Study the Secrets of Early American Photography at This New Exhibition “The New Art: American Photography, 1839-1910” at the Metropolitan Museum of Art will feature more than 250 photographs Lillian Ali - Staff Contributor June 6, 2025 This image, taken by an unknown photographer in 1905, is an example of a cyanotype. The Metropolitan Museum of Art, William L. Schaeffer Collection A new exhibition at the crossroads of art, history and technology chronicles the beginnings of early American photography. Titled “The New Art: American Photography, 1839-1910,” the show at the Metropolitan Museum of Art in New York City features more than 250 photographs that capture “the complexities of a nation in the midst of profound transformation,” says Max Hollein, the Met’s CEO, in a statement. Curator Jeff Rosenheim tells the Wall Street Journal’s William Meyers that the exhibition focuses “on how early artists used the different formats to record individuals and the built and natural environments surrounding them.” A daguerrotype from around 1850 depicts a woman wearing a tignon, a headcovering popular among Creole women of African descent. The Metropolitan Museum of Art, William L. Schaeffer Collection The oldest photographs on display are daguerreotypes, named for inventor Louis Daguerre, which were introduced in 1839 as the first publicly available form of photography. Creating a daguerreotype was a delicate, sometimes painstaking process that involved several chemical treatments and variable exposure times. The process yielded a sharply detailed picture on a silver background and was usually used for studio portraiture. The exhibition moves through the history of photography, from daguerreotypes and other photographs made on metal to those made on glass and, eventually, paper. It even features stereographs, two photos showing an object from slightly different points of view, creating an illusion of three-dimensionality. Installation view of "The New Art: American Photography, 1839-1910" Eugenia Tinsely / The Met Rosenheim believes that early photographic portraits empowered working-class Americans. “Photographic portraits play a role in people feeling like they could be a citizen,” Rosenheim tells the Guardian’s Veronica Esposito. “It’s a psychological, empowering thing to own your own likeness.” Photographs in the exhibition also spotlight key moments in American history. Items on view include a portrait of formerly enslaved individuals and an image of a conspirator in the assassination of Abraham Lincoln. The exhibition features big names in American photography, such as John Moran, who advocated for the recognition of photography as an art form, and Alice Austen, a pioneering landscape photographer. Group on Petria, Lake Mahopac​​​​​​, photographed in 1888 by Alice Austen The Metropolitan Museum of Art, William L. Schaeffer Collection Many of the photographs on display were taken by unknown artists. One of the most recent photos in the exhibition, taken by an unknown artist in 1905, is a cyanotype depicting figures tobogganing on a hill in Massachusetts. Cyanotypes were created by exposing a chemically treated paper to UV light, such as sunlight, yielding the blue pigment it was named for. Beyond portraits and landscapes, the exhibition features several enigmatic images, such as one of a boot placed in a roller skate and positioned on top of a stool. Rosenheim tells the Guardian that the mysterious photo “asks more questions than it answers.” An unknown photographer took this unconventional still life in the 1860s. The Metropolitan Museum of Art, William L. Schaeffer Collection “It’s very emblematic of the whole of 19th-century American photography,” he adds. The exhibition features photographs from across time and economic divides, with portraits of the working-class and wealthy alike. “The collection is just filled with the everyday stories of people,” Rosenheim tells the Guardian. “I don’t think painting can touch that.” “The New Art: American Photography, 1839-1910” is on view at the Metropolitan Museum of Art in New York City through July 20, 2025. Get the latest stories in your inbox every weekday.

“Is that concrete all around, or is it in my head?” asked Ian Hunter in “All the Young Dudes,” the song David Bowie wrote for Mott the Hoople in 1972. Concrete is all around us, and we haven’t quite wrapped our heads around it. It’s one of the indispensable materials of modernity; as we try to decarbonize the built environment, it’s part of the problem, and innovations in its composition may become part of the solution. Understanding its history more clearly, the Skyscraper Museum’s new exhibition in Manhattan implies, just might help us employ it better. Concrete is “the second most used substance in the world, after water,” the museum’s founder/director/curator Carol Willis told AN during a recent visit. For plasticity, versatility, and compressive strength, reinforced concrete is hard to beat, though its performance is more problematic when assessed by the metric of embodied and operational carbon, a consideration the exhibition acknowledges up front. In tall construction, concrete has become nearly hegemonic, yet its central role, contend Willis and co-curator Thomas Leslie, formerly of Foster + Partners and now a professor at the University of Illinois, Urbana-Champaign, is underrecognized by the public and by mainstream architectural history. The current exhibition aims to change that perception. The Skyscraper Museum in Lower Manhattan features an exhibition, The Modern Concrete Skyscraper, which examines the history of material choices in building tall towers. (Courtesy the Skyscraper Museum) The Modern Concrete Skyscraper examines the history of tall towers’ structural material choices, describing a transition from the early dominance of steel frames to the contemporary condition, in which most large buildings rely on concrete. This change did not happen instantly or for any single reason but through a combination of technical and economic factors, including innovations by various specialists, well-recognized and otherwise; the availability of high-quality limestone deposits near Chicago; and the differential development of materials industries in nations whose architecture grew prominent in recent decades. As supertalls reach ever higher—in the global race for official height rankings by the Council on Tall Buildings and Urban Habitat (CTBUH) and national, corporate, or professional bragging rights—concrete’s dominance may not be permanent in that sector, given the challenge of pumping the material beyond a certain height. (The 2,717-foot Burj Khalifa, formerly Burj Dubai, uses concrete up to 1,987 and steel above that point; Willis quotes SOM’s William Baker describing it as “the tallest steel building with a concrete foundation of 156 stories.”) For the moment, however, concrete is ahead of its chief competitors, steel and (on a smaller scale) timber. Regardless of possible promotional inferences, Willis said, “we did not work with the industry