This article contains spoilers for The Last of Us season 2. Season 2 of The Last of Us was undeniably a huge swing, as was the video game it’s based on. The Last of Us Part II features the death of the first game’s protagonist early on and forces the player to play as his killer not only before the deed is done, but for about half of the game part way through the story. It’s a narrative about cycles of violence and the lengths that people will go to protect who they love, but it’s also an exercise in empathy. There’s a difference between embodying a character for hours at a time in a video game and watching a character do the same actions in a TV show. When you spend hours living and breathing and fighting for your life as a character, it’s easy to form an attachment to them, to prescribe our own ideas onto them as our morals inform theirs. Even though there’s not really anything the player can do to affect the overall outcome of the story in The Last of Us Part II, your playstyle is going to affect your experience. One player may try to sneak by the W.L.F. and Seraphite adversaries as Ellie, trying to kill as few people as possible. Another may go in knives and guns blazing, leaving an even larger trail of bodies in their wake. Neither method is “wrong,” but it is going to affect how you interpret the story and the characters as a player. Translating this story and its structure to television was never going to be easy. The first season of The Last of Us had the luxury of adapting a beginning, middle, and end from the story of the first game. Season 1 also had nine episodes to tell the story of a roughly 10-hour (give or take) game and its approximately two-hour DLC meaning that we got to spend close to the same amount of time with the characters in the show as players do in the game. Season 2, on the other hand, is only adapting part of a game that can take upwards of 24 hours to play through, and only had seven episodes to tell this part of the story.  A lot of criticisms people have shared surrounding season 2 of the show are valid. There are parts of the story, especially when Ellie (Bella Ramsey) and Dina (Isabela Merced) get to Seattle, that feel rushed. There are some character choices that are or may seem different from those that are made in the game. But arguably, the heart of The Last of Us Part II’s story is still here, even if this season missed the mark with some aspects. Of course Ellie’s Seattle arc is going to feel rushed when we only get three approximately hour-long episodes to cover it versus the close to eleven hours of gameplay Ellie’s Seattle arc gets in the game. We’re not going to be able to see how Ellie got all of the cuts and bruises that Dina is tending to in the season finale or watch her traverse Seattle in-depth – there’s simply not enough time.  It would have been great to get more time with Ellie and Dina in Seattle. But unfortunately, 13 or even 10 episodes for one season is a luxury that most studios don’t seem to want to afford in the streaming era. Even though The Last of Us co-showrunners Craig Mazin and Neil Druckmann have said that they chose to end the season at this specific point in the story and felt like seven episodes was enough to do so, I still don’t fault them entirely. Trying to do more with less feels more like a symptom of the state of TV and the industry as a whole than something to only blame The Last of Us writers for doing. At some point you get used to doing more with less and less. With the structure of season 2, Mazin says that they “considered everything.” They thought about interlacing the stories of Ellie and Abby, but ultimately realized that switching perspectives halfway through the story is “part of the genetics of how this story functions.” But now that means “we have to take risks as a television show, and HBO is backing us taking risks. But then again, we just did kill Pedro Pascal. Like [HBO] understands that this show is going to be a different show every season, which is a tricky thing to do when you’re a hit show. You keep asking people like, ‘I know you love this, we’re taking it away and giving you this now.’” Understandably not everyone has been on board with these changes. Season 2 of The Last of Us has a consistently lower IMDb score than season 1, and it’s hard to look through any form of social media without finding a mix of reactions from fans who are enjoying the story as it is and others who think that the writers have massacred their favorite characters. But at the same time, Mazin, Druckmann, and TLOU Part II co-writer Halley Gross clearly have a deep love for this story, even if their interpretation of certain character’s decisions doesn’t always align with the audience’s. The characters in the TV show are different than the characters in the game because they experience these events differently. In the show, Ellie has to sit in a hospital recovering for three months before she can even think about chasing Abby and her crew to Seattle. Setting aside that time for recovery is not necessarily something that a video game has to think about – a physical therapy level isn’t exactly something that players of a game like this are going to be excited about.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! It’s not that this version of Ellie is less angry than she is in the game. She’s just had three months to practice burying her anger so it’s more palatable for others. She has to convince the hospital, and Gail (Catherine O’Hara), that she’s fit enough to be released. She has to try and convince the council that she’s fit enough to lead a group to Seattle for justice. She has to convince a pregnant Dina that no matter what happens while they’re in Seattle, that this is the morally right thing for them to do. Because we don’t spend 11-plus hours literally in Ellie’s shoes while watching the TV show, her grief has to be explored in different ways. It’s shown in the brief moment she plays the guitar while waiting for Dina to triangulate a route. Even though Ellie may not be throwing the guitar across the room, there’s still clearly anger mixed with the grief on her face as she plays her and Joel’s song. We see it when she lashes out at Jesse and chooses to go to the aquarium instead of following him to find Tommy. We see it when she screams out in pain in a hospital bed in Jackson. And we see it when Dina tends to her wounds. It’s not that she’s not angry or grieving, we just don’t get to see every single moment of it that we do in the game. And of course Ellie is going to tell Abby that she didn’t mean to hurt her friends and beg her to spare their lives. Abby just shot Jesse dead in front of her and is standing over Tommy with his life in her hands just as she did with Joel. Even if this isn’t exactly how Ellie reacts in the game, it’s a logical trauma response to finally seeing Abby again. Abby was able to kill Joel – someone Ellie looked up to and probably thought was unstoppable as most kids do with their parents in their youth. It makes sense that seeing her again would trigger this kind of response in Ellie too. It’s not that she doesn’t want to kill Abby in this moment – she’s just trying to keep her and her loved ones alive for as long as she can.  We saw her do something similar with David (Scott Shepherd) in season 1. She made herself as non-threatening as possible to get him to let his guard down and then proceeded to viciously attack him. Ellie isn’t a stranger to lying and manipulating to get what she wants, even in stressful circumstances. Why should this be any different? Mazin doesn’t deny that they took some risks with season 2, admitting to The Hollywood Reporter that “I don’t think television is supposed to work like this. We’re clearly breaking quite a few rules, and I love that. And I love it because that is the point. This is not something we’re doing as a gimmick.” Mazin argues that The Last of Us forces us to interrogate what we believe about heroes and villains and see the flaws in that kind of black and white thinking, and he knows that this is “a challenging thing to keep track of emotionally” and that people are going to feel provoked by it. “But part of this story,” he says, “is about examining why we’re so comfortable with following one person’s point of view about everything.” The Last of Us season 2 was never going to be exactly like the game, and that’s okay! When you’ve already made a story that resonates with so many people, it’s not going to be easy to recreate that story in another medium – especially in the streaming era when shows don’t always know if they’re going to be able to get all the seasons they want to tell the story. Time is a luxury that television doesn’t always have. The show may not have hit a home run with every swing they took, but overall the story still lands. The heart of the game and its story of grief and loss and love and violence are still there. Hopefully fans won’t give up on the show just yet and trust that the show’s writers really do care about this story enough to do it justice.

