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To this day, Jaws remains the best example of Steven Spielberg‘s genius as a filmmaker. He somehow took a middling pulp novel about a killer shark and turned it into a thrilling adventure about masculinity and economic desperation. And to the surprise of no one, the massive success of Jaws spawned a lot of knockoffs, a glut of movies about animals terrorizing communities. None of these reach the majesty of Jaws, of course. But here’s the thing—none of them had to be Jaws. Sure, it’s nice that Spielberg’s film has impeccably designed set pieces and compelling characters, but that’s not the main reason people go to animal attack movies. We really just want to watch people get attacked. And eaten. With such standards duly lowered, let’s take a look at the best animal attack movies that came out in the past half-century since Jaws first scared us out of the water. Of course this list doesn’t cover every movie inspired by Jaws ( for example Godzilla Minus One, which devotes its middle act to a wonderful Jaws riff), and some can argue that these movies were less inspired by Jaws than other nature revolts features, such as Alfred Hitchcock‘s The Birds. But every one of these flicks owes a debt to Jaws, either in inspiration or simply getting people interested in movies about animals eating people. Those warning aside, lets make like drunken revelers on Amity Island and dive right in! 20. Sharknado (2013) Sharknado almost doesn’t belong on this list because it’s less a movie and more of a meme, a precursor to Vines and TikTok trends. Yes, many fantastic movies have been made off of an incredibly high concept and a painfully low budget. Heck, that approach made Roger Corman’s career. But Sharknado‘s high concept—a tornado sweeps over the ocean and launches ravenous sharks into the mainland—comes with a self-satisfied smirk. Somehow, Sharknado managed to capture the imagination of the public, making it popular enough to launch five sequels. At the time, viewers defended it as a so bad it’s good-style movie like The Room. But today Sharknado‘s obvious attempts to be wacky are just bad, making the franchise one more embarrassing trend, ready to be forgotten. 19. Orca (1977) For a long time, Orca had a reputation for being the most obvious Jaws ripoff, and with good reason—Italian producer Dino De Laurentiis, who would go on to support Flash Gordon, Manhunter, and truly launch David Lynch‘s career with Blue Velvet, wanted his own version of the Spielberg hit. On paper he had all the right ingredients, including a great cast with Richard Harris and Charlotte Rampling, and another oceanic threat, this time a killer whale. Orca boasts some impressive underwater cinematography, something that even Jaws largely lacks. But that’s the one thing Orca does better than Jaws. Everything else—character-building, suspense and scare scenes, basic plotting and storytelling—is done in such a haphazard manner that Orca plays more like an early mockbuster from the Asylum production company (makers of Sharknado) than it does a product from a future Hollywood player. 18. Tentacles (1977) Another Italian cheapie riding off the success of Jaws, Tentacles at least manages to be fun in its ineptitude. A giant octopus feature, Tentacles is directed by Ovidio G. Assonitis, a man whose greatest claim to fame is that he annoyed first-time director James Cameron so much on Piranha II: The Spawning that he activated the future legend’s infamous refusal to compromise with studios and producers. Tentacles somehow has a pretty impressive cast, including John Huston, Shelly Winters, and Henry Fonda all picking up paychecks. None of them really do any hard work in Tentacles, but there’s something fun about watching these greats shake the the octopus limbs that are supposed to be attacking them, as if they’re in an Ed Wood picture. 17. Kingdom of the Spiders (1977) Spielberg famously couldn’t get his mechanical shark to work, a happy accident that he overcame with incredibly tense scenes that merely suggested the monster’s presence. For his arachnids on the forgotten movie Kingdom of the Spiders, director John “Bud” Cardos has an even more formative tool to make up for the lack of effects magic: William Shatner. Shatner plays Rack Hansen, a veterinarian who discovers that the overuse of pesticides has killed off smaller insects and forced the tarantula population to seek larger prey, including humans. These types of ecological messages are common among creature features of the late ’70s, and they usually clang with hollow self-righteousness. But in Kingdom of the Spiders, Shatner delivers his lines with such blown out conviction that we enjoy his bluster, even if we don’t quite buy it. 16. The Meg (2018) The idea of Jason Statham fighting a giant prehistoric shark is an idea so awesome, it’s shocking that his character from Spy didn’t already pitch it. And The Meg certainly does deliver when Statham’s character does commit to battle with the creature in the movie’s climax. The problem is that moment of absurd heroism comes only after a lot of long sappy nonsense. Join our mailing list Get the best of Den of Geek delivered right to your inbox! It’s hard to figure out who is to blame for The Meg‘s failure. Director Jon Turteltaub hails from well-remembered Disney classics Cool Runnings and National Treasure. But too often he forgets how to pace an adventure film and gives into his most saccharine instincts here. One of the many Chinese/Hollywood co-produced blockbusters of the 2010s, The Meg also suffers from trying to innocuously please too wide an audience. Whatever the source, The Meg only fleetingly delivers on the promise of big time peril, wasting too much time on thin character beats. 15. Lake Placid (1999) I know already some people reading this are taking exception to Lake Placid‘s low ranking, complaining that this list isn’t showing enough respect to what they consider a zippy, irreverent take on a creature feature, one written by Ally McBeal creator David E. Kelley and co-starring Betty White. To those people, I can only say, “Please rewatch Lake Placid and then consider its ranking.” Lake Placid certainly has its fun moments, helped along by White as a kindly grandmother who keeps feeding a giant croc, Bill Pullman as a dumbfounded simple sheriff, and Oliver Platt as a rich adventurer. Their various one-liners are a pleasure to remember. But within the context of a movie stuffed with late ’90s irony, the constant snark gets tiresome, sapping out all the fun of a killer crocodile film. 14. Open Water (2003) Like Sharknado, Open Water had its fans for a few years but has fallen in most moviegoers’ esteem. Unlike Sharknado, Open Water is a real movie, just one that can’t sustain its premise for its entire runtime. Writer and director Chris Kentis draws inspiration from a real-life story about a husband and wife who were accidentally abandoned in the middle of the ocean by their scuba excursion group. The same thing happens to the movie’s Susan Watkins (Blanchard Ryan) and Daniel Travis (Daniel Kintner), who respond to their predicament by airing out their relationship grievances, even as sharks start to surround them. Kentis commits to the reality of the couple’s bleak situation, which sets Open Water apart from the thrill-a-minute movies that mostly make up this list. But even with some shocking set pieces, Open Water feels too much like being stuck in car with a couple who hates each other and not enough like a shark attack thriller. 13. Eaten Alive (1976) Spielberg’s artful execution of Jaws led many of the filmmakers who followed to attempt some semblance of character development and prestige, even if done without enthusiasm (see: Orca). Not so with Tobe Hooper, who followed up the genre-defining The Texas Chainsaw Massacre with Eaten Alive. Then again, Hooper draws just as much from Psycho as he does Jaws. Neville Brand plays Judd, the proprietor of a sleazy hotel on the bayou where slimy yokels do horrible things to one another. Amity Island, this is not. But when one of the visitors annoy Judd, he feeds them to the pet croc kept in the back. Eaten Alive is a nasty bit of work, but like most of Hooper’s oeuvre, it’s a lot of fun. 12. Prophecy (1979) Directed by John Frankenheimer of The Manchurian Candidate and Grand Prix fame, Prophecy is easily the best of the more high-minded animal attack movies that followed Jaws. This landlocked film, written by David Seltzer, stars Robert Foxworth as Dr. Robert Verne, a veterinarian hired by the EPA to investigate bear attacks against loggers on a mountain in Maine. Along with his wife Maggie (Talia Shire), Verne finds himself thrown into a conflict between the mining company and the local Indigenous population who resist them. Prophecy drips with an American hippy mentality that reads as pretty conservative today (“your body, your choice” one of Maggie’s friends tells her… to urge her against getting an abortion), making its depictions of Native people, including the leader played by Italian American actor Armand Assante, pretty embarrassing. But there is a mutant bear on the loose and Frankenheimer knows how to stage an exciting sequence, which makes Prophecy a worthwhile watch. 