in any way for this exhibition.” “The invention of steel and the grid of steel and the skeleton frame is only the first chapter of the history of the skyscraper,” Willis explained. “The second chapter, and the one that we’re in now, is concrete. Surprisingly, no one had ever told that story of the skyscraper today with a continuous narrative.” The exhibition traces the use of concrete back to the ancient Roman combination of aggregate and pozzolana—the chemical formula for which was “largely lost with the fall of the Roman Empire,” though some Byzantine and medieval structures approximated it. From there, the show explores comparable materials’ revival in 18th-century England, the patenting of Portland cement by Leeds builder Joseph Aspdin in 1824, the proof-of-concept concrete house by François Coignet in 1856, and the pivotal development of rebar in the mid-19th century, with overdue attention to Ernest Ransome’s 1903 Ingalls Building in Cincinnati, then the world’s tallest concrete building at 15 stories and arguably the first concrete skyscraper. The exhibition includes a timeline that depicts concrete’s origins in Rome to its contemporary use in skyscraper construction. (Courtesy the Skyscraper Museum) Baker’s lectures, Willis reported, sometimes pose a deceptively simple question: “‘What is a skyscraper?’ In 1974, when the World Trade Center and Sears Tower are just finished, you would say it’s a very tall building that is built of steel, an office building in North America. But if you ask that same question today, the answer is: It’s a building that is mixed-use, constructed of concrete, and [located] in Asia or the Middle East.” The exhibition organizes the history of concrete towers by eras of engineering innovation, devoting special attention to the 19th- and early-20th-century “patent era” of Claude Allen Porter Turner (pioneer in flat-slab flooring and mushroom columns) and Henry Chandlee Turner (founder of Turner Construction), Ransome (who patented twisted-iron rebar), and François Hennebique (known for the re-inforced concrete system exemplified by Liverpool’s Royal Liver Building, the world’s tallest concrete office building when completed in 1911). In the postwar era, “concrete comes out onto the surface [as] both a structural material and aesthetic.” Brutalism, perhaps to some observers’ surprise, “does not figure very large in high-rise design,” Willis said, except for Paul Rudolph’s Tracey Towers in the Bronx. The exhibition, however, devotes considerable attention to the work of Pier Luigi Nervi, Bertrand Goldberg (particularly Marina City), and SOM’s Fazlur Khan, pioneer of the structural tube system in the 1960s and 1970s—followed by the postmodernist 1980s, when concrete could express either engineering values or ornamentation. The exhibition highlights a number of concrete towers, including Paul Rudolph’s Tracey Towers in the Bronx. (Courtesy the Skyscraper Museum) “In the ’90s, there were material advances in engineering analysis and computerization that helped to predict performance, and so buildings can get taller and taller,” Willis said. The current era, if one looks to CTBUH rankings, is dominated by the supertalls seen in Dubai, Shanghai, and Kuala Lumpur, after the Petronas Towers (1998) “took the title of world’s tallest building from North America for the first time and traumatized everybody about that.” The previous record holder, Chicago’s Sears (now Willis) Tower, comprised steel structural tubes on concrete caissons; with Petronas, headquarters of Malaysia’s national petroleum company of that name, a strong concrete industry was represented but a strong national steel industry was lacking, and as Willis frequently says, form follows finances. In any event, by the ’90s concrete was already becoming the standard material for supertalls, particularly on soft-soiled sites like Shanghai, where its water resistance and compressive strength are well suited to foundation construction. Its plasticity is also well suited to complex forms like the triangular Burj, Kuala Lumpur’s Merdeka 118, and (if eventually completed) the even taller Jeddah Tower, designed to “confuse the wind,” shed vortices, and manage wind forces. Posing the same question Louis Kahn asked about the intentions of a brick, Willis said, with concrete “the answer is: anything you want.” The exhibition is front-loaded with scholarly material, presenting eight succinct yet informative wall texts on the timeline of concrete construction. The explanatory material is accompanied by ample photographs as well as structural models on loan from SOM, Pelli Clarke & Partners, and other firms. Some materials are repurposed from the museum’s previous shows, particularly Supertall! (2011–12) and Sky High and the Logic of Luxury (2013–14). The models allow close examination of the Burj Khalifa, Petronas Towers, Jin Mao Tower, Merdeka 118, and others, including two unbuilt Chicago projects that would have exceeded 2,000 feet: the Miglin-Beitler Skyneedle (Cesar Pelli/Thornton Tomasetti) and 7 South Dearborn (SOM). The Burj, Willis noted, was all structure and no facade for a time: When its curtain-wall manufacturer, Schmidlin, went bankrupt in 2006, it “ended up going to 100 stories without having a stitch of glass on it,” temporarily becoming a “1:1 scale model of the structural system up to 100 stories.” Its prominence justifies its appearance here in two models, including one from RWDI’s wind-tunnel studies. Eero Saarinen’s only skyscraper, built for CBS in 1965 and also known as “Black Rock,” under construction in New York City. (Courtesy Eero Saarinen Collection, Manuscripts, and Archives, Yale University Library) The exhibition opened in March, with plans to stay up at least through October (Willis prefers to keep the date flexible), with accompanying lectures and panels to be announced on the museum’s website (skyscraper.org). Though the exhibition’s full textual and graphic content is available online, the physical models alone are worth a trip to the Battery Park City headquarters. Intriguing questions arise from the exhibition without easy answers, setting the table for lively discussion and debate. One is whether the patenting of innovations like Ransome bar and the Système Hennebique incentivized technological progress or hindered useful technology transfer. Willis speculated, “Did the fact that there were inventions and patents mean that competition was discouraged, that the competition was only in the realm of business, rather than advancing the material?” A critical question is whether research into the chemistry of concrete, including MIT’s 2023 report on the self-healing properties of Roman pozzolana and proliferating claims about “green concrete” using alternatives to Portland cement, can lead to new types of the material with improved durability and lower emissions footprints. This exhibition provides a firm foundation in concrete’s fascinating history, opening space for informed speculation about its future. Bill Millard is a regular contributor to AN.

