By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”

ASB GlassFloor makes a glass playing surface for sports arenas that can show animations, track athletes' performance, and repaint court lines with a tap. Pros in Europe are already playing on it.

SirCozyCrow5 hours agoThe sound track is PEAK! I loved playing this, and my partner who normally doesn't play games like this one had a good time as well. I enjoyed the learning curve and I can't wait to play the harder difficulties.Here's a video I made, my partner jumped in for a few minutes as well.Replyso funReplyDrew.a.Chain1 day ago(+1)Very addictive!ReplyTrashpanda1191 day ago(+1)love the playstyle and the art style definitly fun to play plus the music is the cherry on topReplyAhoOppai1 day ago(+1)really fun game cant wait for the full gameReplyDin Xavier coding1 day agoI chose the laser eye. How do I turn the attack around? Can I even do that?Replyoverboy1 day agoHey, the laser eye gets a random direction at the start of each wave, it's one of the specificities of this attack ;)ReplyFort Kenmei1 day agoGameplay and Critique ;)Replyoverboy1 day ago(+1)Thanks a lot for the awesome video and the feedback! :)ReplyTLGaby2 days agoJust to know browser progress keep getting reset.Replyoverboy1 day ago (2 edits) (+1)Thanks for the report! Could it be due to some of your browser settings?Unfortunately, browser-based games can't always guarantee reliable local saves due to how browsers handle storage.To avoid this in the future, I recommend trying the downloadable version of the demo,  it provides a more stable environment for saving progress. :)Replyepic.Replyoleekconder2 days ago (1 edit) (+1)Very nice. Spent couple hours easy=) UPD: And some moreReplyMaximusR3 days agoes un juego que ya jugue en su momento cuando tenias menos cosas y ahora que esta actualizado quisiera grabarlo otra vezReplyEPIClove the spiders ♥ReplynineGardens3 days ago (1 edit) (+2)Okay so.... tried out a few things, and some Dev suggestions to report: Bigfoot is such a cool idea, and running around at that speed with like.... all THAT going on just gave me motion sickness.Summoner is hysterical fun. All hail spiders. Tomatoe's are pretty fun too.The Adept is so cool in theory, but... once you have the right build is a bit of a "standing still simulator"  Also, if you have totoms or other turrets, there's very much the question each round of "Will my circle spawn NEAR the totoms (instant win), or far from them (oh no)"   I kind of wonder if the mage circle should like... fizzle out after 20 seconds and appear somewhere else. Just... something to give a bit more dynamism, and to make the original spawn point less critical.Okay: added thoughts:Watering psycotic tomatoes feels great.Being a malevolent spider with 8 arms feels amazing. Feels very good and natural."Orbital" is one of the greatest and most fun abilities in the game.  I would take this even without the damage boost.Lots of fun, but also very silly. Good job.Replydave99993 days agowith some size you can kick the totems around to reposition them towards your circle, it benefits them too, adept can choose the wand at the start and with it you have no sustain problem anyway whatever build you want to set upReplynineGardens3 days agoOh damn- only just found out you can kick the totems!Okay, yeah in this case all is well. Or at least.... I still think a moving circle could be cool, but the fact that you can move your totems over to where the circle is makes things much better.Replyjust get enough amount+size and they hit everything, bounce is overkill ReplyLost track of time 10 hours in and still hooked. Absolutely love it! Can't wait for the full releaseReplyDriftedVoid4 days agoPretty good! ReplyIndyot4 days agoIt's a pretty addictive game, congrats! I lowkey missed a bit of satisfaction on the weapons though.ReplyCongrats on the game! I really like the weapons that you interact with which gives it a fun spin. (i.e. the spike ball)Reply1Soultaken4 days agoAnyone know good combos for the items? (I just pick randomly.)Replydave99994 days ago (1 edit) (+2)lasers plus amount+adept some arcane for basic dmg (its instable to setup and only overboy starts with one) totems +amount+ bounce+adept optional size and arcane you can stand still in the endall shovels with crit, strength their extra souls help you snowball hard and easy probably the most straightforward and stable very good build you can beat the game with nearly anything its well balanced but this one is very strong and easy (realized in the end that all size was wasted on this) soul flask, more chests are near always must pick, the high luck value ones give you better items the free reroll is a must pick, lightning dagger is somewhat unique as it  can carry you the entire early game even if you do not get enough element damage (I understand that the more gimmicky things like pets and kickables give the game versatility but to min max they are not that competative)Replydave99998 days agounderestimated totems Replylimey8 days agoi like how you made like MULTITUDES of updates on this so like as soon as i check my feed its just thisReplydave99998 days ago (1 edit) (+1)my best run so far,  there s a hidden mechanic that  makes weapons  you have more likely to drop?Replyoverboy8 days ago(+2)Lmao, awesome — looks like a really fun build to play! Yeah, Shop RNG uses a lot of hidden tricks to help you find relevant attacks, while still allowing unrelated ones to appear. That way, you can discover unique builds and experiment freely!Replyoverboy8 days ago (1 edit) Thank you so much for the incredible reception of the web demo on Itch, and to everyone who wishlisted the game! Many of the changes—along with much more to come in future updates—are directly based on your feedback here and on the game’s Discord. I’m also excited to announce that the game will release on Steam on 8 July 2025! Demo - Update 35 (06 June 2025)Singleplayer UI: Level Up Upgrade Phase and Chest Pickup Phase UI now display the items and attacks inventories (useful to check the scaling of current equipped attacks for example) Singleplayer Shop: subtle animation while selecting a Buy Button Many Balancing tweaks Balancing: nerfed Life Steal in various ways (lower values gained from items) Balancing: nerfed Knockback in various ways (lower values gained, higher item rarity, lower max applied value) Balancing: too much items enhancing HP Max were put in the Demo, this means it was easier to get a lot