May 30, 20253 min readWhat Causes Glaciers to Collapse like the Event That Buried a Swiss Village?Climate change and thawing permafrost play a role in destabilizing glaciersBy Jen Schwartz edited by Dean VisserThe small village of Blatten in the Swiss Alps was largely destroyed by a landslide that occurred as a result of the partial collapse of the Birch Glacier on May 28, 2025. Alexandre Agrusti/AFP via Getty ImagesAn unstable glacier in the Swiss Alps collapsed this week, sending a deluge of rock, ice and mud through the valley below and burying the village of Blatten almost entirely. Scientists had warned about the possibility of a dangerous event related to the glacier, and village residents had been evacuated days earlier—but the glacier’s near-total breakup came as a surprise. One person is reported missing. Government officials initially estimated the debris deposit to be several dozen meters thick and approximately two kilometers long. Making matters worse, the collapse of the glacier, called the Birch Glacier, blocked the flow of the Lonza River, which runs through the valley. As a result, a newly created lake upstream from the debris field flooded an area that has now overflowed into the deposit zone, which could cause a debris flow downstream. As of Friday afternoon local time, officials have reported that the water flow is approaching the top of the scree cone, which is the accumulation of loose, rocky debris.Why did the glacier break apart?The glacier’s collapse and the subsequent landslide—which was so intense that it corresponded to a magnitude 3.1 earthquake captured by the Swiss Seismological Service—likely arose from a series of rockfalls that occurred above the glacier over the past couple of weeks. The rocks, dislodged because of high-altitude snowmelt, exerted significant pressure on the relatively small glacier, according to officials. Experts are looking into longer-term factors that may have weakened the glacier’s stability even before those rockfalls. Christophe Lambiel, a glaciologist who also specializes in high-mountain geology at the University of Lausanne in Switzerland, said on RTS Swiss Television that the rockfalls were linked to climate change. “The increase in the falling rocks is due to the melting permafrost, which increases instability,” Lambiel said, as reported on NPR.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.How would climate change lead to a glacier’s collapse?New research published on Thursday in Science finds that, under current climate policies, more than three quarters of the world’s glacial mass could disappear by the end of this century. In this scenario, almost all small and relatively low-elevation glaciers, like the one in Switzerland, would be wiped out. In a 2024 article for Scientific American, journalist Alec Luhn explained that “the deterioration of ice and snow is triggering feedback loops that will heat the world even further. Permafrost, the frozen ground that holds twice as much carbon as is currently found in the atmosphere, is thawing and releasing these stores.” Thawing permafrost is not just dangerous because it creates instability, as in the case of Birch Glacier. As Luhn wrote, “Research has revealed that the permafrost zone is now releasing more carbon than it absorbs, heating the planet further.”Who is at risk from disintegrating glaciers?It’s clear that the weakening of Switzerland’s Birch Glacier was at least partially caused by rockfall. There are other ways in which changes to glaciers are causing risk—and occasional devastation—to people, communities and infrastructure. As a 2023 E&E News article explained, “At least 15 million people worldwide live in the flood paths of dangerous glacial lakes that can abruptly burst their banks and rush down mountainsides.” These so-called glacial lake outburst floods can be fatal and cause catastrophic damage. “The deterioration of the planet’s snow and ice regions,” wrote Luhn in his 2024 article, “is costing the world billions of dollars in damages,” according to a 2024 State of the Cryosphere report What can be done to preserve glaciers—and protect communities?Giant plastic blankets, gravity snow guns and painted rocks are all potential strategies to slow ice melt in the world’s mountain regions. The sound that glaciers make when water is coursing through their icy cracks can be used to predict glacial lake outburst floods—and thus to save lives. There’s also a growing sense of reckoning with the fate of the world’s glaciers. An essay about the Global Glacier Casualty List, which documents glaciers that have melted or are critically endangered, was also released on Thursday in Science. In it, Rice University anthropologists Cymene Howe and Dominic Boyer write, “The world’s first funeral for a glacier was held in Iceland in 2019 for a little glacier called ‘Ok….’ Since then, memorials for disappeared glaciers have increased across the world, illustrating the integral connection between loss in the natural world and human rituals of remembrance.”

screen time Google Is Burying the Web Alive 5:00 A.M. saved Save this article to read it later. Find this story in your account’s ‘Saved for Later’ section. Photo-Illustration: Intelligencer By now, there’s a good chance you’ve encountered Google’s AI Overviews, possibly thousands of times. Appearing as blurbs at the top of search results, they attempt to settle your queries before you scroll — to offer answers, or relevant information, gleaned from websites that you no longer need to click on. The feature was officially rolled out at Google’s developer conference last year and had been in testing for quite some time before that; on the occasion of this year’s conference, the company characterized it as “one of the most successful launches in Search in the past decade,” a strangely narrow claim that is almost certainly true: Google put AI summaries on top of everything else, for everyone, as if to say, “Before you use our main product, see if this works instead.” This year’s conference included another change to search, this one more profound but less aggressively deployed. “AI Mode,” which has similarly been in beta testing for a while, will appear as an option for all users. It’s not like AI Overviews; that is, it’s not an extra module taking up space on a familiar search-results page but rather a complete replacement for conventional search. It’s Google’s “most powerful AI search, with more advanced reasoning and multimodality, and the ability to go deeper through follow-up questions and helpful links to the web,” the company says, “breaking down your question into subtopics and issuing a multitude of queries simultaneously on your behalf.” It’s available to everyone. It’s a lot like using AI-first chatbots that have search functions, like those from OpenAI, Anthropic, and Perplexity, and Google says it’s destined for greater things than a small tab. “As we get feedback, we’ll graduate many features and capabilities from AI Mode right into the core Search experience,” the company says. I’ve been testing AI Mode for a few months now, and in some ways it’s less radical than it sounds and (at first) feels. It resembles the initial demos of AI search tools, including those by Google, meaning it responds to many questions with clean, ad-free answers. Sometimes it answers in extended plain language, but it also makes a lot of lists and pulls in familiar little gridded modules — especially when you ask about things you can buy — resulting in a product that, despite its chatty interface, feels an awful lot like … search. Again, now you can try it yourself, and your mileage may vary; it hasn’t drawn me away from Google proper for a lot of thoughtless rote tasks, but it’s competitive with ChatGPT for the expanding range of searchish tasks you might attempt with a chatbot. From the very first use, however, AI Mode crystallized something about Google’s priorities and in particular its relationship to the web from which the company has drawn, and returned, many hundreds of billions of dollars of value. AI Overviews demoted links, quite literally pushing content from the web down on the page, and summarizing its contents for digestion without clicking: Photo-Illustration: Intelligencer; Screenshot: Google Meanwhile, AI Mode all but buries them, not just summarizing their content for reading within Google’s product but inviting you to explore and expand on those summaries by asking more questions, rather than clicking out. In many cases, links are retained merely to provide backup and sourcing, included as footnotes and appendices rather than destinations: Photo-Illustration: Intelligencer; Screenshot: Google This is typical with AI search tools and all but inevitable now that such things are possible. In terms of automation, this means companies like OpenAI and Google are mechanizing some of the “work” that goes into using tools like Google search, removing, when possible, the step where users leave their platforms and reducing, in theory, the time and effort it takes to navigate to somewhere else when necessary. In even broader terms — contra Google’s effort to brand this as “going beyond information to intelligence” — this is an example of how LLMs offer different ways to interact with much of the same information: summarization rather than retrieval, regeneration rather than fact-finding, and vibe-y reconstruction over deterministic reproduction. This is interesting to think about and often compelling to use but leaves unresolved one of the first questions posed by chatbots-as-search: Where will they get all the data they need to continue to work well? When Microsoft and Google showed off their first neo-search mockups in 2023, which are pretty close to today’s AI mode, it revealed a dilemma: Search engines still provide the de facto gateway to the broader web, and have a deeply codependent relationship with the people and companies whose content they crawl, index, and rank; a Google that instantly but sometimes unreliably summarizes the websites to which it used to send people would destroy that relationship, and probably a lot of websites, including the ones on which its models were trained. And, well, yep! Now, both AI Overviews and AI Mode, when they aren’t occasionally hallucinating, produce relatively clean answers that benefit in contrast to increasingly degraded regular search results on Google, which are full of hyperoptimized and duplicative spamlike content designed first and foremost with the demands of Google’s ranking algorithms and advertising in mind. AI Mode feels one step further removed from that ecosystem and once again