Scottish mobile developer Outplay Entertainment cuts 15% of staff to "align operations with current business realities" "This was not a decision we took lightly," CEO says Image credit: Outplay Entertainment News by Vikki Blake Contributor Published on June 5, 2025 Outplay Entertainment has cut more than 20 jobs to "align [its] operations with current business realities." The Dundee, Scotland-based studio, self-described as "the largest independent mobile game developer in the UK," states on its website that it employs 135 staff, although it's unclear if this figure includes the 21 roles that have been laid off. That's around 15% of its headcount. In a statement to MobileGamer, CEO Douglas Hare said: "Earlier this week, Outplay made the difficult decision to restructure parts of the business, which has affected as many as 21 team members across several departments. "This step was taken to align our operations with current business realities and to support a strategic shift toward partnering with publishers for future game releases. "This was not a decision we took lightly," Hare concluded. "We are incredibly grateful to the talented individuals affected, many of whom have made lasting contributions to our games and culture. We are doing everything we can to support them through this transition." Outplay develops a number of licensed mobile games, including Gordon Ramsay's Chef Blast, Angry Birds Pop!, and Subway Surfers Blast. Over 2200 developers have lost their jobs in 2025 so far, with cuts and closures at Freejam, Splash Damage, Piranha Games, Jar of Sparks, Ubisoft, ProbablyMonsters, Iron Galaxy, Sumo Group, Liquid Sword, NetEase Games, Toast Interactive, Night School Studio, Striking Distance, Ballistic Moon, Eidos Montréal, PlaySide, AppLovin, Nerial, Reality Labs, and, most recently, there have been multiple cuts at EA, including Respawn, as well as People Can Fly and Jagex.

The clean cement industry might be facing the end of the road, before it ever really got rolling.  On Friday, the US Department of Energy announced that it was canceling $3.7 billion in funding for 24 projects related to energy and industry. Tha

SSRN Exploring Grey Literature on SSRN There has been a growing discussion in the academic community surrounding the concept of grey literature, a broad term that encompasses documents, data, research, and materials created outside of the traditional pathways of academic publication, and often for non-academic audiences. This work contributes to the information ecosystem by providing sources of knowledge that are timely and broad, filling in gaps in research and offering original data and insights that extend beyond the typical channels for academic publishing. In practice, what does this look like? Grey literature includes various reports, conference proceedings, datasets, legal transcripts, working papers, dissertations, blog posts, policy documents, and a wide range of other work that expands the knowledge base and enriches modern scholarship. The Purpose of Grey Literature Traditional academic publishing involves peer review, a lengthy publication process, and such documents may not be widely accessible to those without academic library privileges. Grey literature may be released more quickly and is often directly accessible for all, allowing current research within a field to be shared in real-time. This provides the opportunity for dissemination of ongoing research, recent developments in policy and government, and relevant reports that help inform the academic discourse of the present and influence the development of research in the future. Grey literature provides other benefits beyond its timeliness. The structure of the work itself provides the opportunity to fill in research and knowledge gaps. This can be through the release of up-to-date data, case studies, and reports that don’t fall within the scope of academic publications, or it can present preliminary findings that serve as complementary to previously published works. Grey literature captures perspectives that have a wider scope and therefore rounds out the scholarly record. The accessibility and relevance of grey literature allows the work to have significance outside the world of academia. It helps inform policies, programs, and future academic research. Grey literature takes research and data and translates it into real-world impact. Joshua Tucker, professor and researcher at NYU, shared his grey literature on SSRN. He was pleased to see that his report  – which would not be included in traditional academic publications – had a presence on SSRN, generating additional attention and citations it wouldn’t have received otherwise. He shared with SSRN that, “This review of the literature was never intended to be an academic article. It was a report commissioned by the Hewlett Foundation, and the Hewlett Foundation put it on its website. I thought people in the policy community were going to see it on the Hewlett website, but I’d love for people to see it in the academic community. I thought that maybe we’d get a few citations out of it, and [decided] to throw it up on SSRN, on a whim. And now it’s been downloaded over 40,000 times and continues to be cited all the time. In that sense, [SSRN] filled this really nice niche: we had something that we didn’t write to be an academic publication [and] weren’t going to send to journals. It’s a nice home for things that don’t have a natural fit.“ Grey Literature’s Place on SSRN As a repository for early-stage research, SSRN provides a home for research in all stages of development. Work submitted to SSRN is made available quickly, creating an outlet for real-time research. SSRN is a platform where research of many mediums can thrive. We define research broadly: presentations, infographics, case studies, white papers, proceedings, working papers, datasets, conference proceedings, informational guides, reports and more. They exist side-by-side, all with the objective of sharing knowledge at a global level. Because of this, SSRN is a great place for grey literature of all kinds. Even research that doesn’t take a traditional academic pathway can thrive on SSRN. The Future of Research The world changes quickly – with technology, faster than ever – and SSRN allows the flow of research to keep up with the changing times. The relevance and impact of research matters, and grey literature is a big contributor to that. SSRN is where it starts; submit your research in real-time, bring work of any scale and any format, and contribute to the future of this evolving research and scholarship landscape. Want to share your grey literature or other early-stage research on SSRN? Click here to submit your research today.

