you have to deviate, but it was important for us to always check that Krypto was behaving like a real dog.The behavior of Krypto was inspired by the wild antics of Uzo, a dog adopted by director James Gunn.Given that Krypto does not have any lines of dialogue, emotions had to be conveyed through physical actions. We typed on the Internet, pissed dog. Or, happy dog, Naz states. It was incredible. Maybe the dog was not happy, but he was acting like a dog you think is happy. We came up with a lot of clips like that. The opening sequence has a battered and bruised Superman crashing to the ground in the Arctic and whistling for Krypto. When you have the dog jumping on him, there was nothing on David Corenswet; he was acting like something was actually shaking him. We had to replace parts of the body for contact. At the end of the movie, when Krypto is shaking Supergirl and being violent, we had to replace everything except her face; that was because, on set, a stunt performer literally grabbed and shook Milly Alcock on the ground. A dog wont grab someone in the same way that a human would with two hands. It was supposed to be with his mouth. We had to replace a lot. A lot of time was spent on getting the color correct for the white fur, especially in a snowy environment. Naz notes, Pending the color tone, the light would shift it to green or blue. For the human eye, it is easy to detect if white looks real or not. The first time we put the dog in the plate, he looked black. Then we had to boost the amount of bounce. The render time started to be absolutely insane.Time was spent getting the color correct for the white fur of Krypto, especially in a snowy environment of the Arctic.Having the plate as a lighting guide was messing up the ability to integrate Krypto. One of the challenges was that the grade was done on a whitish plate that was burnt out, so you need to change it to be able see the details and contrast, Naz remarks. But doing that altered a lot of the values. We learned quickly to be detached from the plate. The approach was more what you want to see instead of what you would get if he was there for real. The grooming was accomplished through the proprietary software Fibre. It allowed us to have much more control, and the quality of the fur was unique. You always have dead hair stuck in the fur, as well as particles, dirt and humidity on the inside of the hair. We pushed all of the details in those shots. It was smart to have an in-house tool because you can ask for a specific request, and its not like having the limits of commercial software. You can unlock some parameters, then boost or push it. Plowing through the Arctic landscape to get to Superman, Krypto creates a snowstorm. Naz explains, Krypto is running fast but not like a rocket. We cheated more on the simulation by boosting and moving the snow to create a snowstorm. When you have Krypto going towards the camera, you have this cloud that is dying off, then you have another simulation more like real-time. The trick was to exactly blend between the snowstorm and Krypto stopping and jumping on Superman.The sky, lighting, color grading and size of Superman and Krypto were altered to better integrate and convey the massive scale of the Fortress of Solitude.The reason I enjoy working on this type of movie is collaborating with a director like James Gunn, who is visual effects-friendly. We spent a lot of time pushing the quality instead of figuring out what he wants. James knows what he wants, however, you can also come with suggestions; he would be frustrated if you didnt do that [W]hen James goes, This is a good idea, you are proud because you feel a part of something. That to me is key.Stphane Naz, Visual Effects Supervisor, FramestoreA complex asset was the personal sanctuary for Superman. The Fortress of Solitude was insane to render because it consists of 6,000 pieces of crystals refracting, Naz notes. We had seen in the comic books the overall shape of the of the Fortress but had to decide on what it looks like close-up. The idea was to blend the exterior and the interior set, which had an opaque floor, but having the crystals transparent outside and opaque inside made no sense; at one point, it was challenging to find exactly the perfect adjustment between both of them. Also, the quality of the crystals was different between the ground floor versus the top. You have this top-down shot where you have all of those crystals going towards the camera; that was a crazy shot to render for Framestore. There had to be a degree of opaqueness to create a sense of depth inside the crystals. If you have a piece of crystal with no structure inside, like bubbles of fractures, it looks like plastic because you dont feel the thickness. Each piece of crystal had fractures and bubbles, so when you spin around, it feels solid. To render the 140 shots with crystals, they were broken down into different categories. Naz says, We divided the shots into different layers, like far background, mid-ground and foreground. The far background were frames being projected on geometry, the mid-ground was a mix, and the foreground was rendered to limit the number of pieces, bounce and transparency.The Engineer plugs herself into the computer system of the Fortress of Solitude, causing spikes to form on her head.Robots populate the Fortress of Solitude. Those robots are like chrome balls, and the difficulty with them was mostly to create and animate a lot of things you dont see in the frame, Naz notes. If you look at the robots close-up, youll see Superman being reflected, which means we had to animate the digital double for Superman being reflected out of frame and sometimes Krypto and the 12 robots in the scene. If you dont do those out-of-frame reflections, the shot will look poor. The environment had to be created 360 degrees to accommodate for the reflections. Sometimes we had to animate characters that were out of the frame, like the Engineer running around. There was no shortage of capes that had to be animated. Naz remarks, The