of HP and to survive in the Demo due to higher ratio of items providing HP Added a subtle duration during which the player can still pickup Souls even if they’re slurped by the Soul Portal Fine tuned the color of some weapons to improve the visibility Balancing: Ballista don’t double their projectiles based on amount anymore (only number of ballistas scales with amount) If Player HP is Full and HP Max > 20, the player can’t be one-shot Bugfix: in-game achievement pop up could be displayed below other UI elements while it should always be above everything else Potential Bugfix for a rare bug happening in Multiplayer shop where player2 Shop sections wasn’t displayed at allRework the save system in preparation for upcoming features ReplyxHELLO_WORLDx10 days agocontracts on the gameReplydave999910 days agoelijah_ap10 days agoLove the art style, upgrades, controls, etc. Balance might be the only thing off about this. If you were to add anything, I would want to see more variety in the stages, similar to Vampire Survivor. Otherwise- really great.ReplyThank you so much! I’ll keep working on the balance with each update, and I appreciate the suggestion on stage variety!ReplyNetsmile10 days agoTorch IV has a problem rounding numbers in the stats hover over display. Other levels of torches workReplyoverboy10 days ago (1 edit) Thanks, I'll fix this displayed rounding number issue soon!ReplySkeppartorsk10 days agoFor now I'd say it's fun, but lacking a bit in balance. I absolutely suck at brotatolikes. But find this one easy, so it's probably undertuned as far as difficulty is concerned. The power and availability of HP and regen items, makes you just literally not care if you get hit. Then the relatively strong armor on top and you're just too tanky for anything to feasibly ever kill you.Replyoverboy10 days ago (1 edit) (+1)Thanks for the feedback! Sounds like tanky builds might be a bit too forgiving right now, i'll do some balancing changesReplySkeppartorsk9 days ago (2 edits) Life steal has similar issues too. There's also the standard issue with knockback in these kinds of games. The lack of any enemy resistance/diminishing returns, means it's way too easy to get enough knockback that enemies cannot touch you anymore. Ranged attacks are too few and far between to worry about with the current levels of sustain. Meaning you can just Stand Still and Kill way too realiably. Edit: Lategame with 6x Wands I'm getting so much screen shake it's triggering simulation sickness. It was due to having Pierce + Bounce. The screen shake from my projectiles bouncing off the edge of the map.Replyoverboy8 days ago (2 edits) (+1)thanks for your feedback, it will help for the game balancing!For now I try to avoid diminishing returns by design to make sure each feature and stat is super easy to understand because I dislike when roguelike gets too opaque, I prefer that the player fully and easily undestand each of its choices, but yeah that involves a good balance to find!In future updates, Life Steal will become harder to get, Knockback will be capped at lower maximum applied values.Regarding the overall difficulty, the full version has 3 extra level of difficulties, and based on some feedbacks i have from beta testers, the balance between the 5 difficulty modes seem to be close to what i'm aiming for (minus some issues like you pointed out, and of course some balancing required on specific builds and items)There is already an option to disable screenshakes ;)Edit: Would you be interested to join the beta-test of the full game? If so please join the Discord and ping me in DM ;)ReplySkeppartorsk8 days ago (4 edits) I did notice that you could turn off screen shake entirely. But admittedly a lot of the visceral feel of the combat goes away when you fully disable the screen shake. But when you have too many Leeroy/knockback projectiles/bouncing projectiles. It just reaches the point where simulation sickness sets in. Wish there was something like an intensity setting, or a way for it to cap out at how often a screen shake can get triggered. I agree on the opaque thing. But I was more thinking something akin to how CC Diminishing Returns works in WoW. Where 1st hit = full value, 2nd hit within 10s = half value, 3rd hit = 1/4 value. Then 10s of immunity before it resets. That way you still get knockback when you pick knockback. But you can't just perma nail enemies against the wall. Edit: Also there's a wording issue (or a bug) with how multiple pentagrams work. If you have adept pentagram and the item pentagram the wording is "when you stand inside a pentagram" But the item one gives the 20% damage ONLY and the adept one gives the adept bonuses ONLY. The wording would mean that both pentagrams should give adept bonus AND 20% damage bonus.Edit2: I'd suggest reformatting Grimorius tooltip so that the -10% armor is above the "on level up"portion. The indentation difference between the +1% speed and -10% armor is small enough that I read it as losing 10% armor on every level up.Replyoverboy8 days agoThanks a lot for the interesting insights!I nerfed HP, Lifesteal and Knockback using various techniques in the last update, along with many other changes.Just tested Pentagram/Adept and it works as expected: the 2 effects stack correctly as the wording impliedI reformatted Grimorius tooltip as you suggested ;)ReplyView more in threadBad Piggy11 days agoVery cool in it's current state. I love how much it really emphasises movement like how some active abilities need to be grabbed from around the arena to do themThat said, I think enemy projectiles could honestly stand out more. I could hardly see them at times in all the chaos.Still, I think this is a pretty solid base right now, and as always, you have a beautiful visual style, though I feel like the game suffers a little from how busy it can get. Great stuff so far thoughReplyThanks Bad Piggy! Really glad you’re enjoying the mechanics. I appreciate the feedback on projectile visibility and how busy things can get. I’ll definitely look into ways to improve those aspects. Really grateful for the kind words and thoughtful feedback!ReplyLeoLohandro11 days agoA copy of the brotato), but still fun.Replyoverboy11 days ago (2 edits) (+1)Hey thanks a lot! Yes this game is a Brotato-like with many twists and new innovative mechanics, such as:- Equippable Boss Patterns (active skills you can trigger by picking orbs on the map)- Minion Summoning- Growing Plant Minions with a watercan- Amount and Size stats - Physics-Based Weapons – like chained spikeballs- Kickable stuff (you can even play soccer with your minions or other co-op players)- Playable character merge feature (get the effect of 2 different characters or more at the same time)- Dozens and dozens of unique effects (turning enemies into Sheep, or Golden Statues, or both?)I'm aiming for something like The Binding of Isaac meets Brotato — a deep, replayable experience full of chaotic synergies and wild builds that feel totally unique each run, with all the "being a boss fantasy and humor" deeply included in the mechanics and content :)Reply