looks good in contrast, a placid textual escape from Google’s own mountain of links that look like ads and ads that look like links (of course, Google is already working on ads for both Overviews and AI Mode). In its drive to embrace AI, Google is further concealing the raw material that fuels it, demoting links as it continues to ingest them for abstraction. Google may still retain plenty of attention to monetize and perhaps keep even more of it for itself, now that it doesn’t need to send people elsewhere; in the process, however, it really is starving the web that supplies it with data on which to train and Two years later, Google has become more explicit about the extent to which it’s moving on from the “you provide us results to rank, and we send you visitors to monetize” bargain, with the head of search telling The Verge, “I think the search results page was a construct.” Which is true, as far as it goes, but also a remarkable thing to hear from a company that’s communicated carefully and voluminously to website operators about small updates to its search algorithms for years. I don’t doubt that Google has been thinking about this stuff for a while and that there are people at the company who deem it strategically irrelevant or at least of secondary importance to winning the AI race — the fate of the web might not sound terribly important when your bosses are talking nonstop about cashing out its accumulated data and expertise for AGI. I also don’t want to be precious about the web as it actually exists in 2025, nor do I suggest that websites working with or near companies like Meta and Google should have expected anything but temporary, incidental alignment with their businesses. If I had to guess, the future of Google search looks more like AI Overviews than AI mode — a jumble of widgets and modules including and united by AI-generated content, rather than a clean break — if only for purposes of sustaining Google’s multi-hundred-billion-dollar advertising business. But I also don’t want to assume Google knows exactly how this stuff will play out for Google, much less what it will actually mean for millions of websites, and their visitors, if Google stops sending as many people beyond its results pages. Google’s push into productizing generative AI is substantially fear-driven, faith-based, and informed by the actions of competitors that are far less invested in and dependent on the vast collection of behaviors — websites full of content authentic and inauthentic, volunteer and commercial, social and antisocial, archival and up-to-date — that make up what’s left of the web and have far less to lose. Maybe, in a few years, a fresh economy will grow around the new behaviors produced by searchlike AI tools; perhaps companies like OpenAI and Google will sign a bunch more licensing deals; conceivably, this style of search automation simply collapses the marketplace supported by search, leveraging training based on years of scraped data to do more with less. In any case, the signals from Google — despite its unconvincing suggestions to the contrary — are clear: It’ll do anything to win the AI race. If that means burying the web, then so be it. Sign Up for the Intelligencer Newsletter Daily news about the politics, business, and technology shaping our world. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. By submitting your email, you agree to our Terms and Privacy Notice and to receive email correspondence from us. Tags: Google Is Burying the Web Alive

I think we, as engineers and designers, have a lot to gain by stepping outside of our worlds. That’s why in previous pieces I’ve been drawn towards architecture, newspapers, and the occasional polymath. Today, we stumble blindly into the world of philosophy. Bear with me. I think there’s something to it. In 1974, the American philosopher Robert M. Pirsig published a book called Zen and the Art of Motorcycle Maintenance. A flowing blend of autobiography, road trip diary, and philosophical musings, the book’s ‘chautauqua’ is an interplay between art, science, and self. Its outlook on life has stuck with me since I read it. The book often feels prescient, at times surreal to read given it’s now 50 years old. Pirsig’s reflections on arts vs. sciences, subjective vs. objective, and systems vs. people translate seamlessly to the digital age. There are lessons there that I think are useful when trying to navigate — and build — the web. Those lessons are what this piece is about. I feel obliged at this point to echo Pirsig and say that what follows should in no way be associated with the great body of factual information about Zen Buddhist practice. It’s not very factual in terms of web development, either. Buddha In The Machine Zen is written in stages. It sets a scene before making its central case. That backdrop is important, so I will mirror it here. The book opens with the start of a motorcycle road trip undertaken by Pirsig and his son. It’s a winding journey that takes them most of the way across the United States. Despite the trip being in part characterized as a flight from the machine, from the industrial ‘death force’, Pirsig takes great pains to emphasize that technology is not inherently bad or destructive. Treating it as such actually prevents us from finding ways in which machinery and nature can be harmonious. Granted, at its worst, the technological world does feel like a death force. In the book’s 1970s backdrop, it manifests as things like efficiency, profit, optimization, automation, growth — the kinds of words that, when we read them listed together, a part of our soul wants to curl up in the fetal position. In modern tech, those same forces apply. We might add things like engagement and tracking to them. Taken to the extreme, these forces contribute to the web feeling like a deeply inhuman place. Something cold, calculating, and relentless, yet without a fire in its belly. Impersonal, mechanical, inhuman. Faced with these forces, the impulse is often to recoil. To shut our laptops and wander into the woods. However, there is a big difference between clearing one’s head and burying it in the sand. Pirsig argues that “Flight from and hatred of technology is self-defeating.” To throw our hands up and step away from tech is to concede to the power of its more sinister forces. “The Buddha, the Godhead, resides quite as comfortably in the circuits of a digital computer or the gears of a cycle transmission as he does at the top of a mountain or in the petals of a flower. To think otherwise is to demean the Buddha — which is to demean oneself.”— Robert M. Pirsig Before we can concern ourselves with questions about what we might do, we must try our best to marshal how we might be. We take our heads and hearts with us wherever we go. If we characterize ourselves as powerless pawns, then that is what we will be. Where design and development are concerned, that means residing in the technology without losing our sense of self — or power. Technology is only as good or evil, as useful or as futile, as the people shaping it. Be it the internet or artificial intelligence, to direct blame or ire at the technology itself is to absolve ourselves of the responsibility to use it better. It is better not to demean oneself, I think. So, with the Godhead in mind, to business. Classical And Romantic A core concern of Zen and the Art of Motorcycle Maintenance is the tension between the arts and sciences. The two worlds have a long, rich history of squabbling and dysfunction. There is often mutual distrust, suspicion, and even hostility. This, again, is self-defeating. Hatred of technology is a symptom of it. “A classical understanding sees the world primarily as the underlying form itself. A romantic understanding sees it primarily in terms of immediate appearance.”— Robert M. Pirsig If we were to characterize the two as bickering siblings, familiar adjectives might start to appear: Classical Romantic Dull Frivolous Awkward Irrational Ugly Erratic Mechanical Untrustworthy Cold Fleeting Anyone in the world of web design and development will have come up against these kinds of standoffs. Tensions arise between testing and intuition, best practices and innovation, structure and fluidity. Is design about following rules or breaking them? Treating such questions as binary is a fallacy. In doing so, we place ourselves in adversarial positions, whatever we consider ourselves to be. The best work comes from these worlds working together — from recognising they are bound. Steve Jobs was a famous advocate of this. “Technology alone is not enough — it’s technology married with liberal arts, married with the humanities, that yields us the result that makes our heart sing.”— Steve Jobs Whatever you may feel about Jobs himself, I think this sentiment is watertight. No one field holds all the keys. Leonardo da Vinci was a shining example of doing away with this needless siloing of worlds. He was a student of light, anatomy, art, architecture, everything and anything that interested him. And they complemented each other. Excellence is a question of harmony. Is a motorcycle a romantic or classical artifact? Is it a machine or a symbol? A series of parts or a whole? It’s all these things and more. To say otherwise does a disservice to the motorcycle and deprives us of its full beauty. Just by reframing the relationship in this way, the kinds of adjectives that come to mind naturally shift toward more harmonious territory. Classical Romantic Organized Vibrant Scaleable Evocative Reliable Playful Efficient Fun Replicable Expressive And, of course, when we try thinking this way, the distinction itself starts feeling fuzzier. There is so much that they share. Pirsig posits that the division between the subjective and objective is one of the great missteps of the Greeks, one that has been embraced wholeheartedly by the West in the millennia since. That doesn’t have to be the lens, though. Perhaps monism, not dualism, is the way. In a sense, technology marks the ultimate interplay between the arts and the sciences, the classical and the romantic. It is the human condition brought to you with ones and zeros. To separate those parts of it is to tear apart the thing itself. The same is true of the web. Is it romantic or classical? Art or science? Structured or anarchic? It is all those things and more. Engineering at its best is where all these apparent contradictions meet and become one. What is this place? Well, that brings us to a core concept of Pirsig’s book: Quality. Quality The central concern of Zen and the Art of Motorcycle Maintenance is the ‘Metaphysics of Quality’. Pirsig argues that ‘Quality’ is where subjective and objective experience meet. Quality is at the knife edge of experience. “Quality is the continuing stimulus which our environment puts upon us to create the world in which we live. All of it. Every last bit of it.”