Looker_Studio - stock.adobe.com News Analysis of job vacancies shows earnings boost for AI skills Even when parts of a job are being automated, those who know how to work with artificial intelligence tools can expect higher salaries By Cliff Saran, Managing Editor Published: 03 Jun 2025 7:00 UK workers with skills in artificial intelligence (AI) appear to earn 11% more on average, even in sectors where AI is automating parts of their existing job functions. Workers in sectors exposed to AI, where the technology can be deployed for some tasks, are more productive and command higher salaries, according to PwC’s 2025 Global AI Jobs Barometer. The study, which was based on an analysis of almost one billion job adverts, found that wages are rising twice as fast in industries most exposed to AI. From a skills perspective, PwC reported that AI is changing the skills required of job applicants. According to PwC, to succeed in the workplace, candidates are more likely to need experience in using AI tools and the ability to demonstrate critical thinking and collaboration. Phillippa O’Connor, chief people officer at PwC UK, noted that while degrees are still important for many jobs, a reduction in degree requirements suggests employers are looking at a broader range of measures to assess skills and potential. In occupations most exposed to AI, PwC noted that the skills sought by employers are changing 59% faster than in occupations least exposed to AI. “AI is reshaping the jobs market – lowering barriers to entry in some areas, while raising the bar on the skills required in others,” O’Connor added. Those with the right AI skills are being rewarded with higher salaries. In fact, PwC found that wages are growing twice as fast in AI-exposed industries. This includes jobs that are classed as “automatable”, which means they contain some tasks that can readily be automated. The highest premiums are attached to occupations requiring AI skills, with an average premium in 2024 of 11% for UK workers in these roles.   AI is reshaping the jobs market – lowering barriers to entry in some areas, while raising the bar on the skills required in others Phillippa O’Connor PwC UK PwC’s analysis shows that sectors exposed to AI experience three times higher growth in the revenue generated by each employee. It also reported that growth in revenue per employee for AI-exposed industries surged when large language models (LLMs) such as generative AI (GenAI) became mainstream. Revenue growth per employee has nearly quadrupled in industries most exposed to AI, such as software, rising from 7% between 2018 and 2022, to 27% between 2018 and 2024. In contrast, revenue growth per employee in industries least exposed to AI, such as mining and hospitality, fell slightly, from 10% between 2018 and 2022, to 9% between 2018 and 2024. However, since 2018, job postings for occupations with greater exposure to AI have grown at a slower pace than those with lower exposure – and this gap is widening. Umang Paw, chief technology officer (CTO) at PwC UK, said: “There are still many unknowns about AI’s potential. AI can provide stardust to those ready to adapt, but risks leaving others behind.” Paw believes there needs to be a concerted effort to expand access to technology and training to ensure the benefits of AI are widely shared. “In the intelligence age, the fusion of AI with technologies like real-time data analytics – and businesses broadening their products and services – will create new industries and fresh job opportunities,” Paw added. Read more about AI skills AWS addresses the skills barrier holding back enterprises: The AWS Summit in London saw the public cloud giant appoint itself to take on the task of skilling up hundreds of thousands of UK people in using AI technologies. Could generative AI help to fill the skills gap in engineering: The role of artificial intelligence and machine learning in society continues to be hotly debated as the tools promise to revolutionise our lives, but how will they affect the engineering sector? In The Current Issue: UK government outlines plan to surveil migrants with eVisa data Why we must reform the Computer Misuse Act: A cyber pro speaks out Download Current Issue What to expect from Aera Technology AeraHUB 25 – CW Developer Network NTT IOWN all-photonics ‘saves Princess Miku’ from dragon – CW Developer Network View All Blogs

