Its not about the words as much as designing for theirvalues.Photo by David Sager onUnsplashGen Z is redefining onlinedating.I was recently interviewing for a role at one of the big dating apps. Throughout the process, I was asked how I would write to resonate with Gen Z. Id read up on the company and the industry and I knew it was a big concern. Gen Z is frustrated with dating apps and shifting their usage. As the biggest generation and one that includes ages 18 to 28, its a critical audience for dating apps. But there are big challenges to overcome.First, there are the declining marriage and fertility rates worldwide. Then, theres the political divide in the U.S. which has made it harder for men and women to connect. Gen Z is less worried than previous generations about being single and theyre pickier. They want to align with potential partners on a lot of issues before they even meet. Theyre risk averse and have really high standards. Those who use dating apps feel that the quality interactions arent there, or that people arent as committed, so they get tired of looking and give up. At the same time, theres a renewed interest in meeting people in person through hobbies and activities. (The one bright light ofhope!)So how can content design help? Given Gen Zs complicated relationship with dating, maybe the offering also needs tochange.My approach has always been to ask how people are secretly hoping this experience will change their lives. I say secretly because these arent always things people are aware of or would admit to other people. We all go about our lives hoping certain things will happen but also worrying about other things happening. The gap between those things seems particularly large with Gen Z, which means a transformation needs tohappen.The transformation gap that content design can helpbridgeMost transformations happen over time, moment by moment. If Im going to help a dating app create some of those moments, I need to know what people want, show them its possible, and take steps to deliver it. I do that by first uncovering the universal truths that inform their expectations. Then I find out what they value and what theyre concerned about. Then align every experience with those values. For Gen Z especially, it also must be inclusive to everyone. The days of designing for the average user areover.And in the dawn of an AI revolution, why not consider and explore something totally different? These same principles can be used to imagine fresh ways to meet their needs and exceed their expectations.Were all humanbeings.My number one rule of content design is to respect the humanity of my audience. Gen Z, like every other generation, are human beings first. Life experiencessuch as growing up, making a living, and falling in loveare universal. All generations have hopes, overcome challenges, raise children, and face death. Gen Z might have a unique view and experience of these events, and thats the first place tostart.We crave experiences that are profoundly human, genuine, and trustworthy. Were delighted when apps are smart or predictive and know what we want. We love when they integrate into our lives and feel like an extension of what were already thinking or doing. And when they manage to convey the warmth, humor, and realness of a good interaction, we becomefans.I like to think of every UX interaction like helping a good friend in a time of need. Listen when they need to be heard, ask questions when they need help figuring things out, smile and make them laugh when they need cheeringup.I focus on theTruth.In my screenwriting program at UCLA, we were encouraged to write the Truth (with a big T). Lets say youre watching a TV show. Jim and Phil are leaving a Super Bowl party and Jim says his wife died in a car crash on Super Bowl Sunday. She was killed by a drunk driver who eventually went to prison. We got all the relevant info but it doesnt convey how Jim isfeeling.What if Jim and Phil are leaving the same party and we see that Phil has had too much to drink. Phil tries to get behind the wheel of his car to drive home and Jim flies into a rage. Theyre both shocked by his reaction and Jim breaks down and shares how guilty he feels that he wasnt with his wife that day. Its not about the details of what happened, its about the emotional truth behindit.What are the universal truths of dating that transcend age, culture, or religion? Love, connection, safety, and belongingthese are things a dating app should strive to provide. But we also need to address their oppositesloneliness, loss, fear, and anxiety. But its a delicate balance. Can I people find love and connection while dispelling their fears andanxiety?A comparison of using Venmo and Zelle to send money to afriendI look at every experience through that lens to make sure the app is telling the truth. Is there an illusion of safety, or actual safety? Is there a promise of love, or real love? How can I create true connection and foster belonging? What features, interactions, and communications will support those goals? Which ones will detract from it? If I know the core needs of people using an app, I can prioritize those above smaller more granularneeds.Uploading photos, for example, is a critical step to using a dating app. But what concerns might people have? Could uploading photos compromise their safety? Could it make them feel judged, instead of belonging? Could it diminish their chances of finding love? If so, I need to address those realities and think about other paths tosuccess.Its crucial to understand the emotional needs and concerns of an audience and how they think. Then we can find the best ways to fulfill thoseneeds.Most apps areglobal.If an app is available in 140 countries and 60 languages, it needs to be usable by people in a myriad of cultures. Gen Z is only one way to segment an audience, and it may not be as relevant in some places as privacy, safety, or religion.What we say is infinitely more important than how, when it comes to global audiences. I ask myself what questions or concerns people might have. What do they need to know right now? What can I save for later? What shouldnt I save because it would compromise trust, safety, or comprehension? What should I leave out because it raises more questions than it answers? I look for potential dangers or traps that people could fall into and avoid them. Then I ask customer experience to write or add to an article to help people if Ifail.Inclusivity means making sure everyone, regardless of abilities or situation, can access and use the app. Everyone should feel that the app is for them or can easily be tailored to their specific situation. Gen Z has a much bigger awareness of and appreciation for inclusive experiences than previous generations. Even if they dont personally need or use a feature, theyll applaud you for including people. For a consumer app, it could mean designing for a lower level of tech savviness or accessibilityespecially in emerging markets. It might mean providing an offline version so people can keep using it on the subway. Or adding settings to increase font sizes, turn off sounds, or control who seeswhat.Its a big generation.The dating life of an 18-year-old is quite different from a 28-year-old. One is beginning their life as an adult. They dont know what they want yet and arent looking for a serious relationship. The other will have more experience and could be deciding whether to get married or have children. Or they might already have kids, be divorced, and are getting back out there. Are they men, women, straight, gay, bi, cis, trans? Theres a range of needs and emotions to designfor.What they likely have in common are their values. How they see the world and how that view differs from previous generations. From my own observations, Gen Z values transparency, inclusion, and social responsibility. Theyre digital natives whove grown up on social media. What their peers think is important, and their peer group extends beyond friends to influencers on TikTok, YouTube, and Twitch. Their community is global. It includes content creators, influencers, and celebrities who speak out on the issues theyre concerned aboutlike climate change and mentalhealth.Gen Zs global values | GfK Consumer Life, February2023I can use Chat GPT to find out that Gen Z values authenticity, diversity, and creativity. Theyre concerned about work-life balance and financial stability. They embrace technology but worry about screen fatigue and privacy. And they really want to make meaningful connections.If the company making the dating app values those things too, were miles ahead. But its not enough to just say it, those values must be prioritized in the user experience. From my own experiences in tech companies, I know theres often a constant tension between what the company wants and what customers want. When companies put making money above the needs of their customer, they eventually lose those customers. But if you actually change their lives for the better, they will happilypay.Be one with theforce.Values arent constant. Theyre variable and contextual, and not always predictable. To be confident that I can address any situation, I need to understand and feel what my