to 3d or not to 3d What I learned from my first few months with a Bambu Lab A1 3D printer, part 1 One neophyte's first steps into the wide world of 3D printing. Andrew Cunningham – May 22, 2025 7:30 am | 21 The hotend on my Bambu Lab A1 3D printer. Credit: Andrew Cunningham The hotend on my Bambu Lab A1 3D printer. Credit: Andrew Cunningham Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more For a couple of years now, I've been trying to find an excuse to buy a decent 3D printer. Friends and fellow Ars staffers who had them would gush about them at every opportunity, talking about how useful they can be and how much can be printed once you get used to the idea of being able to create real, tangible objects with a little time and a few bucks' worth of plastic filament. But I could never quite imagine myself using one consistently enough to buy one. Then, this past Christmas, my wife forced the issue by getting me a Bambu Lab A1 as a present. Since then, I've been tinkering with the thing nearly daily, learning more about what I've gotten myself into and continuing to find fun and useful things to print. I've gathered a bunch of thoughts about my learning process here, not because I think I'm breaking new ground but to serve as a blueprint for anyone who has been on the fence about Getting Into 3D Printing. "Hyperfixating on new hobbies" is one of my go-to coping mechanisms during times of stress and anxiety, and 3D printing has turned out to be the perfect combination of fun, practical, and time-consuming. Getting to know my printer My wife settled on the Bambu A1 because it's a larger version of the A1 Mini, Wirecutter's main 3D printer pick at the time (she also noted it was "hella on sale"). Other reviews she read noted that it's beginner-friendly, easy to use, and fun to tinker with, and it has a pretty active community for answering questions, all assessments I agree with so far. Note that this research was done some months before Bambu earned bad headlines because of firmware updates that some users believe will lead to a more locked-down ecosystem. This is a controversy I understand—3D printers are still primarily the realm of DIYers and tinkerers, people who are especially sensitive to the closing of open ecosystems. But as a beginner, I'm already leaning mostly on the first-party tools and built-in functionality to get everything going, so I'm not really experiencing the sense of having "lost" features I was relying on, and any concerns I did have are mostly addressed by Bambu's update about its update. I hadn't really updated my preconceived notions of what home 3D printing was since its primordial days, something Ars has been around long enough to have covered in some depth. I was wary of getting into yet another hobby where, like building your own gaming PC, fiddling with and maintaining the equipment is part of the hobby. Bambu's printers (and those like them) are capable of turning out fairly high-quality prints with minimal fuss, and nothing will draw you into the hobby faster than a few successful prints. Basic terminology Extrusion-based 3D printers (also sometimes called "FDM," for "fused deposition modeling") work by depositing multiple thin layers of melted plastic filament on a heated bed. Credit: Andrew Cunningham First things first: The A1 is what’s called an “extrusion” printer, meaning that it functions by melting a long, slim thread of plastic (filament) and then depositing this plastic onto a build plate seated on top of a heated bed in tens, hundreds, or even thousands of thin layers. In the manufacturing world, this is also called “fused deposition modeling,” or FDM. This layer-based extrusion gives 3D-printed objects their distinct ridged look and feel and is also why a 3D printed piece of plastic is less detailed-looking and weaker than an injection-molded piece of plastic like a Lego brick. The other readily available home 3D printing technology takes liquid resin and uses UV light to harden it into a plastic structure, using a process called “stereolithography” (SLA). You can get inexpensive resin printers in the same price range as the best cheap extrusion printers, and the SLA process can create much more detailed, smooth-looking, and watertight 3D prints (it’s popular for making figurines for tabletop games). Some downsides are that the print beds in these printers are smaller, resin is a bit fussier than filament, and multi-color printing isn’t possible. There are two main types of home extrusion printers. The Bambu A1 is a Cartesian printer, or in more evocative and colloquial terms, a "bed slinger." In these, the head of the printer can move up and down on one or two rails and from side to side on another rail. But the print bed itself has to move forward and backward to "move" the print head on the Y axis. More expensive home 3D printers, including higher-end Bambu models in the P- and X-series, are "CoreXY" printers, which include a third rail or set of rails (and more Z-axis rails) that allow the print head to travel in all three directions. The A1 is also an "open-bed" printer, which means that it ships without an enclosure. Closed-bed printers are more expensive, but they can maintain a more consistent temperature inside and help contain the fumes from the melted plastic. They can also reduce the amount of noise coming from your printer. Together, the downsides of a bed-slinger (introducing more wobble for tall prints, more opportunities for parts of your print to come loose from the plate) and an open-bed printer (worse temperature, fume, and dust control) mainly just mean that the A1 isn't well-suited for printing certain types of plastic and has more potential points of failure for large or delicate prints. My experience with the A1 has been mostly positive now that I know about those limitations, but the printer you buy could easily change based on what kinds of things you want to print with it. Setting up Overall, the setup process was reasonably simple, at least for someone who has been building PCs and repairing small electronics for years now. It's not quite the same as the "take it out of the box, remove all the plastic film, and plug it in" process of setting up a 2D printer, but the directions in the start guide are well-illustrated and clearly written; if you can put together prefab IKEA furniture, that's roughly the level of complexity we're talking about here. The fact that delicate electronics are involved might still make it more intimidating for the non-technical, but figuring out what goes where is fairly simple. The only mistake I made while setting the printer up involved the surface I initially tried to put it on. I used a spare end table, but as I discovered during the printer's calibration process, the herky-jerky movement of the bed and print head was way too much for a little table to handle. "Stable enough to put a lamp on" is not the same as "stable enough to put a constantly wobbling contraption" on—obvious in retrospect, but my being new to this is why this article exists. After some office rearrangement, I was able to move the printer to my sturdy L-desk full of cables and other doodads to serve as ballast. This surface was more than sturdy enough to let the printer complete its calibration process—and sturdy enough not to transfer the printer's every motion to our kid's room below, a boon for when I'm trying to print something after he has gone to bed. The first-party Bambu apps for sending files to the printer are Bambu Handy (for iOS/Android, with no native iPad version) and Bambu Studio (for Windows, macOS, and Linux). Handy works OK for sending ready-made models from MakerWorld (a mostly community-driven but Bambu-developer repository for 3D printable files) and for monitoring prints once they've started. But I'll mostly be relaying my experience with Bambu Studio, a much more fully featured app. Neither app requires sign-in, at