Xando Member Oct 28, 2017 38,006 With the launch of Call of Duty Season 4, Activision quietly put adverts inside loadouts for Black Ops 6 and Warzone, sparking a backlash in the process. Activision already has a bad reputation for the aggressive monetization of the premium Black Ops 6 and its free-to-play battle royale Warzone, but this latest move may have tipped some players over the edge. Following the launch of Season 4, adverts for weapon bundles can be seen in the build and weapon menus. These are unavoidable for players as they tinker with their loadouts. Elsewhere, Activision has added bundle and Battle Pass advertisements to the Events tab, another controversial change that has caused complaints. Here's a snippet of the response, sourced from across Call of Duty subreddits, Discords, and social media: I wouldn't even be mad if this was just in Warzone, a free game, but putting it in a pay-to-play premium title, with how expensive they're getting? F**k off. This game is still 80€ I get that they make most of their money from the store, but I feel like the bare minimum for a premium product would be to not have ads clogging the menus right? At this point it really feels like opening up a mobile game with how much more you see an option to buy anything in this game. Anyone who wanted this bundle would've checked the store and bought it. Putting it here isn't gonna make more people buy it, its justannoying. Just wait until they add pop up ads for bundles while you are playing the game. Click to expand... Click to shrink... More including some examples here: Activision Quietly Force Adverts into Call of Duty Black Ops 6 and Warzone Loadouts and Players Absolutely Hate It: 'At This Point It Really Feels Like Opening Up a Mobile Game' - IGN With the launch of Call of Duty Season 4, Activision quietly put adverts inside loadouts for Black Ops 6 and Warzone, sparking a backlash in the process. www.ign.com   Gaspode Member Jan 17, 2025 152 gross   MarcosBrXD Member Aug 28, 2024 1,779 Crazy one of the biggest IPs doing this   Wallace Member Oct 25, 2017 28,182 Midwest What a shit franchise.   Shirkelton Member Aug 20, 2020 6,976 Fuck that.   MinerArcaniner Uncle Works at Nintendo Member Oct 29, 2017 7,473 The revenue line has to keep going up. There's no such thing as "enough" with corporations.   Kinthey Avenger Oct 27, 2017 25,551 Poor Cod really needs the money to keep the lights on   skullmuffins Member Oct 25, 2017 7,615 oh, ads for in-game microtransactions. guess i'm not surprised. that's where all the money is these days.   Remark Member Oct 27, 2017 4,184 Yeah the ads are so bad this season. When you boot up the game in CoD HQ, theres a big ass button for Blackcell and BO6 and WZ are all the way on the right side of the menu. It's so annoying. Huge disrespect to the people who actually bought the game. I wish CoD HQ would go away, it doesn't even actually help with anything and actually hampers the UX experience in a lot of ways especially on PC.  Last edited: Today at 10:14 AM LiquidDom Avenger Oct 27, 2017 2,730 Wait it's just ads for the in-game purchases? Not outside ads that have nothing to do with the game? I don't have that much of an issue with it, still shit though.  Richietto One Winged Slayer Member Oct 25, 2017 26,147 North Carolina Lmao what a joke   Loxley Prophet of Truth Member Oct 25, 2017 10,702 We're inching closer and closer to this scene from Ready Player One. "We estimate we can sell up to 80% of an individual's visual field before inducing seizures" View: https://youtu.be/KpPE85Jogjw?si=Di0mlmiF27KidwWs  Fabs Member Aug 22, 2019 2,780 This doesn't seem that different than like Fortnite advertising the shop updates in the main menu. It's fairly harmless.   Noisepurge Corrupted by Vengeance Member Oct 25, 2017 9,775 Fabs said: This doesn't seem that different than like Fortnite advertising the shop updates in the main menu. It's fairly harmless. Click to expand... Click to shrink... Fortnite doesn't cost 80$  OP OP Xando Member Oct 28, 2017 38,006 LiquidDom said: Wait it's just ads for the in-game purchases? Not outside ads that have nothing to do with the game? I don't have that much of an issue with it, still shit though. Click to expand... Click to shrink... Considering half of the in-game purchases are basically ads for some brands or characters that have nothing to do with COD it's basically the same thing   Remark Member Oct 27, 2017 4,184 Noisepurge said: Fortnite doesn't cost 80$ Click to expand... Click to shrink... To be fair, Warzone is F2P but that shit should be in there. Whether you buy the game or not, you have to go through CoD HQ which is so annoying.   Doskoi Panda One Winged Slayer Member Oct 27, 2017 17,314 CoD is so fucking trashy lmao. I will never understand how it remains so popular. It just gets worse year over yesr, even Warzone.   SunBroDave "This guy are sick" Member Oct 25, 2017 15,148 How else is COD supposed to make money   Decarb Member Oct 27, 2017 9,264 Fabs said: This doesn't seem that different than like Fortnite advertising the shop updates in the main menu. It's fairly harmless. Click to expand... Click to shrink... Not only is it in a full priced mode, but its also in the weapon customization menu where you least expect it.   