Neowiz signs global rights to Shadowlight's inaugural game, Kill the Shadow "We were grateful to find a partner who shares our philosophy on game development," says Shadowlight CEO Image credit: Shadowlight News by Vikki Blake Contributor Published on June 4, 2025 Lies of P publisher Neowiz has signed a deal with Shadowlight for the global rights of the studio's inaugural game, Kill the Shadow. As spotted by GamesBeat, the Shanghai studio said Neowiz shared its "philosophy on game development," and emphasized the publisher's openness to collaborating. "What initially drew us to Shadowlight was a collaborative development philosophy to deliver premium narrative games for PC and console audiences,” said Neowiz CEO, Kim Seung-chul. "We look forward to working closely with the team to release Kill the Shadow globally, and we hope audiences find the same charm we experienced as we reveal more about the title.” CEO of Shadowlight said of the deal: "Neowiz is a reliable global publisher, and we were grateful to find a partner who shares our philosophy on game development. As we see the games industry evolve to be inclusive of other cultures, it’s important to have a publisher that is open to collaborating and emphasizing the significance of your content." Neowiz similarly signed a $8 million deal with Warsaw-based developer Zakazane at the end of last year to publish its upcoming neo-Western RPG. In 2023, Neowiz invested $17 million in Polish developer Blank Game Studios. It also acquired a 21% stake in the developer.

Brooklinen is one of our favorite brands for quality bedding designed to last. Making it in our lists for pillows, duvets, and even robes, the best Brooklinen sheets are also staples in many of our editors’ bedrooms for this very reason. Founded in 2014 by a pair of millennials with a passion for high-end textiles on a tight budget , this retailer made a splash on the market by offering direct-to-consumer bedding that merged thoughtfully designed linens at affordable price points—complete with 200-plus thread counts for ultimate durability and Oeko-Tex-certified backing to ensure the fabrics are free of harsh chemicals. While they also became well-known for the ubiquity of their subway ads, they caught our eye at AD Shopping for delivering breathability and sturdy sheets in modern colorways that made a bedroom feel anything but stuffy.That being said: the brand’s catalog is big, so if you know you want Brooklinen sheets but don’t know where to start, we’ve assembled a list of our tried-and-true favorites. Available in sizes ranging from twin XL to California king, we note our go-to percale, sateen, and linen sets in this lineup.Brooklinen Luxe Sateen Core Sheet SetBrooklinen’s Luxe Core Sheet Set is beloved by multiple AD staffers—commerce director Rachel Fletcher says this sateen set is “super classic, smooth, and has a crisp feel,” and contributor Erika Owen loves “the deep design of the fitted sheet pocket” and how easy it is to get it over her mattress and mattress topper. Owen also says it has great temperature regulation. As a self-proclaimed hot sleeper, she says the fabric maintains an even sleep temperature, including during a New York City heat wave. This set of sheets also comes in 21 colorways to bring your inspo pics to life, but move fast, these sell out quickly. Machine wash these on cold, tumble dry low, and you’ll see no signs of fading or wear, but an increase in softness, according to Fletcher.Brooklinen Washed Linen Core Sheet SetAs for Brooklinen’s linen sheets, their original core set recently got an upgrade. Our team members have tested their first iteration for years, including contributor Madeleine Luckel. While she confessed in our best sheets roundup that they felt a “bit thin,” she said the bedding lived up to her expectations. Plus, she would recommend them to other shoppers, so long as you weren’t “picturing a superdense weave.” After debuting the washed European linen sheets this spring, our team got our hands on them and found them to be soft and lightweight. Ranking in our best-of-linen sheets story, the washed material European linen brings a softer but stronger fabric to the beloved set, meaning it wears less with wash and continues to get softer with routine care Perhaps the best part of this sheet set—aesthetically, anyway—is its many colorways: the recent collaboration with Brooklyn-based textile artist Caroline Z Hurley offers warm, neutral stripe options, a white-and-blue stripe lends itself to a nautical-inspired coastal bedding set, and chambray and moss give the linen a particularly welcoming wash, appearing earthy and grounded for year-round use. Contributor Yelena Moroz Alpert says, “There is natural texture because of slubs (teeny bumps) in the weave, but I think this adds to the softness.” “Think of your favorite linen shirt, but in the form of a sheet.” They’re extremely light, “If you hold it up, you can see through it,” Alpert adds. Our editors recommend machine washing these on cold without any other items on the first cycle to help prevent color bleeding. These should get softer and look a bit more worn with each wash, which gives linen its coveted slouchy, worn look.Brooklinen Classic Percale Core Sheet Set“The texture of these is unreal,” says contributor Yelena Alpert, who recently tested this. “It feels buttery soft like a sateen, but still crisp as percale cotton should be.” Brooklinen promises these classic percale sheets feel like sleeping in your worn-in button-down shirt—sans buttons, of course. And after thorough testing, we agree. Besides the silky-soft feel, Alpert loves these sheets for lingering at an accessible price point for high-quality cooling sheets. While this set includes a flat sheet, fitted sheet, and two pillowcases, the hard-core sheet bundle includes a duvet cover and two more pillowcases to completely flesh out your new bedding set. Percale only improves with wash, as a few turns in the washing machine help loosen its fibers to create a softer texture. Alpert adds that this percale is also durable and pilling-resistant, though you can expect a bit more of a wrinkle if you’re not on top of the dry cycle.Like the linen sheets noted above, the percale sets are available in designs by Caroline Z Hurley. Commerce writer Julia Harrison attests these are not only cooling, comfortable, and soft, but they are also “so damn cute.” In a gray-beige, blue, and coral floral print, they bring a welcome dose of whimsy to your bedding without becoming twee about it.Between their designs and fabrics, and with a focus on temperature regulation and non-toxic materials, Brooklinen hits the sweet spot for budget-friendly, sturdy sheets that’ll last for the long haul. Few AD staffers haven’t tried a pair of sheets from them and loved their new drops, colorways, and ever-improving textures. Brooklinen offers free shipping with no minimum, as well as a 365-day warranty in case you’d like to return the items. However, we stand behind them for some of the best sheets out there. “It’s sort of a no-brainer,” Harrison says. “They’re the first brand I recommend when people ask me where to start for bedding, because they’re luxurious, affordable, and come in every pattern and colorway a person could want.”