joke at the beginning was, We have to put capes on the robots as well? It was challenging because Krypto has a cape and now all of the robots. All of the robots in the movie are CG. They built a practical one, but the robot was unable to run and do crazy acting; it was also not reflecting the environment. Even if in some shots there was a big close-up of the practical robot, we had to replace everything.Performing in a motion capture suit and providing the voice for the sardonic Robot No. 4, also known as Gary, was Alan Tudyk. Alan established the vibe, and we got clips of him explaining to us how the robots should move and what was the ideology behind the movement, Naz explains. He was specific about what to do, which was useful to us; that became our bible for the development of the animation. When the robots are moving around Superman, there were people in gray suits on stilts. It is always better to do the maximum in-camera even if in the end you replace a lot. While the automatons tend to Superman, he relaxes by watching holographic home movies. It was one of the first conversations we had when starting to work on the show. I asked Stef, Do we go with digital doubles or shoot them on plates? Stphane Ceretti came up with this approach using Gaussian splats. We had three different companies do the same test, and Infinite Realities in London did the best one. That was challenging because it was one of the first times Framestore was playing with this tech. The idea was to develop some tools to render everything through Houdini. I was impressed with the flexibility that you get with the motion of the character, and the camera can be placed where you want. At one point, you have the character spinning and see their back, which was amazing. That was also challenging because with the Gaussian splats technique you cant splice geometry, but you want to splice them to create a glitch. It was a mix of tech using Houdini projecting on some part of the hologram.Given that Krypto was entirely CG, David Corenswet had to pretend that the canine was lying on his stomach.Nanite particles enable the Engineer to be a shapeshifter, where she can have her forearm transform into a spinning disc that detaches, flies around shredding robots, reattaches and turns back to normal. Stunts did the choreography, Naz states. Even when she transforms and does a back-flip, we always got reference in terms how she moves. We always had this motion as the arms are transforming with the blades. Everything was CG except for the face. The weight was not an issue because it wasnt a massive transformation of volume. The black outfit was so dark sometimes that it was hard to read the volume and all of the small details, so we had to boost the light more than what was on set. Large areas of particles were regrouped or divided to make it look noisy. Naz adds, You can see a progression when she transforms. It starts small and becomes bigger. At one point, we had two versions; what you should get if you go through physicality and gravity versus something more art-directed in animation with no particles. We went with animation because the idea was to be art-directed and for James to be able to choreograph across the framing.At the entrance of the Fortress of Solitude, which consists of 6,000 crystals refracting light, making the asset insane to render. (Image courtesy of Warner Bros. Pictures)Sometimes plates had to be blended for the fight that ensues when Lex Luther and the Engineer enter the Fortress of Solitude. The editor was able to cut something because he used the real action plate, Naz remarks. Then, we had to replace the stunt performers with robots and body track the Engineer, keeping only her face. We also had to replace the Fortress of Solitude because the set consisted of the ground level. Theres a shot where the Engineer is slicing robots and a crystal. Only people going frame by frame will see the cracks inside of the crystal. We replaced the reflection on the sunglasses of Lex Luther so you see the fight across the sequence. In another shot, you have a piece of robot going so close to his face with all the sparks and embers. We had to track his face to have some relighting on the face for integration. For Lex Luther, it was more about integration.Framestore was always checking to make sure that Krypto behaved like a real dog. (Image courtesy of Warner Bros. Pictures)The Engineer utilizes nanite particles to shapeshift her body. (Image courtesy of Warner Bros. Pictures)Driving the storytelling and the visuals was the original source material. I was quite excited because Superman was much closer to the comic books and not like a sequel or prequel of something existing, Naz observes. It was more about how we create a new version of Superman, and James was keen to be close to the comic books. Even with the designs of Krypto and the Engineer, you feel much closer to the comic books. The comic books are not dark, and Superman is way closer to that spirit. The reason I enjoy working on this type of movie is collaborating with a director like James Gunn, who is visual effects-friendly. We spent a lot of time pushing the quality instead of figuring out what he wants. James knows what he wants, however, you can also come with suggestions; he would be frustrated if you didnt do that because there was an expectation that you would have creative input. It was like, You asked for this. but we also think that would be good. Sometimes its no or yes, but when James goes, This is a good idea, you are proud because you feel a part of something. That to me is key. To just do the job is less exciting.Watch a clip from Warner Bros. Pictures and DC Studios of Krypto Saves Superman, which shows Superman in peril, injured and vulnerable in a snowy landscape, when Krypto the CG Superdog arrives to rescue him. Click here: https://www.youtube.com/watch?v=iA8CQ7XOifw. In another short clip, Keep An Eye on Him, Krypto tugs on Supermans cape to capture his attention. Watch here: https://www.youtube.com/watch?v=7jow0XrN-fE.