audience is feeling. That means spending time in their mindset. Ill read articles and books, spend time on apps they value, and stay up to date on the trends, conversations, and issues that matter. Ill spend as much time with my audience in person as I canwhether in user testing, focus groups, or the wild. Most importantly, Ill stay curious and open to new information.When working for Dropbox, Facebook, and eBay, I met people all the time who wanted to talk about features I was working on. A few minutes after meeting them, theyd tell me everything about their experiencesgood and bad. Theres nothing like hearing unsolicited feedback from real people! Its timelier and more relevant than any research or journalism on thetopic.Solicited feedback works as well. When I wrote for college students at Chegg, I often conducted tone tests on sensitive topics and tried different approaches and language. I always learned new things about how they thought and felt by hearing their reactions to words Idwritten.Values drive interactions.When connecting with Gen Z, its not about using their slang or referencing popular culturethough that can be fun in moderation. Its about understanding their motivations and concerns, to design meaningful interactions. The words I choose are in service of that. Theyre packed with as much authenticity, humanity, and value as I canprovide.Just as important as language is how the app behaves. The features we choose should be informed by our audiences values and meet their expectations. Keep in mind that people live online and offline, and every interaction they have creates expectations.From what I know so far, Ill prioritize things like direct, real-time feedback, suggestions, and notifications. Ill brainstorm interactive features that let them be creative and express themselves, while enriching their experience. Ill find ways to personalize the experience, so they get exactly what theyre looking for. Ill look for opportunities to instill a belonging and community. Ill focus their time on quality over quantity. Ill build in options to connect on the issues and voices that matter to them. Then Ill add acknowledgment, assurances, and celebration in all the rightplaces.Ask the hard questions.We know Gen Z is pickier, prone to slow dating, and more concerned with their well-being than being coupled up. But they still want meaningful connections. Are dating apps meeting their needs? If not, how should they evolve? Maybe we should think beyond photos as the primary means of attraction. Can we use AI to help mimic how people connect in real life? Is there a way to make it feel less transactional and more organic? Can it be more fun? Can we remove the anxiety? If success is measured by coupling, its statistically doomed to mostly fail. What if the primary outcome is self-discovery, learning who we are, and becoming a better, happierperson?Challenging basic assumptions and asking hard questions is the most important part of product design. We cant be afraid to do it. It helps us focus on what matters. It prevents us from launching features that not only fail to connect but alienate our audience. It opens the door to new ideas and directions.To sum it up, its aboutvalues.Connecting with Gen Z means getting a deep understanding of their values, experiences, and expectations. Its about more than following trends or using cultural references. Its about addressing real needs in a way that aligns with whats important tothem.I focus on universal human truths through their perspective and ask the hard question: Am I creating experiences that will changelives?A content design approach for connecting with Gen Z was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.

A game design examination.The start screen for the first American games, specifically Pokmon Red. Courtesy ofPokmon.Pokmon is a franchise very dear to my heart. With vivid clarity, I remember my mom taking me to Toys R Us in the late 90s to buy my first Pokmon game, a copy of Pokmon Red. What was my very first Pokmon? An easy choice: Charmander, obviously! I look back on those early days with intense fondness. Nowadays, the narrative hasnt changed much. My apartment has Pokmon plush scattered all over. I am an active participant in my local Pokmon Go community. Ive even gotten multiple Pokmon tattoos, firmly cementing my love of the franchise as if the tattoos themselves were the act solidifying my devotion.Ive loved Pokmon long before I became aware of my passion for art and design. The games inhabit a unique space in my life. They exist among a small number of interests that have transcended age, existing for both my inner child and the wiser adult I exist as now. It is precisely this consistency throughout my life that gives the franchise such power in my consciousness. I was there, cheering on the franchise from the very beginning on the original Game Boy with Pokmon Red and Blue (technically only in the States, as the games were released as Red and Green two years prior in their native Japan.) It has been a fantastic journey watching the franchise itself evolve, from game to sequel, from portables to home consoles.Throughout the series natural evolution, an element that has remained consistent is the fan bases outspoken nature. Pokmon fans have a LOT to say. From denouncing new creature designs to criticizing the exclusion of features from newer games, an outside observer would be right to view the fandom as intense, harsh or even toxic. Most of the time, I can empathize with the fanbases points of view, if not fully embrace the zeal with which they communicate them. A big part of the joy of being a Pokmon fan is connecting with the diverse array of people who also call themselves fans.However, with the release of the two most recent generational games in the mainline series (excluding spinoff games or mobile apps) I have arrived at a point, both as a fan and as a designer, where I find myself valuing different choices than what is generally considered good among the community. The eighth generation of games, Pokmon Sword and Pokmon Shield (SwSh) released in November 2019. The ninth generation, Pokmon Scarlet and Pokmon Violet (SV) followed in November 2022. These entries, released in pairs as series tradition, are an interesting case study of what constitutes successful design. What is seen as playable? What do players generally consider to begood?The start screen for the eighth generation, Pokmon Sword, featuring my crazy cool team of champions.Considering the sheer breadth of time Ive amassed into these games and the series as a whole, I see value in comparing the two generations. Far too often, I see conversation denigrating Sword and Shield, two games with fantastic quality of life (QoL) improvements that streamline and ease long-existing issues. Consensus seems to imply these were terrible games, full stop. The critique is even harsher for Scarlet and Violet, though rightfully so. The games aimed for sweeping change but failed when implementing many core design choices. Given my exposure to these games and the general community discourse, I wanted to examine both games to uncover what aspects contribute to successful, intuitive design and add to the conversation.With that intention in mind, I aim to compare the games primarily through their interfaces and key features / functions. I am looking at gameplay design and player interaction more than I am art or sound design. Therefore, I will divide the following examination into four primary categories: general menu and interface, map systems, Pokmon storage, and thePokdex.As Don Norman says, Good design is quiet and hard to notice. Bad design screams out its inadequacy. The interface for a digital product is potentially the most vital aspect to get right. This is no different for video games. As digital products, gamers interact with layered systems and multiple mechanics to progress and interact with a game. As digital products, both SwSh and SV offer fascinating examples of how to design an interface. One game had a lot of conversation around performance and design, whereas the other had a lot of players upset over a change in the status quo. One design was loud, whereas the other was simply controversial.It is safe to admit upfront: I had a much easier time interacting with the systems in SwSh than in SV. The former game offered options and laid out the possible interactions cleanly and consistently. The latter game, well every time I boot up my copy of Scarlet, I must refamiliarize myself with which button controls which action. In fact, the game often requires me to supply conscious effort even when Im not returning after time away. How do I do that again? Playing the game is complicated by the most fundamental player interactions.Upon my initial experience playing Sword, I discovered a recurring pattern of numerous gameplay improvements made by the designers, which updated the overall quality of life (QoL) in various ways. QoL refers to any design decision that makes the game or product more understandable, easier overall, and generally accessible to more players. These are often subtle tweaks, noticeable only from a more macro perspective spanning multiple franchise entries. However, as