11. Piranha 3D (2010) Piranha 3D begins with a denim-wearing fisherman named Matt, played by Richard Dreyfuss no less, falling into the water and immediately getting devoured by the titular flesh-eaters. This weird nod to Matt Hooper and Jaws instead of Joe Dante’s Piranha, the movie Piranha 3D is supposed to be remaking, is just one of the many oddities at play yhere. Screenwriters Pete Goldfinger and Josh Stolberg have some of the wacky energy and social satire of the original film, but director Alexandre Aja, a veteran of the French Extreme movement, includes so much nastiness in Piranha 3D that we’re not sure if we want to laugh or throw up. Still, there’s no denying the power of Piranha 3D‘s set pieces, including a shocking sequence in which the titular beasties attack an MTV/Girls Gone Wild Spring Break party and chaos ensues. Furthermore, Piranha 3D benefits from a strong cast, which includes Elizabeth Shue, Adam Scott, and Ving Rhames. 10. Anaconda (1997) With its many scenes involving an animal attacking a ragtag group on a boat, Anaconda clearly owes a debt to Jaws. However, with its corny characters and shoddy late ’90s CGI, Anaconda feels today less like a Jaws knockoff and more like a forerunner to Sharknado and the boom of lazy Syfy and Redbox horror movies that followed. Whatever its influences and legacy, there’s no denying that Anaconda is, itself, a pretty fun movie. Giant snakes make for good movie monsters, and the special effects have become dated in a way that feels charming. Moreover, Anaconda boasts a enjoyably unlikely cast, including Eric Stoltz as a scientist, Owen Wilson and Ice Cube as members of a documentary crew, and Jon Voight as what might be the most unhinged character of his career, second only to his crossbow enthusiast from Megalopolis. 9. The Shallows (2016) The Shallows isn’t the highest-ranking shark attack movie on this list but it’s definitely the most frightening shark attack thriller since Jaws. That’s high praise, indeed, but The Shallows benefits from a lean and mean premise and clear direction by Jaume Collet-Serra, who has made some solid modern thrillers. The Shallows focuses almost entirely on med student Nancy Adams (Blake Lively), who gets caught far from shore after the tide comes in and is hunted by a shark. A lot of the pleasure of The Shallows comes from seeing how Collet-Serra and screenwriter Anthony Jaswinski avoid the problems that plague many of the movies on this list. Adams is an incredibly competent character, and we pull for her even after the mistake that leaves her stranded. Moreover, The Shallows perfectly balances thrill sequences with character moments, making for one of the more well-rounded creature features of the past decade. 8. Razorback (1984) Jaws, of course, has a fantastic opening scene, a thrilling sequence in which the shark kills a drunken skinny dipper. Of the movies on this list, only Razorback comes close to matching the original’s power, and it does so because director Russell Mulcahy, who would make Highlander next, goes for glossy absurdity. In the Razorback‘s first three minutes, a hulking wild boar smashes through the rural home of an elderly man in the Australian outback, carrying away his young grandson. Over the sounds of a synth score, the old man stumbles away from his now-burning house, screaming up into the sky. Sadly, the rest of Razorback cannot top that moment. Mulcahy directs the picture with lots of glossy style, while retaining the grit of the Australian New Wave movement. But budget restrictions keep the titular beast from really looking as cool as one would hope, and the movie’s loud, crazy tone can’t rely on Jaws-like power of suggestion. 7. Crawl (2019) Alexandre Aja’s second movie on this list earns its high rank precisely because it does away with the tonal inconsistencies that plagued Piranha 3D and leans into what the French filmmaker does so well: slicked down and mean horror. Set in the middle of a Florida hurricane, Crawl stars Kaya Scodelario as competitive swimmer Haley and always-welcome character actor Barry Pepper as her father Dave, who get trapped in a flooding basement that’s menaced by alligators. Yet as grimy as Crawl can get, Aja also executes the strong character work in the script by Michael Rasmussen and Shawn Rasmussen. Dave and Haley are real people, not just gator-bait, making their peril feel all the more real, and their triumphs all the sweeter. 6. Piranha (1978) Piranha is the only entry on this list to get a seal of approval from Stephen Spielberg himself, who not only praised the movie, even as Universal Pictures planned to sue the production, but also got director Joe Dante to later helm Gremlins. It’s not hard to see why Piranha charmed Spielberg, a man who loves wacky comedy. Dante’s Looney Tunes approach is on full display in some of the movie’s best set pieces. But Piranha is special because it also comes from legendary screenwriter John Sayles, who infuses the story with social satire and cynicism that somehow blends with Dante’s approach. The result is a film about piranha developed by the U.S. military to kill the Vietnamese getting unleashed into an American river and making their way to a children’s summer camp, a horrifying idea that Dante turns into good clean fun. 5. Slugs (1988) If we’re talking about well-made movies, then Slugs belongs way below any of the movies on this list, somewhere around the killer earthworm picture Squirm. But if we’re thinking about pure enjoyable spectacle, it’s hard to top Slugs, a movie about, yes, flesh-eating slugs. Yes, it’s very funny to think about people getting terrorized by creatures that are famous for moving very, very slowly. But Spanish director Juan Piquer Simón, perhaps best known for his equally bugnuts giallo Pieces (1982), pays as little attention to realism as he does to good taste. Slugs is filled with insane and ghastly sequences of killer slugs ending up in unlikely places, swarming the floor of someone’s bedroom or inside a fancy restaurant, and then devouring people, one methodical bite at a time. 4. Deep Blue Sea (1999) When it comes to goofy ’90s CGI action, it’s hard to top Deep Blue Sea, directed by Renny Harlin and featuring sharks with genetically enhanced brains. Deep Blue Sea doesn’t have a strong sense of pacing, it lacks any sort of believable character development, and the effects looked terrible even in 1999. But it’s also the only movie on this list that features LL Cool J as a cool chef who recites a violent version of the 23rd Psalm and almost gets cooked alive in an oven by a genius-level shark. It’s scenes like the oven sequence that makes Deep Blue Sea such a delight, despite its many, many flaws. The movie tries to do the most at every turn, whether that’s clearly reediting the movie in postproduction so that LL Cool J’s chef becomes a central character, stealing the spotlight form intended star Saffron Burrows, or a ridiculous Samuel L. Jackson monologue with a delightfully unexpected climax. 3. Alligator (1980) In many ways, Alligator feels like screenwriter John Sayles’ rejoinder to Piranha. If Joe Dante sanded down Piranha‘s sharp edges with his goofy humor, then Alligator is so filled with mean-spiritedness that no director could dilute it. Not that Lewis Teague, a solid action helmer who we’ll talk about again shortly, would do that. Alligator transports the old adage about gators in the sewers from New York to Chicago where the titular beast, the subject of experiments to increase its size, begins preying on the innocent. And on the not so innocent. Alligator shows no respect for the good or the bad, and the film is filled with scenes of people getting devoured, whether it’s a young boy who becomes a snack during a birthday party prank or an elderly mafioso who tries to abandon his family during the gator’s rampage. 2. Grizzly (1976) Grizzly stands as the greatest of the movies obviously ripping off Jaws precisely because it understands its limitations. It takes what it can from Spielberg’s masterpiece, including the general premise of an animal hunting in a tourist location, and ignores what it can’t pull off, namely three-dimensional characters. This clear-eyed understanding of everyone’s abilities makes Grizzly a lean, mean, and satisfying thriller. Directed by blaxploitation vet William Girdler and written by Harvey Flaxman and David Sheldon, Grizzly stars ’70s low-budget king Christopher George as a park ranger investigating unusually vicious bear attacks on campers. That’s not the richest concept in the world, but Girdler and co. execute their ideas with such precision, and George plays his character with just the right amount of machismo, that Grizzly manages to deliver on everything you want from an animal attack. 1. Cujo (1983) To some modern readers, it might seem absurd to put Cujo on a list of Jaws knockoffs. After all, Stephen King is a franchise unto himself and he certainly doesn’t need another movie’s success to get a greenlight for any of his projects. But you have to remember that Cujo came out in 1983 and was just the third of his works to get adapted theatrically, which makes its Jaws connection more valid. After all, the main section of the film—in which mom (Dee Wallace) and her son Tad (Danny Pintauro) are trapped in their car and menaced by the titular St. Bernard—replicates the isolation on Quint’s fishing vessel, the Orca, better than any other film on this list. However, it’s not just director Lewis Teague’s ability to create tension that puts Cujo at the top. Writers Don Carlos Dunaway and Lauren Currier key into the complicated familial dynamics of King’s story, giving the characters surprising depth. It’s no wonder that Spielberg would cast Wallace as another overwhelmed mom for E.T. The Extraterrestrial the very next year, proving that he still has a soft spot for animal attack movies—even if none of them came close to matching the power of Jaws.