By CHRIS McGOWAN Images courtesy of Warner Bros. Pictures. Final Destination Bloodlines, the sixth installment in the graphic horror series, kicks off with the film’s biggest challenge – deploying an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant. While there in 1968, young Iris Campbell (Brec Bassinger) has a premonition about the Skyview burning, cracking, crumbling and collapsing. Then, when she sees these events actually starting to happen around her, she intervenes and causes an evacuation of the tower, thus thwarting death’s design and saving many lives. Years later, her granddaughter, Stefani Reyes (Kaitlyn Santa Juana), inherits the vision of the destruction that could have occurred and realizes death is still coming for the survivors. “I knew we couldn’t put the whole [Skyview restaurant] on fire, but Tony [Lazarowich, Special Effects Supervisor] tried and put as much fire as he could safely and then we just built off that [in VFX] and added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction that can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” —Nordin Rahhali, VFX Supervisor The film opens with an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant – and its collapse. Drone footage was digitized to create a 3D asset for the LED wall so the time of day could be changed as needed. “The set that the directors wanted was very large,” says Nordin Rahhali, VFX Supervisor. “We had limited space options in stages given the scale and the footprint of the actual restaurant that they wanted. It was the first set piece, the first big thing we shot, so we had to get it all ready and going right off the bat. We built a bigger volume for our needs, including an LED wall that we built the assets for.” “We were outside Vancouver at Bridge Studios in Burnaby. The custom-built LED volume was a little over 200 feet in length” states Christian Sebaldt, ASC, the movie’s DP. The volume was 98 feet in diameter and 24 feet tall. Rahhali explains, “Pixomondo was the vendor that we contracted to come in and build the volume. They also built the asset that went on the LED wall, so they were part of our filming team and production shoot. Subsequently, they were also the main vendor doing post, which was by design. By having them design and take care of the asset during production, we were able to leverage their assets, tools and builds for some of the post VFX.” Rahhali adds, “It was really important to make sure we had days with the volume team and with Christian and his camera team ahead of the shoot so we could dial it in.” Built at Bridge Studios in Burnaby outside Vancouver, the custom-built LED volume for events at the Skyview restaurant was over 200 feet long, 98 feet wide and 24 feet tall. Extensive previs with Digital Domain was done to advance key shots. (Photo: Eric Milner) Zach Lipovsky and Adam Stein directed Final Destination Bloodlines for New Line film, distributed by Warner Bros., in which chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated death at some point. Pixomondo was the lead VFX vendor, followed by FOLKS VFX. Picture Shop also contributed. There were around 800 VFX shots. Tony Lazarowich was the Special Effects Supervisor. “The Skyview restaurant involved building a massive set [that] was fire retardant, which meant the construction took longer than normal because they had to build it with certain materials and coat it with certain things because, obviously, it serves for the set piece. As it’s falling into chaos, a lot of that fire was practical. I really jived with what Christian and directors wanted and how Tony likes to work – to augment as much real practical stuff as possible,” Rahhali remarks. “I knew we couldn’t put the whole thing on fire, but Tony tried and put as much fire as he could safely, and then we just built off that [in VFX] and added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” The Skyview restaurant required building a massive set that was fire retardant. Construction on the set took longer because it had to be built and coated with special materials. As the Skyview restaurant falls into chaos, much of the fire was practical. (Photo: Eric Milner) “We got all the Vancouver skyline [with drones] so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” —Christian Sebaldt, ASC, Director of Photography For drone shots, the team utilized a custom heavy-lift drone with three RED Komodo Digital Cinema cameras “giving us almost 180 degrees with overlap that we would then stitch in post and have a ridiculous amount of resolution off these three cameras,” Sebaldt states. “The other drone we used was a DJI Inspire 3, which was also very good. And we flew these drones up at the height [we needed]. We flew them at different times of day. We flew full 360s, and we also used them for photogrammetry. We got all the Vancouver skyline so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” Rahhali adds, “All of this allowed us to figure out what we were going to shoot. We had the stage build, and we had the drone footage that we then digitized and created a 3D asset to go on the wall [so] we could change the times of day” Pixomondo built the volume and the asset that went on the LED wall for the Skyview sequence. They were also the main vendor during post. FOLKS VFX and Picture Shop contributed. (Photo: Eric Milner) “We did extensive previs with Digital Domain,” Rahhali explains. “That was important because we knew the key shots that the directors wanted. With a combination of those key shots, we then kind of reverse-engineered [them] while we did techvis off the previs and worked with Christian and the art department so we would have proper flexibility with the set to be able to pull off some of these shots. [For example,] some of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paul [Max Lloyd-Jones] as