— Robert M. Pirsig Pirsig's writings overlap a lot with Taoism and Eastern philosophy, to the extent that he likens Quality to the Tao. Quality is similarly undefinable, with Pirsig himself making a point of not defining it. Like the Tao, Plato’s Form of the Good, or the ‘good taste’ to which GitHub cofounder Scott Chacon recently attributed the platform’s success, it simply is. Despite its nebulous nature, Quality is something we recognise when we see it. Any given problem or question has an infinite number of potential solutions, but we are drawn to the best ones as water flows toward the sea. When in a hostile environment, we withdraw from it, responding to a lack of Quality around us. We are drawn to Quality, to the point at which subjective and objective, romantic and classical, meet. There is no map, there isn’t a bullet point list of instructions for finding it, but we know it when we’re there. A Quality Web So, what does all this look like in a web context? How can we recognize and pursue Quality for its own sake and resist the forces that pull us away from it? There are a lot of ways in which the web is not what we’d call a Quality environment. When we use social media sites with algorithms designed around provocation rather than communication, when we’re assailed with ads to such an extent that content feels (and often is) secondary, and when AI-generated slop replaces artisanal craft, something feels off. We feel the absence of Quality. Here are a few habits that I think work in the service of more Quality on the web. Seek To Understand How Things Work I’m more guilty than anyone of diving into projects without taking time to step back and assess what I’m actually dealing with. As you can probably guess from the title, a decent amount of time in Zen and the Art of Motorcycle Maintenance is spent with the author as he tinkers with his motorcycle. Keeping it tuned up and in good repair makes it work better, of course, but the practice has deeper, more understated value, too. It lends itself to understanding. To maintain a motorcycle, one must have some idea of how it works. To take an engine apart and put it back together, one must know what each piece does and how it connects. For Pirsig, this process becomes almost meditative, offering perspective and clarity. The same is true of code. Rushing to the quick fix, be it due to deadlines or lethargy, will, at best, lead to a shoddy result and, in all likelihood, make things worse. “Black boxes” are as much a choice not to learn as they are something innately mysterious or unknowable. One of the reasons the web feels so ominous at times is that we don’t know how it works. Why am I being recommended this? Why are ads about ivory backscratchers following me everywhere? The inner workings of web tracking or AI models may not always be available, but just about any concept can be understood in principle. So, in concrete terms: Read the documentation, for the love of god.Sometimes we don’t understand how things work because the manual’s bad; more often, it’s because we haven’t looked at it. Follow pipelines from their start to their finish.How does data get from point A to point Z? What functions does it pass through, and how do they work? Do health work.Changing the oil in a motorcycle and bumping project dependencies amount to the same thing: a caring and long-term outlook. Shiny new gizmos are cool, but old ones that still run like a dream are beautiful. Always be studying.We are all works in progress, and clinging on to the way things were won’t make the brave new world go away. Be open to things you don’t know, and try not to treat those areas with suspicion. Bound up with this is nurturing a love for what might easily be mischaracterized as the ‘boring’ bits. Motorcycles are for road trips, and code powers products and services, but understanding how they work and tending to their inner workings will bring greater benefits in the long run. Reframe The Questions Much of the time, our work is understandably organized in terms of goals. OKRs, metrics, milestones, and the like help keep things organized and stuff happening. We shouldn’t get too hung up on them, though. Looking at the things we do in terms of Quality helps us reframe the process. The highest Quality solution isn’t always the same as the solution that performed best in A/B tests. The Dark Side of the Moon doesn’t exist because of focus groups. The test screenings for Se7en were dreadful. Reducing any given task to a single metric — or even a handful of metrics — hamstrings the entire process. Rory Sutherland suggests much the same thing in Are We Too Impatient to Be Intelligent? when he talks about looking at things as open-ended questions rather than reducing them to binary metrics to be optimized. Instead of fixating on making trains faster, wouldn’t it be more useful to ask, How do we improve their Quality? Challenge metrics. Good ones — which is to say, Quality ones — can handle the scrutiny. The bad ones deserve to crumble. Either way, you’re doing the world a service. With any given action you take on a website — from button design to database choices — ask yourself, Does this improve the Quality of what I’m working on? Not the bottom line. Not the conversion rate. Not egos. The Quality. Quality pulls us away from dark patterns and towards the delightful. The will to Quality is itself a paradigm shift. Aspiring to Quality removes a lot of noise from what is often a deafening environment. It may make things that once seemed big appear small. Seek To Wed Art With Science (And Whatever Else Fits The Bill) None of the above is to say that rules, best practices, conventions, and the like don’t have their place or are antithetical to Quality. They aren’t. To think otherwise is to slip into the kind of dualities Pirsig rails against in Zen. In a lot of ways, the main underlying theme in my What X Can Teach Us About Web Design pieces over the years has been how connected seemingly disparate worlds are. Yes, Vitruvius’s 1st-century tenets about architecture are useful to web design. Yes, newspapers can teach us much about grid systems and organising content. And yes, a piece of philosophical fiction from the 1970s holds many lessons about how to meet the challenges of artificial intelligence. Do not close your work off from atypical companions. Stuck on a highly technical problem? Perhaps a piece of children’s literature will help you to make the complicated simple. Designing a new homepage for your website? Look at some architecture. The best outcomes are harmonies of seemingly disparate worlds. Cling to nothing and throw nothing away. Make Time For Doing Nothing Here’s the rub. Just as Quality itself cannot be defined, the way to attain it is also not reducible to a neat bullet point list. Neither waterfall, agile or any other management framework holds the keys. If we are serious about putting Buddha in the machine, then we must allow ourselves time and space to not do things. Distancing ourselves from the myriad distractions of modern life puts us in states where the drift toward Quality is almost inevitable. In the absence of distracting forces, that’s where we head. Get away from the screen.We all have those moments where the solution to a problem appears as if out of nowhere. We may be on a walk or doing chores, then pop! Work on side projects.I’m not naive. I know some work environments are hostile to anything that doesn’t look like relentless delivery. Pet projects are ideal spaces for you to breathe. They’re yours, and you don’t have to justify them to anyone. As I go into more detail in “An Ode to Side Project Time,” there is immense good in non-doing, in letting the water clear. There is so much urgency, so much of the time. Stepping away from that is vital not just for well-being, but actually leads to better quality work too. From time to time, let go of your sense of urgency. Spirit Of Play Despite appearances, the web remains a deeply human experiment. The very best and very worst of our souls spill out into this place. It only makes sense, therefore, to think of the web — and how we shape it — in spiritual terms. We can’t leave those questions at the door. Zen and the Art of Motorcycle Maintenance has a lot to offer the modern web. It’s not a manifesto or a way of life, but it articulates an outlook on technology, art, and the self that many of us recognise on a deep, fundamental level. For anyone even vaguely intrigued by what’s been written here, I suggest reading the book. It’s much better than this article. Be inspired. So much of the web is beautiful. The highest-rated Awwwards profiles are just a fraction of the amazing things being made every day. Allow yourself to be delighted. Aspire to be delightful. Find things you care about and make them the highest form of themselves you can. And always do so in a spirit of play. We can carry those sentiments to the web. Do away with artificial divides between arts and science and bring out the best in both. Nurture a taste for Quality and let it guide the things you design and engineer. Allow yourself space for the water to clear in defiance of the myriad forces that would have you do otherwise. The Buddha, the Godhead, resides quite as comfortably in a social media feed or the inner machinations of cloud computing as at the top of a mountain or in the petals of a flower. To think otherwise is to demean the Buddha, which is to demean oneself. Other Resources Zen and the Art of Motorcycle Maintenance by Robert M. Pirsig The Beauty of Everyday Things by Soetsu Yanagi Tao Te Ching “The Creative Act” by Rick Rubin “Robert Pirsig & His Metaphysics of Quality” by Anthony McWatt “Dark Patterns in UX: How to Identify and Avoid Unethical Design Practices” by Daria Zaytseva Further Reading on Smashing Magazine “Three Approaches To Amplify Your Design Projects,” Olivia De Alba “AI’s Transformative Impact On Web Design: Supercharging Productivity Across The Industry,” Paul Boag “How A Bottom-Up Design Approach Enhances Site Accessibility,” Eleanor Hecks “How Accessibility Standards Can Empower Better Chart Visual Design,” Kent Eisenhuth