least not yet, but the path of least resistance is to sign into your printer and apps with the same account to enable easy communication and syncing. Bambu Studio: A primer Bambu Studio is what's known in the hobby as a "slicer," software that takes existing 3D models output by common CAD programs (Tinkercad, FreeCAD, SolidWorks, Autodesk Fusion, others) and converts them into a set of specific movement instructions that the printer can follow. Bambu Studio allows you to do some basic modification of existing models—cloning parts, resizing them, adding supports for overhanging bits that would otherwise droop down, and a few other functions—but it's primarily there for opening files, choosing a few settings, and sending them off to the printer to become tangible objects. Bambu Studio isn't the most approachable application, but if you've made it this far, it shouldn't be totally beyond your comprehension. For first-time setup, you'll choose your model of printer (all Bambu models and a healthy selection of third-party printers are officially supported), leave the filament settings as they are, and sign in if you want to use Bambu's cloud services. These sync printer settings and keep track of the models you save and download from MakerWorld, but a non-cloud LAN mode is available for the Bambu skeptics and privacy-conscious. For any newbie, pretty much all you need to do is connect your printer, open a .3MF or .STL file you've downloaded from MakerWorld or elsewhere, select your filament from the drop-down menu, click "slice plate," and then click "print." Things like the default 0.4 mm nozzle size and Bambu's included Textured PEI Build Plate are generally already factored in, though you may need to double-check these selections when you open a file for the first time. When you slice your build plate for the first time, the app will spit a pile of numbers back at you. There are two important ones for 3D printing neophytes to track. One is the "total filament" figure, which tells you how many grams of filament the printer will use to make your model (filament typically comes in 1 kg spools, and the printer generally won't track usage for you, so if you want to avoid running out in the middle of the job, you may want to keep track of what you're using). The second is the "total time" figure, which tells you how long the entire print will take from the first calibration steps to the end of the job. Selecting your filament and/or temperature presets. If you have the Automatic Material System (AMS), this is also where you'll manage multicolor printing. Andrew Cunningham Selecting your filament and/or temperature presets. If you have the Automatic Material System (AMS), this is also where you'll manage multicolor printing. Andrew Cunningham The main way to tweak print quality is to adjust the height of the layers that the A1 lays down. Andrew Cunningham The main way to tweak print quality is to adjust the height of the layers that the A1 lays down. Andrew Cunningham Adding some additional infill can add some strength to prints, though 15 percent usually gives a decent amount of strength without overusing filament. Andrew Cunningham Adding some additional infill can add some strength to prints, though 15 percent usually gives a decent amount of strength without overusing filament. Andrew Cunningham The main way to tweak print quality is to adjust the height of the layers that the A1 lays down. Andrew Cunningham Adding some additional infill can add some strength to prints, though 15 percent usually gives a decent amount of strength without overusing filament. Andrew Cunningham For some prints, scaling them up or down a bit can make them fit your needs better. Andrew Cunningham For items that are small enough, you can print a few at once using the clone function. For filaments with a gradient, this also makes the gradient effect more pronounced. Andrew Cunningham Bambu Studio estimates the amount of filament you'll use and the amount of time a print will take. Filament usually comes in 1 kg spools. Andrew Cunningham When selecting filament, people who stick to Bambu's first-party spools will have the easiest time, since optimal settings are already programmed into the app. But I've had almost zero trouble with the "generic" presets and the spools of generic Inland-branded filament I've bought from our local Micro Center, at least when sticking to PLA (polylactic acid, the most common and generally the easiest-to-print of the different kinds of filament you can buy). But we'll dive deeper into plastics in part 2 of this series. I won't pretend I'm skilled enough to do a deep dive on every single setting that Bambu Studio gives you access to, but here are a few of the odds and ends I've found most useful: The "clone" function, accessed by right-clicking an object and clicking "clone." Useful if you'd like to fit several copies of an object on the build plate at once, especially if you're using a filament with a color gradient and you'd like to make the gradient effect more pronounced by spreading it out over a bunch of prints. The "arrange all objects" function, the fourth button from the left under the "prepare" tab. Did you just clone a bunch of objects? Did you delete an individual object from a model because you didn't need to print that part? Bambu Studio will arrange everything on your build plate to optimize the use of space. Layer height, located in the sidebar directly beneath "Process" (which is directly underneath the area where you select your filament. For many functional parts, the standard 0.2 mm layer height is fine. Going with thinner layer heights adds to the printing time but can preserve more detail on prints that have a lot of it and slightly reduce the visible layer lines that give 3D-printed objects their distinct look (for better or worse). Thicker layer heights do the opposite, slightly reducing the amount of time a model takes to print but preserving less detail. Infill percentage and wall loops, located in the Strength tab beneath the "Process" sidebar item. For most everyday prints, you don't need to worry about messing with these settings much; the infill percentage determines the amount of your print's interior that's plastic and the part that's empty space (15 percent is a good happy medium most of the time between maintaining rigidity and overusing plastic). The number of wall loops determines how many layers the printer uses for the outside surface of the print, with more walls using more plastic but also adding a bit of extra strength and rigidity to functional prints that need it (think hooks, hangers, shelves and brackets, and other things that will be asked to bear some weight). My first prints A humble start: My very first print was a wall bracket for the remote for my office's ceiling fan. Credit: Andrew Cunningham When given the opportunity to use a 3D printer, my mind went first to aggressively practical stuff—prints for organizing the odds and ends that eternally float around my office or desk. When we moved into our current house, only one of the bedrooms had a ceiling fan installed. I put up remote-controlled ceiling fans in all the other bedrooms myself. And all those fans, except one, came with a wall-mounted caddy to hold the remote control. The first thing I decided to print was a wall-mounted holder for that remote control. MakerWorld is just one of several resources for ready-made 3D-printable files, but the ease with which I found a Hampton Bay Ceiling Fan Remote Wall Mount is pretty representative of my experience so far. At this point in the life cycle of home 3D printing, if you can think about it and it's not a terrible idea, you can usually find someone out there who has made something close to what you're looking for. I loaded up my black roll of PLA plastic—generally the cheapest, easiest-to-buy, easiest-to-work-with kind of 3D printer filament, though