he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” Some shots required the Skyview’s ceiling to be lifted and partially removed to get a crane to shoot Paul Campbell (Max Lloyd-Jones) as he’s about to fall. The character Iris lived in a fortified house, isolating herself methodically to avoid the Grim Reaper. Rahhali comments, “That was a beautiful location [in] GVRD [Greater Vancouver], very cold. It was a long, hard shoot, because it was all nights. It was just this beautiful pocket out in the middle of the mountains. We in visual effects didn’t do a ton other than a couple of clean-ups of the big establishing shots when you see them pull up to the compound. We had to clean up small roads we wanted to make look like one road and make the road look like dirt.” There were flames involved. Sebaldt says, “The explosion [of Iris’s home] was unbelievably big. We had eight cameras on it at night and shot it at high speed, and we’re all going ‘Whoa.’” Rahhali notes, “There was some clean-up, but the explosion was 100% practical. Our Special Effects Supervisor, Tony, went to town on that. He blew up the whole house, and it looked spectacular.” The tattoo shop piercing scene is one of the most talked-about sequences in the movie, where a dangling chain from a ceiling fan attaches itself to the septum nose piercing of Erik Campbell (Richard Harmon) and drags him toward a raging fire. Rahhali observes, “That was very Final Destination and a great Rube Goldberg build-up event. Richard was great. He was tied up on a stunt line for most of it, balancing on top of furniture. All of that was him doing it for real with a stunt line.” Some effects solutions can be surprisingly extremely simple. Rahhali continues, “Our producer [Craig Perry] came up with a great gag [for the] septum ring.” Richard’s nose was connected with just a nose plug that went inside his nostrils. “All that tugging and everything that you’re seeing was real. For weeks and weeks, we were all trying to figure out how to do it without it being a big visual effects thing. ‘How are we gonna pull his nose for real?’ Craig said, ‘I have these things I use to help me open up my nose and you can’t really see them.’ They built it off of that, and it looked great.” Filmmakers spent weeks figuring out how to execute the harrowing tattoo shop scene. A dangling chain from a ceiling fan attaches itself to the septum nose ring of Erik Campbell (Richard Harmon) – with the actor’s nose being tugged by the chain connected to a nose plug that went inside his nostrils. “[S]ome of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paul [Campbell] as he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” —Nordin Rahhali, VFX Supervisor Most of the fire in the tattoo parlor was practical. “There are some fire bars and stuff that you’re seeing in there from SFX and the big pool of fire on the wide shots.” Sebaldt adds, “That was a lot of fun to shoot because it’s so insane when he’s dancing and balancing on all this stuff – we were laughing and laughing. We were convinced that this was going to be the best scene in the movie up to that moment.” Rahhali says, “They used the scene wholesale for the trailer. It went viral – people were taking out their septum rings.” Erik survives the parlor blaze only to meet his fate in a hospital when he is pulled by a wheelchair into an out-of-control MRI machine at its highest magnetic level. Rahhali comments, “That is a good combination of a bunch of different departments. Our Stunt Coordinator, Simon Burnett, came up with this hard pull-wire line [for] when Erik flies and hits the MRI. That’s a real stunt with a double, and he hit hard. All the other shots are all CG wheelchairs because the directors wanted to art-direct how the crumpling metal was snapping and bending to show pressure on him as his body starts going into the MRI.” To augment the believability that comes with reality, the directors aimed to capture as much practically as possible, then VFX Supervisor Nordin Rahhali and his team built on that result. (Photo: Eric Milner) A train derailment concludes the film after Stefani and her brother, Charlie, realize they are still on death’s list. A train goes off the tracks, and logs from one of the cars fly though the air and kills them. “That one was special because it’s a hard sequence and was also shot quite late, so we didn’t have a lot of time. We went back to Vancouver and shot the actual street, and we shot our actors performing. They fell onto stunt pads, and the moment they get touched by the logs, it turns into CG as it was the only way to pull that off and the train of course. We had to add all that. The destruction of the houses and everything was done in visual effects.” Erik survives the tattoo parlor blaze only to meet his fate in a hospital when he is crushed by a wheelchair while being pulled into an out-of-control MRI machine. Erik (Richard Harmon) appears about to be run over by a delivery truck at the corner of 21A Ave. and 132A St., but he’s not – at least not then. The truck is actually on the opposite side of the road, and the person being run over is Howard. A rolling penny plays a major part in the catastrophic chain reactions and seems to be a character itself. “The magic penny was a mix from two vendors, Pixomondo and FOLKS; both had penny shots,” Rahhali says. “All the bouncing pennies you see going through the vents and hitting the fan blade are all FOLKS. The bouncing penny at the end as a lady takes it out of her purse, that goes down the ramp and into the rail – that’s FOLKS. The big explosion shots in the Skyview with the penny slowing down after the kid throws it [off the deck] are all Pixomondo shots. It was a mix. We took a little time to find that balance between readability and believability.” Approximately 800 VFX shots were required for Final Destination Bloodlines. (Photo: Eric Milner) Chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated Death at some point in the Final Destination films. From left: Kaitlyn Santa Juana as Stefani Reyes, director Adam Stein, director Zach Lipovsky and Gabrielle Rose as Iris. (Photo: Eric Milner) Rahhali adds, “The film is a great collaboration of departments. Good visual effects are always a good combination of special effects, makeup effects and cinematography; it’s all the planning of all the pieces coming together. For a film of this size, I’m really proud of the work. I think we punched above our weight class, and it looks quite good.”