  Photography has remained fundamentally horizontal for over a century. Fujifilm’s latest creation shatters this convention with stunning simplicity. The new X half premium compact digital camera transforms how we capture images by embracing vertical orientation as its foundational design principle. This revolutionary approach acknowledges our smartphone-shaped world while delivering an experience distinctly separate from mobile photography. The camera challenges our assumptions about what photography tools should look like and how they should function. Its design speaks to a generation that consumes images vertically but craves tactile experiences beyond touchscreens. Designer: Fujifilm Design Origin & Philosophy The X half emerged from Fujifilm’s experimental design workshops, where creative freedom flourishes without immediate commercial pressure. These sessions allow designers to explore concepts that challenge conventional thinking about cameras. During one particularly productive workshop, a designer named Bueno presented a fully realized mock-up addressing his personal frustration with film photography’s ongoing costs. As noted in Fujifilm’s development history, Bueno loved shooting film but found it financially challenging, which sparked his creative solution. This origin story reveals a fascinating inversion of traditional product development cycles. Bueno’s concept arrived as a complete physical design with no internal components or technical specifications. The engineering team faced the unusual challenge of building technology to fit an established form rather than designing around predetermined components. Senior leadership immediately recognized the concept’s potential, supporting this rare bottom-up development process that preserved the designer’s original vision. The concept brilliantly translates half-frame film photography into digital form. Traditional half-frame cameras, popular for their economy and distinctive aesthetic, captured two vertical images on a single 35mm film frame. This digital interpretation maintains that vertical orientation while eliminating film costs entirely. Fujifilm went further by incorporating intentional constraints that shape the photographic experience. Physical Design & Ergonomics The camera lacks image stabilization and captures JPEGs exclusively without RAW capability. These aren’t technical limitations but deliberate design decisions that encourage a specific relationship with photography. Users focus on composition and timing rather than post-processing possibilities or technical perfection. The design philosophy prioritizes the act of seeing over technical manipulation, encouraging photographers to develop their eye rather than their editing skills. The X half weighs a mere 240 grams (8.5 ounces), lighter than many smartphones despite its purposeful construction. Its compact dimensions (105.8mm x 64.3mm x 30.0mm) make it genuinely pocketable, fitting comfortably in standard jeans pockets without the awkward bulge larger cameras create. Fujifilm selected a fixed 10.8mm F2.8 prime lens, equivalent to 32mm in traditional 35mm format. This focal length provides the perfect balance between environmental context and subject isolation. According to the product specifications, this specific field of view mirrors that of the beloved Fujifilm QuickSnap disposable cameras, creating an immediately familiar perspective that feels natural for everyday photography. The most innovative physical element is undoubtedly the Frame Advance Lever. This mechanical component serves genuine functions beyond nostalgic decoration. Users physically advance the digital frame, combining two vertical images into diptychs or merging short video clips with still photographs. The tactile resistance of the lever makes each frame advance a deliberate act, reinforcing intentionality in image-making. Interface & User Experience Fujifilm reimagined the camera interface from first principles rather than adapting existing designs. The 2.4-inch touch screen provides intuitive control without overwhelming complexity. Traditional button arrays have been replaced with gesture controls that feel natural to digital natives while maintaining connections to analog processes. The interface allows users to adjust the dividing line between frames. According to the technical documentation, photographers can select narrow, regular, or bold styles reminiscent of Instax prints, and even change the color between black and white. Switching between color and monochrome modes happens through simple, intuitive controls that don’t interrupt the photographic process. The true interface innovation appears when connecting to smartphones. The camera simulates a film development process when transferring images. Users select which “roll” to import, initiating a development sequence that builds anticipation. The digital contact sheet displays edge codes that reference specific film simulations, such as “RTR” for retro filter. This thoughtful replication of analog workflows transforms routine file transfer into a meaningful experience that enhances the photographer’s connection to their images. The menu system abandons conventional hierarchical organization for a more intuitive approach. Instead of burying options within nested submenus, the interface presents contextually relevant controls based on shooting mode and camera orientation. This adaptive interface reduces the cognitive load on photographers, allowing them to focus on image-making rather than menu navigation. The system learns from user behavior, prioritizing frequently used settings for faster access. Visual feedback appears through subtle animations that reference analog processes. When adjusting exposure compensation, a virtual needle moves across a scale reminiscent of light meters from manual cameras. These visual metaphors create intuitive understanding without requiring technical knowledge, making the camera accessible to photographers at all experience levels. Image Quality & Creative Features The X half’s output demonstrates its design philosophy most clearly. Fujifilm incorporated 13 Film Simulation modes based on their 90-year color science heritage. Each simulation offers unique characteristics that influence how photographers approach different subjects and lighting conditions. The system goes further by incorporating three new creative filters inspired by film photography: Light Leak, which creates a slightly exposed look; Halation, a halo effect that appears around light sources; and Expired Film, which mimics the grainy look of older analog film. These elements come from an internal database of authentic film artifacts, applied without preview to reintroduce the element of surprise that made film photography exciting. This unpredictability represents a deliberate design choice that restores the anticipation often missing from digital photography. Optional date stamping mimics the iconic corner-markings found on 1990s film cameras, enhancing the nostalgic experience for users familiar with physical prints. The camera’s grain behavior connects to its advanced image processing engine, replicating organic and irregular patterns characteristic of traditional film. The vertical orientation influences composition in profound ways. By default, photographers naturally frame subjects differently when working in portrait format. This constraint encourages fresh perspectives on familiar subjects, breaking habitual compositional patterns that develop with horizontal framing. Color science receives special attention through custom calibration for vertical subjects. The color rendering has been optimized for skin tones, architecture, and vertical landscapes, with subtle adjustments to saturation and contrast that complement vertically framed subjects. Environmental Considerations Fujifilm designed the X half with environmental impact in mind. The camera’s simplified internal architecture reduces component count compared to similar-sized digital cameras, minimizing resource consumption during manufacturing while extending potential service life through mechanical simplicity. The fixed lens eliminates the environmental impact of multiple lens production and transportation, reducing materials usage and packaging waste associated with interchangeable lens systems. Most significantly, the X half’s design philosophy encourages users to value fewer, more meaningful images. This approach reduces the environmental impact of data storage and transfer while fostering a more sustainable relationship with photography itself. By emphasizing quality over quantity, the camera encourages a more mindful approach to image creation and consumption. My Thoughts for Now At $849.99 USD, the X half targets photography enthusiasts seeking something beyond conventional cameras. Fujifilm clearly understands this camera serves a specific market segment rather than competing directly with multi-purpose devices. The price reflects both unique design and premium materials while offering value beyond technical specifications. The camera’s pocketable size encourages daily carry, resulting in more frequent use than larger systems that often remain at home. This regular engagement creates more photographic opportunities, enhancing practical value. The fixed lens and simplified controls eliminate ongoing accessory costs while encouraging mastery of a single focal length. The X half represents a significant departure from conventional camera design by challenging horizontal orientation as the default. Its most profound impact lies in embracing constraints as creative catalysts. Early testing revealed that while professional photographers initially expressed frustration, those willing to adapt discovered these limitations fostered creativity rather than restricting it. “X half is special because it rekindles our love for the compact camera and blends it with the modern sensibilities that make it easy to make a part of our everyday lives,” explains Victor Ha, vice president of Electronic Imaging and Optical Devices Divisions at Fujifilm North America Corporation. The camera arrives as design trends increasingly embrace digital interpretations of analog experiences. From skeuomorphic interfaces to vinyl record resurgence, consumers seek tangible, imperfect experiences within our digital world. What makes the X half truly innovative lies in its intentional subtractions from photography. By removing RAW capture options, limiting post-processing flexibility, and challenging horizontal orientation, Fujifilm creates something paradoxically nostalgic yet forward-looking. The FUJIFILM X half compact digital camera will be available in late June 2025 at a Manufacturer’s Suggested Retail Price of $849.99 USD and $998.99 CAD.The post Fujifilm Reimagines Photography with X half Premium Compact Digital Camera first appeared on Yanko Design.