not always the best for prints that need more structural integrity—into the basic roll-holder that comes with the A1, downloaded that 3MF file, opened it in Bambu Studio, sliced the file, and hit print. It felt like there should have been extra steps in there somewhere. But that's all it took to kick the printer into action. After a few minutes of warmup—by default, the A1 has a thorough pre-print setup process where it checks the levelness of the bed and tests the flow rate of your filament for a few minutes before it begins printing anything—the nozzle started laying plastic down on my build plate, and inside of an hour or so, I had my first 3D-printed object. Print No. 2 was another wall bracket, this time for my gaming PC's gamepad and headset. Credit: Andrew Cunningham It wears off a bit after you successfully execute a print, but I still haven't quite lost the feeling of magic of printing out a fully 3D object that comes off the plate and then just exists in space along with me and all the store-bought objects in my office. The remote holder was, as I'd learn, a fairly simple print made under near-ideal conditions. But it was an easy success to start off with, and that success can help embolden you and draw you in, inviting more printing and more experimentation. And the more you experiment, the more you inevitably learn. This time, I talked about what I learned about basic terminology and the different kinds of plastics most commonly used by home 3D printers. Next time, I'll talk about some of the pitfalls I ran into after my initial successes, what I learned about using Bambu Studio, what I've learned about fine-tuning settings to get good results, and a whole bunch of 3D-printable upgrades and mods available for the A1. Andrew Cunningham Senior Technology Reporter Andrew Cunningham Senior Technology Reporter Andrew is a Senior Technology Reporter at Ars Technica, with a focus on consumer tech including computer hardware and in-depth reviews of operating systems like Windows and macOS. Andrew lives in Philadelphia and co-hosts a weekly book podcast called Overdue. 21 Comments

Though many of the old artists’ residences have been gobbled up by new high-rises, pockets of nostalgia persist on the streets of New York’s NoHo neighborhood. Nine years ago, New Operations Workshop founder Gabriel Yuri was fortunate enough to find one when his real estate broker showed him a partially renovated 860-square-foot studio apartment in a 19th-century building that had been, at different times, a furrier, an artist refuge, and a home for women. Even in its haphazard state—with new walls plastered over some of the 1830s brickwork and half-finished hardwood flooring—the Diller Scofidio + Renfro alum could see the potential.Gabriel Yuri sits at a Tom Dixon screw table in the dining area, where custom shelving, a George Nelson pendant, and his grandmother’s Jens Risom chairs play off one another in their round and linear forms. “Most of what I was finding had been renovated to remove the charm,” Yuri remembers of the boring box apartments that had dominated the listings. “I wanted something that had history and character, so it was great that I got to this one while it still had some of that intact.”Many might have been daunted by the workload, but Yuri welcomed the challenge. He spent nearly four years peeling back the renovations—often himself, sometimes with the help of a handyman—restoring the original pine floors in the living room and revealing more of the existing brick, exposed pipework, and steel beams that had been covered up throughout the space. And his lucky streak continued: When new neighbors discarded the original tin ceiling tile during their own renovation, Yuri installed them in his kitchen and entry hallway—a sweet nod to the building’s past that complements the new industrial-style steel kitchen cabinetry. He also found original transom windows, which he used above the bedroom door to allow light to penetrate deeper into the apartment, and crafted a banquette sectional sofa and daybed in the living room to hide structural adjustments from the building’s façade work.A plaster of Paris bust of Yuri’s grandmother sits atop an old I-beam side table in the entry hallway, signaling the apartment’s industrial-chic aesthetic. The Tutsi milk jug was bought at auction. “I wanted to embrace the industrial aesthetic but also elevate it by blending it with a collection of things with balance and harmony,” says Yuri. In the living room, that meant pairing a vintage Hans Wegner lounge chair inherited from his grandmother with a sculptural Hinterlands cocktail table. But while the building itself served as an architectural muse, Yuri found inspiration in yet another beacon from a bygone era: his grandmother, who passed away just before he purchased the loft. “She wasn’t a designer but had the most incredible design sensibility,” he says. He repurposed her collection of midcentury furnishings—including the Jens Risom chairs in the dining room and the Hans Wegner lounge chair in the living room—as well as artwork and artifacts from her home in Queens. In the bedroom, he incorporated her stained glass pocket doors as a room divider and created a wood-and-cement-block bookcase inspired by the ones she often crafted herself. “The whole time I was keeping an eye out for what could fit in,” he says, noting the pops of red that were her (and his) favorite color. “It felt good to keep these things that I had grown up with and give them a new life.”Blended with contemporary additions, like the Tom Dixon table in the dining room and the live-edge platform bed in the bedroom, midcentury lighting that bridges the modern and industrial aesthetics at play, plus pieces picked up on his travels, the eclectic mix imparts layers of soul that give Yuri’s home a cocooning feeling of warmth and personal history.“The biggest response I get is how calm it feels,” he says. “I’m a homebody. I like to read and listen to albums and usually work from home. It’s nice to be surrounded by so many references to the past in such a busy, constantly changing city.”Above the custom Maharam-upholstered banquette sofa, Yuri has arranged an assortment of artwork on a steel shelf, including works by Paul Sepuya, Sarah Oppenheimer, and his mother, as well as a self-made piece that was once on display in the lobby of the Guggenheim. The table lamp is by In Common With, and the wood-and-steel magazine rack is of his own design. A memento from his time working at the iconic Starrett-Lehigh building, the hanging window acts as a divider between the living and dining areas. The transom windows that appear in the newly erected bedroom wall, which was started before Yuri purchased the apartment but redone in a much slimmer configuration, were found on site, and Yuri installed a herringbone floor over the previous owner’s renovations. Steel cabinetry and stained butcher block countertops from IKEA give the kitchen a sleek update. A seagrass CB2 rug, an Alvar Alto stool, and a city-themed drying rack by Seletti, as well as a collection of his grandmother’s vintage Hasami pottery and a conical tea kettle by Aldo Rossi for Alessi, infuse the space with warmth and personality. A custom oak platform bed adds earthy elegance in the bedroom, a space made cozier with custom felted wool drapery, cotton cashmere sheets by RH, and a throw blanket by El Rey for Nordic Knots. A pair of Yuri’s grandmother’s Arthur Umanoff side chairs create a sense of symmetry, as do the antique glass naval sconces and reclaimed pine flooring. Inspired by the simple bookshelves his grandmother made in her Queens, New York, home, Yuri crafted this efficient cinderblock and wood organizational system in the bedroom. Yuri painted the existing clawfoot tub in Farrow & Ball’s Off Black to coordinate with the new RH vanity and slate tile flooring for a moody effect against the existing brick walls.