a longtime player, I noticed them immediately through gameplay, which feels better in any number of different ways.For example, right from the start, the main menu in SwSh offers choice: players can rearrange the eight icons into any order they want. This allows players to decide the icons relative importance and customize the menu to individual playstyles. I specifically placed my most frequently used icons on the far left. Since the menu cursor originates on the left, this reduced the amount of input and time required for me to access these mechanics. Having options helped the game work exceptionally well for me, which extended to every player who chose to customize. No other game in the series offered thisfreedom.The main menu in Pokmon Sword showing the Bag icon being movedleft.To supplement this designs focus on ease of use, every menu screen contains a slim, black bar along the bottom of the screen. This bar contains dynamic lists of possible actions and the corresponding buttons. For players new to the game, this helps teach button mapping and potentially introduce new features to the player. It can also act as a means to refamiliarize players if they have not played recently or to ease the learning curve for less advanced players. Both scenarios make the game easier forplayers.Another fantastic QoL update in SwSh is apparent when saving the game. Players can press a single button from the main menu directly to access saving. In previous games, saving looked like: pausing the game to access the menu, navigating to a save submenu, selecting save, confirming the action followed by a brief pause and some jaunty save music while the action completes. While a save submenu still exists, saving the game has decreased from five to ten seconds to roughly three. Such a minute amount of time is insignificant individually, but these interactions accumulate over time and affect the experience on a holistic level. Repeated poor interactions can sway a products perception toward a more negative overall attitude.Overall, using the menus in SwSh felt intuitive and easy to master. Comparing both games interfaces, SV features an increased use of button mapping (linking actions directly to the press of a button) instead of menu interfaces. I conclude this reliance on buttons accounts for my increased personal difficulty learning and (maybe more crucially) remembering how to play. SV requires the player to memorize more buttons to interact with its gameplay systems. Design guidance generally suggests simplifying actions to give users an easier and more enjoyable experience.The main menu in Pokmon Scarlet showing a distinctly different approach to interface design.Regarding button mapping, I compared both games to understand how each utilizes the Nintendo Switchs face buttons. Unsurprisingly to neither of us, SV had a complete catalog of unique button actions. Out of 16 total buttons, one game uses significantly more than the other Ill let you discern which. For the sake of readability and to more blatantly call out this lousy design practice, the buttons and corresponding actions are isolated in their own sectionbelow.In comparison between the two generations, there is no comparison. SV relies more heavily on the player to remember its feature set and functionality via buttons. SwSh either has fewer features or manages them more efficiently through menus and relevant information displayed within the interface.In another example of requiring more from players, the user flow managing item usage is laid out differently per game. In SV, the player: selects an item, confirms the item, and selects the Pokmon. Including two menu clicks to navigate into the relevant submenu, that is five clicks per item used. In SwSh, the player does the same exact thing. Including the two menu clicks, there are five steps unless the player wants to use more than one instance of an item. If so, the player can immediately use another of the same item. To use one item, 5 clicks; two items, 6 clicks; 7 clicks; 8 clicks; and so on. In SV, the player repeats the entire three steps. From 5 clicks to 8, 11, 14, and soforth.These two distinct pathways suggest a lot regarding each games design process. A lot could be said of the design thinking and even more constructive critique could be applied. However, it is sufficient to declare SV is a more time-consuming, less streamlined process. This difference in what each game asks from players is very apparent when navigating the SV menus. Due to the many features packed into the game, the multitude of submenus to utilize them all, and the games overall state of optimization and visual fidelity, SV offers a slower experience through its menu systems and featureset.Maps are a big part of every Pokmon game because regions are a big part of every Pokmon game. Each new game has its own unique location where the story is set, full of diverse creatures and characters that give each game its unique experience. As the games have evolved, so have themaps.The two newest games have some of the most useful maps to date. Both maps are accessed the same way: through the main menu after two button presses. Both maps now contain a variety of icons to signify in-game content such as raids and fast-travel points. In SwSh, these were more limited. Only fast travel points and the in-game weather patterns are displayed. The SV map expanded the depth of icons, including various raids and other types of dynamic events, their location, and other pertinent info. This was extremely useful, considering how SV fleshed out these mechanics introduced in SwSh. Players save a lot of time by not having to traverse the game map to check the content manually.A small section of the map in Pokmon Scarlet displaying nearby Pokmon, raid icons and the extremely adorable Rotom as a magnifying glass.The latter new addition, the ability to fast-travel from the map itself, was another welcome QoL update introduced in SwSh. This simple change eliminates the need for players to always keep specific Pokmon in their party. Removing this barrier allowed more player experimentation with different Pokmon team / move set compositions and singlehandedly eliminated the frustration felt by players when needing to backtrack steps to gain the means to progress forward. Like other QoL changes, this minor tweak feels long overdue and obvious in hindsight, yet highly welcome as a playermyself.Due to changes fully adopting open-world design (increasing the size of the explorable player area) in SV, I use this game map often. I can sometimes press the correct button on my first attempt, but not always. Two to three button presses generally suffice to remember the correct button. Once the map is open, there are four fixed zoom settings. I often need to switch between these settings to comprehend the map and answer any questions thoroughly. However, switching to the farthest setting will reset your position to the maps middle upon zooming back in. This oversight created a lot of irritation within me when using the map. The cute microanimation of Rotom as you navigate the map is a tiny touch of joy I appreciate, but its not enough to balance out the maps other simple but consistent frustrations.A section of the map from Pokmon Sword. Notice the stylization and ever present black bar at the bottom of the screenshot.In comparison, the SwSh map is significantly simplified. It always displays in the same orientation, unlike the dynamic map in SV which can orient itself in whatever cardinal direction the player is facing. Such stylization choices implemented do not aim for accuracy but readability in service of helping users build an internal mental model. This model allows users to understand the map mentally with less need to consult the map for clarification. This tactic is similar to the design of many subway and train maps: not geographically accurate but conveying critical information, such as stations and transfers, quickly and easily. Despite offering less, the experience is quicker touse.There are perks and quirks to each map design. Each map is generally well-designed and helpful. I wouldnt declare one more successful than the other. They simply save time in different ways. I do not raid very often so the raid icons were rarely valuable. However, seeing what Pokmon are spawning in mass outbreaks at a glance is hugely beneficial. Overall, I appreciate the efficient designs and both maps are miles ahead of their counterparts in previous generations of the franchise.In 1998, Bill designed the then-revolutionary Pokmon Storage System in the original pair of games, a now-common feature and key mechanic of every subsequent game to date. This feature allows players to catch then store Pokmon beyond the series six Pokmon party limit. Thanks,Bill!Both games access this storage similarly through the main menu. In a familiar pattern, SwSh introduced a fantastic QoL update to the series. For the first time, players could access their Pokmon storage from anywhere in the game world. Previously, a player had to navigate to predetermined locations, usually the single Pokmon Center in every town, if they wanted to change the six Pokmon in their party. Now, with a single