PlayStation State of Play June 2025: Everything announced Marvel at a night of sick reveals from Sony. Image credit: Eurogamer News by Connor Makar Contributor Published on June 4, 2025 Another PlayStation State of Play took place tonight, giving as a peak at what's to come on the PS5 and PS5 Pro. The event was stacked with new trailers, including some reveals of entirely new games we've not seen before. Sony even remembered the PS VR2 exists! Whether you're here to double check what you've just seen, or want a catch-up on all the reveals you missed, this article will take you through everything shown off at the June State of Play event. Enjoy! Lumines Arise The show kicked off with a reveal trailer for Lumines Arive, a colourful and very musical way to start the event. It comes from the developers behind Tetris Effect, which was a banger. It's coming this Fall, and you can wishlist in now. Watch the new Lumines Arise trailer here!Watch on YouTube Pragmata Next up is Pragmata, the mysterious Capcom game that we've seen precious little of since its first reveal years ago. This time we got gameplay, loads of third person action goodness and a lovely sci-fi setting. Also, Diana is adorable. The game is set to come out at some point in 2026 to the PS5. Watch the Pragmata trailer here!Watch on YouTube Romeo is a Dead Man Next up is a grisly and cartoonish action game called Romeo is a Dead Man. It's coming from illustrious and brilliantly weird developer Grasshopper Manufacture, with both Suda 51 and Ren Yamazaki working on it. It'll be coming out in 2026... Maybe. Watch the Romeo is a Dead Man trailer here!Watch on YouTube Silent Hill f Now for something totally different with Silent Hill f, a third-person horror title that's certainly ramped the creepy factor up quite significantly. In it we see plenty of horrific mannequins with bloody knives in hand. It's set to come out on the 25th September, 2025 on the PS5. Watch the Silent Hill f trailer here!Watch on YouTube Bloodstained: The Scarlet Engagement We now go to a lush looking 2D side scroller called Bloodstained: The Scarlet Engagement, which has just been revealed. A sequel to a beloved indie and spiritual successor to classic Castlevania games, it'll be coming out in 2026 on the PS5. Check out the Bloodstained trailer here!Watch on YouTube Digimon Story Time Stranger Up next a gameplay trailer for Digimon Story Time Stranger, which looks absolutely killer. In it we see a variety of fan-favourite Digimon and a variety of characters seemingly in the thick of some nefarious medling between the physical and digital worlds. It'll be coming on the 3rd November 2025. Love me some Digimon. Watch the trailer here!Watch on YouTube Final Fantasy Tactics - The Ivalice Chronicles Now for a blast from the past with Final Fantasy Tactics: The Ivalice Chronicles. It'll include two versions of the original game, a classic version which is a faithful recreation, and an enhanced version with improved graphics and more. It'll be coming to the PS5 and PS4 on the 30th September. FF Tactics is back!Watch on YouTube Baby Steps Next up is Baby Steps, which is a fun exploration game where you've gotta control your leg movements as you climb a mountain. Now we finally have a release date! It comes to PS5 on the 8th September. This is a must-watch for those who like a chuckle.Watch on YouTube Hirogami Now for something whimsical. Hirogami allows you to transform into a variety of creatures through the power of folding. It's coming to PS5 on the 3rd September. A neat reveal! Check out the new trailerWatch on YouTube Everybody's Golf Hot Shots To the green we go with Everybody's Golf Hot Shots, with courses in 10 different regions around the world, each with weather effects and night time variants. Those who pre-order get Pacman - rad! It comes to the PS5 on the 5th September. Check out some golf right here!Watch on YouTube Ninja Gaiden Ragebound Here's a retro throwback. Ninja Gaiden Ragebound got a new gameplay trailer, and is coming on the 21st July on PS5 and PS4. A big win for lovers of the classics. Watch the trailer here!Watch on YouTube Cairn The Game Bakers are back at it again with Cairn. A new gameplay trailer just dropped, showing a perilous and scenic climb up a massive mountain. Like all Game Bakers titles, the trailer has a rad music track. It's coming to PS5 on the 5th November 2025, but you can download a demo today! A moving trailer for you to watch right here!Watch on YouTube Mortal Kombat Legacy Kollection Get over here! A reveal trailer for the Mortal Kombat Legacy Kollection just dropped, and with it a blend of retro titles you'll be able to play with this new collection as well as some lovely retro arcade footage. It contains Mortal Kombat, Mortal Kombat 2, Mortal Kombat 3, Ultimate Mortal Kombat 3, Mortal Kombat 4, and more. It's coming to the PS5 and PS4 in 2025. Moooooortal Kooooooombat Traaaaaaailer.Watch on YouTube Metal Gear Solid Delta Snake Eater Here's a big one! We got a new gameplay trailer for Metal Gear Solid Delta Snake Eater. Loads of memorable locations, gadgets, and moments on display in the stunning new engine. This isn't a dream - it's Snake Eater!Watch on YouTube Nioh 3 A rad new reveal comes via Nioh 3, which got a fantastic new gameplay trailer at the State of Play. It releases in early 2026 on the PS5. A demo is available right now too, so give it a try! If you love some challenging and bloody action, you should watch this Nioh 3 trailer!Watch on YouTube Thief VR: Legacy of Shadow Finally some PSVR love! A new reveal trailer for Thief VR: Legacy of Shadow was shown off, giving us a glimpse of loads of stealth, robbery, and action. It's coming to VR in 2025. Some VR rep at the State of Play!Watch on YouTube Tides of Tomorrow Another new game got a trailer, this time Tides of Tomorrow. A very bright first-person action game set in a flooded dystopian world. It's coming 24th February, 2026 on the PS5. Loving the look of this trailer, give it a watch!Watch on YouTube Astro Bot new update An update to Astro Bot is up next, containing five new challenge levels, new guest bots, and an announcement that the Astro Bot DualSense controller is coming back this year... With a twist! Here's a look at what's coming to Astro Bot!Watch on YouTube Sea of Remnants Pirate time! A reveal trailer for Sea of Remnants was just shown off, giving us a peak of sailing, navigating various islands, and facing the mythical creatures of the deep. It'll be coming in 2026, you can wishlist it now. Grab your hat annd cutlass sailor.Watch on YouTube Sword of the Sea Here comes something beautiful. Sword of the Sea got a new trailer, with plenty of fantastic locations presented in vibrant tones throughout. It's coming on 19th August to the PS5, available on PlayStation Plus. Now