Europe has been turning uranium into energy for over half a century. In the process, the continent has amassed vast stockpiles of nuclear waste. This radioactive material can take millions of years to become safe, and no one really knows what to do with it. Thorizon, a Franco-Dutch startup, has an idea: reuse the nuclear waste to generate new energy. The company is developing a small modular molten salt reactor (MSR) that runs on a mix of spent nuclear fuel and thorium, a radioactive metal with untapped potential.  Thorizon aims to begin construction of its first reactor, Thorizon One, within five years. Once complete, the plant is expected to produce 100 megawatts of electricity — enough to power around 100,000 homes or a major data centre. “We’re not just building a new type of reactor — we’re rethinking how we use the fuel we already have,” Thorizon’s CEO Kiki Leuwers told TNW. “Europe is sitting on a stockpile of valuable nuclear material. With the right technology, that waste becomes a resource.”  A 3D render of Thorizon’s nuclear reactor: Credit: Thorizon Register now When the radioactive uranium is used as fuel in a nuclear reactor, its atoms undergo fission, releasing heat. This heat is then used to produce steam, which spins a turbine to generate electricity. The radioactive waste produced in this process still retains around 90% of the uranium’s original energy. Lauwers estimates that Europe’s stockpiles of nuclear waste could power the entire region for 40 years. In the US, scientists believe it could power their country for around 100 years. Why aren’t we reusing nuclear waste? Countries including the US, France, and Japan have long understood the potential of reusing spent nuclear fuel. In the 1960s and ‘70s many so-called fast reactors were built — advanced designs capable of extracting more energy from nuclear fuel and even “breeding” new fuel from waste. But in the decades that followed, most were phased out. There were two key reasons: politics and economics. Fast reactors produce significant quantities of plutonium, the building block of atomic bombs. At the height of the Cold War, fears of nuclear proliferation prompted many countries, especially the US, to abandon efforts to recycle nuclear waste. At the same time, global uranium supplies turned out to be far more abundant than expected. Discoveries of deposits in Australia, Canada, and Africa drove prices down, making it cheaper to mine fresh uranium than to invest in recycling infrastructure. Combined, these factors put radioactive recycling on ice.   While France and Japan still reprocess some of their used fuel, most of the world’s nuclear waste today ends up in massive steel cylinders called dry casks — a temporary solution to a very, very long-term problem. Efforts to bury it deep underground for eternity — like Finland’s 500-metre-deep Onkalo repository — are making progress, but remain contentious and expensive. Meanwhile, expanding nuclear power in Europe continues to be a thorny issue, but the tide may be turning. Faced with the twin crises of climate change and energy insecurity, countries including the UK and France are pushing to expand nuclear power capacity, especially in small modular reactors (SMRs).  Whether nuclear energy gets its moment back in the sun or not, Europe still has a massive nuclear waste problem. One that Thorizon hopes to clean up.   How will Thorizon’s plant work? Thorizon’s MSR operates at high temperatures but low pressure, making it safer and more efficient. If something goes wrong, the salt solidifies and contains the radioactive material, limiting the risk of leaks or explosions.  MSRs were first developed in the 1960s at the Oak Ridge National Laboratory in the US and showed great promise. But they never reached commercial viability, largely because housing the corrosive salts safely proved technically challenging and expensive.   To counter this, Thorizon’s design uses a system of cartridges. Each massive steel cylinder is filled with molten salt and a mix of spent fuel from traditional reactors and fresh thorium — a radioactive material much more abundant than uranium and safer to handle. The idea is that these cylinders can simply be replaced once the radioactive part of the fuel has largely been depleted. “The cartridge approach lets us isolate the most extreme conditions inside the reactor,” said Lauwers. “It’s modular, replaceable, and gives us a safe way to deal with radioactive materials.” Thorizon spun out from the Netherlands’ nuclear research institute NRG in 2018. It now employs around 50 engineers split between Amsterdam and Lyon. The company says it has completed its conceptual design and is engaged in regulatory talks with Dutch, French, and Belgian authorities.  Three pre-feasibility studies are underway for potential launch sites in France, the Netherlands, and Belgium. Industry partners, including Dutch manufacturing giant VDL, are helping prototype core components.   By blending spent uranium fuel with thorium in a molten salt reactor, Thorizon aims to create a cleaner, more sustainable source of nuclear energy. It could turn a huge nuclear waste problem into a solution for Europe’s clean energy future. But the benefits won’t come cheap.     Funding a nuclear waste renaissance  So far, Thorizon has raised €42.5mn, including funding from the French government and Dutch bodies such as Invest-NL and the Brabant Startup Fonds. However, that’s just a fraction of the €750mn it says it needs to begin building its prototype reactor.  The long timelines, strict regulations, and high upfront costs of nuclear startups typically make them a hard sell. “To bring the technology to life, public-private partnerships are crucial,” said Lauwers. “Some of the money being spent on burying nuclear waste could be instead diverted to reusing it.”  Government backing will be crucial, she said, as will venture capital. However, the CEO said that being based in Europe may put the company at a disadvantage from a funding perspective.  “In the US, relatively small teams have been able to scale much faster, obtain more private funding, and obtain their licenses,” she said. “Here in Europe, that can take longer.”  TerraPower and X-Power are two examples. Each SMR startup has raised over $1bn to commercialise its technology. In Europe, by contrast, no tech companies have attracted a fraction of that funding. However, if Thorizon manages to overcome the hurdles, it could hit three birds with one stone: cleaning up nuclear waste, reducing Europe’s reliance on fossil fuels, and supplying stable baseload power to homes and industries.   Story by Siôn Geschwindt Siôn is a freelance science and technology reporter, specialising in climate and energy. From nuclear fusion breakthroughs to electric vehic (show all) Siôn is a freelance science and technology reporter, specialising in climate and energy. From nuclear fusion breakthroughs to electric vehicles, he's happiest sourcing a scoop, investigating the impact of emerging technologies, and even putting them to the test. He has five years of journalism experience and holds a dual degree in media and environmental science from the University of Cape Town, South Africa. When he's not writing, you can probably find Siôn out hiking, surfing, playing the drums or catering to his moderate caffeine addiction. You can contact him at: sion.geschwindt [at] protonmail [dot] com Get the TNW newsletter Get the most important tech news in your inbox each week. Also tagged with