button press while viewing their Pokmon, players can access this functionality at anytime.The interface for Pokmon storage boxes in SwSh displaying a clean aesthetic and focus on information.Sword and Shield excelled at simplifying preexisting gameplay mechanics to provide fine-tuned gameplay that was some of the most intuitive in the entire series. With a single button press, players can save time and avoid learning specific play habits to facilitate gameplay. Another example of this includes editing your party order. A single press of the Y button allows you to change the Pokmons position; the same pattern is replicated when reorganizing the main menu, as discussed above. This helps users associate this specific button with this specific action more quickly and naturally.This screenshot shows a Pokmon party being rearranged, demonstrating the repeating patterns and inputs used throughout the interface inSwSh.All in all, the storage boxes do not differ much between games in terms of functionality. Both games offer the same options for each Pokmon: move a Pokmon, check its summary or held item, apply markings (a mechanic to help sort and filter) or release them back into the wild. I found differences only in how each game displays this functionality visually. Overall, the relevant information hierarchy feels more correct therefore easier to parse in SwSh storageboxes.The interface for Pokmon storage boxes in SV displaying a visual aesthetic and differences in visual user interface.Take stats as an example. Every Pokmon has unique stats affected by an entire slate of different factors. These become more relevant in competitive play but are still beneficial to players of all skill levels. You can review stats on an individual creature basis in the storage itself. SwSh displays a vertical list with each trait and its corresponding value. SV displays this same information as a visual, hexagonal graph, with the corresponding numerical values oriented around theshape.Overall, I am biased towards the box design in SwSh. Why? I could use more of the functionality without teaching myself how. I understood (and can check) the various methods to select a single or multiple Pokmon. Each unique mode is supplemented by help text in the black bar along the bottom. (Yes, SV has a similar design choice but the implementation is not as extensive and lacks the cohesion SwSh provides through a consistent visual treatment.) I cannot deny that design will always be subjective. My preference does not make it better. However, I can say that I utilized the feature set more fully and consistently within SwSh. Therefore, I would argue that gives it a slight edge in terms of being the more functional design.The Pokdex appears as the final category for this study. Like the Pokmon storage, this game mechanic has been a staple of every game and even the Pokmon anime. It plays a key role in both narratives as the plot device encouraging the main character to venture forth, battle, and catch every Pokmon within the region. As the game declares, Gotta catch em all! (Though technically speaking, as a game wonk myself, that catchphrase has not been used since at least 2002, if not earlier, as catching every Pokmon in a single pair of games has been impossible since the second generation. Fun technical fact!)As mentioned earlier, Pokmon fans are an outspoken group. Before the launch of SwSh, every Pokmon had been available in every game through trading with other generations of games, if not directly within the game itself. SwSh marked the first time the developers chose to limit the number of available creatures. To put it lightly, player reaction was harsh. This negative sentiment affected so much of the conversation preceding the launch of the eighth generation. I would even argue it affected reception post-launch, as players were less willing to see positive qualities through already-solidified preconceptions. The trend of limited Pokdexes continued in the subsequent generation.A series of screenshots demonstrating various screens within the Pokdex interface inSwSh.Despite this similarity, both games feature different takes on the mechanic. SwSh features a traditional take in line with previous games whereas SV offers a more visual approach. Featuring a cute bookshelf aesthetic, each Pokmon is given a vibrant screenshot as its cover. Different game areas are divided into books or sections within the Pokdex. A similar division occurs in SwSh through a more traditional text / icon design. Similarly, each game accesses the dex differently: through the main menu in SwSh and a face button inSV.As a longtime player, I utilize the Pokdex to reference what Pokmon I need to catch and where to find them. Therefore, seeking out a specific creature is a common task. Within the dex, I can move creature by creature one at a time or page by page, moving the entire view of displayed creatures by five to ten at a time. I often search by page, already having a general idea of where to go. In SwSh, I can move from beginning to end in five to six seconds. In SV, the same task takes 25 seconds. This functionality has been present in all previous games. I have no idea why the developers would remove this simple interaction, reducing a consistently viable interaction.A series of screenshots demonstrating various screens within the Pokdex interface inSV.My overall experience with the SV Pokdex was slow and clunky. Before any performance updates, the games first version featured even slower interactions. The game failed to load relevant entries as I scrolled through the dex, increasing time from end to end. While not particularly revolutionary in its design, SwSh feels fast and responsive in contrast. This leads to the design quandary: do we prioritize functionality, ease of use, or visual fidelity?It is pertinent to mention quickly that I considered examining how Pokmon battles compare between games. I was surprised to discover a high degree of parity between the two generations. In fact, both are practically identical in terms of functionality. There are some visual layout tweaks here and there, but the button inputs almost mirror each other down to the exactbutton.I only have one minor issue, which stems from my longtime position as a player: I love seeing stats. As a wonk for details, I missed seeing the more individualized view of how each Pokmon increased in power upon leveling at the end of each battle. SV does away with this in favor of streamlining the speed of battles but the option to toggle this function would be comforting to me as a long-time player.Seeing my Pokmons stats improve, especially after working to skew them in my favor, is very satisfying.Overall, both games have a lot to offer Pokmon fans. In my view, the fan base was far too harsh on Pokmon Sword and Pokmon Shield due to the Pokdex controversy. This prevented many players from being willing to see a game offering the best menus and controls scheme of any game in the series yet. Long-existing issues were suddenly rendered irrelevant due to clever design choices. Personally, I revisit this game often to train my Pokmon via its extremely beginner-friendly mechanics that make an otherwise grind of an experience into a breezy walk in the Pokpark.Whereas SwSh offered fine-tuned gameplay, Pokmon Scarlet and Pokmon Violet offered drastic changes to shake up gameplay mechanics. For the first time, exploration was expansive, offering players freedom of choice in how to complete the game. In making this transition, the developers gambled with many new gameplay ideas. I think many of these were unsuccessful and only made the overall experience more cluttered. These ideas required drastic control scheme changes, complicating the inputs overall. Yes, the menus and mechanics were more challenging to learn. The world felt barren and uninspired. NPCs were lifeless. The visuals failed to hit even the most basic standard for modern games. However, the moment-to-moment gameplay of exploring the (ugly, muddy, unoptimized) world is somehow more fun thanever.From a design perspective, Sword and Shield exist as two excellent additions to the franchise that fans failed to appreciate fully. Scarlet and Violet get unfairly vilified due to their subpar visuals and fans' unrealistic expectations for graphic fidelity. Both generations of games exist during periods of massive transition. I can understand why both sets were rough around the edges. Game development costs, both financial and human, have increased dramatically since the days of Pokmon on the Game Boy. However, as far as design basics are concerned, the principles remain consistent. Understanding user needs and human psychology will always lead to better products. Prioritizing ease of use and adapting to user behavior will always result in happy experiences. Im uncertain how the developers went from creating such a smooth experience to one plagued with so many issues. However, as a long-time fan, I am beyond excited to continue to watch the series evolve, as a fan and a designer, with childlike excitement and the wisdom to look critically.How design affects gaming in two generations of Pokmon was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.