Agni Kai Member Nov 2, 2017 10,037 Only Battlefield 6 can save us now. Hold the line, my friends. Hold the line.   jroc74 Member Oct 27, 2017 34,177 Yeah I dont think it needs to be this aggressive. LiquidDom said: Wait it's just ads for the in-game purchases? Not outside ads that have nothing to do with the game? I don't have that much of an issue with it, still shit though. Click to expand... Click to shrink... Fabs said: This doesn't seem that different than like Fortnite advertising the shop updates in the main menu. It's fairly harmless. Click to expand... Click to shrink... While trying to play the game tho? "Following the launch of Season 4, adverts for weapon bundles can be seen in the build and weapon menus. These are unavoidable for players as they tinker with their loadouts." Imagine getting hit with Shark Card ads while browsing the in game stores in GTA Online....please Rockstar dont do this. Noisepurge said: Fortnite doesn't cost 80$ Click to expand... Click to shrink... Also this.  BradleyLove Member Oct 29, 2017 1,661 Doesn't surprise me. I bought Forza Horizon for PS5 a few days ago and was shocked to encounter unskippable ads for DLC. The American obsession with forcing ads everywhere they can is horrible. This reply was brought to you by NEW Mountain Dew—new look, same bold refreshing flavour.  TransEuropaExpress Member Dec 6, 2017 11,420 US They should go all in and start doing random 5-minute commercial breaks in the middle of rounds.   Pyro God help us the mods are making weekend threads Member Jul 30, 2018 18,922 United States Really fucking gross.   Vourlis Member Aug 14, 2022 5,911 United States I...where are the ads? edit: Oh like advertising the bundles or whatever. Okay.  jroc74 Member Oct 27, 2017 34,177 BradleyLove said: Doesn't surprise me. I bought Forza Horizon for PS5 a few days ago and was shocked to encounter unskippable ads for DLC. The American obsession with forcing ads everywhere they can is horrible. This reply was brought to you by NEW Mountain Dew—new look, same bold refreshing flavour. Click to expand... Click to shrink... I either forgot how it was or just didnt know, because I played it on XSX when it launched. But I was and am shocked at the mtx in FH5.  shadowman16 Member Oct 25, 2017 41,804 I feel like this has already become too normalised because I honestly assumed we were talking about unrelated product ads... Meanwhile the examples above... honestly I kinda expected. Granted the article also points it out perfectly that if it were just in Warzone (free) it'd be... less bad, but charging however much for COD THEN pushing those ads on you... you just know people will crack. Not the worst example of ads in games though, I still give that to SFVI's Turtles costumes, aside the cost, having that damn song playing constantly in the battle hub for month(s) on end drove me nuts at the time.  Papaya The Fallen Oct 25, 2017 2,735 California The financial model for CoD is awful and lacks any sort of creativity. They just copied fortnite even though it doesn't work for a military shooter. They rarely release any good content because it either doesn't match the game's tone, or it sucks. It just doesn't lend itself well to skins, and other visual customization options. Or maybe they just don't know how to make good. Either way, I've never seen a more boring battlepass in my life. CoD can be a super fun action game, but it's never felt more hollow and lifeless. The best counter-example to "games are art" I've ever seen.  BestBrand Member Mar 5, 2025 457 Call of duty is the worst man. I may not even buy another COD again.   MerluzaSamus Member Dec 3, 2018 1,471 Argentina Agni Kai said: Only Battlefield 6 can save us now. Hold the line, my friends. Hold the line. Click to expand... Click to shrink... The game published by EA to gather obscene money on the fps market? That one Battlefield? Jokes aside, 'fraid this is going to be the norm long term, Fortnite normalized it and publishers with less restraint are going wild, same with AI. At least on the AAA market.  Lumination Member Oct 26, 2017 16,064 Who could have expected them giving the game away would have affected the revenue stream and business model of the game itself.   Geeko Member Oct 27, 2017 1,413 San Jose, CA Lame as hell. The problem is that the masses won't care about it and will still spend crap tons of money on this game thus continuing this constant bombardment of ads.   shadowman16 Member Oct 25, 2017 41,804 Agni Kai said: Only Battlefield 6 can save us now. Hold the line, my friends. Hold the line. Click to expand... Click to shrink... Gameplay wise, Hopefully Dice will take the time and make something truly special. However... I wouldnt expect much better from EA of all publishers. They are every bit as summy...  