By JENNIFER CHAMPAGNE House of the Dragon expands its dragon-filled world in its second season, offering more large-scale battles and heightened aerial warfare. (Image courtesy of HBO) The 2025 Emmy race for outstanding visual effects is shaping up to be one of the most competitive in years with major genre heavyweights breaking new ground on what’s possible on television. As prestige fantasy and sci-fi continue to dominate, the battle for the category will likely come down to sheer scale, technical innovation and how seamlessly effects are integrated into storytelling. Returning titans like House of the Dragon and The Lord of the Rings: The Rings of Power have proven their ability to deliver breathtaking visuals. At the same time, Dune: Prophecy enters the conversation as a visually stunning newcomer. The Boys remains the category’s wildcard, bringing its own brand of hyper-realistic, shock-value effects to the race. With its subtle yet immersive world-building, The Penguin stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis. Each series offers a distinct approach to digital effects, making for an intriguing showdown between blockbuster-scale world-building and more nuanced, atmospheric craftsmanship. Sharing the arena with marquee pacesetters HBO’s The Last of Us, Disney+’s Andor and Netflix’s Squid Game, these series lead the charge in ensuring that the 2025 Emmy race isn’t just about visual spectacle; it’s about which shows will set the next benchmark for visual effects on television. The following insights and highlights from VFX supervisors of likely Emmy contenders illustrate why their award-worthy shows have caught the attention of TV watchers and VFX Emmy voters. The Penguin, with its subtle yet immersive world-building, stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis.  (Image courtesy of HBO) For The Lord of the Rings: The Rings of Power VFX Supervisor Jason Smith, the second season presented some of the Amazon series’ most ambitious visual effects challenges. From the epic Battle of Eregion to the painstaking design of the Entwives, Smith and his team at Wētā FX sought to advance digital world-building while staying true to J.R.R. Tolkien’s vision. “The Battle of Eregion was amazing to work on – and challenging too, because it’s a pivotal moment in Tolkien’s story,” Smith states. Unlike typical large-scale clashes, this battle begins as a siege culminating in an explosive cavalry charge. “We looked for every way we could to heighten the action during the siege by keeping the armies interacting, even at a distance,” Smith explains. His team introduced projectiles and siege weaponry to create dynamic action, ensuring the prolonged standoff felt kinetic. The environment work for Eregion posed another challenge. The city was initially constructed as a massive digital asset in Season 1, showcasing the collaborative brilliance of the Elves and Dwarves. In Season 2, that grandeur had to be systematically razed to the ground. “The progression of destruction had to be planned extremely carefully,” Smith notes. His team devised seven distinct levels of damage, mapping out in granular detail which areas would be smoldering, reduced to rubble or utterly consumed by fire. “Our goal was to have the audience feel the loss that the Elves feel as this beautiful symbol of the height of Elvendom is utterly razed.” The SSVFX team helped shape a world for Lady in the Lake that felt rich, lived-in and historically precise. (Image courtesy of Apple TV+) One of most ambitious effects for Season 4 of The Boys was Splinter, who has the ability to duplicate himself. The sequence required eight hours of rehearsal, six hours of filming, for one shot. The final effect was a mix of prosthetic cover-up pieces and VFX face replacement. (Image courtesy of Prime Video) The Penguin, HBO Max’s spinoff series of The Batman, centers on Oswald ‘Oz’ Cobb’s ruthless rise to power, and relies on meticulous environmental effects, smoothly integrating CG elements to enhance Gotham’s noir aesthetic without ever calling attention to the work itself. “The most rewarding part of our work was crafting VFX that don’t feel like VFX,” says VFX Supervisor Johnny Han. Across the series’ 3,100 VFX shots, every collapsing freeway, skyline extension and flicker of light from a muzzle flash had to feel utterly real – woven so naturally into the world of Gotham that viewers never stopped to question its authenticity. Zimia spaceport, an enormous hub of interstellar commerce in Dune: Prophecy. The production team built a vast practical set to provide a strong scale foundation, but its full grandeur came to life in post by extending this environment with CG.(Images courtesy of HBO) The second season of The Lord of the Rings: The Rings of Power refined its environments, which elevate Middle-earth’s realism. (Image courtesy of Prime Video) Some of the series’ most striking visual moments were also its most understated. The shift of Gotham’s seasons – transforming sunlit summer shoots into autumn’s muted chill – helped shape the show’s somber tone, reinforcing the bleak, crime-ridden undercurrent. The city’s bridges and skyscrapers were meticulously augmented, stretching Gotham beyond the limits of practical sets while preserving its grounded, brutalist aesthetic. Even the scars and wounds on Sofia Falcone were enhanced through digital artistry, ensuring that her past traumas remained ever-present, etched into her skin. The series wasn’t without its large-scale effects – far from it. Han and his team orchestrated massive sequences of urban devastation. “The floodwaters were one of our biggest challenges,” Han notes, referring to the ongoing impact of the catastrophic deluge that left Gotham in ruins. One particularly harrowing sequence required simulating a tsunami tearing through the streets – not as an action set piece, but as a deeply personal moment of loss. “Telling Victor’s story of how he lost his entire family in the bombing and floods of Gotham was heartbreaking,” Han says. “Normally, you create an event like that for excitement, for tension. But for us, it was about capturing emotional devastation.” Perhaps the most technically intricate sequences were the shootouts, hallmarks of Gotham’s criminal underbelly. “We programmed millisecond-accurate synced flash guns to mimic dramatic gunfire light,” Han explains, ensuring that the interplay of practical and digital elements remained imperceptible. Every muzzle flash, every ricochet was meticulously planned and rendered. The ultimate achievement for Han and his team wasn’t crafting the biggest explosion or the most elaborate digital sequence – it was making Gotham itself feel inescapably real. He says, “Nothing was more important to us than for you to forget that there are 3,100 VFX shots in this series.” The challenge for The Residence was making one of the most recognizable buildings in the world feel both immersive and narratively engaging. (Photo: Erin Simkin. Courtesy of Netflix) Bringing the universe of Dune to life on TV for HBO’s Dune: Prophecy requires a delicate balance of realism and imagination, grounded in natural physics, yet awe-inspiring in scale. Dune: Prophecy looks to challenge traditional fantasy dominance with its stunning, desert-bound landscapes and intricate space-faring visuals, uniting the grandeur of Denis Villeneuve’s films with the demands of episodic storytelling. Set thousands of years before the events of the films, the series explores the early days of the Bene Gesserit, a secretive order wielding extraordinary abilities. Translating that power into a visual language required technical innovation. “Kudos to Important Looking Pirates for the space folding and [Lila’s] Agony work,” says VFX Supervisor Mike Enriquez. No Dune project would be complete without its most iconic inhabitant, the sandworm. VFX Producer Terron Pratt says. “We’re incredibly proud of what the team at Image Engine created. Precise animation conveyed this creature’s weight and massive scale, while incredibly detailed sand simulations integrated it into the environment.” Every grain of sand had to move believably in response to the worm’s colossal presence to ensure the physics of Arrakis remained authentic. Floodwaters play a significant part in the destruction of Gotham in The Penguin. One particularly harrowing sequence required simulating a tsunami tearing through the streets. (Image courtesy of HBO) American Primeval integrated visual effects with practical techniques in creative, unconventional ways. The massacre sequence showcases technical mastery and pulls the audience into the brutal reality of the American frontier. (Photo: Justin Lubin. Courtesy of Netflix) For the Zimia spaceport, an enormous hub of interstellar commerce, the Dune: Prophecy production team built a vast practical set to provide a strong scale foundation. However, its full grandeur came to life in post. “By extending this environment with CG, we amplified the scope of our world, making it feel expansive and deeply impactful,” Pratt explains. The result was a sprawling, futuristic cityscape that retained a tangible weight with impeccably amalgamated practical and digital elements. Wētā FX sought to advance digital world-building for Season 2 of The Lord of the Rings: The Rings of Power while staying true to J.R.R. Tolkien’s vision. (Image courtesy of Prime Video) Visual effects extended beyond character work for Lady in the Lake, playing a key role in the show’s immersive world-building. (Image courtesy of Apple TV+) For House of the Dragon VFX Supervisor Daði Einarsson, Season 2 presented some of the HBO show’s most complex and ambitious visual effects work. The Battle at Rook’s Rest in Episode 4 was a milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege,” Einarsson says. Capturing the actors’ performances mid-flight required a combination of motion-controlled cameras, preprogrammed motion bases with saddles and LED volume lighting – all mapped directly