We may earn a commission from links on this page.I've pored over Netflix's release schedule to bring you the best movies and TV shows premiering on the service this month. My must-watch of the month: The Electric State, a comedy sci-fi movie starring Millie Bobby Brown, Chris Pratt, and adorable (but maybe deadly) robots. I'm also psyched for Chaos: The Manson Murders, a new film from documentary GOAT Errol Morris (The Thin Blue Line, Mr. Death), and I'll be checking in on Everybodys Live, a talk show hosted by John Mulaney that's streamed live.The Electric State Based on the acclaimed graphic novel by Simon Stlenhag, The Electric State is a sci-fi comedy set in a retro-future version of America in the years after a war between humans and robots nearly wiped out humanity. Most people, understandably, don't trust robots, but main character Michelle, played by Millie Bobby Brown, is traveling with a pair of mysterious 'bots, searching for her lost brother. Also on hand: a drifter named Keats, played by Chris Pratt. The Electric State's big stars and intriguing premise make it a must-watch. Starts streaming March 14.Chaos: The Manson Murders Legendary film-maker Errol Morris turns his always-revealing lens on the Manson Family murders in this provocative new documentary. Not satisfied with "official" explanations of Charles Manson's motives and strange personal charisma, Morris ties the crimes to a larger narrative involving the CIA, LSD, Jack Ruby, The Beach Boys, and who knows what else. Chaos: The Manson Murders features interviews with experts, living witnesses, and archival footage of the Manson clan, combined by a master of the craft. Starts streaming March 7.Everybodys Live with John MulaneyNetflix is entering the talk show world with Everybodys Live with John Mulaney, a weekly live show hosted by Mulaney, who also serves as co-showrunner, and executive producer. If his first Netflix live show, John Mulaneys Everybodys in LA, is the model, expect eclectic celebrity guests, phone calls with the viewing audience, and the spontaneous magic that only working live brings. At a recent press event, Mulaney promised, "We will never be relevant. We will never be your source for news. We will always be reckless. Netflix will always provide us with data that we will ignore. Sounds promising. Starts streaming March 12.Million Dollar Secret British comedian Peter Serafinowicz hosts this Netflix reality show in which 12 cutthroat competitors travel to an opulent mansion to try to get rich. One contestant finds a million dollars in their room. They get to keep it, but only if no one else discovers their secret. The combination of exotic locations, intricate schemes, a hilarious host, and a contest with a million dollars on the line sounds like reality-show gold to me. Starts streaming March 26. With Love, Meghan Meghan Markle, the Duchess of Sussex, has her own reality show. According to Netflix, in With Love, Meghan, Markle "challenges us to pursue joy over flawlessnessto revel in the small, meaningful touches that may make a loved ones day." Right away, Your Grace. The show features a mix of practical how-tos and conversation with guests like chef Roy Choi and Mindy Kaling that take place in Markle's kitchen, garden, and even her beehive. I love beehive talks!Starts streaming March 5.The Leopard Based on the best-selling novel by Giuseppe Tomasi di Lampedusa, The Leopard is set in late 19th century Sicily and tells the story of the redshirt army's attempt to conquer the Italian island. It's the last days of the European aristocracy, and Don Fabrizio Corbera, the Prince of Salina, realizes that his family's lives of privilege and frivolity are at their end, so he must forge new alliances and make difficult choices so they can survive in the modern world. Starts streaming March 5.Delicious This Netflix original from Germany tells the story of a wealthy family unraveling during their summer vacation in Provence. After they hit a woman with their car, the family agrees to take her on as their maid. It seems like kindness, but it's anything but: Each member of the family secretly wants something different from this beautiful young woman, leading to consequences that spin out of control and shatter the facade of their perfect lives. Starts streaming March 7.Plankton: the Movie Who doesn't love Plankton from Spongebob? This animated Netflix original finally gives the little copepod with big dreams a starring role. As you'd probably expect, Plankton is trying to destroy the world, but his plans are complicated when domestic problems inspire his sentient computer wife Karen to destroy the world without him. Don't despair, Squidward fans: favorite Spongebob characters like Patrick and Sandy will appear in Plankton: The Movie, and so will the voice actors who bring them to life.Starts streaming March 7.American Manhunt: Osama bin Laden Remember Osama Bin Laden? This suspenseful documentary tells the story of how he was tracked, caught, killed, and had his corpse dumped in the sea. Featuring rare archival footage and interviews with the CIA agents who were there, American Manhunt: Osama bin Laden gives viewers an inside look at one of the most complex and extensive manhunts in history. Starts streaming March 10.Adolescence The dramatic question at the center of four-part Netflix series Adolescence is "What would you do if your teenage son was accused of murder?" Stephen Graham plays Eddie Miller, whose 13-year-old son Jamie, played by Owen Cooper, is arrested for the murder of a teenage classmate. To illustrate the provocative premise, each episode of Adolescence is presented as a single, continuous shot, so both film nerds and drama fans should put this on their watch list. Starts streaming March 13.The Twister: Caught in the Storm Tornadoes are the most visually interesting natural disaster, and this documentary takes full advantage of their awesome cinematic power. The Twister: Caught in the Storm tells the story of the massive tornado that tore apart the town of Joplin, Missouri in 2011 through interviews with survivors and tons of harrowing footage shot by people who were right freakin' there when disaster struck. Starts streaming March 18.The Residence If you like a good whodunit, check out The Residence. Uzo Aduba plays Cordelia Cupp, a brilliant but eccentric detective tasked with solving a murder that takes place during a state dinner at the White House residence. Everyone is a suspect: the staff, the guests, maybe the president himself. With a killer on the loose in the halls of power, Cupp must navigate a complex web of politics and personalities if she's going to crack the case. Starts streaming March 20.Gold & Greed: The Hunt for Fenn's TreasureForrest Fenn was a strange old rich guy who buried a chest full of gold somewhere in the Rockies, published a poem full of cryptic clues to its location, then invited everyone on Earth to try to find it. This Netflix original documentary examines the decade-long treasure hunt that followed. As you'd probably guess, it got way out of hand: Searching for Fenn's treasure ended up costing people their families, their jobs, and even their lives.Starts streaming March 27.Survival of the Thickest, season 2 Comedian Michelle Buteau is the co-creator and star of Survival of the Thickest, an ensemble comedy that earns high praise from critics. Season 2 of Thickest finds main character Mavis Beaumont, a large and in charge fashion stylist, in Italy, rebuilding her life, chasing her dreams, looking for love, and scoring designer swag. Series regulars Tone Bell, Tasha Smith, and Marouane Zotti will return, and we'll meet new characters played by Anderson .Paak, Deon Cole, Sandra Bernhard, and more. Starts streaming March 27.The Life List If you're in the mood for a rom com, check out The Life List. Sofia Carson stars as Alex Rose, a young woman on a quest to check off all the items on a bucket list she made when she was 13. By