Video games' soaring prices have a cost beyond your wallet - the concept of ownership itself As the industry's big squeeze reaches consumers, a grim bargain emerges. Image credit: Adobe Stock, Microsoft Opinion by Chris Tapsell Deputy Editor Published on May 22, 2025 Earlier this month, Microsoft bumped up the prices of its entire range of Xbox consoles, first-party video games, and most (or in the US, all) of its accessories. It comes a few weeks after Nintendo revealed a £396 Switch 2, with £75 copies of its own first-party fare in Mario Kart World, and a few months after Sony launched the exorbitant £700 PS5 Pro (stand and disc drive not included), a £40 price rise for its all-digital console in the UK, the second of this generation, and news that it's considering even more price rises in the months to come. The suspicion - or depending on where you live, perhaps hope - had been that when Donald Trump's ludicrously flip-flopping, self-defeating tariffs came into play, that the US would bear the brunt of it. The reality is that we're still waiting on the full effects. But it's also clear, already, that this is far from just an American problem. The platform-holders are already spreading the costs, presumably to avoid an outright doubling of prices in one of their largest markets. PS5s in Japan now cost £170 more than they did at launch. That price rise, mind, took place long before the tariffs, as did the £700 PS5 Pro (stand and disc drive not included!), and the creeping costs of subscriptions such as Game Pass and PS Plus. Nor is it immediately clear how that justifies charging $80 for, say, a copy of Borderlands 4, a price which hasn't been confirmed but which has still been justified by the ever graceful Randy Pitchford, a man who seems to stride across the world with one foot perpetually bared and ready to be put, squelching, square in it, and who says true fans will still "find a way" to buy his game. The truth is inflation has been at it here for a while, and that inflation is a funny beast, one which often comes with an awkward mix of genuine unavoidability - tariffs, wars, pandemics - and concealed opportunism. Games are their own case amongst the many, their prices instead impacted more by the cost of labour, which soars not because developers are paid particularly well (I can hear their scoffs from here) but because of the continued, lagging impact of their executives' total miscalculation, in assuming triple-A budgets and timescales could continue growing exponentially. And by said opportunism - peep how long it took for Microsoft and the like to announce those bumped prices after Nintendo came in with Mario Kart at £75. Anyway, the causes are, in a sense, kind of moot. The result of all this squeezing from near enough all angles of gaming's corporate world is less a pincer manoeuvre on the consumer than a suffocating, immaculately executed full-court press, a full team hurtling with ruthless speed towards the poor unwitting sucker at home on the sofa. Identifying whether gaming costs a fortune now for reasons we can or can't sympathise with does little to change the fact that gaming costs a fortune. And, to be clear, it really does cost a fortune. Things are getting very expensive in the world of video games. £700 for a PS5 Pro! | Image credit: Eurogamer Whenever complaints about video game prices come up there is naturally a bit of pushback - games have always been expensive! What about the 90s! - usually via attempts to draw conclusions from economic data. Normally I'd be all on board with this - numbers can't lie! - but in this case it's a little different. Numbers can't lie, but they can, sometimes, be manipulated to prove almost anything you want - or just as often, simply misunderstood to the same ends. (Take most back-of-a-cigarette-packet attempts at doing the maths here, and the infinite considerations to bear in mind: Have you adjusted for inflation? How about for cost of living, as if the rising price of everything else may somehow make expensive games more palatable? Or share of disposable average household salary? For exchange rates? Purchasing power parity? Did you use the mean or the median for average income? What about cost-per-frame of performance? How much value do you place on moving from 1080p to 1440p? Does anyone sit close enough to their TV to tell enough of a difference with 4K?! Ahhhhh!) Instead, it's worth remembering that economics isn't just a numerical science. It is also a behavioural one - a psychological one. The impact of pricing is as much in the mind as it is on the spreadsheet, hence these very real notions of "consumer confidence" and pricing that continues to end in ".99". And so sometimes with pricing I find it helps to borrow another phrase from sport, alongside that full-court press, in the "eye test". Sports scouts use all kinds of numerical data to analyse prospective players these days, but the best ones still marry that with a bit of old-school viewing in the flesh. If a player looks good on paper and passes the eye test, they're probably the real deal. Likewise, if the impact of buying an $80 video game at full price looks unclear in the data, but to your human eye feels about as whince-inducing as biting into a raw onion like it's an apple, and then rubbing said raw onion all over said eye, it's probably extremely bloody expensive and you should stop trying to be clever. Video games, to me, do feel bloody expensive. If I weren't in the incredibly fortunate position of being able to source or expense most of them for work I am genuinely unsure if I'd be continuing with them as a hobby - at least beyond shifting my patterns, as so many players have over the years, away from premium console and PC games to the forever-tempting, free-to-play time-vampires like Fortnite or League of Legends. Which leads, finally, to the real point here: that there is another cost to rising game and console prices, beyond the one hitting you square in the wallet. How much is GTA 6 going to cost? $80 or more? | Image credit: Rockstar The other cost - perhaps the real cost, when things settle - is the notion of ownership itself. Plenty of physical media collectors, aficionados and diehards will tell you this has been locked in the sights of this industry for a long time, of course. They will point to gaming's sister entertainment industries of music, film and television, and the paradigm shift to streaming in each, as a sign of the inevitability of it all. And they will undoubtedly have a point. But this step change in the cost of gaming will only be an accelerant. Understanding that only takes a quick glance at the strategy of, say, Xbox in recent years. While Nintendo is