SEGA is thrilled to announce Yakuza Kiwami 3 & Dark Ties, is coming to PlayStation5, PlayStation4 on February 12, 2026.View and download imageDownload the imagecloseCloseDownload this imageDebuting on PlayStation 3 in 2009, Yakuza 3 returns, revitalized with cutting-edge technology. This evolved edition brings Okinawa to life, featuring more intense battles, added cutscenes that bring depth to the story, and minigames chock-full of replay value. Kiryus back in the brawl, continuing the fight to protect those he holds dear.This title also includes Dark Ties, which stars Yoshitaka Mine, Kiryus adversary.Follow Mine on his journey from working as a venture companys founder to becoming a full-fledged yakuza member. After losing everything, Mine sets off in an attempt to form a connection that would fill the void in his heart.In Yakuza Kiwami 3 & Dark Ties, you can enjoy the passionate drama of two men Kazuma Kiryu and Yoshitaka Mine all in one game.STORYWhen the peace is shattered,the Dragon of Dojima makes his return.After the Omi Alliance conflict, Kazuma Kiryu leaves the Tojo Clan in Daigo Dojimas hands and moves to Okinawa with Haruka. There, he spends his days running Morning Glory, an orphanage tied to his foster father, Shintaro Kazama.However, a government-sponsored resort deal threatens his newfound peace.Morning Glory is caught in the crossfire, a Tojo Clan succession dispute erupts, and a conspiracy engulfs the political world.When the maelstrom of conflicts converges, Kiryu steps into the fray once more.BATTLEFight as Kiryu in His Prime Using Two Different Battle StylesIn Yakuza 3 Kiwami, Kiryu has two fighting styles at his disposal: the Dragon of Dojima Style and Ryukyu Style.The Dragon of Dojima Style transforms you into an unstoppable force of nature. This style has been completely revamped, boasting the most diverse moveset in the series.The Ryukyu Style utilizes traditional Okinawan weaponry, allowing for an exhilarating and technical playstyle. Master the 8 available weapons to dish out devastating attack combos.ADVENTURERevel in the Nature and Tradition of OkinawaAt the Morning Glory Orphanage in Okinawa, you can experience Life at Morning Glory content that lets you enjoy the daily life of Kiryu and the children.With the team battle content Bad Boy Dragon, you can fight alongside a local ladies team to protect the streets of Okinawa.EntertainmentIn Downtown Ryukyu and Kamurocho, there are plenty of ways to cut loose.Pose for the perfect shot at the Print Club, aim for strikes in bowling, and enjoy a series of other staple minigamesincluding golf, darts, karaoke, UFO Catchers, gambling, and mahjong!STORYA Man Drawn into the Heart of the UnderworldThe year is 2007.Yoshitaka Mine is the successful founder of a startup company, but he loses everything when his colleagues stab him in the back.Wandering aimlessly through Kamurocho, he witnesses a gruesome conflict between yakuza.The sight of the subordinates sacrificing themselves for their boss was everything Mine had been longing fora bond that transcended material gain. The survivor of this assault is Daigo Dojima, the sixth chairman of Japans largest yakuza clan.Hoping to find such a bond himself, Mine decides to acquaint himself with Tsuyoshi Kanda, a Tojo clan lieutenant.Witness Yoshitaka Mines story, from his first steps into the criminal underworld to his ascent through the ranks of the Tojo Clan.BATTLERuthless CombatMine wields a stylish fighting style based on shootboxing.He waits for his foes to slip up, beating them down using a string of elegant combos. You can also freely sweep through the air to toy with your enemies.Additionally, Dark Awakening will completely transform your moveset, allowing you to unleash a barrage of brutal strikes and a dark special move that can knock the life right out of your opponents.ADVENTUREPaint Kamurocho red as MineKamurocho, TokyoThe city that never sleeps; a place where greed and desire run rampant.Visitors always find themselves captivated by the restaurants, bars, and amusement facilities that line its streets. It is home to the Nishikiyama Family offices and other key locations.In addition, unique content such as the Kanda Damage Control which aims to turn Kanda into a charismatic figure, and the exclusive battle spot Underground Fight Club for Dark Ties, where you can enjoy battles with various rules, are also available.EntertainmentA plethora of minigames can be found throughout Kamurocho. Watch as the typically stoic Mine takes on billiards, the batting center, darts, and other series staples! You wont want to miss his rendition of the fan-favorite karaoke track, Baka Mitai!You can also play minigames alongside Tsuyoshi Kanda at certain venues. Prepare to discover a whole new side of Mine youve never seen before!key details: Release date, specify release platforms (PS4, PS5, PS VR2)February 12, 2026.PlayStation5 / PlayStation4

Marvel Zombies is Marvel Televisions latest animated project, expanding one of What If?s most memorable episodes into a four-part series. While it takes its name from Robert Kirkmans limited comic run, this version tells an entirely new story following Kamala Khan/Ms. Marvel (Iman Vellani) and a crew of unlikely allies as they fight to save a post-apocalyptic world plagued by undead Avengers like Hawkeye, Captain Marvel, and the Scarlet Witch.