following through on entries like "go all out in a mosh pit" and "do stand-up comedy," Rose opens her world, but one of the entries is "find true love," and you know that's gonna drive this heartfelt, emotional romantic comedy. Starts streaming March 28.Last month's picksZero Day This is the first time Robert De Niro has starred in a TV series, so Netflix is going big with Zero Day, a political drama/thriller series detailing the aftermath of a deadly cyberattack. De Niro plays respected former President George Mullen, who's heading up the investigation of an information attack that killed thousands of Americans. Mullen must navigate a world of shady tech moguls, government power brokers, and his own past if he's going to prevent a second, even deadlier cyber-disaster. Starts streaming February 20.Kinda Pregnant In this Netflix original romantic comedy, comedian Amy Schumer plays Lainy, a woman who is so jealous of her pregnant friend, she straps on a fake stomach and tells everyone she has a baby on board too. Her mountain of lies grows with her fake belly, but things get really complicated when Lainy meets the man of her dreams. If you're into Schumer's brand of comedy or just like a little frothy rom-com action, check out Kinda Pregnant.Starts streaming February 5.La Dolce Villa Just in time for Valentine's Day comes La Dolce Villa, a Netflix original rom-com set in a romantic Italian village. Scott Foley plays Eric, a businessman who's lost his mojo, who travels to Italy to stop his daughter from wasting her money restoring a crumbling villa she bought for a Euro. Along the way, he rediscovers his lust for life, laughter, beauty, and love. I bet the old Villa actually isn't such a dump after all. La Dolce Villa also stars Maia Reficco, Giuseppe Futia, and Violante Placido. Starts streaming February 13.Home Improvement, Seasons 1-8 If you're in the mood for comforting nostalgia, you could do much worse than Tim Allen's iconic late 90s/early aughts series; it's the ultimate, mildly amusing, totally mindless family sit-com. Allen plays Tim Taylor, host of home improvement show-within-a-show Tool Time and patriarch of a suburban Detroit family that has all kinds of sit-com style dilemmas. The Taylors' mix-ups and lighthearted hassles fill up eight seasons of episodes, so feel free to binge them all at once while pretending it's 2004.Starts streaming February 1.Space Jam (1996) Speaking of comforting nostalgia, 1996's cartoons-meet-basketball comedy Space Jam is coming to Netflix. The movie pairs ancient sports superstars like Michael Jordan, Larry Bird, and Charles Barkley with ancient cartoon superstars like Bugs Bunny, Yosemite Sam, and Daffy Duck, and then has them play basketball on another planet. Somehow, this weird concept works and results in a movie that's great fun and superior in every way to the recent reboot.Starts streaming February 1.Celebrity Bear Hunt In this reality show version of The Most Dangerous Game, professional survival guy Bear Grylls hunts a group of 12 celebrities in the jungles of Costa Rica. Sadly, the cast is made up of British celebrities like Shirley Ballas, Mel B., and Boris Becker, and losing contestants aren't gunned down like rabid wildebeests when Grylls catches 'em; but still, Celebrity Bear Hunt puts privileged people in uncomfortable situations (always good TV), and the scenery is beautiful.Starts streaming February 5.Grimsburg In this Fox cartoon for adults, Jon Hamm voices hardboiled detective Marvin Flute. Flute has cracked some of the most complicated and dark cases in history, and now he's returning to his home town to tackle his most puzzling mystery: his own family. Judging from the trailer, Grimsburg looks pretty funny with sharp writing and a talented voice cast, so I'm going to give this one a shot. Starts streaming February 5.Sweet Magnolias, season 4 Sweet Magnolias is the kind of feel-good, heartfelt, emotional series that never makes it past my algorithm, but enough people dig it that it's coming back for a fourth season. In season 4, The Magnolias' world is shaken and their bonds are tested by a town tragedy and a destructive storm. I don't know for sure, but I have a feeling that love and hope will ultimately save the dayit seems like that kind of program. Starts streaming February 6.The re Murders (Season 1) I'm not sure why icy Northern European nations make such great neo-noire murder series, but I'm glad they do. Swedish Netflix original The re Murders tells the story of one of Stockholm's finest, officer Hanna Ahlander, whose vacation at a ski resort in re is interrupted by a missing person case. A young woman has disappeared, and the understaffed local cops need Ahlander's skills to solve the mystery, but can they trust her enough to work together?Starts streaming February 6.Surviving Black Hawk Down This Netflix original documentary series tells the story of the Battle of Mogadishu made famous in Black Hawk Down. Speaking of, both that film and Surviving Black Hawk Down. were produced by Ridley Scott, who gathered survivors of the incident on both sides to tell the story of the harrowing day when two American helicopters were shot down in Somalia. If you like true-life war stories, don't miss it.Starts streaming February 10.The Witcher: Sirens of the Deep It's probably going to be more than a year until a new Witcher game comes out, but in the meantime, check out The Witcher: Sirens of the Deep, a feature-length anime movie that continues the adventures of the famous monster hunter Geralt. Based on one of the original Witcher stories, Sirens of the Deep finds Geralt at a seaside village, investigating a series of attacks. At the risk of spoiling the story, there are monsters bedeviling the townmerpeople, mankind's ancient, soggy enemy. Starts streaming February 11.Cobra Kai, season 6 part 3This is it: the end of the Cobra Kai saga that began back in 1984 with The Karate Kid. (But since Cobra Kai never dies, it might not actually be the end.) The new version of the Karate Kid story takes place in a weird alternative universe version of the San Fernando Valley where everyone's life revolves around youth karate, and literally everyone remembers the All Valley championship of 1984. Cobra Kai's mix of campy, "remember the 80s?" nostalgia, fighting, and over-amped teen drama shouldn't be as entertaining as it is. Starts streaming February 13.Resident Alien, season 3 I don't feel like Resident Alien gets enough love. The quirky, inventive comedy sci-fi series is entering its third season, and the first two were awesome. The titular alien, played by Alan Tudyk, is no longer on a quest to destroy all mankind. With the gray aliens on the way to end humanity, Harry (or more accurately, the alien wearing Harry's skin) now wants to save the earth and thwart the invasion, all while trying to navigate the weird culture of people without blowing his cover.Starts streaming February 13. Love is Blind, season 8 It's been five years since Love is Blind launched, and to mark the anniversary, Netflix is releasing a new season of the romance-based reality show. Season 8 is set in Minneapolis and finds another crop of singles agreeing to meet and date romantic partnersand potentially get engagedwithout ever seeing each other. As a life choice, waiting until the wedding to lay eyes on your fiancee seems unwise, but as a television diversion, it's top notch.Starts streaming February 14.Running Point Kate Hudson stars in this basketball-based comedy series created by the always inventive Mindy Kaling. Hudson plays Isla Gordon whose family owns storied Los Angeles basketball team, the LA Waves. When her brother is forced to step down as president, Isla takes over, setting up a classic culture-clash of a woman entering a massively male-dominated space. Will she win over skeptical players, fans, investors, and her own brothers? I'd bet on "yes," now that sports betting is allowed in the U.S. Starts streaming February 27.