still largely adhering to the buy-it-outright tradition and Sony is busy shooting off its toes with live service-shaped bullets, Microsoft has, like it or not, positioned itself rather deftly. After jacking up the cost of its flatlining hardware and platform-agnostic games, Xbox, its execs would surely argue, is also now rather counterintuitively the home of value gaming - if only because Microsoft itself is the one hoiking up the cost of your main alternative. Because supplanting the waning old faithfuls in this kind of scenario - trade-ins, short-term rentals - is, you guessed it, Game Pass. You could even argue the consoles are factored in here too. Microsoft, with its "this is an Xbox" campaign and long-stated ambition to reach players in the billions, has made it plain that it doesn't care where you play its games, as long as you're playing them. When all physical consoles are jumping up in price, thanks to that rising tide effect of inflation, the platform that lets you spend £15 a month to stream Clair Obscur: Expedition 33, Oblivion Remastered and the latest Doom straight to your TV without even buying one is, at least in theory (and not forgetting the BDS call for a boycott of them) looking like quite an attractive proposition. Xbox, for its part, has been chipping away at this idea for a while - we at Eurogamer had opinions about team green's disregard for game ownership as far back as the reveal of the Xbox One, in the ancient times of 2013. Then it was a different method, the once-horrifying face of digital rights management, or DRM, along with regulated digital game sharing and online-only requirements. Here in 2025, with that disdain now platform-agnostic, and where games are being disappeared from people's libraries, platforms like Steam are, by law, forced to remind you that you're not actually buying your games at all, where older games are increasingly only playable via subscriptions to Nintendo, Sony, and now Xbox, and bosses are making wild claims about AI's ability to "preserve" old games by making terrible facsimiles of them, that seems slightly quaint. More directly, Xbox has been talking about this very openly since at least 2021. As Ben Decker, then head of gaming services marketing at Xbox, said to me at the time: "Our goal for Xbox Game Pass really ladders up to our goal at Xbox, to reach the more than 3 billion gamers worldwide… we are building a future with this in mind." Four years on, that future might be now. Jacking up the cost of games and consoles alone won't do anything to grow gaming's userbase, that being the touted panacea still by the industry's top brass. Quite the opposite, obviously (although the Switch 2 looks set to still be massive, and the PS5, with all its price rises, still tracks in line with the price-cut PS4). But funneling more and more core players away from owning games, and towards a newly incentivised world where they merely pay a comparatively low monthly fee to access them, might just. How much a difference that will truly make, and the consequences of it, remain up for debate of course. We've seen the impact of streaming on the other entertainment industries in turn, none for the better, but games are a medium of their own. Perhaps there's still a little room for optimism. Against the tide there are still organisations like Does It Play? and the Game History Foundation, or platforms such as itch.io and GOG (nothing without its flaws, of course), that exist precisely because of the growing resistance to that current. Just this week, Lost in Cult launched a new wave of luxurious, always-playable physical editions of acclaimed games, another small act of defiance - though perhaps another sign things are going the way of film and music, where purists splurge on vinyl and Criterion Collection BluRays but the vast majority remain on Netflix and Spotify. And as uncomfortable as it may be to hear for those - including this author! - who wish for this medium to be preserved and cared for like any other great artform, there will be some who argue that a model where more games can be enjoyed by more people, for a lower cost, is worth it. Game Pass often offers great value, but the library is always in a state of flux. Collectors may need to start looking at high-end physical editions. | Image credit: Microsoft There's also another point to bear in mind here. Nightmarish as it may be for preservation and consumer rights, against the backdrop of endless layoffs and instability many developers tout the stability of a predefined Game Pass or PS Plus deal over taking a punt in the increasingly crowded, choppy seas of the open market. Bethesda this week has just boasted Doom: The Dark Ages' achievement of becoming the most widely-played (note: not fastest selling) Doom game ever. That despite it reaching only a fraction of peak Steam concurrents in the same period as its predecessor, Doom: Eternal - a sign, barring some surprise shift away from PC gaming to consoles, that people really are beginning to choose playing games on Game Pass over buying them outright. The likes of Remedy and Rebellion tout PS Plus and Game Pass as stabilisers, or even accelerants, for their games launching straight onto the services. And independent studios and publishers of varying sizes pre-empted that when we spoke to them for a piece about this exact this point, more than four years ago - in a sense, we're still waiting for a conclusive answer to a question we first began investigating back in 2021: Is Xbox Game Pass just too good to be true? We've talked, at this point, at great length about how this year would be make-or-break for the triple-A model in particular. About how the likes of Xbox, or Warner Bros., or the many others have lost sight of their purpose - and in the process, their path to sustainability - in the quest for exponential growth. How £700 Pro edition consoles are an argument against Pro editions altogether. And about how, it's becoming clear, the old industry we once knew is no more, with its new form still yet to take shape. There's an argument now, however, that a grim new normal for preservation and ownership may, just as grimly, be exactly what the industry needs to save itself. It would be in line with what we've seen from the wider world of technology and media - and really, the wider world itself. A shift from owning to renting. That old chestnut of all the capital slowly rising, curdling at the top. The public as mere tenants in a house of culture owned by someone, somewhere else. It needn't have to be this way, of course. If this all sounds like a particularly unfavourable trade-in, remember this too: it's one that could almost certainly have been avoided.