Blackbird Unshakable Resolve - Prophet of Truth Member Oct 25, 2017 7,250 Brazil do you like to see damage numbers displayed on screen at each attack? i've started to dabble with JRPGs for the first time recently (FFXVI, P3 Reload), and i'm also interested on Clair Obscur, for sure. but this tiny little aspect bothers me, even in other genres, it just feels like that messes the visibility way too much and it becomes very busy. at the same time, i can see it being kind of a welcoming sign that makes you feel at home, as a JRPG fan. so, how do you feel about it?  Last edited: Today at 11:34 AM Twig Member Oct 25, 2017 8,392 i enjoyed seeing a bunch of 9999s in clair obscur turn into much bigger numbers once i got the limit break love damage numbers  texhnolyze Shinra Employee Member Oct 25, 2017 26,335 Indonesia I always turn them off when possible, JRPG or any other genre.   AviAvi ▲ Legend ▲ Member Jun 23, 2021 9,822 I just like knowing how much damage I'm doing to a boss, that can be through damage numbers or a health bar going down, as long as I can see that I'm actually making an impact. I don't get a hit of dopamine when I see big damage numbers though. That may also be why Balatro didn't grab me as much lol  ghostcrew The Shrouded Ghost Administrator Oct 27, 2017 31,776 Yup. From tabletop RPGing to video game ass JRPGs - i wanna see the literal number of damage I am doing (or taking). If I rolled my dice while playing D&D and the DM just said 'you dealt some damage to the goblin' I would be vwery unsatisfied.  RochHoch One Winged Slayer Member May 22, 2018 21,264 Absolutely Big numbers are satisfying, and they give you feedback on what you're doing  PlanetSmasher The Abominable Showman Member Oct 25, 2017 132,609 I think they're satisfying. Especially when they're done well.   steviestar3 One Winged Slayer Member Jul 3, 2018 5,436 Yeah, it's fun. I turn them on in other genres too when the option is available (Monster Hunter, Team Fortress 2) though that's more because the information is actually useful there while in JRPGs it's mostly just for the flavor.   Wrexis Member Nov 4, 2017 29,283 You know I was thinking about making this thread earlier after playing a bit of FFXVI and Clair Obscur. I do because it lets me see if damage is resisted or enhanced etc with elemental weaknesses, but I don't make it a game to hit ALL THE NUMBERS. Story wise in FFXVI it was very cool to see your character progress in the story itself as the numbers went up though. When you hit a 4 million damage on Titan you know things are getting serious. It definitely required knowledge of previous Final Fantasies though I think. They became useless in some games like Disgaea because you could hit trillions if memory serves. 99999999999999999 means nothing.  Geg Member Oct 25, 2017 6,588 It's good information to have most of the time, unless they just completely clutter the screen lol   Faiyaz Member Nov 30, 2017 6,613 Bangladesh Literally couldn't care less either way, but some of the best jRPG's in recent memory have them (Dragon Quest XI, Persona 5, Xenoblade 3, FF VII Remake, SMT V:Vengeance, Octopath Traveler 2, Metaphor, Trails games, etc.), so why not.   AaronMT Member Oct 27, 2017 8,365 Toronto I like them. They serve a purpose in demonstrating feedback from a game's mechanics and systems.   falcondoc Member Oct 29, 2017 7,978 Of course I want to see them   Ashes of Dreams Fallen Guardian of Unshakable Resolve Member May 22, 2020 19,580 It's pretty important to know if what you're doing is more or less effective than any other given thing. RPGs are about numbers, after all. You wouldn't close your eyes and ignore the damage you deal in D&D. Show them numbers.   Lumination Member Oct 26, 2017 15,973 I want to pick both yes options.   Desma "This guy are sick" Member Oct 27, 2017 6,731 Yeah, I need the numbers   Zekes Member Oct 25, 2017 7,926 Why wouldn't I want to see the numbers Show me the numbers  Dezzy Member Oct 25, 2017 3,784 USA Yes, but not in games where you see tons of numbers flying everywhere, or huge numbers like 9275739. it's just visual spam at that point because I can't actually do the math.   ConflictResolver Member Jan 1, 2024 4,775 Midgar The numbers are part of the genre. I hate the mentality that the numbers were only ever a stand in for actual action. Action games are action games. RPGs are RPGs. Lumination said: I want to pick both yes options. Click to expand... Click to shrink... Same lol  Cren Member Oct 3, 2024 103 Growing up playing Ragnarok Online and WoW made me love seeing my damage. The way damage is shown in COE33 feels so good to see.   Mobius and Pet Octopus Member Oct 25, 2017 16,722 It's important to see the damage. It doesn't necessarily have to get as obfuscating as it can be in certain games, even Clair Obscur. At least Clair Obscur has a damage total, although hard to see sometimes, that lets you know how much your move has done in totality. But even there I wish it was a bit clearer, or a total that is the entire turn. Seems like a good mod could really address that.   southwest Member Sep 15, 2022 2,724 for any genre if it's turn based, I want them on.   Kent Member Jun 4, 2018 1,198 Minneapolis, MN Yes - I need to see the functional impact of what I'm doing. I'm just waiting for a game to have it be thematically-appropriate enough to render damage numbers in hexadecimal or scientific notation.  Suede Gotham's Finest Member Oct 28, 2017 14,944 Scotland Yes, I like to see how much damage I'm doing. Also seeing 9999 damage always brings a burst of dopamine for me.  sderttreds Member Jan 6, 2023 1,238 yes, especially the game where you can respec your build unlimited times   OP OP Blackbird Unshakable Resolve - Prophet of Truth Member Oct 25, 2017 7,250 Brazil Lumination said: I want to pick both yes options. Click to expand... Click to shrink... ConflictResolver said: The numbers are part of the genre. I hate the mentality that the numbers were only ever a stand in for actual action. Action games are action games. RPGs are RPGs. Same lol Click to expand... Click to shrink... i was thinking about that and it makes sense, added the ability to give 2 votes!  hydruxo ▲ Legend ▲ Member Oct 25, 2017 22,674 Yes. Number go up, brain happy.   foshy Member Nov 2, 2017 206 really depends on the game, i generally like them but at the same time i don't miss them in pokemon. i like how power & hp amount is implied with the difference in scroll speed of the health bar there.   Yam's Member Oct 27, 2017 4,547 It's a core part of seeing your team becoming stronger for me.   Bucca Member Oct 25, 2017 5,454 bigger number better person bigger number better person  Landmaster Member Jan 21, 2018 167 Love it. But I like it when developers show restraint with their damage numbers. Too large and they start to lose all meaning.   closer Member Oct 25, 2017 5,542 i like number   Titantodd Member May 3, 2023 2,766 hydruxo said: Yes. Number go up, brain happy. Click to expand... Click to shrink... Yes, exactly this. Nubby's Number Factory is probably going to be on my top 10 games this year for exactly this reason.  WildArms Member Apr 30, 2022 2,819 Yeah, it's nice. Just don't get too ridiculous with fonts or extremely high numbers and we're good. (Probably the old school MMO player in me wanting that.)   twister926 Member Apr 28, 2022 771 No and I am really surprised by the results. I never felt any excitement from seeing big numbers. I definitely feel satisfaction when I pull some wild ability combo that eats health of boss' health bar.  RecipeforDisaster Member Jul 15, 2022 167 I don't really care if it's turn based, but if it's real-time then please for the love of god let me turn the numbers off.   RPGsandFGCs Member Jun 30, 2024 1,006 California Normally, yes, but there were so many popping up CONSTANTLY in Rebirth that I downloaded the mod to turn them off. I think it still had numbers pop when crits happened which was a great compromise.  psynergyadept Shinra Employee Member Oct 26, 2017 19,007 Yes it just feels right!   Dogui Member Oct 28, 2017 10,919 Brazil Would activate damage numbers in every game if I could. Want a health bar along with it as well, because info is never too much. This kind of stuff never affected my immersion with the game. Edit: Also, a Jrpg without option to show numbers would be almost a game breaker for me. Unless it's really really good, of course.  Last edited: Today at 12:22 PM Jonathan Lanza "I've made a Gigantic mistake" Member Feb 8, 2019 8,763 If they need to be there then I have no issue with em If they don't then I do.  