Finding your own path is at the core of gameplay in Pantheon: Rise of the Fallen – players can go anywhere, climb anything, forge new routes, and follow their curiosity to find adventure. It’s not that different from how its creators, Visionary Realms, approaches building this MMORPG – they’re doing it their own way.Transporting players to the fantasy world of Terminus, Pantheon: Rise of the Fallen harkens back to classic MMOs, where accidental discovery wandering through an open world and social interactions with other players are at the heart of the game experience.Creating any multiplayer game is a challenge – but a highly social online game at this scale is an epic quest. We sat down with lead programmer Kyle Olsen about how the team is using Unity to connect players in this MMORPG fantasy world.So what makes Pantheon: Rise of the Fallen unique compared to other MMO games?It’s definitely the social aspect. You have to experience the world and move through it naturally. It can be a bit more of a grind in a way, but it I think connects you more to your character, to the game, and the world instead of just sort of teleporting everywhere and joining LFG systems or just being placed in a dungeon. You learn the land a bit better, you have to navigate and you use your eyes more than just bouncing around like a pinball from objective to objective, following quest markers and stuff. It’s more of a thought game.How are you managing synchronization between the player experience and specific world instances?We have our own network library we built for the socket transport layer called ViNL. That’s the bread and butter for all of the zone communications, between zones and player to zone. SQL server in the back end, kind of standard stuff there. But most of the transports are handled by our own network library.How do you approach asset loading for this giant world?We’ve got a step where we bake our continents out into these tiles, and we’ve got different backends that we can plug into that. We’ve got one that just outputs standard Prefabs, and we’ve got one that outputs subscenes that we were using before Unity 6, and then we’ve got actual full-on Unity scenes that you can load additively, so you can choose how you want to output your content. Before Unity 6, we had moved away from Prefabs and started loading the DOTS subscenes and using that, built on BRG.We also have an output that can render directly to our own custom batch render group as well, just using scriptable objects and managing our own data. So we’ve been able to experiment and test out the different ones, and see what yields the best client performance. Prior to Unity 6, we were outputting and rendering the entire continent with subscenes, but with Unity 6 we actually switched back to using Prefabs with Instantiate Async and Addressables to manage everything.We’re using the Resident Drawer and GPU occlusion culling, which ended up yielding even better performance than subscenes and our own batch render group – I’m assuming because GPU occlusion culling just isn’t supported by some of the other render paths at the moment. So we’ve bounced around quite a bit, and we landed on Addressables for managing all the memory and asset loading, and regular Instantiate Prefabs with the GPU Resident Drawer seems to be the best client-side performance at the moment.Did you upgrade to Unity 6 to take advantage of the GPU Resident Drawer, specifically?Actually, I really wanted it for the occlusion culling. I wasn’t aware that only certain render paths made use of the occlusion culling, so we were attempting to use it with the same subscene rendering that we were using prior to Unity 6 and realizing nothing’s actually being culled. So we opted to switch back to the Prefab output to see what that looked like with the Resident Drawer, and occlusion culling and FPS went up.We had some issues initially, because Instantiate Async wasn’t in before Unity 6, so we had some stalls when we would instantiate our tiles. There were quite a few things being instantiated, but switching that over to Instantiate Async after we fixed a couple of bugs we got rid of the stall on load and the overall frame rate was higher after load, so it was just a win-win.Were there any really remarkable productivity gains that came with the switch to Unity 6?Everything I've talked about so far was client-facing, so our players experienced those wins. For the developer side of things, the stability and performance of the Editor went up quite a bit. The Editor stability in Unity 6 has gone up pretty substantially – it’s very rare to actually crash now. That alone has been, at least for the coding side, a huge win. It feels more stable in its entirety for sure.How do you handle making changes and updates without breaking everything?We build with Addressables using the labels very heavily, and we do the Addressable packaging by labels. So if we edit a specific zone or an asset in a zone, or like a VFX that’s associated with a spell or something like that, only those bundles that touch that label get updated at all.And then, our own content delivery system, we have the game available on Steam and our own patcher, and those both handle the delta changes, where we’re just delivering small updates through those Addressable bundles. The netcode requires the same version to be connected in the first place, so the network library side of that is automatically handled in the handshake process.What guidance would you give someone who’s trying to tackle an MMO game or another ambitious multiplayer project?You kind of start small, I guess. It's a step-by-step process. If you’re a small team, you You start small. It's a step-by-step process. If you’re a small team, you can’t bite off too much. It’d be completely overwhelming – but that holds true with any larger-scale game, not just an MMO. Probably technology selection – making smart choices upfront and sticking to them. It’s going to be a lot of middleware and backend tech that you’re going to have to wrangle and get working well together, and swapping to the newest cool thing all the time is not going to bode well.What’s the most exciting technical achievement for your team with this game?I think that there aren’t many open world MMOs, period, that have been pulled off in Unity. We don’t have a huge team, and we're making a game that is genuinely massive, so we have to focus on little isolated areas, develop them as best we can, and then move on and get feedback.The whole package together is fairly new grounds – when there is an MMO, it needs to feel like an MMO in spirit, with lots of people all around, doing their own thing. And we’ve pulled that off – I think better than pretty much any Unity MMO ever has. I think we can pat ourselves on the back for that.Get more insights from developers on Unity’s Resources page and here on the blog. Check out Pantheon: Rise of the Fallen in Early Access on Steam.