Unlike timeline-based animations, which tell stories across a sequence of events, or interaction animations that are triggered when someone touches something, ambient animations are the kind of passive movements you might not notice at first. But, they make a design look alive in subtle ways.In an ambient animation, elements might subtly transition between colours, move slowly, or gradually shift position. Elements can appear and disappear, change size, or they could rotate slowly.Ambient animations arent intrusive; they dont demand attention, arent distracting, and dont interfere with what someones trying to achieve when they use a product or website. They can be playful, too, making someone smile when they catch sight of them. That way, ambient animations add depth to a brands personality.To illustrate the concept of ambient animations, Ive recreated the cover of a Quick Draw McGraw comic book (PDF) as a CSS/SVG animation. The comic was published by Charlton Comics in 1971, and, being printed, these characters didnt move, making them ideal candidates to transform into ambient animations.FYI: Original cover artist Ray Dirgo was best known for his work drawing Hanna-Barbera characters for Charlton Comics during the 1970s. Ray passed away in 2000 at the age of 92. He outlived Charlton Comics, which went out of business in 1986, and DC Comics acquired its characters.Tip: You can view the complete ambient animation code on CodePen.Choosing Elements To AnimateNot everything on a page or in a graphic needs to move, and part of designing an ambient animation is knowing when to stop. The trick is to pick elements that lend themselves naturally to subtle movement, rather than forcing motion into places where it doesnt belong.Natural Motion CuesWhen Im deciding what to animate, I look for natural motion cues and think about when something would move naturally in the real world. I ask myself: Does this thing have weight?, Is it flexible?, and Would it move in real life? If the answers yes, itll probably feel right if it moves. There are several motion cues in Ray Dirgos cover artwork.For example, the peace pipe Quick Draws puffing on has two feathers hanging from it. They swing slightly left and right by three degrees as the pipe moves, just like real feathers would.#quick-draw-pipe { animation: quick-draw-pipe-rotate 6s ease-in-out infinite alternate;}@keyframes quick-draw-pipe-rotate { 0% { transform: rotate(3deg); } 100% { transform: rotate(-3deg); }}#quick-draw-feather-1 { animation: quick-draw-feather-1-rotate 3s ease-in-out infinite alternate;}#quick-draw-feather-2 { animation: quick-draw-feather-2-rotate 3s ease-in-out infinite alternate;}@keyframes quick-draw-feather-1-rotate { 0% { transform: rotate(3deg); } 100% { transform: rotate(-3deg); }}@keyframes quick-draw-feather-2-rotate { 0% { transform: rotate(-3deg); } 100% { transform: rotate(3deg); }}Atmosphere, Not ActionI often choose elements or decorative details that add to the vibe but dont fight for attention.Ambient animations arent about signalling to someone where they should look; theyre about creating a mood. Here, the chief slowly and subtly rises and falls as he puffs on his pipe.#chief { animation: chief-rise-fall 3s ease-in-out infinite alternate;}@keyframes chief-group-rise-fall { 0% { transform: translateY(0); } 100% { transform: translateY(-20px); }}For added effect, the feather on his head also moves in time with his rise and fall:#chief-feather-1 { animation: chief-feather-1-rotate 3s ease-in-out infinite alternate;}#chief-feather-2 { animation: chief-feather-2-rotate 3s ease-in-out infinite alternate;}@keyframes chief-feather-1-rotate { 0% { transform: rotate(0deg); } 100% { transform: rotate(-9deg); }}@keyframes chief-feather-2-rotate { 0% { transform: rotate(0deg); } 100% { transform: rotate(9deg); }}Playfulness And FunOne of the things I love most about ambient animations is how they bring fun into a design. Theyre an opportunity to demonstrate personality through playful details that make people smile when they notice them. Take a closer look at the chief, and you might spot his eyebrows raising and his eyes crossing as he puffs hard on his pipe. Quick Draws eyebrows also bounce at what look like random intervals.#quick-draw-eyebrow { animation: quick-draw-eyebrow-raise 5s ease-in-out infinite;}@keyframes quick-draw-eyebrow-raise { 0%, 20%, 60%, 100% { transform: translateY(0); } 10%, 50%, 80% { transform: translateY(-10px); }}Keep Hierarchy In MindMotion draws the eye, and even subtle movements have a visual weight. So, I reserve the most obvious animations for elements that I need to create the biggest impact. Smoking his pipe clearly has a big effect on Quick Draw McGraw, so to demonstrate this, I wrapped his elements including his pipe and its feathers within a new SVG group, and then I made that wobble.#quick-draw-group { animation: quick-draw-group-wobble 6s ease-in-out infinite;}@keyframes quick-draw-group-wobble { 0% { transform: rotate(0deg); } 15% { transform: rotate(2deg); } 30% { transform: rotate(-2deg); } 45% { transform: rotate(1deg); } 60% { transform: rotate(-1deg); } 75% { transform: rotate(0.5deg); } 100% { transform: rotate(0deg); }}Then, to emphasise this motion, I mirrored those values to wobble his shadow:#quick-draw-shadow { animation: quick-draw-shadow-wobble 6s ease-in-out infinite;}@keyframes quick-draw-shadow-wobble { 0% { transform: rotate(0deg); } 15% { transform: rotate(-2deg); } 30% { transform: rotate(2deg); } 45% { transform: rotate(-1deg); } 60% { transform: rotate(1deg); } 75% { transform: rotate(-0.5deg); } 100% { transform: rotate(0deg); }}Apply RestraintJust because something can be animated doesnt mean it should be. When creating an ambient animation, I study the image and note the elements where subtle motion might add life. I keep in mind the questions: Whats the story Im telling? Where does movement help, and when might it become distracting?Remember, restraint isnt just about doing less; its about doing the right things less often.Layering SVGs For ExportIn Smashing Animations Part 4: Optimising SVGs, I wrote about the process I rely on to prepare, optimise, and structure SVGs for animation. When elements are crammed into a single SVG file, they can be a nightmare to navigate. Locating a specific path or group can feel like searching for a needle in a haystack.Thats why I develop my SVGs in layers, exporting and optimising one set of elements at a time always in the order theyll appear in the final file. This lets me build the master SVG gradually by pasting it in each cleaned-up section.I start by exporting background elements, optimising them, adding class and ID attributes, and pasting their code into my SVG file.Then, I export elements that often stay static or move as groups, like the chief and Quick Draw McGraw.Before finally exporting, naming, and adding details, like Quick Draws pipe, eyes, and his stoned sparkles.Since I export each layer from the same-sized artboard, I dont need to worry about alignment or positioning issues as they all slot into place automatically.Implementing Ambient AnimationsYou dont need an animation framework or library to add ambient animations to a project. Most of the time, all youll need is a well-prepared SVG and some thoughtful CSS.But, lets start with the SVG. The key is to group elements logically and give them meaningful class or ID attributes, which act as animation hooks in the CSS. For this animation, I gave every moving part its own identifier like #quick-draw-tail or #chief-smoke-2. That way, I could target exactly what I needed without digging through the DOM like a raccoon in a trash can.Once the SVG is set up, CSS does most of the work. I can use @keyframes for more expressive movement, or animation-delay to simulate randomness and stagger timings. The trick is to keep everything subtle and remember Im not animating for attention, Im animating for atmosphere.Remember that most ambient animations loop continuously, so they should be lightweight and performance-friendly. And of course, its good practice to respect users whove asked for less motion. You can wrap your animations in an @media prefers-reduced-motion query so they only run when theyre welcome.