Ive been wondering why everyone seems so hyped on Clair Obscur: Expedition 33. Its the debut game from Sandfall Interactive, an independent French studio with fewer than 30 employees, and its attracted massive partnerships in video games and film over the past five years. Expedition 33 has a high-profile cast of voice actors, including Andy Serkis, Charlie Cox, Shala Nyx and Jennifer English. Itreceived an Epic MegaGrant in 2022, it was picked up by Pacific Drive publisher Kepler Interactive in 2023, and it was a tentpole of Xboxs first showcase of 2025. Even though the game isnt out until April, Story Kitchen has already signed on to turn it into a live-action film. At the very least, Expedition 33 has seemed like an easy game to fall in love with. After playing just over three hours of Expedition 33, I understand all of it the hype, the quick love and the quiet excitement generated by the games writing, acting, world and mechanics. Expedition 33 is innovative and absolutely stunning. Expedition 33 feels like a prestige drama set in a surreal, slightly gothic 3D landscape. Tonally its drenched in melodrama, and visually its reminiscent of Game of Thrones, but with Belle poque stylings and mountains of diabolical magic. The realm of Lumire has been consumed by a powerful being called the Paintress she paints a new number on the tower each year and all people of that age instantly die. Shes been counting down for more than half a century, killing the oldest citizens first, and shes just painted the number 33. The people of Lumire send out annual expeditions to stop the Paintress, but so far, theyve all been met with death. The heroes of expedition 33 have one year to live. When we meet Gustave in the preview, things arent going well for expedition 33. His party has been ambushed by a mysterious white-haired man someone so old that he shouldnt be able to exist in this world and Gustave is alone. Gustave has a magical robot arm and a very French moustache, and he sets off through lush forests and dark, wet caves to track down other survivors. He does find some, but only after he nearly kills himself in despair. Lune, a strong-willed and scholarly mage, appears just in time to save Gustave from himself, and together they meet up with Maelle, Gustaves introverted but powerful foster sister. Sandfall Interactive Your party supports six playable characters in the full game, but the preview focuses on these three. The prestige-drama vibes stem from their interactions, and particularly their personality clashes. In one cutscene, Lune and Gustave find themselves sitting around a campfire on a starry night, screaming at each other about the ethics of utilitarianism. Between tirades, Gustave screams, Fuck the mission! Eventually their intensity subsides and the conversation returns to a tentatively amicable space. At the end of the scene, the shot pans to Lune, who smirks and says, Fuck the mission? Really? Gustave sheepishly responds, Sorry. And suddenly, Im deeply invested in the relationship between Lune and Gustave, but also Maelle and all of the friends theyve come to save. It doesnt hurt that these cutscenes are truly gorgeous, with realistic skin textures and dirt smudges in close-up shots, and beautiful performances by all actors. From cutscenes to combat, Expedition 33 is radiant. Sandfall Interactive Environments in the preview grow more surreal as Gustave, Lune and Maelle travel closer to the Paintress, whos hidden herself across deep seas and expansive land masses. They travel through raw areas shattered by magic, boulders hovering in mid-air and ornate buildings haphazardly embedded in odd places, broken and inhospitable. Anthropomorphized rock enemies roam the lands and there are bits of chroma currency, essentially to find, and some upgrades hidden off the linear path. Were not talking Avowed levels of shinies, but a minimal sense of curiosity is definitely rewarded. When exploring, you can swap among party members without breaking stride, and Lune emerged as my clear favorite. Instead of running, Lune speed-hovers a few inches above the ground, and embodying her is like soaring through a dream. Running (or hovering really fast) feels great in the game, and so does the grapple system that flings you across gaps and up buildings. There are also climbable handholds and ropes of light that act as elevators, and all of it works a treat. The games dreamlike feeling only crystallizes in Flying Waters, a region that looks and behaves as if its at the bottom of the ocean bubbles, shipwrecks, whales and all but without a drop of water to be found. You breathe, walk, run and jump as normal here, but there are schools of fish swimming through the air and the waterline is visible high above you. Its wonderfully trippy. I could spend the rest of this preview just gushing about Expedition 33s fabulous environments, characters and enemies, or its top-notch writing, music and graphics but lets talk combat. Sandfall Interactive Expedition 33 is a turn-based game with clear JRPG influences, but it adds a twist to the traditional battle system: quick-time prompts. Your party members have the ability to use an item, deploy a specific skill, or plain-old attack, plus they have a Free Aim move that can snipe enemy weak points before a full strike. There are elemental weapons to equip and upgrade, and each character runs on a distinct battle mechanic. Gustave has an overcharge system that powers up his robot arm for a special move, Lune uses elemental stains to stack specific damage, and Maelle switches among three fencing stances. Balancing healing, buffs, defensive moves and attacks is a delicate dance in Expedition 33, and the preview really started to sing once I had all three members nicely leveled up, kitted out and slinging various types of elemental damage. Unlike traditional turn-based play, there are real-time prompts embedded in your skill attacks, and executing these delivers bonus damage and effects. The Final Fantasy series has toyed with this idea to mixed success, but in Expedition 33 its a critical, finely tuned system, and I love the tension it creates. Quick-time elements infuse the familiar turn-based loop with a twitchy kind of clarity, adding a few extra dopamine hits to the classic press-and-wait rhythm. Each QTE prompt is tricky without being punishing, and its not just offensive moves that get the real-time treatment. Dodging, parrying and jumping are essential skills in Expedition 33, and these mechanics demand your attention with every enemy turn. In short, no, you wont be able to set the controller down during combat in Expedition 33. And, yes, Im totally here for it. Sandfall Interactive Maybe its because each character strikes a dramatic pose whenever its their turn, but combat has a distinct Persona flair (and this is a great thing in my book). Meanwhile, the games soundtrack has echoes of Nier: Automata and Tetris: Effect, and altogether, even boss battles can be a bit of an emotional experience. In the interest of keeping this preview under 3,000 words, Im not going to get into