this is my kind of vibe, watch it and find out why!Watch on YouTube FBC Firebreak Love co-op? FBC Firebreak is a spin-off to Remedy's Control series, and offers plenty of PvE action for those with a taste for the paranormal. It's coming to PS5 and the PlayStation Game Catalogue on 17th June, 2025. Here's the portion of the State of Play featuring FBC: Firebreak!Watch on YouTube New PS Plus games coming this summer A bunch of new games are coming to PlayStation Plus this Summer in a variety of forms. This includes: The original Deux Ex coming to PlayStation Plus Classics Catalogue on 17th June, 2025. Twisted Metal 3 & 4 coming to PlayStation Plus Classics Catalogue on 15th July, 2025. Resident Evil 2 & 3 coming to PlayStation Plus Classics Catalogue this Summer. Myst and Riven coming later this month as part of Days of Play First Light 007 A massive reveal for the show! James Bond took the stage with First Light 007, our first look at the game. It kicks off with some introductory cinematics, but there are snippets of gameplay showing loads of spy action. It's coming in 2026 to the PS5. It's Bond, James Bond... TrailerWatch on YouTube Ghost of Yotei A short one here. Ghost of Yotei is getting a gameplay deep dive in July. Stay tuned for more info!Watch on YouTube Marvel Tokon Fighting Souls Trying not to freak out over here. Arc System Works just revealed Marvel Tokon Fighting Souls. A 3v3 fighting game featuring plenty of beloved Marvel characters. It's coming to PS5 and PC in 2026. It's 11PM at night and I'm trying not to scream. Mahvel Baby!Watch on YouTube

As the Nintendo Switch 2 launches, these are our hopes and dreams for the console Image credit: Nintendo Feature by GamesIndustry.biz Staff Contributor Published on June 5, 2025 With the Nintendo Switch 2 launching today, it closes out a rocky pre-launch period of tariffs, fiery price discussions around software and hardware, and some retailers cancelling pre-orders. Much of that will feel like a distant memory once the hotly-anticipated console is in players' hands, and they're trying out the first new Mario Kart game in more than 11 years. There's always something special about Nintendo hardware. Even with the Wii U, the console manufacturer's biggest dud in recent memory, that was still the case. While the Switch 2 is firmly an evolution of 2017's Switch and not anything bolder in terms of input or form factor, Nintendo's unbelievable run of great software over the past eight years looks set to continue. The downside for consumers, of course, is that they will be paying much more for some of those titles than they did on the last console. Below, to celebrate its launch day, the GamesIndustry.biz team shares its realistic hopes and dreams for the years to come on Switch 2. A fresh take on exclusive IP Nintendo has already demonstrated that it's willing to switch it up in terms of new takes on its iconic franchises, with the destructible levels of Donkey Kong Bananza and the open roads of Mario Kart World. But I have an appetite to see the same approach taken with continuations of beloved franchises like The Legend of Zelda, 3D Mario, and Pokémon. While Breath of the Wild and Tears of the Kingdom are getting enhanced versions and the newest Pokémon Legends title launches this fall, Nintendo has the opportunity to revitalise some of its beloved IP with boosted hardware and fan interest. Not only that, but it could flip the script entirely and debut a brand new franchise unrelated to anything that’s come before it – something that would become intertwined with the Switch 2 and inspire a new generation of players and developers. – Sophie McEvoy The end of bad Switch ports While games like Doom and The Witcher 3 demonstrated that miracles were possible with the Nintendo Switch's limited hardware capabilities, numerous ports from more powerful platforms fell short. From the notoriously rough visual downgrade of Batman: Arkham Knight to the choppy port of WWE 2K 2018, sometimes visually intensive games have made their way to the console with a whiff of 'buyer beware' about them. In some cases, like the Kingdom Hearts games, 'cloud' versions bypassed trying to run natively on the hardware altogether, which was a compromise too far for many players. That's a trend the Switch 2, with its out-of-the-gates impressive ports of Cyberpunk 2077 and Civ 7, could really do without. Inevitably, we will reach a point with the next Xbox and PlayStation consoles where the disparity with the Switch 2 becomes too great, and we could potentially see a similar downslide in ports. But hopefully the quality level reached with this first wave of releases sets a high standard for what's to come. Users' tolerance for lower quality multiplatform releases has been tested too much during the latter years of the Switch's lifecycle. – Samuel Roberts Switch 2 is at the heart of indie games Image credit: ConcernedApe The early years of the Switch were a honeymoon period for indie games, causing a gold rush of publishers and developers getting their back catalogues on the platform. As the eShop became swamped with shovelware, while Nintendo did little to improve discoverability (until very recently), Steam quickly became the de facto home for indie games again. There's still nothing like playing an indie game on Switch. The portability remains a cut above other devices with a similar form factor, like the Steam Deck. While Nintendo shows it values smaller games with its Indie World showcases, there's still a disconnect between the intent of those presentations and how easily indie games are actually discovered on Switch. Using the eShop to celebrate good taste in games should be a goal of Nintendo's during this generation. A golden age of indies comparable to the original Switch launch seems unlikely – the moment has probably passed on that. But more consistent curation would have a massive amount of value. – Samuel Roberts Nintendo shows that the mouse has the magic The unveiling of the Switch showed that Nintendo learned a lot of lessons from the Wii U, itself a failed follow-up to the Wii: the company didn't rock the boat. It's the same form factor you know from the original Switch, with a clear '2' in the name. All its more novel secondary features – like the Joy-Con's mouse controls – are not at the centre of the marketing messaging like the Wii Remote or DS touchscreen were for those consoles. This was wise in a few practical ways. It means there are no interface-based headaches in porting a game onto the console, paving the way for (theoretically) good third-party support. Consumers, developers, and publishers know what they're getting. Still, it means the console is going to feel largely familiar as an experience. The hope, then, is that deeper into the generation, Nintendo and other