from fully animated previsualized sequences approved by director Alan Taylor and Showrunner Ryan J. Condal. On the ground, the battlefield required digital crowd replication, extensive environment extensions, and pyrotechnic enhancements to create a war zone that felt both vast and intimately chaotic. “In the air, we created a fully CG version of the environment to have full control over the camera work,” Einarsson explains. Under the supervision of Sven Martin, the Pixomondo team stitched together breathtaking aerial combat, ensuring the dragons moved with the weight and raw power befitting their legendary status. Blood, weapon effects and period-accurate muzzle flashes heightened the intensity of the brutal fight sequences in American Primeval. The natural elements and violence reflected the harsh realities of the American west in 1857. (Image courtesy of Netflix) The Residence brings a refined, detailed approach to environmental augmentation, using visual effects to take the audience on a journey through the White House in this political murder mystery. (Photo: Jessica Brooks. Courtesy of Netflix) Episode 7 introduced Hugh Hammer’s claim of Vermithor, Westeros’ second-largest dragon. Rather than breaking the sequence into multiple shots, Einarsson and director Loni Peristere saw an opportunity to craft something exceptional: a single, uninterrupted long take reminiscent of Children of Men and Gravity. “It took a lot of planning to design a series of beats that cohesively flowed from one into the next, with Hugh leading the camera by action and reaction,” Einarsson says. The sequence, which involved Hugh dodging Vermithor’s flames and ultimately claiming the beast through sheer bravery, was technically demanding. To achieve this, the team stitched together five separate takes of Hugh’s performance, shot over two separate days weeks apart, due to the set needing to be struck and rebuilt in different configurations. VFX Supervisor Wayne Stables and the team at Wētā ensured the transitions were imperceptible, uniting practical and digital elements into a continuous, immersive moment. “The Dragonmont Cavern environment was a beautiful, raised gantry and cave designed by [Production Designer] Jim Clay and expanded by Wētā,” Einarsson says. Then Rowley Imran’s stunt team and Mike Dawson’s SFX team engulfed the set in practical flames so every element, from fire to dust to movement, contributed to the illusion of real-time danger. For Einarsson, the most significant challenge wasn’t just in making these sequences visually spectacular – it was ensuring they belonged within the same world as the quiet, dialogue-driven moments in King’s Landing. “The aim is for incredibly complex and spectacular visual effects scenes to feel like they belong in the same world as two people talking in a council chamber,” he states. Every dragon, flame and gust of wind had to feel as lived-in as the politics playing out beneath them. Season 4 of The Boys delivered the fully CG octopus character, Ambrosius. A challenge was crafting a believable yet expressive sea creature and keeping it grounded while still embracing the show’s signature absurdity. (Image courtesy of Prime Video) In The Penguin, Gotham isn’t just a city; it’s a living, breathing entity shaped by destruction, decay and the quiet menace lurking beneath its streets. (Images courtesy of HBO) The Boys continues to defy genre norms, delivering audacious, technically complex effects that lean into its hyperviolent, satirical take on superheroes. For The Boys VFX Supervisor Stephan Fleet, Season 4 delivered some of the Amazon Prime show’s most dramatic effects yet, from the self-replicating Splinter to the fully CG octopus character, Ambrosius. Splinter, who has the ability to duplicate himself, presented a unique challenge. Fleet says, “His introduction on the podium was a complex motion control sequence. Eight hours of rehearsal, six hours of filming – for one shot.” Splinter’s design came with an added layer of difficulty. “We had to figure out how to make a nude male clone,” Fleet says. “Normally, you can hide doubles’ bodies in clothes – not this time!” The final effect required a mix of prosthetic cover-up pieces and VFX face replacement, requiring multiple iterations to make it work. Ambrosius became one of The Boys’ most unexpected breakout characters. “It’s fun making a full-on character in the show that’s an octopus,” Fleet reveals in a nod to the show’s absurd side. “As much as possible, we aim for a grounded approach and try to attain a level of thought and detail you don’t often find on TV.” While the battle for outstanding visual effects will likely be dominated by large-scale fantasy and sci-fi productions, several standout series are also making waves with their innovative and immersive visual storytelling. Netflix’s The Residence, led by VFX Supervisor Seth Hill, brings a refined, detailed approach to environmental augmentation, enhancing the grandeur of the White House setting in this political murder mystery. “Using visual effects to take the audience on a journey through an iconic location like the White House was really fun,” Hill says. “It’s a cool and unique use of visual effects.” One of the most ambitious sequences involved what the team called the Doll House, a digital rendering of the White House with its south façade removed, exposing the interior like a cross-section of a dollhouse. Hill explains. “Going back and forth from filmed footage to full CGI – that jump from grounded realism to abstract yet still real – was quite tricky,” he says, adding, “VFX is best when it is in service of the storytelling, and The Residence presented a unique opportunity to do just that. It was a big challenge and a tough nut to crack, but those creative and technical hurdles are a good part of what makes it so rewarding.” “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege. In the air, we created a fully CG version of the environment to have full control over the camera work.”—Daði Einarsson, VFX Supervisor, House of the Dragon The Battle at Rook’s Rest in Episode 4 of House of the Dragon Season 2 was a major milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. (Image courtesy of HBO) Season 2 of House of the Dragon presented some of the most complex and ambitious visual effects work for the show to date. (Photo: Theo Whiteman. Courtesy of HBO) For Jay Worth, VFX Supervisor on Apple TV+’s Lady in the Lake, the challenge was two-fold: create seamless effects and preserve the raw emotional truth of a performance. One of the most significant technical achievements was de-aging Natalie Portman. “It seems so easy on paper, but the reality was far more challenging,” Worth admits. Worth had tackled de-aging before, but never with the same level of success. “For me, it is simply because of her performance.” Portman delivered a nuanced, youthful portrayal that felt entirely authentic to the time period. “It made our job both so much easier and set the bar so high for us. Sometimes, you can hide in a scene like this – you pull the camera back, cut away before the most expressive parts of the dialogue, or the illusion breaks,” Worth explains. In Lady in the Lake, there was nowhere to hide. “I think that is what I am most proud of with these shots. It felt like the longer you stayed on them, the more you believed them. That is a real feat with this sort of work.” Skully VFX handled the de-aging. “They nailed the look early on and delivered throughout the project on this difficult task.” Working alongside Production Designer Jc Molina, the VFX team helped shape a world that felt rich, lived-in and historically precise. “We were entrusted with the most important part of this show – do we believe this performance from this character in this part of her journey? – and we feel like we were able to deliver on this challenge.” On the other end of the spectrum, Netflix’s American Primeval, under the guidance of VFX Supervisor Andrew Ceperley, delivers rugged, visceral realism in its portrayal of the untamed American frontier. With brutal battle sequences, sprawling landscapes and historical re-creations that interweave practical and digital effects, the series stands as a testament to how VFX can enhance grounded, historical storytelling. Ceperley says, “The standout is definitely the nearly three-minute single-shot massacre sequence in the forest episode.” Designed to immerse the audience in the raw, chaotic violence of the frontier, the scene captures every brutal detail with unrelenting intensity. The challenge was crafting invisible visual effects, enhancing practical stunts and destruction without breaking the immersive, handheld camera style. “The sequence was designed to be one shot made up of 10 individual takes, shot over seven days, seamlessly stitched together, all while using a handheld camera on an extremely wide-angle lens.” One of the most complex moments involved a bull smashing through a wagon while the characters hid underneath. Rather than relying on CGI, the team took a practical approach, placing a 360-degree camera under the wagon while the special effects team rigged it to explode in a way that simulated an impact. “A real bull was then guided to run toward the 360 camera and leap over it,” Ceperley says. The footage was blended with live-action shots of the actors with minimal CGI enhancements – just dust and debris – to complete the effect. Adding to the difficulty, the scene was set at sunset, giving the team an extremely limited window to capture each day’s footage. The massacre sequence was a prime example of integrating visual effects with practical techniques in creative, unconventional ways, blending old-school in-camera effects with modern stitching techniques to create a visceral cinematic moment that stayed true to the show’s raw, historical aesthetic. “Using old techniques in new, even strange ways and seeing it pay off and deliver on the original vision was the most rewarding part.”