OP OP Xando Member Oct 28, 2017 38,006 My guess is this is only going to get worse as MS tries to make up the lost revenue from people playing via GP instead of buying   SP. Member Oct 27, 2017 8,578 I guess I thought it would be worse than the reaction seems to suggest… They're in-game micro transaction ads and for the most are for weapon skins which naturally don't seem that out of place in a weapon selection menu. It's not like they're advertising a Burger King Whopper in here. Obviously it'd be better if they weren't there at all but honestly if I played the game and saw these I wouldn't think it's anything out of the ordinary.  Ravelle Member Oct 31, 2017 20,432 Noisepurge said: Fortnite doesn't cost 80$ Click to expand... Click to shrink... It doesn't spam you with multiple windows to buy something either  Rosebud Two Pieces Member Apr 16, 2018 51,386 Wallace said: What a shit franchise. Click to expand... Click to shrink... .   Kyokanto Member Mar 4, 2025 493 For a second I thought this was going to be McDonald's ads or something lol. I wonder how far off that is… Still scummy as is.  Pop-O-Matic Avenger Oct 25, 2017 14,007 MarcosBrXD said: Crazy one of the biggest IPs doing this Click to expand... Click to shrink... Not really. CoD might move more money than most of the rest of the industry put together, but capitalism (especially at publicly traded mega corps like MS and ActiBlizz before them) demands that the line must always be going up, and there isn't really much CoD can do to grow the player base in any significant way in the short-to-medium term, so they're going to start trying out shit like this to get even more money out of the existing players so the line goes up and the shareholders can be happy.   Fabs Member Aug 22, 2019 2,780 Noisepurge said: Fortnite doesn't cost 80$ Click to expand... Click to shrink... Decarb said: Not only is it in a full priced mode, but its also in the weapon customization menu where you least expect it. Click to expand... Click to shrink... jroc74 said: Yeah I dont think it needs to be this aggressive. While trying to play the game tho? "Following the launch of Season 4, adverts for weapon bundles can be seen in the build and weapon menus. These are unavoidable for players as they tinker with their loadouts." Imagine getting hit with Shark Card ads while browsing the in game stores in GTA Online....please Rockstar dont do this. Also this. Click to expand... Click to shrink... Full priced games advertise their dlc in menus all the time. Is it because it's in a new place? Is this that different than having the paid operators in the menu for selection like they have in past CoD? Or when I play Street Fighter and I can't pick Akuma because he costs money? I get it if it was for McDonalds but this seems like rage bait.  Plexas Member Jan 24, 2025 289 Several trillion dollar company needs some money to survive, please understand.   Twister Member Feb 11, 2019 6,692 This franchise peaked with BO3. Everything after has been a disaster   Vertigo1 Member Jun 30, 2023 1,093 CoD will never be as good as it was in the 360 era, ever again.   Sordid Plebeian Member Oct 26, 2017 19,955 Yeah I remember seeing that AI store slop when I booted up S4, and they wonder why they're driving players away   Tommy Showbiz Member Jul 20, 2022 3,727 This is pretty corny, but I was honestly expecting ads for like Dr. Squatch and not just prodding you to buy in-game bundles.   Apathy Member Oct 25, 2017 13,538 So the biggest game, created by the biggest publisher, paced by the riches company in the world needs to slide ads into their paid games. Lovely   DarkJ Member Nov 11, 2017 1,918 Ai slop? Ads in the menus? In a fully priced game? Really just making sure I don't even look at the next game.  T88heon Member Aug 26, 2024 1,042 This is a profitability issue coupled with horrendous stewardship of the ip. If the retail side was profitable would they need to stealthily run ads in "COD" of all ip? 😬  DSync Member Oct 27, 2017 884 Black Ops 6 in 2025 after the most recent update for Season 4 > £70 for the base game > £100 for the "Vault Editon" > £50/60 for a year of PS Plus to play the game online > £10 for the Battlepass > £15 for the Battlepass plus tier skips > £25 for the "Blackcell" Battlepass > Free and Premium (Costs money) Battlepasses for the Seth Rogan Operator Weed event > £16-25 Weapon and Operator bundles > AI art in the emblems, calling cards, posters in certain levels > Ads for bundles in creating a Loadout > Server instability issues > Whole game crashes to desktop/homescreen when editing your loadout during a match > UI Menu lagging > Cheaters, hackers run rampant > Store will 100% work no matter what (Prices for everything may not be exact)  Pai Pai Master Member Oct 25, 2017 37,298 Atlanta GA AI crap and ads, yet people will still buy this shit in record numbers every year  