ZDNET's key takeaways The OnePlus 13 is a snappy, nearly no-compromise phone that starts at $899. A Snapdragon 8 Elite, paired with a 6,000mAh battery and 80W fast charging, is a recipe for endurance success. IP69 is almost excessive, but you'll appreciate it when least expected. $999.99 at Best Buy apr / 2025Over at OnePlus' website, both OnePlus 13 models are on sale for $50 off, and each purchase comes with a free gift. Options include a OnePlus Nord Buds 3 Pro and a Sandstone Magnetic Case.It's not often that I review a smartphone in the first few calendar weeks and feel confident in calling it a "Phone of the Year" contender. But when I tested the OnePlus 13 back in January, that's precisely what happened.Whether Google finally launches a Pixel Pro Fold with a flagship camera system this summer, or Apple releases a thinner iPhone in the fall, the OnePlus 13 will likely still be on my mind when the year-end nominations are due.Also: I changed 10 OnePlus phone settings to significantly improve the user experienceThere's a lot going for the latest flagship phone, from the more secure (and reliable) ultrasonic fingerprint sensor to the IP69 rating to the 6,000mAh Silicon NanoStack battery. It's also one of the first phones in North America to feature Qualcomm's new Snapdragon 8 Elite chip, which promises improvements to performance, efficiency, and AI workloads.I tested the OnePlus 13 alongside my iPhone 16 Pro Max and Google Pixel 9 Pro XL to see exactly how the Android phone stacked up against one of the best phones from 2024. In a few ways, the OnePlus 13 falls short, but in many ways, it puts the iPhone and Pixel to shame.When I first unboxed the OnePlus 13 and held it in my hand, my reaction was audible. Allow me to geek out here: The slightly curved glass, the slimness of the phone, and the overall appearance made my then-four-month-old iPhone look and feel outdated. It's as if OnePlus made the iPhone 17 Air before Apple did.However, what sells the OnePlus 13 design for me is the new Midnight Ocean color, which flaunts a vegan-leather backing that makes the phone visually distinctive and more comfortable to hold than its glass-only predecessors. The texture isn't as rough and grippy as actual leather, though, so I'd be interested in seeing how it ages over the year. (April update: The textured backing is holding up well, save for a few dark spots on the corners, likely caused by the phone rubbing against my palms.) Kerry Wan/ZDNETIf you were hoping the first major Android phone of 2025 would feature Qi2 wireless charging, I have good news and bad news. While the OnePlus 13 doesn't have an in-body Qi2 charging coil, meaning MagSafe (and similar) accessories won't attach directly to the back of the device, OnePlus has embedded magnetic guides within its protective covers, enabling users to take advantage of the accessories so long as the OnePlus 13 is encased. It's a burdenless workaround, but one that hopefully won't be necessary with the next model.For what it's worth, since publishing this review, several other Android phones have been released, including the Samsung Galaxy S25 Ultra, Nothing Phone 3a Pro, and Motorola Razr Ultra -- none of which feature Qi2 wireless charging.For years, one aspect that's held OnePlus phones back is the water and dust resistance rating, or lack thereof. With the OnePlus 13, the company is finally taking a stronger stance on the endurance standard, certifying the phone with an IP69 rating. It's a step above the IP68 ratings we commonly see on competing devices, and allows the OnePlus 13 to withstand high-pressure, high-temperature water jets and humidity changes.Also: 5 habit trackers on Android that can reveal your patterns - and motivate you to changeIn practice, this means the OnePlus 13 can function properly even if you leave it in your washer and dryer, dishwasher, or a pot of boiling soup. The IP69 rating feels very much like a flex, but it's a benefit that users will appreciate when they least expect it. Kerry Wan/ZDNETPowering the device is a Qualcomm Snapdragon 8 Elite chip that, from my months of usage, has some noticeable strengths and weaknesses. For day-to-day usage, such as bouncing between productivity apps, definitely not scrolling through TikTok, and taking photos and videos, the processor handles tasks gracefully. It helps that OxygenOS 15, based on the latest version of Android, has some of the smoothest animations I've seen on a phone.Also: I found a Bluetooth tracker for Android users that functions better than AirTags (and it's cheaper)But once you fire up graphics-intensive applications like Adobe Premiere Rush and Honkai Star Rail, you'll notice some stuttering as the higher heat development leads to throttling performance. This isn't a dealbreaker, per se, as the nerfs are only apparent when you're using the device for a prolonged time.I've actually been using the OnePlus 13 quite liberally, as the 6,000mAh Silicon NanoStack battery has kept my review unit running for at least a day and a half per charge. That's unseen with any other mainstream phone in the US market, and I fully expect more manufacturers to adopt silicon batteries for their greater energy density. If not that, copy the 80W fast charging or 50W wireless charging; they're quite the revelation. Kerry Wan/ZDNETOn the camera front, the OnePlus 13, with its triple camera setup (50MP wide, ultrawide, and telephoto), has been a reliable shooter throughout most of my