The shoehorning of AI into everything has programmers at Amazon feeling less like the tedious parts of their jobs are being smoothly automated, and more like their work is beginning to resemble the drudgery of toiling away in one of the e-commerce giant's vast warehouses.That's the bleak picture painted in new reporting from the New York Times, in which Amazon leadership — as is the case at so many other companies — is convinced that AI will marvelously jack up productivity. Tasked with conjuring the tech's mystic properties, of course, are our beleaguered keyboard-clackers.Today, there's no shortage of coding AI assistants to choose from. Google and Meta are making heavy use of them, as is Microsoft. Satya Nadella, CEO of the Redmond giant, estimates that as much as 30 percent of the company's code is now written with AI. If Amazon's to keep up with the competition, it needs to follow suit. CEO Andy Jassy echoed this in a recent letter to shareholders, cited by the NYT, emphasizing the need to give customers what they want as "quickly as possible," before upholding programming as a field in which AI would "change the norms."And that it has — though this is less due to the merits of AI and more the result of the over-eager opportunism of the company's management. Three Amazon engineers told the NYT that their bosses have increasingly pushed them to use AI in their work over the past year. And with that came increased output goals and even tighter deadlines. One engineer said that his team was reduced to roughly half the size it was last year — but it was still expected to produce the same amount of code by using AI.In short, new automating technology is being used to justify placing increased demands at their jobs."Things look like a speed-up for knowledge workers," Lawrence Katz, a labor economist at Harvard University, told the NYT, citing ongoing research. "There is a sense that the employer can pile on more stuff."Adopting AI was ostensibly optional for the Amazon programmers, but the choice was all but made for them. One engineer told the newspaper that they're now expected to finish building new website features in just a few days, whereas before they had several weeks. This ludicrous ramp up is only made possible by using AI to automate some of the coding, and comes at the expense of quality: there's less time for consulting with colleagues to get feedback and bounce ideas around.Above all, AI is sapping all the joy out of their profession. AI-amalgamated code requires extensive double checking — a prominent critique that can't be ignored here and is one of the main reasons skeptics question whether these programming assistants actually produce gains in efficiency. And when you're reduced to proofreading a machine, there's little room for creativity, and an even more diminished sense of control."It's more fun to write code than to read code," Simon Willison, a programmer and blogger who's both an enthusiast of AI and a frequent critic of the tech, told the NYT, playing devil's advocate. "If you're told you have to do a code review, it's never a fun part of the job. When you're working with these tools, it's most of the job."Amazon, for its part, maintains that it conducts regular reviews to ensure that its teams are adequately staffed. "We'll continue to adapt how we incorporate Gen AI into our processes," an Amazon spokesman told the NYT.More on AI: AI Is Replacing Women's Jobs SpecificallyShare This Article

Elon Musk has officially announced he’s stepping down as a U.S. special government employee and the de facto head of the Department of Government Efficiency, better known as DOGE.  The move follows Musk’s cooling relationship with the Trump administration and slumping Tesla sales tied to his political advocacy. Despite his announced departure, Musk gave a shout-out to President Trump for the chance to tackle government waste, and he insisted that DOGE’s mission isn’t going anywhere anytime soon. Since launching, the organization has already slashed budgets across agencies, cut jobs, shut down departments, and stirred up plenty of controversy along the way. Today, on TechCrunch’s Equity podcast, hosts Kirsten Korosec, Max Zeff, and Anthony Ha unpack who else is departing DOGE, and why Silicon Valley’s relationship with politics is entering, as Kirsten put it, the “find out” stage. Listen to the full episode for more of the week’s tech headlines, including: GameStop bought $500 million of bitcoin, and the move is giving us 2021 déjà vu Neuralink’s $600 million raise, valuing Elon Musk’s brain-computer interface startup at $9 billion The New York Times and Amazon’s landmark AI licensing deal and what it signals for how editorial content powers generative AI Nvidia’s tale of two earnings, and why the forecast is not as bleak as CEO Jensen Huang makes it seem Equity will be back next week, so don’t miss it! Equity is TechCrunch’s flagship podcast, produced by Theresa Loconsolo, and posts every Wednesday and Friday.  Subscribe to us on Apple Podcasts, Overcast, Spotify and all the casts. You also can follow Equity on X and Threads, at @EquityPod. For the full episode transcript, for those who prefer reading over listening, check out our full archive of episodes here.

It’ll be out in less than a week (Nintendo) A reader explains exactly how they’re going to spend the next seven days, and it seems to involve a lot of Switch 2 games and Summer Game Fest. It’s over eight years since the launch of the original Nintendo Switch and it seems like both yesterday and half a lifetime ago. I absolutely agree with suggestions that it’s the best console ever made, and I couldn’t be happier with my purchase and all the many games I’ve bought for it. All the previews of Switch 2 have been very positive, but I don’t need to read them; I’m completely happy to take a risk on getting it day one, and I’ve already planned the days off. I’m actually a little gutted I can’t go to any of the midnight launches. I’m very glad to hear they’re still going but by the time I knew about them I’d already pre-ordered from Nintendo. So I’ll be stuck at home on Thursday, desperately hoping for the postie to ring the doorbell. He’ll be bringing the console with the Mario Kart World bundle and I’ll also be buying Welcome Tour, Split Fiction, Cyberpunk 2077: Ultimate Edition, Civilization 7, and upgrades for the two Zelda games and Super Mario Party Jamboree. (I’m not rich, I’ve just been saving and haven’t bought a new game yet this year.) I’ve seen it said that the Switch 2 launch line-up is not that good, and I will agree I had expected more in the way of exclusives, both first and third party, but I think we have to remember this is June and, hardware launch or not, that’s not exactly prime video game-buying time. In fact, it’s the opposite. Still, I think you’ll agree that little lot should keep me busy for a while, which is why I booked the whole week off to play it. Which is not quite as crazy as it sounds. The console comes out on Thursday and then on Friday it’s Summer Game Fest, which starts late at night, so I’d rather not come home knackered from work to stay up to watch that. Sunday is the Xbox summer showcase – which I’m not super interested in but could have some Switch 2 news – and, well… with luck the weather will be nice so I thought, sod it, I’ll just take a full week off, or at least to Wednesday. That gives me enough time to play my new console, to watch and recover from the showcases, and to still have some quality time with the missus. It’ll be a week of full-on video game indulgence, and I can’t wait. In an increasingly bleak world, I find the thought of doing nothing but wasting my time with video games very appealing. We all know Mario Kart World is going to be amazing but as well as that I can play through Cyberpunk 2077 and its DLC, try out the mouse controls for Civilization 7, and play co-op with my wife on Split Fiction – which I’ve been purposefully holding back on till now. Plus, I get to play remastered versions of the two best Zelda games and a bunch of fun new party games for Super Mario Party, that also use the GameChat camera, which I’m also buying. It’s a lot at once, I agree, but I feel I’m worth it and for once I do have time to play it all. As for what I’m hoping for from the showcases. Well, mostly I’d like there to be a Nintendo Direct, which there seems a reasonable chance of but which, at least as I’m writing this, they haven’t announced yet. Obviously, I’d like there to be a secret Nintendo game for Christmas, ideally a 3D Mario, but I really don’t think that’s very likely. I do imagine they’ll have some kind of small extra though and maybe a tease of what’s to come next year. More Trending I do still have my PlayStation 5, so I guess I’d be interested in anything that announced for that, especially Resident Evil 9 or Final Fantasy 7 Remake Part 3, but at the moment I’m all about the Switch 2. I hope it lives up to the legacy of its predecessor but at the moment I have no reason to think it won’t and all the time in the world to find out! By reader Onibee Mario Kart World is out in less than a week (Nintendo) The reader’s features do not necessarily represent the views of GameCentral or Metro. You can submit your own 500 to 600-word reader feature at any time, which if used will be published in the next appropriate weekend slot. Just contact us at gamecentral@metro.co.uk or use our Submit Stuff page and you won’t need to send an email. 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