GTA: Vice City Stories was originally released on PSP (Rockstar Games) The Monday letters page is sceptical about third party support for Nintendo Switch 2, as one reader enjoys his time with Doom: The Dark Ages. To join in with the discussions yourself email gamecentral@metro.co.uk Second story I think it’s obvious that GTA 6 is never, and could never, come to Nintendo Switch 2, but what do we think of the chances of there being a spin-off? There was Chinatown Wars, which was originally exclusive to DS, but there was also Liberty City Stories and Vice City Stories, which I think would be a better template for the Switch 2.They could make a new one set in modern Vice City and make it a prequel to the main game. The graphics wouldn’t be as good, and the map smaller, but since it wouldn’t literally be trying to be the same game as GTA 6 I think there pressure would be off to be as good as it. It could do some things that GTA 6 probably won’t too, like maybe co-op using the Joy-Cons and touchscreen controls. If Rockstar wanted to, I’m sure they can make a good job of it. It just depends if they feel they have the time and if Nintendo are willing to foot enough of the bill to help.Anders Kojima clone Does anyone else feel that Hideo Kojima has become a parody of himself? I read that stuff about the game character forgetting stuff if you didn’t play it for a while and it reminded me of the PeterMolydeux parody account. Had a look at it for the first time in a while and lo and behold it had quoted the Kojima idea! When you’re being compared to Peter Molyneux’s crazy, impractical, stream of consciousness ideas, I don’t think that’s a good thing.At first, I was surprised Kojima was making Death Stranding 2, because it didn’t seem to need a sequel, but then I realised just how long he was stuck making Metal Gear games, long after the series had peaked. I don’t think he knows how to move on, but I guess he thinks it’s easier to get some of his wackier ideas made if he makes them part of an existing franchise. Maybe there’s some wisdom in that though. I find a lot of things about Kojima frustrating, but you can’t criticise someone for doing what they love.Benson Block and parry RE: Simundo. Was enjoying Nine Sols massively… until I reached a Sol, about number six? So the Sols (bosses) had started having two phases to their fights, then there’s ‘her’ who has three phases; she makes clones, so first there’s two others, then there’s five of her, then there’s seven, and you gotta parry or dodge them all, while looking for visual clues as to which one to attack, in about a millionth of a second. Get it wrong and you will be punished harshly!I got to phase three a couple of times, but could never finish her, so that was that bye bye Nine Sols and hello whatever replaced you. Now playing Clair Obscur… and also parrying everything in sight.big boy bent Email your comments to: gamecentral@metro.co.uk Preferred formatRE: Panda. I can understand the benefits of digital games. I myself have been buying more but the shop bought games have so much more. It’s not only about the sell on bit, but there are other benefits as well. Wasn’t too long ago PlayStation went down and no one could play their digital games, no matter what it was. Soon as the network goes down that’s it, you can’t play. Also, at this moment, I’m waiting for the new Assassin’s Creed to drop in price, not because I’m tight but I’m fed up with buying a game at £70 and two months later on the store it’s half price. It’s £70 at the moment on the PlayStation Store. If I bought it on disc it’s £57.99, a saving of around £18. Factor in if I want to sell it on once I have done with it, which is even more of a saving. As for game sharing, how long is that really going to last before that is stopped? One little update and game sharing is over. Also, buying a digital games also has its ups: the game never breaks, you can download it as much as you like. Digital games do have benefits but for me physical games have so much more.David Downward trend I’m going back through all the Halo games at the moment, as it’s my favourite franchise and the games are all great. I don’t mind Halo 4, even though it gets lots of hate but Halo 5 is really bad. They had that cut scene at the start of Halo 2 Anniversary, with Locke and the Arbiter, and they had those great ‘hunt’ adverts with Chief and Locke, and then we got Halo 5 which was basically rubbish.I don’t know how they messed it all up so much and I’m expecting bad things from the remake of Halo 1.Simon Spoiling a good thing I know this is a terrible thing to feel but I’m currently experiencing feeling of schadenfreude directed towards Sony and their live service plans. While I understand there are thousands of hardworking people labouring away so that companies like Sony might find a pot of gold at the