days. While the Sony LYT-808 sensor isn't on par with the one-inch sensors I've tested on international phones like the Xiaomi 15 Ultra, it does an excellent job of capturing details and finishing the output vividly. If you're a fan of sharp, bright, and slightly oversaturated imagery (read: more colorful than how the actual subject appears), then the OnePlus 13 will serve you well.Also: The best Android phones to buy in 2025Where the camera sensors fall short is in post-processing and AI-tuning features. For example, the phone leans heavily on computational photography to contextualize details when taking far-distance shots. This sometimes leads to images with an artificial, over-smoothing filter. But when the backend software works, it can reproduce details that you probably didn't think you'd capture in the first place.ZDNET's buying adviceFor a starting price of $899, the OnePlus 13 delivers some seriously good value -- possibly the best of all the major flagship phones I've tested so far this year. The company has improved the device in almost every way, from the design to the performance to its accessory ecosystem. I just wish OnePlus offered more extensive software support, as the OnePlus 13 will only receive four years of Android OS updates and six years of security updates. Samsung, Google, and Apple offer at least seven years of OS support. If you can shoulder the shorter promise of longevity, this is one of the easiest phones for me to recommend right now. Why the OnePlus 13 gets an Editors' Choice award We awarded the OnePlus 13 an Editors' Choice because it nails all the fundamentals of a great smartphone experience while leading the market in some regards, such as battery and charging, durability, and design. The specs this year are noticeably improved compared to its predecessor, the OnePlus 12, with a faster processor, lighter build, larger battery capacity, and a more capable camera system. Most importantly, the OnePlus 13 starts at $899, undercutting its closest competitors like the Google Pixel 9 Pro XL and Samsung Galaxy S25 Ultra. Show more When will this deal expire? As per OnePlus, this offer will end on June 8, 2025.However, deals are subject to sell out or expire at any time, though ZDNET remains committed to finding, sharing, and updating the best product deals for you to score the best savings. Our team of experts regularly checks in on the deals we share to ensure they are still live and obtainable. We're sorry if you've missed out on a deal, but don't fret -- we constantly find new chances to save and share them with you on ZDNET.com.  Show more What are the tariffs in the US? The recent US tariffs on imports from countries like China, Vietnam, and India aim to boost domestic manufacturing but are likely to drive up prices on consumer electronics. Products like smartphones, laptops, and TVs may become more expensive as companies rethink global supply chains and weigh the cost of shifting production.Smartphones are among the most affected by the new US tariffs, with devices imported from China and Vietnam facing steep duties that could raise retail prices by 20% or more. Brands like Apple and Google, which rely heavily on Asian manufacturing, may either pass these costs on to consumers or absorb them at the expense of profit margins. The tariffs could also lead to delays in product launches or shifts in where and how phones are made, forcing companies to diversify production to countries with more favorable trade conditions. Show more This story was originally published on January 7, 2025, and was updated on June 1, 2025, adding information for a new June discount.Featured reviews

Actually Animate with Geometry Nodes By harryblends on June 1, 2025 Videotutorials You can make so many things with geometry nodes and this video is about animating those things... with geometry nodes. Harry Blends shows you how to procedurally animate a bouncing ball and then instance it so that you can have as many bouncing balls as you please.I talk through every step, from aligning the ball for squash and stretch to using a float curve like it's what you were born to do, creating a geometry node group that will automatically animate whatever you plug into it.Start with a bouncing ball then use these techniques to fulfill your wildest procedural desires.

Liz’s work instantly dazzled and lit up my design brain… My eyes followed the edges bouncing from color to color. The longer you looked, the more you were rewarded.Will Miller, Senior Director of Design at Firebelly Around the same time as Firebelly’s partnership with Colossal, the Chicago design studio was also developing a brand identity for Good Chaos, an impact organization committed to creating opportunities for artists. As part of its initial launch, Good Chaos was seeking a trio of local artists to design distinct logos for the organization and create interactive and joy-filled digital experiences on the Good Chaos website. In his research, Firebelly’s Senior Director of Design Will Miller came across Liz Flores’s work on Colossal and felt she fit the criteria perfectly for Good Chaos’ launch initiative. She was added to the artist shortlist and was ultimately selected by the Good Chaos team to participate. Read more about how her work came to goodchaos.com on Firebelly. Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Firebelly x Good Chaos: How an Ongoing Partnership Influenced a Joyful Identity appeared first on Colossal.