Since its reveal, Hell is Us has been something of an enigma. As an action-RPG that hones in on detective-style investigations within a hauntingly alluring world filled with weird monsters to explore, it's a type of game that tasks players to meet it on its strange and unorthodox terms. For its developers, Hell is Us also represents a game that pushes back against contemporary trends of gaming that places its story and gameplay in a neat package and instead trusts players to piece together just what the hell is going on within the corrupted land of Hadea, and how to survive it.After playing several hours of the opening of Hell is Us along with some mid-game dungeon crawling, I came away with a clearer idea of developer Rogue Factor's new-weird-influenced take on an action-adventure game that pushes players to mind the finer details of the world and maintain poise during some of the intense engagements. So far, Hell is Us is a game that makes charting out into a familiar yet deeply alien world feel captivating.Hell is Us - May 2025 ScreenshotsHell is Us takes place in an alternate 1990s where the fictional European country Hadea is in the midst of a civil war following the events of a mysterious, supernatural incursion known as the "calamity." Playing as Remy, a United Nations peacekeeper and former resident of Hadea, he's detained by a mysterious organization following his mission into Hadea to find his parents. With the organization and its leader pressing down on Remy, he has to recall the fateful decisions he made with the surviving factions and how he fought off the seemingly otherworldly creatures known as Hollow Walkers.The main plot of Hell is Us reminded me of a mix between Death Stranding and Prince of Persia: The Sands of Time.“The main plot of Hell is Us reminded me of a mix between Death Stranding and Prince of Persia: The Sands of Time, which focuses on immersing players into a world that takes a sudden and violent turn to the weird and with a seemingly unreliable protagonist recounting his interpretation of events. Hell is Us fully commits to its premise of a bleak setting and being a stranger in an even stranger land, one that feels familiar with its backwoods and small towns clinging onto survival, but feels so disorientingly strange with the rise of Hollow Walkers and portals that have turned the European countryside into an alien landscape.PlayWhat immediately drew me into Hell is Us was its unusual approach to storytelling and immersing players within its strange world. The sense of mystery is palpable in Hell is Us, and I was constantly walking into areas that had grotesque monsters or strange anomalies that drew my eye. I was especially taken in by the plight of the surviving characters, who struggled to endure in their ramshackle sanctuaries held together by duct tape and dwindling hope. This story very much chucks you into the deep end with its narrative and gameplay flow as you explore the different open zones filled with their puzzles and points of interest.What I found most intriguing, and what I suspect many players will have to come to grips with, is how Hell is Us takes a largely unguided approach to gathering intel and charting out to complete quests with no mini-maps or waypoints to help you in your trek. This very '90s adventure game approach puts the onus on players to listen to the details that the surviving characters bring up in conversations and read the well-organized intel from Remy's personal datapad. It's the type of game that demands a certain level of attention, or else you can find yourself wandering at length to figure out where to go next.PlayOuter Wilds is a particular example that inspired the dev team for its approach to a largely unguided adventure game that gradually expands in scope as more players use their growing knowledge. Speaking with creative director Jonathan Jacques Belletête, the approach the devs took with Hell is Us was all about trusting players with figuring out the mystery and embracing the campaign's more methodical approach to progression.Hell Is UsRogue FactorSep 4, 2025"So at first we really wanted to go full hardcore with this game, like players would have a little notebook and a pen to write notes, because that's where we came from when we played games in our youth, but what inspired us was the general fatigue we've felt with this new contemporary era, like games should never have a problem too big for players to solve because you have to reach every type of player possible," said the creative director. PlayHell is Us is equal parts an investigation game and an action-RPG, and there's a surprising amount of combat to engage with while you're on the desolate road. On the surface, Hell is Us has the makings of a soulslike – and it certainly has some of those elements under the hood – but it goes in a direction with combat and power progression that's more about managing your poise and picking the best moments to strike against enemies that can easily take you out. Some of my favorite moments came using my powered-up weapons to dish out some chunky damage while sending in my drone to stun other enemies off in the wings.Hell is Us is equal parts an investigation game and an action-RPG, and there's a surprising amount of combat to engage with while you're on the desolate road.“The Hollow Walkers in Hell is Us are some of the most visually distinct and unnerving video game enemies I've seen in a long time. They're highly aggressive and can come in large numbers. Still, things get more unnerving once you face off against the powered-up walkers that can summon support enemies that were very much giving The Angels from Neon Genesis Evangelion vibes. Once these enemies appear, you'll have to switch up to take them down fast before you can finish off the main walker.PlayMuch like a souls game, stamina management is critical for survival, and I found myself constantly having to be decisive with my skills so as not to overexte nd myself against unforgiving enemies. One interesting wrinkle that took me time to get used to was the fact that health and stamina share a single bar. With your health being your primary source, the more health you lose in a fight, the less stamina you'll have to fight.While you have limited health items, the Lymbic Pulse skill is the best way to help you stay in the fight. Similar to Nioh 1 and 2, activating the pulse immediately after seeing a glow around Remy will instantly restore health and stamina based on the attacks you dish out. It's a very risk-reward approach to combat, and depending on how intense the combat gets, it can be easy to forget to hit the pulse and lose out on health. I found the engagements surprisingly challenging and unrelenting, yet I still felt good about scraping through once I figured out how best to clear out the foes.PlayCombat took the most time for me to get used to, as it's far more survival- and resource-driven than Dark Souls or Elden Ring. Some battles were so unforgiving that I felt unfairly outmatched by the numbers and aggression of the walkers. Still, I managed to rally and rethink my approach by going for it. According to the creative director, he likened their approach to combat with the act of boxing, which is also about managing stamina and dealing with decisive blows when you can."This is us trying to put our own spin on third-person melee combat, and we're always a bit inspired by From Software, but it was important for us to put our spin on," he said. "Like in real life, you pretty much just have one hit point, right? It's all stamina, and when once you're tired and you get hit, you're done. Like, I boxed for a very long time, and when your stamina is done, you're done. So that's where we were coming at it. The more damage you take and the more health you lose, that'll directly affect your efficiency in combat, but we also added in our balance to that with the Lymbic Pulse, to help your restore your health when you do take those risks to lay in damage – and that gives us a bit of a signature to the game as well."PlayI was thoroughly impressed with the visuals and atmosphere of Hell is Us, and it presents such a compelling yet still bizarre mix of fantasy and science fiction. Along with the other games mentioned, another piece of media that served as a key influence was Alex Garland's 2018 film Annihilation, which dealt with exploring an environment that underwent radical and violent change. It presents such an intriguing setting, but at times, the hardened and traditional adventure game approach Hell is Us takes to taking in the details and surviving this world felt a bit too stoic for its own good.Still, I was very invested in the bizarre, new-weird setting that Rogue Factor has crafted, and it so far has the makings of being one of 2025's more original and creative takes on the action-RPG experience. Given that this year saw the rise of Blue Prince's reinvention of a roguelite puzzle adventure, it'd be fitting for Hell is Us to succeed with its own reinvention with its new type of role-playing experience.

BUTTPEACH Quantum Witch is a story of religious oppression, queer emancipation, and a dancing skeleton that hopes to popularise the ‘plotformer’ genre We spoke to Quantum Witch’s lone developer – NikkiJay – about how her experiences as part of a religious cult shaped the development of her game, an 80s-style ‘plotformer’ about finding your lost flock of faer. Image credit: NikkiJay Article by Kelsey Raynor Guides Writer Published on May 29, 2025 You might not have heard of Quantum Witch, but if you’ve an affinity for pixel-art platformers with engaging story-beats, meta-narratives, and an array of kooky characters, then you should be all over it. To just call Quantum Witch a colourful platformer with a strong narrative (read: ‘plotformer’) is to do it a disservice, though. Quantum Witch is so much more than its vibrant pixels; it is NikkiJay’s personal story of fleeing a religious cult, embracing her LGBTQ+ identity, and seeking solace in video games. There’s a dark undercurrent, but ultimately, Nikki chooses to tell her story – and a story that many others will no doubt see themselves in – with humour and pride. To get a better idea of exactly what informed Quantum Witch and how the indie ‘plotformer’ came together, VG247 sat down with NikkiJay to ask how growing up in a religious cult led to the development of the game and what she hopes audiences will get from it. The below interview discusses religious trauma, coercive control, and the abuse of power. To see this content please enable targeting cookies. VG247: I’m aware that Quantum Witch is largely informed by your own personal experiences of fleeing a religious cult; would you mind sharing some more about your experience, and how it has informed Quantum Witch’s story and characters? Nikki: I was born into the group and my family on both sides were third generation. Age 10, I needed my tonsils out and I had to tell the surgeon that I would rather die than accept certain medical treatments. As a 10-year-old, it's one of the questions they ask when you go for CPTSD diagnosis: “did you at any point honestly really believe you were going to die?” Yeah, I was told I had to be prepared for that. I had to die for God if that was the option that was presented to me. Either take this medical treatment that God said I couldn't have or die. I had to choose death. This cult literally kills kids for God. A lot of people stayed because the alternative was to lose your entire support structure and social network. You were literally by yourself with nothing, which was the option I chose in the end. It’s high coercive control. This way, they say that you have the personality God wants you to have. Religious control and abuse of that power is the biggest theme that made it into Quantum Witch. It is very much again about urgency and choice: I think if people have been through similar things, it's going to resonate with them. VG247: During the demo, I got the impression that Ren is