end of the rainbow, I’m personally delighted when gamers reject them. How many times do they need to hear we don’t need more live service games? Nobody wants them!The thing I can’t ever wrap my head around is Sony basically had it figured out with the PlayStation 4 – keep making big budget/iconic single-player games and let the rest of their gaming library be filled in by others. It was such a simple way to act but it worked. Now we all have to put up with constant negativity around ridiculous sounding games and the fallout from the inevitable redundancies associated with their failure. I just don’t know how any of these CEO types keep their jobs while the people forced to work on them lose out. One last point regarding Jade Raymond, a person I’ve been vaguely aware off since Assassin’s Creed’s early days – this woman seems to be the kiss of death for any game. The only time I ever hear about her it’s because she’s walked out on another company or been associated with a terrible game. Let’s be honest, the original Assassin’s Creed game was pretty poor, even back then. Seems to be some people can only fail upwards in the world of gaming. Lucky them.Chris GC: The unfortunate truth is that Sony isn’t making live service games for gamers, they’re making them for investors, to appeal to their all or nothing mentality. Carrying on I’d write a long review of the new Doom game but I’m too busy killing demons and, occasionally, dying myself. But I’d just like to say so far the game has been amazing.To play this free on Game Pass makes me wonder how Microsoft messed this up so badly. They should have sold a billion Xbox Series S or X consoles. Keep up the good work.Manic miner 100 (gamertag) GC: Thanks, although Doom has always been a multiformat series. No matter what had happened, Microsoft would’ve been heavily criticised for making The Dark Ages an exclusive. No switch expected Interesting take from those analysts, about the Switch 2 becoming the dominant third party platform. While that would be great if we’re making an effort to deescalate the ever-increasing budgets and development times for triple-A games… I have to say I’m not sure what evidence they’re looking at for this?The Switch 2 likely occupies a similar spot versus the PlayStation 5 as the original console did when up against the PlayStation 4, in terms of power and performance. The Switch also had a steady stream of Xbox 360 and PlayStation 3 ports to the device, ports you might say are the equivalent of putting PlayStation 4 games on the Switch 2. Also, the Switch sold 150 million units, many more than the Xbox One or PlayStation 4. A huge install base for third party developers to tap into. However, we never saw any major third parties prioritise Switch triple-A development, even out of Japan all we got was Monster Hunter Rise from Capcom. Why was this? The answer seems to be in the sales figures for the ports that were brought over, the list of million+ sellers on Switch is mostly (if not all) Nintendo titles. Historically, Nintendo machines play by their own rules and so do their buyers. They pick up first parties and the odd zeitgeisty cheap indie and call it a day. The price of these old and inferior ports is certainly one reason (they’re having a laugh with Yakuza 0 at launch) but even beyond the cost I just don’t think a lot of Nintendo gamers are into third party games, certainly not at the scale needed where they shift 5 to 10 million copies to make it worth prioritising development for. The numbers seem to bear that out. I expect Switch 2 support to be better, since now the Switch is a proven concept. But if 150 million Switches can’t persuade publishers to prioritise Nintendo, due to the demographic of those buyers, then in the end the Switch 2 will be no different.Marc Inbox also-rans Am I the only one that just isn’t enjoying Blue Prince all that much? It’s quite clever but also kind of boring. I never liked roguelikes, I shouldn’t have believed the reviews.LombardI feel like Devil May Cry is turning into Capcom’s Castlevania. It has its own animated show and lots of people talk about it, but it hasn’t had a new game in soooo long and there’s not even hints at it yet.Kalibak More Trending Email your comments to: gamecentral@metro.co.uk The small printNew Inbox updates appear every weekday morning, with special Hot Topic Inboxes at the weekend. Readers’ letters are used on merit and may be edited for length and content. You can also submit your own 500 to 600-word Reader’s Feature at any time via email or our Submit Stuff page, which if used will be shown in the next available weekend slot. You can also leave your comments below and don’t forget to follow us on Twitter. GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy

There’s a routine, but profoundly telling moment when many visitors complete their first walkthrough at Future Pastime, the exhibition of paintings by the visionary artist and visual futurist Syd Mead currently on display in Manhattan’s Chelsea neighborhood. “His outlook on the future is so positive. I thought Syd Mead was dystopian,” many attendees exclaim, as if on cue.  Space Wheel Interior (1979) This perception is heavily guided by the work that—-for many—is the single most widely known reference point for Mead’s impact as a visual futurist: Director Ridley Scott’s 1982 rain soaked, techno-dystopian masterpiece, Blade Runner, whose visual landscape was largely Mead’s creation. In Blade Runner, Mead’s dystopian Los Angeles is so sleek, so complex, so rich with detail, one cannot blame audience members for confusing him with being a master of the morose. However, to quote Blade Runner 2049 director Denis Villeneuve (and another Mead collaborator): “[Syd] traveled in dystopia only once, and it was because of Ridley Scott. Syd’s first drawings of Los Angeles for Blade Runner were pure, bright and peaceful, but Ridley wanted his new world to be more claustrophobic and oppressive. And Syd dived into the darkness.”  One would reasonably expect Mead, with his fluent visual language of darkness so ably on display in Blade Runner, to be a committed future-cynic. However, it was quite the opposite. Mead was, in Vileneuve’s words, “one of the last great utopians,” a tidbit often lost on audiences raised on a steady diet of apocalyptic scenarios, dismal futures, and collapsed civilizations—the same narrative requests made often by Mead’s commissioning directors. In fact, Mead’s output outside the world of cinema—which in fact represents the lionshare of his more than 65-year professional career—is a replete and uniform world of robust optimism and hopeful aspiration. The future of Syd Mead is a bright and gilded one; the fulfillment of our greatest hopes and aspirations. It exists on the distant end of realism, yet is still somehow within reach.  The son of a Baptist minister (and part time art teacher), Mead gathered the strands of a childhood crowded by poverty and increasing world strife and instead formulated a unique worldview and artistic direction that was irrepressibly optimistic, often in spite of (and in stark contrast to) the current affairs and fortunes of the time.  To Mead, the prospect of an optimistic future was not a question of chance but of preparation. “Why wouldn’t you rehearse for a good future?” he often said. “I think that we should celebrate and rehearse for a bright future, and maybe it will come true. I don’t have time to illustrate misery or dystopian scenarios because they’ll happen. If you let everything go, they’ll happen anyway.” This outlook was successfully channeled into a singular career as an industrial futurist, becoming one of a rare group of individuals kept on speed dial by titans of industry to predict and illuminate likely future outcomes across myriad disciplines: architecture, urban planning, engineering, automotive, aeronautics, mass transit, spaceflight, technology, innovation, consumer goods, media, and more. Mead took it a step further by assuming the mantle of “visual futurist,” delivering his results not in research papers or dissertations, but via vivid, dynamic artworks, most principally paintings in his medium of choice: gouache.  Running of the 200th Kentucky Derby (1975) What he never anticipated was that the language of his industrial forecasting work would escape its enclosure and go on to define the visual identity of modern science fiction storytelling and cinematic futurism.   Mead entered professional life with nary a thought nor desire to work in the movies. In fact, movies were banned in the Mead household until he was 13 years old, with his earlier years filled with a potent mixture of his father’s chief obsessions: end-times religion, study and practice of painting and fine arts, and the pulp science fiction adventures of Buck Rogers and Flash Gordon (which Kenneth, his father, would buy family friendly editions so they could read together). Syd’s personal contributions to this percolating artistic concoction—an obsession with automobiles, the vibrant creations of contemporary illustrators as diverse as Maxfield Parrish and Chesley Bonestell, and the constant desire to innovate and improve one’s artistic craft—provided the ingredients to a simmering brew that one day would synthesize into the poetic future seer we celebrate today. By his mid-teens, Mead distanced himself from the old time religion of his parents as a new devotion emerged:bright future. The works of his adolescence and early adulthood burst with an almost unbridled gusto of color and life as potential futures were considered. Cowboys draped in pastel tour rural ranch grounds on horseback and bi-copter. Flying