Vincent Grayson Member Oct 27, 2017 7,321 Mount Airy, MD I don't need the damage numbers popping up all over as long as there's some kind of clear indication of how much damage I'm doing versus how much damage the enemies can take. Having just finished E33, so much of the damage information becomes overwhelming at a point...but I don't know that there's an easy solution that doesn't involve either burying more information or making much simpler combat/progression systems, and neither of those are good options.   OP OP Blackbird Unshakable Resolve - Prophet of Truth Member Oct 25, 2017 7,250 Brazil twister926 said: No and I am really surprised by the results. I never felt any excitement from seeing big numbers. I definitely feel satisfaction when I pull some wild ability combo that eats health of boss' health bar. Click to expand... Click to shrink... that's kinda how i feel about it. a health bar is enough and preferable, although my most liked approach is minimal, more immersive UI. i usually get more satisfaction from the animation work itself, hit reactions and damage on models (blood splatter/cloud, sparks, ragdoll physics and/or gore if it is there).  Jibberhack Member Oct 30, 2017 1,385 It gives you instant feedback about how well a particular attack is doing against an enemy. Give me the health count of the enemy as well without needing to spend a turn to reveal them.   mattynunchucks Member Oct 27, 2017 644 Number get big.   Greywaren Member Jul 16, 2019 13,030 Spain Damage numbers are cool, I always want damage numbers.   Lumination Member Oct 26, 2017 15,973 Blackbird said: a health bar is enough and preferable, although my most liked approach is minimal, more immersive UI. i usually get more satisfaction from the animation work itself, hit reactions and damage on models (blood splatter/cloud, sparks, ragdoll physics and/or gore if it is there). Click to expand... Click to shrink... A well-constructed jrpg is essentially math in a trench coat. Seeing the solution to the formula you have concocted is part of the appeal. On the other end, I think of something like Bayonetta. No hp, no numbers, just model damage. And in that game, there is little to no math in my loadout. Two different inputs, two different outputs.  Fawz Member Oct 28, 2017 3,971 Montreal I always turn off Damage Numbers. Games just can't help themselves and fall for power creep all the time. Numbers start big only to get ridiculously bigger and more numerous. Total visual impairment Ragnarok Online (classic) is the only one where I enjoy the numbers, both because of the style/VFX/SFX and that they're generally quite low so actually insightful. Though even then when playing in large groups or doing large-scale AoE it turns to clutter I wish I could disable  OP OP Blackbird Unshakable Resolve - Prophet of Truth Member Oct 25, 2017 7,250 Brazil Lumination said: A well-constructed jrpg is essentially math in a trench coat. Seeing the solution to the formula you have concocted is part of the appeal. On the other end, I think of something like Bayonetta. No hp, no numbers, just model damage. And in that game, there is little to no math in my loadout. Two different inputs, two different outputs. Click to expand... Click to shrink... i can see the appeal. not my cup of tea, but i understand it.  mute ▲ Legend ▲ Member Oct 25, 2017 29,306 I need to have some indication of how I am performing and watching health bars dwindle down (esp. with today's spongey enemies) isn't granular enough.   Infinite Barrels Member Mar 28, 2024 300 more numbers  

Square Enix, still sweating from burying the corpse of Kingdom Hearts Missing-Link yesterday, has posted a selection of screenshots of Kingdom Hearts 4 online to reassure fans that the much-anticipated sequel still exists. These screenshots feature scorching new reveals such as Sora's face, a telephone, some girl, and Mickey Mouse standing on a chandelier. Brilliant. Read more

New Research By Shoving a Bed Frame Against the Door, This Pompeii Family Tried to Survive Mount Vesuvius’ Eruption Archaeologists are learning new details about the four individuals’ futile attempt to hide inside an ancient residence called the House of Helle and Phrixus A bed frame shoved against the door served as a makeshift barricade. Pompeii Archaeological Park In 79 C.E., Mount Vesuvius erupted, spewing ash and small volcanic pellets known as lapilli over the city of Pompeii. Nearly 1,950 years later, archaeologists are still sifting through the layers of debris and making remarkable discoveries about life—and death—in the ancient city. Researchers recently discovered four members of a family, including a child, who attempted to escape the eruption by barricading themselves inside a bedroom, according to a statement from the Pompeii Archaeological Park. Though their efforts were futile, their remains provide remarkable insight into the doomed city’s final moments. When the eruption began, most residents of Pompeii “had no clue what was happening,” Gabriel Zuchtriegel, director of the park and co-author of a new study published in the journal Scavi di Pompei, tells the New York Times’ Sara Novak. “Many thought the end of the world had come.” A majority of the 15,000 to 20,000 residents of Pompeii and nearby Herculaneum fled and survived the eruption. The four family members were among the roughly 2,000 Pompeians who remained when the city was destroyed. As Helle struggles in the sea, Phrixus reaches out to his sister from atop a flying ram. Pompeii Archaeological Park Archaeologists found the family’s remains in a small but stately residence known as the House of Helle and Phrixus, named after a fresco of the mythological siblings discovered on the dining room wall. In Greek myth, the siblings survive their stepmother’s attempt to sacrifice them to the gods by flying away on a ram with a golden fleece. While Phrixus escapes, Helle falls off the ram into the sea. The fresco captures the siblings reaching out to each other—Helle in the sea, Phrixus on the ram—in a fittingly futile attempt at rescue. The architectural features of the house may have accelerated the family’s demise. Like many Roman houses, the House of Helle and Phrixus featured an open-roofed atrium, intended to aid rainwater collection. But as lapilli fell from the sky during the first phase of the eruption, the rock debris, which reached up to nine feet in some locations, quickly flooded the house through the atrium. At first, the archaeological evidence shows, the four individuals tried to protect themselves by packing into a small room. They even pushed a wooden bed frame against the door, hoping that it would prevent the lapilli from entering.When that failed, the researchers think they pulled back the barricade and attempted to escape. Based on the location of the remains, they only got as far as the triclinium, or dining room. “This house, with its decorations and its objects, shows us people who tried to save themselves,” says Zuchtriegel in the statement, per a translation by La Brújula Verde’s Guillermo Carvajal. “They didn’t succeed, but their story is still here, beneath the ashes.” Over the centuries, the ash preserved the remains of the family, the wooden bed frame and other items, including a bronze amulet known as a bulla and a stash of amphorae filled with garum, a popular Roman fish sauce. Ash and lapilli flooded into through the open-roofed atrium, burying the house in up to nine feet of debris. Pompeii Archaeological Park Researchers don’t know that this particular family owned the House of Helle and Phrixus. The group may have taken refuge there after the owners fled, as Marcello Mogetta, an archaeologist and Roman art historian at the University of Missouri who wasn’t involved in the study, tells the Times. Still, the recovered objects offer a glimpse into Pompeian family life. For instance, the child was likely the one wearing the bronze bulla, as tradition dictated that boys wear such amulets for protection until adulthood. Additionally, traces of masonry materials suggest that the house was under renovation. As Zuchtriegel says in the statement, “Excavating Pompeii means confronting the beauty of art, but also the fragility of life.” Get the latest stories in your inbox every weekday.