developers find new and interesting things to do with the mouse. Competitive wheelchair basketball game Drag x Drive is Nintendo's first attempt at this, but the drab art style doesn't inspire much confidence. Previous breakthrough exclusives like Arms and Splatoon felt like a much bigger deal. – Samuel Roberts More than just a console As a handheld device, the Switch ended up being more than just a games console. Subscription-based services like Crunchyroll and InkyPen provide access to anime, comics, and manga, while the YouTube app lets players watch a (albeit limited) selection of movies and shows. With the improvements in screen resolution, the Switch 2 would benefit from integrating more streaming services like Netflix, Disney+, and Amazon Prime. Sure, you can use these apps on phones and laptops, but it would be convenient to have everything on one device – particularly a handheld console that's a popular traveling companion. And with social connectivity being a major selling point of the new console with GameChat, there's an opportunity to host streaming parties of shows and films on top of playing games. – Sophie McEvoy The GameCube library isn't left to fester on Nintendo Switch Online On day one, Nintendo Switch Online's Expansion Pack brings GameCube games to Switch 2 players: The Legend of Zelda: Wind Waker, F-Zero GX, and Soulcalibur 2. More will be coming, but if Nintendo's previous form with its classic console libraries are anything to go by, it will be a glacial wait. I hope I'm proven wrong. Possibly complicating matters is that some key GameCube titles have already been ported to Switch, like Paper Mario: The Thousand-Year Door, Pikmin 1 and 2, and Metroid Prime. The console's best game, Resident Evil 4, has been widely available for years on other platforms. The best case scenario here, then, is that Nintendo brings some more unusual or unexpected games to the service – the coming inclusion of Chibi-Robo, a cult GameCube game that's been hard to get hold for many years, is a strong indicator that the company is thinking outside the more obvious Mario and Zelda games. Rogue Squadron 2: Rogue Leader, Eternal Darkness: Sanity's Requiem, and Metal Gear Solid: The Twin Snakes would be on my personal wishlist. And maybe Starfox Adventures, too, just to hear everyone complain about it again. – Samuel Roberts A new take on Zelda in time for the movie This one is pretty much guaranteed. After reinventing the Zelda series with the open world games Breath of the Wild and Tears of the Kingdom, both of which celebrated player freedom and ingenuity, it will be fascinating to see what tack the team behind these games take next. "I think [TOTK] is – to use a bit of a term – an apotheosis, or the final form of that version of The Legend of Zelda," said producer Eiji Aonuma in a 2023 interview with Game Informer. "In that regard, I don't think that we'll be making a direct sequel to a world such as that that we've created." My prediction: in the same way Super Mario Wonder gave players a fresh spin on a classic Mario 2D platformer experience following 2023's (terrible, if you ask me) Super Mario Bros. movie, I could see a similar tack taken with 2027's live-action Zelda movie. A game that seems superficially familiar, but is bursting with new ideas, would bridge the gap between veteran Nintendo players and newbies. – Samuel Roberts

Replicube A game by Walaber Entertainment LLCDev snapshot: Godot 4.5 dev 5By: Thaddeus Crews2 June 2025Pre-releaseBrrr… Do you feel that? That’s the cold front of the feature freeze just around the corner. It’s not upon us just yet, but this is likely to be our final development snapshot of the 4.5 release cycle. As we enter the home stretch of new features, bugs are naturally going to follow suit, meaning bug reports and feedback will be especially important for a smooth beta timeframe.Jump to the Downloads section, and give it a spin right now, or continue reading to learn more about improvements in this release. You can also try the Web editor or the Android editor for this release. If you are interested in the latter, please request to join our testing group to get access to pre-release builds.The cover illustration is from Replicube, a programming puzzle game where you write code to recreate voxelized objects. It is developed by Walaber Entertainment LLC (Bluesky, Twitter). You can get the game on Steam.HighlightsIn case you missed them, see the 4.5 dev 1, 4.5 dev 2, 4.5 dev 3, and 4.5 dev 4 release notes for an overview of some key features which were already in those snapshots, and are therefore still available for testing in dev 5.Native visionOS supportNormally, our featured highlights in these development blogs come from long-time contributors. This makes sense of course, as it’s generally those users that have the familiarity necessary for major changes or additions that are commonly used for these highlights. That’s why it might surprise you to hear that visionOS support comes to us from Ricardo Sanchez-Saez, whose pull request GH-105628 is his very first contribution to the engine! It might not surprise you to hear that Ricardo is part of the visionOS engineering team at Apple, which certainly helps get his foot in the door, but that still makes visionOS the first officially-supported platform integration in about a decade.For those unfamiliar, visionOS is Apple’s XR environment. We’re no strangers to XR as a concept (see our recent XR blogpost highlighting the latest Godot XR Game Jam), but XR platforms are as distinct from one another as traditional platforms. visionOS users have expressed a strong interest in integrating with our ever-growing XR community, and now we can make that happen. See you all in the next XR Game Jam!GDScript: Abstract classesWhile the Godot Engine utilizes abstract classes—a class that cannot be directly instantiated—frequently, this was only ever supported internally. Thanks to the efforts of Aaron Franke, this paradigm is now available to GDScript users (GH-67777). Now if a user wants to introduce their own abstract class, they merely need to declare it via the new abstract keyword:abstract class_name MyAbstract extends Node The purpose of an abstract class is to create a baseline for other classes to derive from:class_name ExtendsMyAbstract extends MyAbstract Shader bakerFrom the technical gurus behind implementing ubershaders, Darío Samo and Pedro J. Estébanez bring us another miracle of rendering via GH-102552: shader baker exporting. This is an optional feature that can be enabled at export time to speed up shader compilation massively. This feature works with ubershaders automatically without any work from the user. Using shader baking is strongly recommended when targeting Apple devices or D3D12 since it makes the biggest difference there (over 20× decrease in load times in the TPS demo)!Before:After:However, it comes with tradeoffs:Export time will be much longer.Build size will be much larger since the baked shaders can take up a lot of space.We have removed several MoltenVK bug workarounds from the Forward+ shader, therefore we no longer guarantee support for the Forward+ renderer on Intel Macs. If you are targeting Intel Macs, you should use the Mobile or Compatibility renderers.Baking for Vulkan can be done from any device, but baking for D3D12 needs to be done from a Windows device and baking for Apple .metallib requires a Metal compiler (macOS with Xcode / Command Line Tools installed).Web: WebAssembly SIMD supportAs you might recall, Godot 4.0 initially released under the assumption that multi-threaded web support would become the standard, and only supported that format for web builds. This assumption unfortunately proved to be wishful thinking, and was reverted in 4.3 by allowing for single-threaded builds once more. However, this doesn’t mean that these single-threaded environments are inherently incapable of parallel processing; it just requires alternative implementations. One such implementation, SIMD, is a perfect candidate thanks to its support across all major browsers. To that end, web-wiz Adam Scott has taken to integrating this implementation for our web builds by default (GH-106319).Inline color pickersWhile it’s always been possible to see what kind of variable is assigned to an exported color in the inspector, some users have expressed a keen interest in allowing for this functionality within the script editor itself. This is because it would mean seeing what kind of color is represented by a variable without it needing to be exposed, as well as making it more intuitive at a glance as to what color a name or code corresponds to. Koliur Rahman has blessed us with this quality-of-life goodness, which adds an inline color picker GH-105724. Now no matter where the color is declared, users will be able to immediately and intuitively know what is actually represented in a non-intrusive manner.Rendering goodiesThe renderer got a fair amount of love this snapshot; not from any one PR, but rather a multitude of community members bringing some long-awaited features to light. Raymond DiDonato helped SMAA 1x make its transition from addon to fully-fledged engine feature (GH-102330). Capry brings bent normal maps to further enhance specular occlusion and indirect lighting (GH-89988). Our very own Clay John converted our Compatibility backend to use a fragment shader copy instead of a blit copy, working around common sample rate issues on mobile devices (GH-106267). More technical information on these rendering changes can be found in their associated PRs.SMAA comparison:OffOnBent normal map comparison:BeforeAfterAnd more!There are too many exciting changes to list them all here, but here’s a curated selection:Animation: Add alphabetical sorting to Animation Player (GH-103584).Animation: Add animation filtering to animation editor (GH-103130).Audio: Implement seek operation for Theora video files, improve multi-channel audio resampling (GH-102360).Core: Add --scene command line argument (GH-105302).Core: Overhaul resource duplication (GH-100673).Core: Use Grisu2 algorithm in String::num_scientific to fix serializing (GH-98750).Editor: Add “Quick Load” button to EditorResourcePicker (GH-104490).Editor: Add PROPERTY_HINT_INPUT_NAME for use with @export_custom to allow using input actions (GH-96611).Editor: Add named EditorScripts to the command palette (GH-99318).GUI: Add file sort to FileDialog (GH-105723).I18n: Add translation preview in editor (GH-96921).Import: Add Channel Remap settings to ResourceImporterTexture (GH-99676).Physics: Improve performance with non-monitoring areas when using Jolt Physics (GH-106490).Porting: Android: Add export option for custom theme attributes (GH-106724).Porting: Android: Add support for 16 KB page sizes, update to NDK r28b (GH-106358).Porting: Android: Remove the gradle_build/compress_native_libraries export option (GH-106359).Porting: Web: Use actual PThread pool size for get_default_thread_pool_size() (GH-104458).Porting: Windows/macOS/Linux: Use SSE 4.2 as a baseline when compiling Godot (GH-59595).Rendering: Add new StandardMaterial properties to allow users to control FPS-style objects (hands, weapons, tools close to the camera) (GH-93142).Rendering: FTI - Optimize SceneTree traversal (GH-106244).Changelog109 contributors submitted 252 fixes for this release. See our interactive changelog for the complete list of changes since the previous 4.5-dev4 snapshot.This release is built from commit 64b09905c.DownloadsGodot is downloading...Godot exists thanks to donations from people like you. Help us continue our work:Make a DonationStandard build includes support for GDScript and GDExtension..NET build (marked as mono) includes support for C#, as well as GDScript and GDExtension.While engine maintainers try their best to ensure that each preview snapshot and release candidate is stable, this is by definition a pre-release piece of software. Be sure to make frequent backups, or use a version control system such as Git, to preserve your projects in case of corruption or data loss.Known issuesWindows executables (both the editor and export templates) have been signed with an expired certificate. You may see warnings from Windows Defender’s SmartScreen when running this version, or outright be prevented from running the executables with a double-click (GH-106373). Running Godot from the command line can circumvent this. We will soon have a renewed certificate which will be used for future builds.With every release, we accept that there are going to be various issues, which have already been reported but haven’t been fixed yet. See the GitHub issue tracker for a complete list of known bugs.Bug reportsAs a tester, we encourage you to open bug reports if you experience issues with this release. Please check the existing issues on GitHub first, using the search function with relevant keywords, to ensure that the bug you experience is not already known.In particular, any change that would cause a regression in your projects is very important to report (e.g. if something that worked fine in previous 4.x releases, but no longer works in this snapshot).SupportGodot is a non-profit, open source game engine developed by hundreds of contributors on their free time, as well as a handful of part and full-time developers hired thanks to generous donations from the Godot community. A big thank you to everyone who has contributed their time or their financial support to the project!If you’d like to support the project financially and help us secure our future hires, you can do so using the Godot Development Fund.Donate now