transport, early prototypes of Blade Runner-esque vehicles to come, twenty five years before the fact, are wrapped in chrome and almost seem to lift off the page. Join our mailing list Get the best of Den of Geek delivered right to your inbox! After his 1959 graduation from the Art Center in Los Angeles where he majored in industrial design, word quickly spread of this young man with a “future touch:” the uncanny ability to conceptualize and render achievable futures with the dexterity of an industrial engineer, the functionality of a city planner, and the poetry of a master painter. His first post-college berth at Ford’s Advanced Car Styling studio—where he worked on futuristic concept cars like the Gyron—lasted all of 26 months. The “thinness of purpose” got to him, he said. “If the company decided to stop making cars and start making washing machines next week, the process would not change at all—you just start doing sketches of washing machines.”  Mead departed Ford in 1961, and it was a providential overture made by industrial giant U.S. Steel shortly prior that which truly set the stage for the budding visual futurist to prove his worth. Aluminum, both lighter and cheaper, had been steadily eating into U.S. Steel’s profits, as well as the public’s romance with the once iconic alloy. The task for Mead was clear: to portray steel as a material of the future. Fifty years. One hundred years. Beyond. To make it relevant again today by showcasing its dreamy successes of tomorrow.  It was the assignment he had been practicing for his whole life, and Mead did not disappoint. Essentially given carte blanche, he remarkably completed the entire book—text and images—in just 30 days. While first intended as a product marketing catalogue aimed squarely at U.S. Steel customers, clients, and manufacturing partners, his work was such a sensation that the company commissioned four more books through 1969, and expanded the distribution of the volumes, running adverts for free copies in young people’s magazines, and seeding editions to all of the major art and design schools across the country. The result was the 1960s equivalent of a viral sensation; the books “went horizontal through the design community,” as Syd put it himself. Blossoming directors, designers, technologists, and innovators sought out the books and cherished them as cult objects. Sacred windows into the future of both technology and design. Acclaimed genre director Joe Johnston, who cut his teeth as art director on the original Star Wars Wheeless Truck (1969) As a result, the “Syd Mead look” is all over Star Wars, very specifically in the case of the AT-ATs, the iconic tall legged imperial transports featured in The Empire Strikes Back, which were derived by Johnston and the Lucasfilm team directly from Mead’s “Wheelless Truck” Despite his overwhelming influence on the series, Mead was not involved directly in Star Wars. He wasn’t even asked. It’s an understandable oversight. The concept of calling up Syd Mead in 1975 (by then an acclaimed industrial designer and futurist) to work on a motion picture is equivalent to asking Zaha Hadid in her prime to design buildings for an episode of Dynasty. Requests like these were simply not made, and as the 20th anniversary of Syd Mead’s professional career approached, he had yet to work on a single motion picture, let alone even be asked. This all changed when a fortuitous thought entered the mind of Star Wars VFX director John Dykstra in early 1979. Dykstra, who had attended Long Beach State alongside Johnston, and maintained a personal collection of Mead’s U.S. Steel books, now found himself as the visual effects lead on Star Trek: The Motion Picture. With the design of the film’s central antagonist—a leviathan entity of “unimaginable scale” named V’ger—suddenly in jeopardy, Dykstra took a leap of faith and reached out to Mead, uttering 12 words that would change both film and futurism forever:  “Syd, would you like to work on a science fiction motion picture?” Syd replied, “Sure.” In this one moment, the circuit was completed, and the board lit up. Suddenly alerted to the fact that their favorite futurist was down to do film, the entire town pivoted to Mead in unison. Ridley Scott, Steven Lisberger, Peter Hyams, James Cameron, and John Badham all reached out in quick succession. By 1986, via Blade Runner, Tron, 2010, Aliens, and Short Circuit, the very aesthetic of science fiction was altered forever… not by the hand of an imaginative production designer, but an actual futurist trained on developing real world futures to be built.     Elon Solo is the co-curator of Syd Mead: Future Pastime, an exhibition exploring the original artwork of Syd Mead, currently on display in NYC through May 21.  City on Wheels (1969)

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