Each music streaming service varies in terms of its features and its interface, but unlike the video streaming apps, the actual content selection is broadly the same across them all: You get access to tens of millions of tunes, on demand, across all of your multiple devices.With that in mind, it doesn't make a lot of sense to subscribe to multiple music streaming platforms. People are far more likely to make a choice between them, find their preferred service, and then stick to it—and once you're invested in terms of playlists and listening history, it's not easy to leave.But I'm signed up to not one, not two, but three music streaming services—and I'll try and explain why I stay active on all of them. If you've only ever stuck with one option, you might not know there are actually some key differences between them, and different ways that they're all worth the money.Admittedly this isn't going to be right for everyone, and it's definitely expensive. As a tech journalist I get to write about these different streaming apps for a living, which helps justify the cost, and your mileage may vary in terms of whether the differences between these platforms make any difference to you.Before we get into the three streaming services themselves, a shout out to a fourth service, Last.fm: It tracks listening across multiple music platforms, which means I can look back on my musical tastes and how they change over time, even as I'm bouncing among three separate subscriptions.Apple Music: the legacy choiceI've been listening to digital music through iTunes since the start of this century, which is a big reason why I continue to rely on Apple Music for most of my day-to-day listening. I still have a carefully curated collection of local digital music files, and Apple Music can blend these seamlessly with new music that I stream on-demand. For bands I really like, I still buy the music—both to support them, and just in case one day I want to stop renting music (and movies, and TV shows).The other major reason I use Apple Music above every other streaming service is the control you get over your library and over your playlists: There are algorithms here, of course, and music recommendations, but I'm much less reliant on them. Apple Music is a throwback in terms of how you can organize the music you like and determine what you listen to, rather than just opening up an app and clicking play on whatever auto-generated playlist looks most appealing. Apple Music supports smart playlists. Credit: Lifehacker Smart playlists are an important part of this experience, too. They let you build playlists based on your library, based around a whole host of criteria: total plays, date, genre, rating, the last played date, artist, and more. They update in real time, so a "songs I haven't heard for six months" playlist will constantly refresh as you listen to it and the metadata updates.I've spent more time than I care to admit curating numerous smart playlists. They let me balance new music with old music, prioritize my favorites while still adding in more obscure cuts, and mean that forgotten tracks that I haven't heard for a year or more will still occasionally pop into my queue without me having to dig for them. If I ever go down to just one music streaming service, this is the one I think I'd keep.YouTube Music: the widest choiceYouTube is the opposite of Apple Music in some ways, because I'll often just click on a music video I like and see where the recommendation algorithm takes me. YouTube probably knows my musical tastes better than any other app or platform, because of the hours I've spent clicking around on those brightly colored thumbnails, and it's great for discovering new bands and new songs.It's an easy, sit-back-and-listen experience, one that works everywhere: web browsers, TVs, phones, and tablets of any description. Just about every device can run YouTube. And any listening I do on YouTube is synced to YouTube Music (while all of my YouTube Music playlists are also accessible through YouTube)—I can switch between an audio and video experience as needed. YouTube Music offers a wealth of music choices. Credit: Lifehacker That's convenient and accessible, and on top of that there's more music on YouTube Music (via YouTube) than anywhere else: live versions, b-sides, alternative takes you can't find anywhere else, obscure gig recordings made by fans, and all the rest. There's a depth and a breadth here that Apple Music and Spotify can't match.Another feature I like about YouTube Music is being able to queue up different playlists on different devices—even in different browser tabs. On my laptop I can have a new music mix (for entertainment) and a lo-fi chill mix (for concentration) available in neighboring browser tabs, and switch between them with a click. If I then go out in the car I can listen to a third YouTube Music playlist, without losing my place in either of the playlists I'm working through back at home.Spotify: the power user choiceFinally, I subscribe to Spotify is that, well, even with everything I've already said about its competitors, it's the best music streaming service. It has the most polished apps, with the most features available—like the Blend playlists you can use to combine your musical tastes with those of a friend to create a single mix, and the AI DJ you can get to queue up tracks for you.When it comes to third-party speakers, apps, and AI assistants, Spotify is the music streaming service most likely to be supported: It doesn't favor particular devices or platforms, as Apple Music and YouTube Music do. It's available everywhere, and it's the easiest for sharing music with other people, because almost everyone uses it. Spotify remains the most polished, feature-rich option. Credit: Lifehacker I use Spotify most for new music. It has a fantastic range of recommendation options, including the Release Radar playlist (new music by artists I like), and the Discover Weekly playlist (a weekly mix of new and old music, including some artists I know and some I don't). I also enjoy all the weird and wonderful playlists other Spotify users curate and make public for everyone else.What's more (and despite what I said about YouTube Music), sometimes I do want a playlist that I can transfer from my laptop, to my smart speaker, to my car, and all the way back again, without skipping a beat—and Spotify handles this better than both Apple Music and YouTube Music.