largely not interested in the religious beliefs shared with her by others in Quantum Witch, but she still appears to have a fascination with the Old Gods. I have two questions about this: is Ren on the fence, so to speak, about her beliefs? Does this align with any of your thoughts and feelings about religion now? Nikki: Yeah, I am agnostic. I am a skeptic. I have to be open to the possibilities. A skeptic who isn't open to possibilities isn’t a skeptic. They're a cynic, and Ren is very much a skeptic. The majority of the characters in the game are just aspects of me that I've made into a character, it's just a little piece of me that I've enhanced without turning it into a stereotype as far as I can. Tyra [Ren’s partner] is more cynical: ‘come on, it's nonsense’. And Ren’s like, ‘no, let's go find out’. Her desire to go explore is going to lead her into things that she shouldn't have explored in the way that she's going to. But yeah, she is definitely that part of me who would like for there to be magic. Image credit: NikkiJay VG247: Quantum Witch’s marketplace – which features unnamed characters that bear uncanny resemblances to some iconic video game mascots – is what I assume to be a representation of some of your favourite games. The game itself regularly reminded me of themes and mechanics from Undertale, The Binding of Isaac, and even Stardew Valley. What other games or pieces of media helped inspire Quantum Witch, and how? Nikki: I love Undertale. What I loved about Undertale is the mixture of all those styles and then you'd be talking to a character and suddenly you have to play a really fast reaction game. I can't do that. I'm too old. But it was a big inspiration in the style of game I wanted to create. As for the reason why the video game characters are there in the plot of [Quantum Witch’s] story; they do tie into the plot and there's a little hint that they say. And I just loved putting in my alternate takes on who these characters were. You might know Paul Rose from Digitizer. At the very beginning of the project, I had all my story beats worked out. This is what's going to happen. This is how it's all going to interact, but I could not – for the life of me – start it. I couldn't build the bridges between these beats and Rose helped me a lot. He did a script treatment and some of the dialogue in the marketplace is directly from him; [one of the characters you meet is] talking about pills and I was like, ‘that that just fits in perfectly because there is a character later on who might need that pill’. It’s also a bit of a cue for me to have the characters talk about medication. . I also wanted to add some queer flavor to them, so Princess Nectarine – who is similar to but legally distinct from a certain Nintendo character – is in a polycule with Bowser and Mario and they like to roleplay kidnapping. I did not set out to make a queer game. It's turned out that way because I can't help it, but it's not all these characters are. VG247: I know you’re a solo developer and this is a largely solo project, but I’m aware you’ve received some help with the whole endeavour. You mentioned Paul Rose. So could you tell me more about the people who have helped you with creating Quantum Witch and what they did? Nikki: I must absolutely shout out Jerden Cooke for the music. We composed a lot of it together, [with] me mostly on the ukulele which you can hear in Ren's theme. I don't know if you've seen the video clip of David Lynch helping compose Laura's Theme from Twin Peaks. Working with him is like that. I got some fantastic music which was like the music I could hear in my head when I started playing on the ukulele. He was able to put it down, basically extract it from my head, and put it into a word file. And Paul Rose; I knew him through Digitizer meetups. We just got talking on Twitter one day and met up. He's a great guy and things came about quite naturally because it was when Covid hit and a lot of TV work got cancelled. I said to him, look, you should get yourself on Fiverr. Put your writing services out there because people should be paying for this. I will be your first customer, and so I was! Without his help, this would have still been a collection of little story beats that I would have had no idea how to wire together. And I've always wanted to work with Stephanie Sterling. What if I just ping her on Bluesky and say, "Hey, want to write a chapter of this game? It's got a dancing skeleton in it." She said, "Yeah, I'm in." She said that when she started to do it, she wasn't entirely sure whether it would be the right project because she just saw a [dancing] skeleton. The more she wrote for [Quantum Witch] and the more she played the game, she went, "Yeah, this is my wheelhouse,” and she poured her religious trauma into it, which happened to just fit absolutely perfectly. It's like I could not have asked for a better group of people to work with, and this is kind of what I want to say to indie developers who are solo. You're not alone. You might just want one name on the credit, but it takes a village to raise a child. Image credit: NikkiJay VG247: I was taken aback by just how cosy the game is. Admittedly, even with the subject matter, I didn’t expect – largely given the art style – for this to be all doom and gloom, but I definitely didn’t expect something so jovial and honestly, straight-up funny. How did you decide that this was the approach you wanted to take when creating Ren’s story? Nikki: [Stardew Valley], Chrono Trigger and Paper Mario: Thousand-Year Door are my three most played games. I love the style of Stardew Valley and I love that there's some darkness hidden in Stardew Valley. I really liked the humor in it. I mean, if you thought I shouldn't be laughing at this, but I am, then that’s an achievement. That's exactly what I wanted. My main coping mechanism is humor. I'm not saying it's a healthy coping mechanism, but it kind of works. And I mean, I was heavily influenced by reading a lot of Douglas Adams. and he was able to find humor in the most bleak situations. And the graphical style… When I started this, I couldn't draw a convincing stick figure. I look at the art that I did four years ago when I started messing about with this idea and it's just embarrassing. Objectively terrible, but my main influences were Stardew Valley and The Darkside Detective. I loved the low-resolution style art, but there was so much character in them. So, I took a pixel art course on Udemy and a color theory course and… then just found, hey, I can do this now. That's weird. VG247: While looking into Quantum Witch and yourself, I found a lovely quote of yours from The Guardian: “A lot of religion is about giving up autonomy to some mystical power that you’ve never seen, heard or met. Over the course of the game, Ren takes that agency back… It’s a queer emancipation story.” Could you expand on this? Nikki: The consequence of being yourself in a group that says ‘no, being yourself is wrong’ is that you just get thrown out. It's weird because I think of my experiences as unique, but the themes they really do seem to be universal. Stephanie Sterling from The Jimquisition: she wrote a chapter of the later part of the game. I originally said to her, can you write these three scenes? She came back and said “I couldn't stop writing. I just love this universe” It's weird, because you wouldn't know it was a different author. The religious oppression of queer people is the same wherever you go. I'm really hoping just that I've got that balance right between a game that's fun and cozy and humorous, – that there is a dancing skeleton who can see through time – but also has that deeper meaning and that message that you take back control. A lot of people would look at this and think ‘you must be anti-religion’ and I'm 100% for freedom of religion, but that also means I'm 100% for freedom from religion. Whether you've got faith or not, nobody wants somebody else's faith forced on you. You can't have freedom of religion without freedom from religion. Image credit: NikkiJay VG247: How long is Quantum Witch set to be, and how many endings will there be? I know you also mentioned some side quests having various conclusions, as well as the game’s main endings being different depending on your decisions. Nikki: I watched a tester play from beginning to end. It took him about three and a half hours, and he got my second favorite ending. He had questions about the lore and I said, "play it again and make different choices, and you'll get a different ending, which will probably answer that for you." It's difficult to say how many endings there are. There's three definite categories of endings. There's bleak. There's interesting, where you kind of get a bittersweet ending, and then there's the super happy ending, and there are variations on each of those. [These depend] on the characters you've helped. There's also little puzzles that you can go and solve which can enhance the happy ending. It's kind of like an open-world choose-your-own adventure book, but in pixel format. If I'm going to do a full playthrough of all choices and all stories, I will easily put aside six or seven hours to do it and I wrote it. So, I'm not trying to discover it. I think it's like The Stanley Parable in that sense. VG247: I also learned that Quantum Witch could have been a novel. It could have initially started out that way and you then obviously decided to turn this into a game. How did that come about? Nikki: One of my friends was doing the National Novel Writing November. I thought, I've got this story in my head which might fit, so I started writing it. I don't know if anybody's realized this, [but video games] are quite difficult to make, and novels are very easy because you just type... I was wrong and I really did not enjoy writing it. I decided, thinking back on my childhood, I want to make this into a game. I want to make this interactive. Choice is a big theme. I want to give the player a choice. And it did end up as a point and click [game] for a while, rather than a plotformer. No matter what you do, it is a valid choice. There are no game over screens in Quantum Witch. Anything you do is just a part of the story and the game is over when you get the credits. Quantum Witch is a surprisingly cosy and jovial take on topics of religious trauma and queer identities, but if your curiosity about this game is piqued, it’s up to you to find out all of its secrets. NikkiJay stresses that there’s so much to discover for those who are eager to explore the game and discover all of its various paths, endings, and dialogue. For those who want to try Quantum Witch out, you can find a demo for the game on Steam, and it’ll also be participating in Steam’s Next Fest during June.