The Phillipou Brothers broke onto the cinematic scene with their smash hit party horror, Talk to Me. The spooky yet decidedly fun film about kids messing around with forces they didn’t understand became an A24 horror favorite and established the twins—who already had a massive following thanks to their YouTube Channel RackaRacka—as some of the genre’s most freaky fun filmmakers. Although Bring Her Back is in some ways a spiritual sequel to Talk to Me, with both films exploring the way grief can incite drastic change, it couldn’t be more different tonally. The twins’ chilly and affecting follow-up showcases a different side of their proverbial demons, with the pair diving into the havoc and madness of grief and the surreal nightmare of being a child whose parents have unknowable agendas or violent tendencies.  The usually delightful and effervescent Sally Hawkins stars as Laura, a grieving mother and ex-child psychologist who has opened her home to a brother and sister who recently lost their father. In her first horror performance, Hawkins delivers the kind of turn that in a just world would be recognized as a strong contender come awards season. Laura is a woman of many sides: she’s the cool foster mom, a grieving mother, and eventually a terrifying monster whose sorrow has driven her mad. But while the movie is an intimate chamber drama of gore, it’s far from a one-woman show.  At the center of Bring Her Back are three heart wrenching performances from the film’s young leads: Sora Wong as Piper, Billy Barratt as her brother Andy, and Jonah Wren Phillips as Ollie. Siblings Piper and Andy are the newcomers to the outwardly gorgeous rural home, and Ollie is already an established and terrifying presence who we first meet as he grapples with an unruly cat in the echoing emptiness of the home’s drained pool. Phillips is an astonishing performer who despite his young age inhabits the evermore terrifying Ollie. His unnerving presence gives us two of the film’s most memorable and nightmare-inducing moments with a fearlessness and ferocity that pulses off the screen.  As the central siblings,  Wong and Barratt form an impressive duo, with the former making her feature debut in a performance that immediately marks her as a serious talent to watch. It’s rare to see a sight-impaired actor onscreen, let alone leading a horror film, but Wong shoulders that responsibility with a courage and humor that alongside Barratt makes the siblings painfully believable. And as the dread ratchets up, Barratt showcases raw talent while Andy faces down Laura’s constant gaslighting and psychological torture as he attempts to protect his sister from their supposed guardian—although to what purposes Laura’s schemes delve remains an unsettling mystery for most of the film.  Grotesque and often shockingly gory if you’re someone who (like me) went through a French New Extremity phase, you’ll likely warm to the horrors while being pleasantly surprised by how performance-focused the film is, only using its gore and grossness to further the journeys of our four extremely messed up leading characters. Even at a brisk hour and 39 minutes, the film manages to feel impactful, especially for those easily shaken by gnarly practical effects and movies that will give you an existential crisis. There are practical effects here that will turn your stomach in the best way, though the emotional hits will linger far after you cleanse your mind of some of the bloodier moments. In spite of all that, Bring Her Back is the kind of horror that feels like it’ll find an unexpected audience in those who don’t usually watch horror as its emotional core is so strong, and Hawkins is a revelation in such a villainous role.  In era where movies about trauma are at the center of the horror conversation (for better or worse), Bring Her Back stands as one of the best in the genre, unafraid to scare, haunt, and disturb its audience as it pushes through the pain and picks at the part of your brain that asks just how far you’d go to bring a loved one back from the dead and what you’d do to achieve it.  Bring Her Back opens in limited release in the U.S. on May 30 and wide on June 6. Learn more about Den of Geek’s review process and why you can trust our recommendations here.

Macworld At a glanceExpert's Rating Pros Supports importing a wide range of file formats, including Apple iWork and Microsoft 365 Offers native apps on the most popular platforms, including desktop and mobile Packs numerous, handy templates, some of which are accessible offline Includes a plugin library to extend the app’s functionality Cons Can’t export new files in Apple’s Pages, Numbers, and Keynote formats Our Verdict It’s a Microsoft 365 clone that supports the most popular document formats, packs in the commonly used editing features and it’s completely free, what’s not to like? Price When Reviewed This value will show the geolocated pricing text for product undefined Best Pricing Today Best Prices Today: OnlyOffice for Mac Retailer Price OnlyOffice Free View Deal Price comparison from over 24,000 stores worldwide Product Price Price comparison from Backmarket Microsoft 365 (formerly Office), Google Docs, and Apple’s free iWork (which includes Pages, Keynote and Numbers) are arguably the three most popular productivity suites for Mac users. Microsoft’s option is perceived as the industry standard by many, and educational institutions tend to rely on its services. Google Docs, albeit web-based, has similarly been adopted by the masses due to its free offering and ease of real-time collaboration. iWork, although not as practical, also provides free and reliable tools for those in the Apple bubble. But what if none of these suites suit you? Fortunately, there are plenty of alternatives, including free and open-source software (FOSS) with solid reputations. OnlyOffice is one of them, replicating the Microsoft 365 experience—sans the subscription fees. Is it any good, though? OnlyOffice first impressions OnlyOffice is available for free on macOS, iPadOS, iOS, Windows, Android, and Linux. For this review, I installed version 8.3.2 of the app—the latest at the time of writing—on a MacBook Air M2 running macOS 15 Sequoia 15.4. While some App Store reviews suggest the iPhone and iPad clients suffer from irritating bugs, like random crashes, the Mac experience has generally been very stable on my end. In fact, I struggled to find a single issue with this app. Upon launching OnlyOffice, you’ll be greeted by a clean, ad-free screen showcasing its main sections. You can create a document (.docx), spreadsheet (.xlsx), presentation (.pptx), or PDF file from scratch or pick from the existing templates. Some templates are available for offline use while the rest require an active internet connection to download when creating a new file. These let you quickly compose an invoice, calendar, checklist, proposal, etc. Alternatively, you could launch an existing file stored locally on your computer or one of the supported cloud storage services, such as Nextcloud. Regardless of what you opt for, the app runs fluidly, and I’ve yet to encounter my first serious bug. Foundry Documents In terms of layout and functionality, OnlyOffice’s document editor resembles Microsoft Word. You can adjust the font, colors, formatting, alignment, and more in supported files. You similarly get to insert shapes, tables, equations, symbols, etc. Some of the compatible formats include DOCX, DOC, TXT, HTML, and EPUB. It’s worth noting that you seemingly can’t export a file in Apple’s .pages format unless the original file was created in the Pages app. Nevertheless, you can import, edit, and save these proprietary files in OnlyOffice just fine. Foundry Beyond the fundamentals, you can protect document files, encrypt them, add your signature, view their word count, set the author, and so on. And if you’ve connected a compatible cloud service, you can collaborate remotely with other users to make edits in real time. One of my favorite features is the built-in plugin library that lets you rely on even more functionalities in a document. So, for example, you could add a third-party AI assistant to analyze your file and help you shape its content. Spreadsheets Likewise, OnlyOffice’s spreadsheet editor offers a Microsoft Excel-like experience. You can perform all of the actions you’d expect from such software, including solving formulas, building dynamic charts, analyzing data, and illustrating. You can import XLXS, XLTX, CSV, OTS, and Numbers files, while exporting, as mentioned above, excludes the .numbers format for non-Apple files. Foundry Presentations You guessed it, the presentation editor in OnlyOffice indeed mimics Microsoft PowerPoint. By default, you’ve got multiple slide layouts that let you easily arrange the desired content, be it text or media, on the screen. The app also offers a plethora of animation and transition styles, letting you bring your work to life. Like the known alternatives, you can also set custom backgrounds, insert links, graphs, and photos, and preview the final result. Some of the formats you can import include PPTX, PPT, PPSX, ODP, and Keynote. Foundry PDFs Last but not least, OnlyOffice includes a basic PDF viewer and editor. Unlike Apple’s native Preview app, OnlyOffice lets you actually tweak the content in a PDF document, so you can tweak the text and add shapes, drop-down menus, and fields for viewers to fill in. That’s in addition to the regular annotation tools, such as highlighting and doodling. It’s certainly not as advanced as a dedicated, premium PDF editor. However, since OnlyOffice primarily acts as a free alternative to Word, Excel, and PowerPoint, it’s certainly a welcome bonus perk that is reliable for basic PDF manipulation. Take a look to see hoe OnlyOffice compares to other PDF Editors in our round up of the Best PDF editors for Mac. We also evaluate some free PDF editors. Should you switch to OnlyOffice? As we’ve established, OnlyOffice is essentially a free Microsoft 365 clone. If you rely on Microsoft’s office suite and are tired of its recurring fees, then OnlyOffice could act as an excellent alternative. The app typically maintains the document formatting, so the layout should persist even if others view your files using different software. Given that OnlyOffice is free to use, features no ads, supports the most popular document formats, and packs the commonly used editing features, there’s no harm in giving it a shot to check if it can successfully replace your existing productivity suite. Had my personal workflow extended beyond Apple devices, I would have certainly ditched iWork in favor of it.