@media (prefers-reduced-motion: no-preference) { #quick-draw-shadow { animation: quick-draw-shadow-wobble 6s ease-in-out infinite; }}Its a small touch thats easy to implement, and it makes your designs more inclusive.Ambient Animation Design PrinciplesIf you want your animations to feel ambient, more like atmosphere than action, it helps to follow a few principles. These arent hard and fast rules, but rather things Ive learned while animating smoke, sparkles, eyeballs, and eyebrows.Keep Animations Slow And SmoothAmbient animations should feel relaxed, so use longer durations and choose easing curves that feel organic. I often use ease-in-out, but cubic Bzier curves can also be helpful when you want a more relaxed feel and the kind of movements you might find in nature.Loop Seamlessly And Avoid Abrupt ChangesHard resets or sudden jumps can ruin the mood, so if an animation loops, ensure it cycles smoothly. You can do this by matching start and end keyframes, or by setting the animation-direction to alternate the value so the animation plays forward, then back.Use Layering To Build ComplexityA single animation might be boring. Five subtle animations, each on separate layers, can feel rich and alive. Think of it like building a sound mix you want variation in rhythm, tone, and timing. In my animation, sparkles twinkle at varying intervals, smoke curls upward, feathers sway, and eyes boggle. Nothing dominates, and each motion plays its small part in the scene.Avoid DistractionsThe point of an ambient animation is that it doesnt dominate. Its a background element and not a call to action. If someones eyes are drawn to a raised eyebrow, its probably too much, so dial back the animation until it feels like something youd only catch if youre really looking.Consider Accessibility And PerformanceCheck prefers-reduced-motion, and dont assume everyones device can handle complex animations. SVG and CSS are light, but things like blur filters and drop shadows, and complex CSS animations can still tax lower-powered devices. When an animation is purely decorative, consider adding aria-hidden="true" to keep it from cluttering up the accessibility tree.Quick On The DrawAmbient animation is like seasoning on a great dish. Its the pinch of salt you barely notice, but youd miss when its gone. It doesnt shout, it whispers. It doesnt lead, it lingers. Its floating smoke, swaying feathers, and sparkles you catch in the corner of your eye. And when its done well, ambient animation adds personality to a design without asking for applause.Now, I realise that not everyone needs to animate cartoon characters. So, in part two, Ill share how I created animations for several recent client projects. Until next time, if youre crafting an illustration or working with SVG, ask yourself: What would move if this were real? Then animate just that. Make it slow and soft. Keep it ambient.You can view the complete ambient animation code on CodePen.

On Saadiyat Island in Abu Dhabi, the Nasayem house by A Work of Substance offers a modern sanctuary inspired by desert winds, light, and cultural heritage. Spanning nearly 19,400 square feet, this private residence is shaped not only by architectural vision but also by the deserts gentle breezes its very name, Nasayem, means soft winds in Arabic.Rather than shielding itself from the environment, the home embraces the natural forces of Saadiyat Island. Wind, light, and shadow are treated as design partners, weaving through the layers of the building to create a living, breathing structure. The result is a residence that feels at once secluded and open, intimate and expansive.Every detail reflects a deep connection to the cultural heritage of the region. Intricate Arabic patterns are etched into archways, windows, and screens, infusing the home with historical resonance. Hand-carved teak latticework, inspired by Bedouin geometric motifs, creates thresholds that filter sunlight, encourage airflow, and provide privacy without enclosure. Locally inspired materials such as palm leaf, mud brick, coral stone, and thatch further root the home in the deserts timeless aesthetic.At its center, Nasayem features a double-height courtyard that reinterprets a cornerstone of Islamic architecture. A massive live tree rises from the courtyards center, its canopy growing toward the skylight above. At its base, a circular bench wraps around the planter, transforming the tree into a focal point for gathering.The courtyard also serves as a passive cooling system, harnessing airflow and natural light. Above, an expansive skylight filters sunlight, creating shifting patterns that move across walls and floors throughout the day.The homes interior and exterior draw directly from the deserts tones and textures. Walls and finishes are rendered in soft neutrals and sandy hues, while natural wood adds warmth and depth. The color palette is deliberately quiet and expressive. Handmade teak screens double as sculptural accents, regulating transparency and airflow while reinforcing the architectural cohesion throughout.Nasayem is not only a bold architectural statement but also a demonstration of how design can respond intelligently to the environment. By prioritizing passive cooling strategies, the house reduces reliance on mechanical air-conditioning, instead using airflow, shading, and the central courtyard to regulate temperature naturally.Handmade latticework screens filter harsh sunlight while maintaining ventilation, and the integration of local, materials minimizes environmental impact while celebrating regional traditions. Natural textures like palm leaf and coral stone are both durable and climate-sensitive, offering comfort within the demanding desert environment.From communal gathering areas to intimate escapes, Nasayem is carefully designed to balance connection and solitude. The combination of heritage-inspired details, desert-informed colors, and natural ventilation creates a residence that feels deeply rooted in its setting while attuned to modern life.For more information on Nasayem and A Work of Substance, visit aworkofsubstance.com.Photography by Natalee Cocks.