the specifics of upgrade trees and resource types, but I will say that I found these systems to be purposeful and responsive. I was pleased with how often my party leveled up, there were ample traits to tweak for each character, and the effects of my stat manipulation were immediately apparent in combat. Rest assured, Expedition 33 is an RPG. Though this is just based on a preview, Expedition 33 seems incredibly polished. Not only does it play seamlessly on a macro level, but it also gets the smallest details right, including voice-acted memories, haptic feedback that kicks in when a grapple point is in range, an opaque text box thats both readable and seamlessly integrated into every scene, and the ability to put a rose in Gustaves hair, even in cutscenes. The entire preview is impressive. Sandfall Interactive That said, I wonder whether Expedition 33 is too impressive, technically speaking. I played the preview at a stable 1080p/60 on a gaming PC with an RTX 4070 Super, and I didnt encounter any issues, but locking to 60 fps at 1440p was beyond my setup. This feels like a game thats going to break a lot of hearts and PC parts. And its not just PC Im curious to see how Expedition 33 will run on any console that isnt a PlayStation 5 Pro. But, thats a consideration for review time. The preview for Expedition 33 illuminates why Sandfall Interactive has received so much pre-launch attention and support. Expedition 33 is composed of beautiful contradictions: Its a JRPG but it comes from a Western studio. Its a fantasy RPG built outside the restrictions of Dungeons & Dragons rulesets. Is an indie game that looks, sounds and feels AAA. Most of all, Expedition 33 is refreshing. Expedition 33 is due to hit PC, PlayStation 5 and Xbox Series X/S on April 24. This article originally appeared on Engadget at https://www.engadget.com/gaming/clair-obscur-expedition-33-preview-stunning-visuals-innovative-combat-prime-melodrama-140052194.html?src=rss

Windows drivers and software apparently used in zero-day attacks, including ransomware.

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Cryptocurrencies rallied over the weekend after President Donald Trump teased new details about the highly anticipated strategic bitcoin reserve.

Red Robin Gourmet Burgers is looking to close up to 70 underperforming locations, representing about 14% of the 498restaurants that were operating as of the end of last year. The company has already closed one restaurant upon lease expiration, it said in an earnings release last week, and it plans to close three additional locations within the first quarter of 2025. Most of the 70 locations are likely to close at some point in the next five years once their leases expire, Restaurant Dive reported, with as many as 15 closing this year.This decision follows a review of the companys operations, which revealed that these sites are not meeting performance expectations.Red Robin reported a net loss of $39.7 million in the fourth quarter of fiscal 2024, a sharp decline compared to the $13.7 million loss reported in the same period of 2023. Despite this, the company reported a 19% increase in adjusted EBITDA, reflecting the success of its cost-saving measures.Highlights for Q4 and full-year 2024Total revenues of $1.25 billion for the year, down from $1.3 billion in 2023. Q4 revenues were $285.2 million, down $23.8 million due to one fewer operating week.Comparable restaurant revenue decreased 1.2% for the year, but increased 3.4% in Q4 (1.8% including deferred loyalty revenue impact).Net loss of $77.5 million for the year, compared to a net loss of $21.2 million in 2023. Q4 net loss was $39.7 million, impacted by $32.4 million in impairment and closure costs.Adjusted EBITDA of $38.8 million for the year, down 43.7%, with a 19% increase in Q4 to $12.7 million.Lingering optimismWhile the closures mark a difficult chapter for the company, Red Robins leadership believes the actions taken will better position it for future growth and profitability. CEO G.J. Hart highlighted the significant improvements in customer traffic, with a 600-basis-point improvement from the first to the fourth quarter. The company is focusing on bringing guests back into restaurants with its North Star plan, which aims to boost guest experience and operational efficiency.Red Robin has restaurants in 39 U.S. states and one Canadian province, with its largest presence in California, Washington State, and Colorado. In closing underperforming locations, it would join a growing list of dining chains including Dennys, Wendys, TGI Fridays, and several others that have moved to reduce their footprint in recent months. Shares of Red Robin stock (Nasdaq: RRGB) are down almost 24% in the last 12 months.

Crews battled wildfires in North and South Carolina on Sunday amid dry conditions and gusty winds as residents were forced to evacuate in some areas.The National Weather Service warned of increased fire danger in the region due to a combination of critically dry fuels and very low relative humidity.In South Carolina, where more than 175 fires burned 6.6 square miles (17 square kilometers), Gov. Henry McMaster declared a state of emergency on Sunday to support the wildfire response effort, and a statewide burning ban remained in effect.Crews made progress containing a fire in the Carolina Forest area west of the coastal resort city of Myrtle Beach, where residents had been ordered to evacuate several neighborhoods, according to Horry County Fire Rescue. Video showed some people running down the street as smoke filled the sky. But by late Sunday afternoon, the fire department announced that Carolina Forest evacuees could return home.The South Carolina Forestry Commission estimated Sunday evening that the blaze had burned 2.5 square miles (6.5 square kilometers) with 30 percent of it contained. No structures had succumbed to the blaze and no injuries had been reported as of Sunday morning, officials said.In North Carolina, the U.S. Forest Service said fire crews were working to contain multiple wildfires burning in four forests across the state on Sunday. The largest, about 400 acres (162 hectares), was at Uwharrie National Forest, about 50 miles (80.47 kilometers) east of Charlotte. The Forest Service said Sunday afternoon that it had made progress on the fire, reaching about one-third containment.The small southwestern town of Tryon in Polk County, North Carolina, urged some residents to evacuate Saturday as a fire spread rapidly there. The evacuations remained in effect Sunday. A decision on whether to lift them was expected to be made Monday after intentional burns are set to try to stop the fire from spreading.That fire has burned about 500 acres (202 hectares) as of late Sunday, with zero percent containment, according to the Polk County Emergency Management/Fire Marshals office. The North Carolina Forest Service was conducting water drops and back-burning operations on the ground, and area residents should expect a lot of smoke during those operations, officials said.Officials have not said what caused any of the fires.