Earlier this week, Google unveiled Flow, a tool that can be used to generate AI video with ease. Users can submit text prompts or give Veo, the AI model that Flow uses, the digital equivalent of a mood board in exchange for eight second clips. From there, users can direct Flow to patch together different clips to form a longer stream of footage, potentially allowing for the creation of entire films. Immediately, people experimented with asking the AI to generate gameplay footage — and the tools are shockingly good at looking like games that you might recognize. Already, one video has amassed millions of views as onlookers are in awe over how easily the AI footage could be mistaken for actual Fortnite gameplay. According to Matt Shumer, who originally generated the footage, the prompt he entered to produce this content never mentioned Fortnite by name. What he apparently wrote was, “Streamer getting a victory royale with just his pickaxe.” Uhhh… I don't think Veo 3 is supposed to be generating Fortnite gameplay pic.twitter.com/bWKruQ5Nox— Matt Shumer (@mattshumer_) May 21, 2025 Google did not respond to a request for comment over whether or not Veo should be generating footage that mimics copyrighted material. However, this does not appear to be an isolated incident. Another user got Veo to spit out something based on the idea of GTA 6. The result is probably a far cry from the realistic graphics GTA 6 has displayed in trailers thus far, but the gameplay still successfully replicates the aesthetic Rockstar is known for: We got Veo 3 playing GTA 6 before we got GTA 6!(what impresses me here is two distinct throughlines of audio: the guy, the game – prompt was 'a twitch streamer playing grand theft auto 6') pic.twitter.com/OM63yf0CKK— Sherveen Mashayekhi (@Sherveen) May 20, 2025 Though there are limitations — eight seconds is a short period of time, especially compared to the hours of material that human streamers generate — it’s undoubtedly an impressive piece of technology that augurs a specific pathway for the future of livestreams. We’ve already got AI-powered Twitch streamers like Neuro-sama, which hooks up a large language model to a text-to-speech program that allows the chibi influencer to speak to her viewers. Neuro-sama learns from other actual Twitch streamers, which makes her personality as malleable as it is chaotic. Imagine, for a moment, if an AI streamer didn’t need to rely on an actual game to endlessly entertain its viewers. Most games have a distinct beginning and end, and even live service games cannot endlessly produce new material. The combination of endless entertainment hosted by a personality who never needs to eat or sleep is a powerful if not terrifying combo, no? In January, Neuro-sama briefly became one in the top ten most subscribed Twitch channels according to stats website Twitch Tracker. That, and, an AI personality can sidestep many of the issues that are inherent to parasocial relationships. An AI cannot be harassed, swatted, or stalked by traditional means. An AI can still offend its viewers, but blame and responsibility in such instances are hazy concepts. AI-on-AI content — meaning, an AI streamer showing off AI footage — seems like the natural end point for the trends we’re seeing on platforms like Twitch. Twitch, for its part, already has a category for AI content. Its policies do not address the use of AI content beyond banning deepfake porn, but sexually explicit content of that nature wouldn’t be allowed regardless of source. “This topic is very much on our radar, and we are always monitoring emerging behaviors to ensure our policies remain relevant to what’s happening on our service,” a Twitch blog post from 2023 on deepfakes states. In 2024, ex-Twitch CEO Dan Clancy — who has a PhD in artificial intelligence — seemed confident about the opportunities that AI might afford Twitch streamers when Business Insider asked him about it in 2024. Clancy called AI a “boon” for Twitch that could potentially generate “endless” stimuli to react to. Would the general populace really be receptive to AI-on-AI content, though? Slurs aside, Fortnite’s AI Darth Vader seemed to be a hit. At the same time, nearly all generative models tend to spawn humans who have an unsettling aura. Everyone is laughing, yet no one looks happy. The cheer is forced in a way where you can practically imagine someone off-frame, menacingly holding a gun to the AI’s head. Like a dream where the more people smile, the closer things get to a nightmare. Everything is as perfect as it is hollow. Until the technology improves, any potential entertainer molded in the image of stock photography risks repulsing its viewers. Yet the internet is already slipping away from serving the needs of real human beings. Millions of bots roam about Twitch, dutifully inflating the views of streamers. Human beings will always crave the company of other people, sure. Much like mass production did for artisanal crafts, a future where our feeds are taken over by AI might just exponentially raise the value of authenticity and the human touch. But 2025 was the first year in history that traffic on the internet was determined to be frequented more by bots than people. It’s already a bot’s world out there. We’re just breathing in it.

What we've been playing - New York, Poker, and frustration A few of the things that have us hooked this week. Image credit: FromSoftware Feature by Robert Purchese Associate Editor Additional contributions by Ed Nightingale, and Jim Trinca Published on May 24, 2025 24th May Hello and welcome back to our regular feature where we write a little bit about some of the games we've been playing. This week, Bertie caves and installs the time-hogging phenomenon known as Balatro; Jim returns to the noir-like artistry of Grand Theft Auto 4; and Ed bangs his head repeatedly against Sekiro. What have you been playing? Catch up with the older editions of this column in our What We've Been Playing archive. Balatro, PS5 Snap! Wait, that's not the right game, is it?Watch on YouTube I did it: I finally caved and played Balatro. It's free with PlayStation Plus at the moment so I thought why not? Let me explain that hesitation quickly. I've never really liked Poker. I tend to defiantly not like what everyone else likes, I don't know why, and I also struggle to be serious for extended periods of time. The thought of sitting around a table with a 'Poker' face on, for hours on end, seems like torture to me. But I bit, and guess what? No surprise: I really liked it. I had to search for what a couple of the poker hands meant, because I didn't know my flushes from my straights - and I guess there's some assumed knowledge on the game's part there - but otherwise, I was (ahem) straight in. Time to being hooked: about five minutes. I love the immediacy of games like this. I know I'm predisposed to liking quick-play deckbuilding games - they just work wonderfully with my mental wiring - but there's clearly a skill to onboarding people in a way that's fun and frictionless, and Balatro has got it. There's no waiting for the game to begin, you just press go and learn as you play. Anyway, brb, see you in a few hundred hours. -Bertie Grand Theft Auto 4 Which GTA protagonists are the best?Watch on YouTube I've been replaying GTA 4 for a Thing I'm working on and rediscovering just how bold a game it is. Big budget video games tend to default to a sort of pseudo-photorealism as their visual style, and there's nothing wrong with that. As we know from a century of pointing lights and cameras at real actors, there is plenty of scope for creativity within that. But it is often a safe choice. With a triple-A budget comes the expectation to have the triple-A 'look', essentially mimicking what the real lights, cameras, and actors are doing at the time. GTA 4 doesn't have that look. It looks like GTA 4, with its unmistakable forever autumn draping a decaying urban sprawl in soft baths of burnt orange. With its desaturated neo-noir nights pocked with bursts of colour where city lights cut the dour air. It's a look that fully serves the themes of the game: a dismantling of the American Dream as experienced through the eyes of an immigrant - a war-damaged man fleeing a war-damaged society, only to find, like millions of people before him, that the problems from an old world tend to follow you to the new. Niko’s is a bleak life with fleeting moments of triumph and fleeting moments of levity, and his Liberty City reflects this in every flaking piece of paint and every particle of billowing trash. GTA 4 sticks resolutely and defiantly to its aesthetic of grime and decay in much the same way the underrated shooter Kane and Lynch 2: Dog Days did, in sending the player into an unwaveringly grim handicam snuff film and revelling in their discomfort. Both games are miraculous works of art. Plus in GTA 4, the stockmarket is called BAWSAQ, which is funny. -Jim Sekiro: Shadows Die Twice, PS4 Here's Aoife sharing in some of Ed's Sekiro frustration.Watch on YouTube I don't think I've ever been as angry as when I play Sekiro. I'm not just talking about being a bit frustrated. I'm talking 'existential why the hell am I doing this to myself' despondency. I am not enjoying it, but I can't stop playing it. I know I shouldn't let it get to me. Get a grip Ed, it's just a silly little video game. I should really just learn to git gud, right? But: sigh. For context, this is the last big FromSoftware game I'm yet to finish, and I've started it three times now. I'm determined to finish it - I've come too far with these games to stop now. But Sekiro just hasn't clicked for me like the studio's other games have. In part that's down to aesthetics, I think, as I just vibe more with the dark fantasy of Souls and twisted Gothism of Bloodborne than I do the Japanese horror of Sekiro. But also it's to do with combat. It's so focused on a single method of fighting - parry parry parry - that there's no room for the expression or build variety that I really like. I do enjoy how rhythmical parrying can be, but each boss encounter feels like I'm banging my head against a wall, much more so than any other game of this type. At least the end is in sight as I only have the final boss to go (I'm ignoring the Demon of Hatred for the moment). At this point I'm just playing Sekiro out of stubbornness and spite, and I'm not sure what to be disappointed in, the game or myself. -Ed