Lan Johnson is a Senior Product Designer at Square. We met over 10 years ago in 2014 in Dallas, at Tekzenit where we both worked as user experience designers.Lan is a military brat and grew up in Japan and South Korea, and Guam. Lans father retired in Las Vegas and then they eventually moved toDallas.Lan currently lives in Seattle, Washington with her boyfriend and theirdog.You can find Lan on LinkedIn.What was your journey getting into product design?I actually started out thinking I wanted to be a graphic designer. I was really into anime as a kid, and when I got my hands on a (very outdated and pirated) copy of Photoshop 6 at around age 11, I was hooked. In high school, I also taught myself how to code, which opened the door to doing small freelance jobs here and there while I was still inschool.Eventually, I joined a startup in New York, before moving back to Dallas to finish my degree. From there, I spent about 10 years in consulting, working across different agencies and design shops. That period was fun and full of variety, but I found myself missing the feeling of being deeply connected to a singleproduct.In 2020, just a few weeks before the pandemic hit, I made the leap to go in-house. I stayed almost two years in that role, and now Im continuing my journey atSquare.For better or worse, how do you think your parents, family, or friends influenced how you approach problem solving in your day to day work?I had to learn how to problem-solve on my own from a young age, which made me very independent. My family moved around a lot, so I was constantly rebuilding my support system and adapting to new cultures. That experience shaped the way I work todayit taught me how to be flexible, resilient, and comfortable walking into unfamiliar environments.Those skills came in handy when I moved into consulting. I had no trouble starting conversations, building relationships quickly, and feeling at ease in different rooms. In high school, I went to a Department of Defense school in East Asia with only about a thousand students total from kindergarten through senior year. With so few people, it felt like being in a small startupyou had to be resourceful, self-sufficient, and figure things out because there werent always obvious answers. That mindset has carried through into my approach to design and problem-solving today.How would you describe your background at Capital One, Project202 and Tekzenit?Each place was really different and shaped me in unique ways. At Tekzenit, I was just starting out. It was in the telecom space, and honestly, I was still figuring out how to navigate the corporate world while learning an industry that didnt end up being directly relevant to me later. But it was an important firststep.At Project202, I had the chance to work across a wide range of industries and clients. For example, I worked with Southwest Airlines, learning how they assign pilots and cabin crew, which gave me insight into complex scheduling and logistics. I also helped JCPenney retrofit their site to be mobile and desktop friendly, back when responsive design was still a big shift. That variety really sharpened my ability to adapt quickly and problem-solve across different domains.Capital One was especially interesting because of how structured and unionized their systems were. They had this massive scheduling platform that auto-generated crew schedules, but it always had to be corrected by hand. Once a year or so, pilots and crew reps from the union would come in to review and debate the schedules, approving what worked and pushing back on what didnt. It gave me a fascinating look into how large-scale systems intersect with human needs and negotiations.How would you describe your current role and experience at Square?Stepping away from management, I joined Square as an individual contributor, and Im really happy with that shift. At my last four jobs I was in management, so it feels good to be back in the weeds, hands-on with the workagain.Previously, I worked on identity verification, so moving into printers recently has been a big jump, but a good one. I think what I missed most in management was the craft. In consulting especially, so much of the role was about selling the work and managing stakeholders, rather than actually building. I enjoyed mentoring and growing talent, but I often felt pulled away from the fun of shipping products with ateam.At Square, I feel like Ive come full circle. I get to contribute directly, push projects over the finish line, and rediscover the parts of design that made me love this work in the firstplace.What are the biggest challenges you are currently facing at work?Right now, my biggest challenge is onboarding into the world of printers. There are so many nuances I didnt anticipate, especially since I focus on food and beverage, where every kitchen has very specific needs for how things run. Navigating those requirements has been a steep but interesting learningcurve.Another challenge is balancing engineering costs, business priorities, and whats ultimately best for the end user. Like all teams, were constantly deciding whether to patch immediate issues or invest in longer-term fixes that will pay off later. Were making progress, but its definitely ajourney.What are some ways that you leverage AI in your workflow?AI is a big focus for us. Our CEO, Jack Dorsey, is very forward-looking when it comes to future technologies like Bitcoin and decentralized identity, so adopting AI has become a company-wide initiative. We use a tool called Goose that allows us to automate some tasks. It saves me from having to wait on a data team to pull stats I can access the information I need instantly, which is incredibly helpful.Personally, I also use ChatGPT for writing tasks since its just more efficient, and Ive been experimenting with v0 to prototype. That tool can be a little frustrating at times, but its also fun and pushes me to think about design workflows in newways.What are parts of your job where you find using AI unnecessary or inefficient?AI is mostly useful as a baseline. I dont rely on it heavily in my day-to-day design work, since it cant really handle more sophisticated tasks. Where I do find it helpful is when teammates who arent as design focused, like PMs, use it to get their ideas across. Even if the output isnt perfect, it gives us something concrete to reactto.Recently, I organized a V0 prototyping workshop where participants used AI to create solutions for the same problem. None of the prototypes were perfect, but I was able to pull useful pieces from each. So while AI isnt my main tool, it does provide a good startingpoint.What are the most important aspects of pitching your design work to stakeholders?For me, the most important part is setting the right context. Ive found that when I take the time to explain the problem, why it matters, and the broader landscape were working within, stakeholders are naturally more aligned with my design decisions. Jumping straight into the solution can leave gaps, but grounding the conversation in the why builds trust andclarity.I often include a few introductory slides or notes at the beginning of my Figma files for this reason. It gives everyone a shared foundation and makes the actual design discussion more productive.Where do you get your design inspiration from?I use Dribbble a lot, but lately Ive been really inspired by the resurgence of 90s aesthetics. I especially love 35mm film because it feels so raw and honest. Square has been leaning into that vibe too, with a stronger focus on photography and visual storytelling that highlights our sellers. Im excited to see our design move more in that direction.Whats one failure or misstep that taught you something invaluable?I learned a lot during my time at AT&T, which often felt like trial by fire. The work environment was chaotic, and I made the mistake of pushing myself too hard, working while sick, putting in extra hours, and sacrificing balance. In hindsight, none of that effort really mattered, because it wasnt appreciated and didnt change the outcome. That experience taught me the importance of work-life balance and setting boundaries.I also got my first crash course in corporate politics. I had to learn how to navigate different personalities, especially difficult ones. For example, there was a teammate who constantly needed to feel important, and if you didnt give him that, he could make things unnecessarily difficult. I eventually figured out how to work through a proxy to get what I needed. As frustrating as it was, it taught me how to manage around egos and still get work done, something I carry with metoday.When you start on a new design team, where do you spend your time and energy?When I join a new team, the first thing I do is dig through all the files I can get my hands on: org charts, Figma files, documentation, anything available. That exploration helps me form better questions and makes my one-on-ones more productive.I also schedule 1:1s with my core team, partners, and anyone Ill be working closely with. A lot of those conversations are informal, just getting to know each other on a personal level, which I find really valuable. But when it comes to PMs or engineering leads, Ill bring specific questions based on what Ive already uncovered. That way, instead of a vague chat, I walk away with concrete answers or more resources to diveinto.Do you work on any side projects outside of work?Lately, Ive been struggling to enjoy my hobbies the way I used to, but Ive been trying to make space for them again. Drawing has always been a big part of my creative life; its actually what led me into design in the first place. Im especially drawn to food illustration, and Ive been experimenting with watercolors, alcohol markers, and colored pencils to get back intoit.Ive also been getting into photography. I recently picked up a film camera and Im looking forward to bringing it with me on upcoming trips to New York and San Francisco. For me, these side projects are less about output and more about reconnecting with the creative activities that inspire me outside ofwork.What are the most important qualities you look for in a design leader?Humility is the big one. Of course, a good leader should know their craft and be able to guide a team, but at this level those qualities are often a given. What really stands out to me is whether they can say no and whether they can admit when theyre wrong. If a leader can do those two things, chances are theyre strong in the other areas that mattertoo.How do you balance business goals with design integrity when theyre at odds?I think about it the same way I think about relationships. Compromise alone doesnt really solve anything. If one side simply gives in, it often leads to resentment. Instead, I try to collaborate closely with the team to understand the trade-offs and find a solution that works for everyone. There are usually many ways to slice an experience: some features can be a fast follow, or we can plan milestones that eventually reach the same outcome in a more balancedway.Of course, there are cases where trade-offs are unavoidable, like when legacy code ties everyones hands. In those situations, its about recognizing the limitation and planning for the larger migration effort that will ultimately make better solutions possible.What skills do you find relevant to product design that are not taught in school?One of the biggest lessons I had to learn early on was how to protect myself in the workplace. As a younger designer, I often felt taken advantage of, and no one had prepared me for that. I always encourage people to read up on employment laws and understand their rights. Ideally, youll also have a manager or senior teammate who can help you navigate those situations.Another important skill is knowing when not to overwork. In product design, were rarely saving lives, so putting in constant overtime doesnt necessarily create better results. In fact, protecting your peace and maintaining balance makes you a better creative, because good decisions and strong design work come from clarity and energy, notburnout.What are the most common aspects in designer portfolios that bother you?One thing Ive noticed is that many portfolios still lean on process checklists, showing every step of the design process without really explaining the thinking behind it. What Im really looking for is decision-making: why you chose a certain methodology, what you learned, where you failed, and the trade-offs you had to make along the way. Every project involves trade-offs, and understanding those is often more valuable than a polished checklist.Ill admit, writing case studies is tough, and I dont always enjoy it myself. One tip I picked up at Square is to keep a hype doc, a running log of your accomplishments, metrics you