News Monster Hunter Wilds x Street Fighter 6 Collaboration Goes Live on May 28th It adds an Akuma armor set, a Blanka-Chan Palico set, new quests, gestures and even a recreation of the Drive Impact system. Posted By Ravi Sinha | On 22nd, May. 2025 Capcom has finally revealed its first collaboration for Monster Hunter Wilds: Street Fighter 6. The star of the show is Akuma, for whom players can unlock an armor set and layered equipment for. Check out the reveal trailer below – it kicks off on May 28th. The armor isn’t just cosmetic. You can use Akuma’s moves, including the Gou Hadoken and Gou Shoryuken, with the full set. The equipped weapon determines the damage, and if you equip the armor set instead of the layered version, combos and other attacks can inflict Stun. Even the Drive Impact system is somewhat recreated. Two new quests, “Demonic Strength” and “True Strength,” are available and dole out rewards. You can also access “Ultimate Strength” at Hunter Rank 21. The Palico also gets a Blanka-Chan set and layered equipment, and you can customize your Hunter Profile with a new background, nameplate and pose. Paid DLC will go live the same day, adding a Chun-Li outfit for the Handler and a Cammy outfit. If that wasn’t enough, a new 8-star Tempered Monster is also being added. Stay tuned for more details, especially with Title Update 2 due this Summer. Tagged With: Elden Ring: Nightreign Publisher:Bandai Namco Developer:FromSoftware Platforms:PS5, Xbox Series X, PS4, Xbox One, PCView More Borderlands 4 Publisher:2K Developer:Gearbox Entertainment Platforms:PS5, Xbox Series X, PCView More Death Stranding 2: On the Beach Publisher:Sony Developer:Kojima Productions Platforms:PS5View More Amazing Articles You Might Want To Check Out! Monster Hunter Wilds x Street Fighter 6 Collaboration Goes Live on May 28th It adds an Akuma armor set, a Blanka-Chan Palico set, new quests, gestures and even a recreation of the Drive ... Borderlands 4 – Randy Pitchford Apologises for Remarks About “Real Fans” Pitchford's apology came about in response to a fan pointing out that his statements about "real fans" sounded... MindsEye PC Requirements Revealed Build a Rocket Boy has revealed pretty steep system requirements for the PC version of its upcoming debut open... Wild Hearts S Showcases 4-Player Multiplayer Gameplay The action RPG's upcoming re-release, which is due out for the Nintendo Switch 2 in July, will add seamless fo... Atomfall Was “Immediately Profitable” at Launch, Sequel Plans Being Discussed Meanwhile, work is also continuing on post-launch updates and DLC for the first-person action survival game it... Mario Kart World’s Courses “Easily Exceed” 100, Over 200 Songs Included, Says Nintendo "If you were to add up all the possible variations, it would easily exceed 100," says producer Kosuke Yabuki a... View More

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Image: 2KGearbox Software's Randy Pitchford found himself in hot water recently after making a fairly tone deaf comment regarding the potential price of Borderlands 4. In response to concerns that the game may well be priced at $80, Pitchford simply stated that "if you're a real fan, you'll find a way". It's not a totally egregious comment in some respects, but the insinuation that those who perhaps can't afford the game aren't so-called "real fans" definitely rubbed folks the wrong way. Now, as spotted by Eurogamer, Pitchford has attempted to defend and justify his comment with another post on social media; this time consisting of a video in which he answers a question regarding how much Borderlands 4 will ultimately cost. He states that Borderlands 4 has "more than twice" the budget of Borderlands 3, which may well contribute to the final price of the game. Though he says that "as artists, we want everybody to have it", there are factors which have to be considered, including "tariffs for the retail packaging" and more. Pitchford says that pre-orders will be opening "soon", and that the price will be set at that time. He's keen to stress, however, that he doesn't know whether publisher 2K will follow the lead of Nintendo and Microsoft and price it at $80, or whether it will remain on the cheaper side. His comments here seem fair, and it just goes to show how some rogue social media post can have such a detrimental effect on one's reputation. Hopefully he'll think twice next time and perhaps show a bit more tact. "We don't feel like we're fighting the system" Do you think Randy Pitchford has adequately justified his comments here? Let us know. [source x.com, via eurogamer.net] Related Games See Also Share:0 0 Nintendo Life’s resident horror fanatic, when he’s not knee-deep in Resident Evil and Silent Hill lore, Ollie likes to dive into a good horror book while nursing a lovely cup of tea. He also enjoys long walks and listens to everything from TOOL to Chuck Berry. Hold on there, you need to login to post a comment... Related Articles 27 Upcoming Nintendo Switch 2 Games We're Excited For In 2025 The very best Switch 2 games coming soon The First Review For Fantasy Life i: The Girl Who Steals Time Is In A fantasy score? Nintendo Switch 2 Final Tech Specs Have Been Confirmed GameChat has a "significant impact on system resources" Nintendo Apologises For "Error" With Mention Of Switch 2 VRR TV Support "The incorrect information was initially published" 12 Switch Games Are Getting Free Switch 2 Upgrades, Here's What You Can Expect Nintendo's free updates arrive next month