moved, and decisions you influenced. If you spend even an hour a month updating it, youll have a backlog of material that makes writing case studies so much easier later. I struggle to keep it up myself, but its an invaluable habit.Do you have any tips for designers trying to break into the product design world?When youre starting out, the biggest challenge is building work you can actually show in applications. My advice is to pick a problem you personally care about and design a solution end to end. Avoid random problem generators; when the problem is real to you, your work will feel more authentic. You can even use tools like V0 to prototype without needing engineering support, which makes it easier to bring your ideas tolife.Ive seen great examples of this. At Tekzenit, one intern designed an app to help their sister manage diabetes. It wasnt just a design exercise; it was personal and meaningful. Projects like that standout.Beyond the work itself, do your homework. Learn about your rights as an employee, research salary ranges so you can advocate for yourself, and come prepared to interviews. And dont underestimate the power of networking. Reach out to people on LinkedIn who work at companies you admire and ask for 1530 minutes of their time. Even better if theyre local, because those connections can turn into ongoing mentorship.Have you gotten your jobs through referrals or cold applications?Almost every job Ive had has come through a referral. The one exception was early in my career when I cold-applied to an agency that focused on lawyers. I only stayed there for a few months because the environment was reallytoxic.After that, I started leaning on my network more. I ended up working at the same company as my brother, who needed a WordPress developer, and then moved on to Tekzenit after a referral from JK (our mutual friend), who I had almost hired at my previous role. Later, I joined Project202 by following Andy and Ryan, who I knew from Texas. Building those connections made each transition much smoother than applyingcold.How do you see the product designer role evolving in the next few years?I think product design will continue to shift beyond just creating visuals and flows and move more toward empathy and problem-solving. In many ways, our role already overlaps with product management, but we bring a different lens by championing the user. That perspective is still something many organizations struggle to fullyembrace.AI will likely take on more of the executional work, but I believe the real value of designers will be in weaving stories, framing decisions, and making sure user needs stay at the center. That is the part of the role I do not see being automated anytime soon, and hopefully what will keep us not just relevant but essential.Interview with Lan Johnson, Senior Designer at Square was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.

Did you know you can customize Google to filter out garbage? Take these steps for better search results, including adding my work at Lifehacker as a preferred source.As fall creeps toward winter, we know well have to turn on the heat. But when is the right time? If youre arguing with your partner or roommate about the thermostat, were happy to be able to end that argument for you. (Theyll probably never admit theyre wrong, though.)The easiest answer, which is not necessarily the correct answer, is to look for nighttime lows falling below 55 degrees Fahrenheit. That said, neither the calendar nor the weather forecast can give you very good advice here. The temperature inside your house is what matters. If your house occupies a sunny spot in a warm climate, you may be able to delay turning on your heat until its nearly the dead of winter. On the other hand, if your house is poorly insulated, sits in a shady area, or your local climate is on the chilly side, you may need to turn it on sooner. So while you can ask your neighbors what date or what outdoor temperature they usually use as their guideline, youll need to look at your own thermostat to know when its time. Keep the indoor temperature above 64 degrees for your healthA report from the World Health Organization points out that temperatures below 18 degrees Celsius (about 64 Fahrenheit) may cause issues for smokers, people with asthma, and people with cardiovascular disease. Warmer temperatures are associated with better lung function and better blood pressure in these people. They conclude that 64 is a good minimum for most of us, but that people with these conditionsand people who are 65 or oldershould be especially sure to keep their house at 64 degrees or warmer.That said, if youre under 65 years old and dont have lung or heart conditions, the WHO is fine with you putting on a sweater and dealing with it. They say lower temperatures arent a health risk for healthy people who are moving around enough to generate plenty of body heat. You can also safely use clothing, bedding, or heating devices to stay warm at those lower temperaturessay, snuggling up in flannel pajamas with a hot water bottle under a warm duvet.Set your programmable thermostat to turn on the heat when the temperature dropsSo thats the general rule, but what if you have a thermostat that lets you program different temperatures for different times of day? Energy Star suggests setting your thermostat to kick on the heat when the temperature drops to 70 degrees in the morning or evening. If you have a programmable thermostat, you can set a setback to allow the house to cool down a bit at night and when youre not home.An eight-degree setback is recommended for when youre out of the house during the day (at the office, for example) and then again for nighttime, since cool temperatures help us sleep, and we can use blankets if were too cold. That eight-degree setback would give us an indoor temperature that could fall as low as 62 degrees. Try that and see how the house feels. If its too cold, consider bumping up to at least 64.If you want to wait as long as possible, at least do a test runNo matter what I say here, I know that some of you will want to wait as long as possible to turn on the heat for the first time. Just do yourself a favor: Turn on the heat at some point in the early fall just to make sure everything is working OK. When it finally gets too cold to go without the heat, you don't want that day to be the day you learn something isn't working properly.