Pokémon Go players can now evolve Kubfu into Urshifu, but the big fighting bear has two forms: Single Strike and Rapid Strike. Which one should you evolve your Kubfu into? How do you even evolve the Kubfu to begin with? We’re here with the answers. Since the Kubfu can only Dynamax (not Gigantamax), the choice is pretty clear, based on what’s available in-game right now. Below we explain how to evolve Kubfu into Urshifu in Pokémon Go and which of the two forms (Single Strike or Rapid Strike) you may want to pick, if you only have one. How to evolve Kubfu into Urshifu in Pokémon Go Depending on which version of Urshifu you want, you’ll need to complete a slightly different task. No matter which one you want, you will need to set Kubfu as your buddy. For Single Strike Urshifu, you’ll need to defeat 30 dark-type Pokémon in raids or max battles with Kubfu as your buddy. For Rapid Strike Urshifu, you’ll need to defeat 30 water-type Pokémon in raids or max battles with Kubfu as your buddy. Kubfu does not need to be used in these battles, just set as your buddy. (It’s the same kind of thing as Bisharp/Kingambit, though this counts max battles, too.) Once you meet that requirement, you can use 200 Kubfu Candy to evolve your little bear into a big bear. Should you pick Single Strike or Rapid Strike Urshifu? The general consensus is that the Single Strike (dark-type) form is the better of the two forms across the board. For PvP, Silph Road expert JRE47 gets into the nitty gritty in his own post, but notes that Single Strike is the correct choice among the two. As for PvE content, the main lens to look at Urshifu through is aimed at Max Battles. Both versions of Dynamax Urshifu have their faults — Single Strike (dark) is technically outclassed by Gengar, and Rapid Strike (water) is outclassed by Inteleon. Both of these are also not great fighting-types when compared to Gigantamax Machamp. That being said, there’s just not many dark-type Max Battle attackers around right now, so Single Strike is probably the better choice. (For water-types, you have Kingler, Blastoise, and Inteleon, so…) As of this writing, we don’t know how Gigantamax Urshifu is going to roll out. Will it be another research? A raid day event? But we’ll tackle that bridge when we get there. You can also totally just pick which one you like better. In the image below, Single Strike Urshifu is on the left and Rapid Strike Urshifu is on the right. They have few differences outside of their stance. How to get more Kubfu in Pokémon Go As of writing this, there’s only two ways to get Kubfu (so you can technically have two, and thus one of each type of Ushifu). Complete the first step of the “Might and Mastery” seasonal Special Research. This research needs to at least be started by June 3 at 10 a.m. in your local time, or you lose the chance to get it (probably forever, based on past seasonal research). Buy the “Fuzzy Fighter” Special Research for $7.99. This research is available again until May 27 at 8 p.m. in your local time. Once you buy it, you can take your time completing it. It was previously available at the start of the season for a limited time. If you bought this research at the start of the season, you cannot buy it again. But, yep. That’s it! Though keep in mind that like we mentioned above, Gigantamax versions of Urshifu will likely debut in the game at some point. We don’t know how or when, but seeing as the Kubfu we got is Dynamax and not Gigantamax, you’ll be able to get both big bears at some point (and a stronger version of them, at that) in the future.

Phoenix House / HGA.StudioSave this picture!© Andy MacPhersonHouses•Byron Bay, Australia Architects: HGA.Studio Area Area of this architecture project Area:  140 m² Year Completion year of this architecture project Year:  2020 Photographs Photographs:Andy MacPherson Lead Architects: Harley Graham More SpecsLess Specs Save this picture! Text description provided by the architects. Phoenix House is a profoundly personal endeavor, born from the restoration of an early 1900s Queenslander purchased in Brisbane, Australia. Initially, I had various plans for the property, but life's unexpected twists transformed it into a new home for me and my two children. While stored in the cane fields near Ballina, the house endured brutal southerly storms. When I visited, the tarps were gone, the structure was waterlogged, and the side veranda had collapsed into a heap of hardwood.Save this picture!Overwhelmed, I broke down. The rot-riddled house seemed beyond saving, yet I had no choice but to press on. This became my 'Phoenix moment'—a symbol of personal renewal. Friends, colleagues, engineers, landscape designers, and contractors rallied around the vision, inspired by its metaphor of rebirth.Save this picture!Our studio approached the house like a 'remix album.' We stripped it to its core, cataloged the salvageable pieces, and reimagined their use in a sustainable, puzzle-like assembly. Old casement windows were repurposed as the kitchen splashback, rich teak decking adorned bedroom walls, and other elements were creatively reconfigured.Save this picture!Save this picture!Save this picture!Located in Byron's historic precinct, near my grandparents' original fisherman's cottage, the site faces sports fields to the north, with native vegetation and the bay beyond. The house sits 1600mm above ground, accommodating bike storage, twenty surfboards, and sustainability systems like water tanks, solar batteries, and heat pumps. This elevation, paired with broad timber steps, turns the front deck into a 'stage' overlooking the park. The veranda serves as a bridge between home and community, fostering connection.Save this picture!The design prioritizes simplicity within its 140m² footprint, creating a three-bedroom home that feels expansive. A striking skylight anchors the living area, while a 3x3 m sliding door frames park views, enhancing openness. The house feels like a finely crafted piece of joinery, with a restrained material palette. A robust blockwork pool and native-filled planters ground the lightweight structure. Next to it, a 45m², 2.8 m-wide studio with soaring 4m ceilings serves as a prototype for future 'tiny homes,' feeling surprisingly spacious.Save this picture!Phoenix House embodies the balance between Byron's heritage and its evolving lifestyle. It honors the past while offering a model for sensitive, sustainable development as Australia's coastal towns face growing pressures.Save this picture! Project gallerySee allShow less About this officeHGA.StudioOffice••• Published on May 22, 2025Cite: "Phoenix House / HGA.Studio" 22 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030209/phoenix-house-hgtudio&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream