• BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4

    By TREVOR HOGG
    Images courtesy of Prime Video.

    For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!”

    When Splintersplits in two, the cloning effect was inspired by cellular mitosis.

    “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!”
    —Stephan Fleet, VFX Supervisor

    A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith, who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.”

    Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed.

    Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.”

    “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.”
    —Stephan Fleet, VFX Supervisor

    The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be, so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a humanyou tend to want to give it human gestures and eyebrows. Erik Kripkesaid, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.”

    A building is replaced by a massive crowd attending a rally being held by Homelander.

    In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep wasin one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.”

    In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around.

    “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.”
    —Stephan Fleet, VFX Supervisor

    Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.”

    The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes.

    Once injected with Compound V, Hugh Campbell Sr.develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.”

    Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination.

    Homelanderbreaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.”

    “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.”
    —Stephan Fleet, VFX Supervisor

    Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution.

    A different spin on the bloodbath occurs during a fight when a drugged Frenchiehallucinates as Kimiko Miyashirogoes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.”

    Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4.

    When Splintersplits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker. “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”
    #bouncing #rubber #duckies #flying #sheep
    BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4
    By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splintersplits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith, who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be, so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a humanyou tend to want to give it human gestures and eyebrows. Erik Kripkesaid, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep wasin one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr.develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelanderbreaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchiehallucinates as Kimiko Miyashirogoes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splintersplits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker. “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.” #bouncing #rubber #duckies #flying #sheep
    WWW.VFXVOICE.COM
    BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4
    By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”
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  • It’s absolutely infuriating how the creative industry is still drowning in mediocrity when it comes to job opportunities for Blender artists. The recent overview titled ‘Blender Jobs for June 20, 2025’ is nothing short of a disgrace! What are we doing here? Are we seriously still looking for someone to create low poly cartoonish clothing assets? This is 2025, people! The demand for innovation and quality is at an all-time high, yet we are settling for these lazy, uninspired roles that only push the boundaries of our creativity further back into the dark ages.

    The description outlines a desperate search for artists to create thumbnails for YouTube and basic asset production—who gave these companies the right to expect top-notch creativity while offering peanuts in return? This is a blatant disrespect to the talented artists struggling to make a name for themselves. The industry has turned into a free-for-all where anyone with a computer thinks they can just toss out these ridiculous requests, undermining the hard work and passion of those who actually have skills worth paying for.

    “Stealth Startup” and “Pizza Party Productions”? Really? Is this some kind of joke? These names scream lack of professionalism and vision. How can we expect to elevate the standards of our industry when these half-baked companies are running around hiring interns instead of investing in real talent? It’s ludicrous! What’s next? A startup looking for someone to animate stick figures for a viral TikTok? Come on!

    Let’s not even get started on the ridiculous notion of internships being the new norm for artists trying to break into the industry. The term “3D Artist Intern” is a euphemism for “overworked and underpaid.” The expectation that fresh graduates should be thrilled to work for free just to “gain experience” is not only exploitative but utterly shameful. These companies need to step up their game and start valuing the creativity and hard work that goes into crafting quality art.

    Every time I scroll through these job postings, I feel my blood boil. Are we going to continue to allow this cycle of mediocrity to persist? It’s time for artists to take a stand and demand better. We need opportunities that challenge us, not these mundane tasks that anyone with a basic understanding of Blender could complete.

    We deserve to work in an environment that fosters creativity, innovation, and respect for our craft. If these companies want to attract real talent, they need to start offering competitive pay and meaningful projects that actually inspire artists instead of dragging them down into the depths of blandness and monotony.

    Wake up, industry! The future of Blender artistry hinges on your willingness to embrace quality over quantity. Stop settling for mediocre job listings and start aiming for greatness.

    #BlenderJobs #3DArtist #CreativityMatters #ArtIndustry #DemandBetter
    It’s absolutely infuriating how the creative industry is still drowning in mediocrity when it comes to job opportunities for Blender artists. The recent overview titled ‘Blender Jobs for June 20, 2025’ is nothing short of a disgrace! What are we doing here? Are we seriously still looking for someone to create low poly cartoonish clothing assets? This is 2025, people! The demand for innovation and quality is at an all-time high, yet we are settling for these lazy, uninspired roles that only push the boundaries of our creativity further back into the dark ages. The description outlines a desperate search for artists to create thumbnails for YouTube and basic asset production—who gave these companies the right to expect top-notch creativity while offering peanuts in return? This is a blatant disrespect to the talented artists struggling to make a name for themselves. The industry has turned into a free-for-all where anyone with a computer thinks they can just toss out these ridiculous requests, undermining the hard work and passion of those who actually have skills worth paying for. “Stealth Startup” and “Pizza Party Productions”? Really? Is this some kind of joke? These names scream lack of professionalism and vision. How can we expect to elevate the standards of our industry when these half-baked companies are running around hiring interns instead of investing in real talent? It’s ludicrous! What’s next? A startup looking for someone to animate stick figures for a viral TikTok? Come on! Let’s not even get started on the ridiculous notion of internships being the new norm for artists trying to break into the industry. The term “3D Artist Intern” is a euphemism for “overworked and underpaid.” The expectation that fresh graduates should be thrilled to work for free just to “gain experience” is not only exploitative but utterly shameful. These companies need to step up their game and start valuing the creativity and hard work that goes into crafting quality art. Every time I scroll through these job postings, I feel my blood boil. Are we going to continue to allow this cycle of mediocrity to persist? It’s time for artists to take a stand and demand better. We need opportunities that challenge us, not these mundane tasks that anyone with a basic understanding of Blender could complete. We deserve to work in an environment that fosters creativity, innovation, and respect for our craft. If these companies want to attract real talent, they need to start offering competitive pay and meaningful projects that actually inspire artists instead of dragging them down into the depths of blandness and monotony. Wake up, industry! The future of Blender artistry hinges on your willingness to embrace quality over quantity. Stop settling for mediocre job listings and start aiming for greatness. #BlenderJobs #3DArtist #CreativityMatters #ArtIndustry #DemandBetter
    Blender Jobs for June 20, 2025
    Here's an overview of the most recent Blender jobs on Blender Artists, ArtStation and 3djobs.xyz: Looking for someone to create some low poly cartoonish clothing asset for my character I'm looking for an artist to make me a Thumbnail for YouTube Vert
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  • Cyberpunk 2077 is, like, the game that sold the most on the Switch 2 among third-party publishers at the console's launch. You know, just another average day in the gaming world. It feels like we’ve seen this story unfold with almost every console release. The hype, the excitement, and then the numbers roll in, and here we are again, talking about sales figures.

    It’s kind of fascinating, in a way. Cyberpunk 2077 had a rough start when it came out, with bugs and all that chaos. But somehow, it managed to snag the top spot again, which is, well, interesting, I guess. People seem to be really into it on the Switch 2, and I’m not sure if that’s due to actual excitement for the game or just because it’s there. I mean, it’s not like there are a ton of options available at launch, right?

    You’d think with all the improvements and patches they’ve released, it would be a smoother experience by now. But still, I can’t help but feel a little underwhelmed. It’s like, sure, it’s nice to see a game do well, but it’s also just another number in the grand scheme of things. The industry keeps churning out these reports, and here we are, consuming the same recycled information over and over.

    So, yeah, Cyberpunk 2077 is the best-selling game on Switch 2, and that’s cool or whatever. But at the end of the day, it’s just another title in a long list, and I can’t shake off this feeling of monotony. Maybe some people are really excited about it, but for me, it’s all a bit... meh.

    Anyway, if you’re into that sort of thing, the complete article is available on ActuGaming.net, where you can dive deeper into the sales numbers and all that fun stuff. But honestly, who really needs more stats?

    #Cyberpunk2077 #Switch2 #GamingNews #GameSales #Boredom
    Cyberpunk 2077 is, like, the game that sold the most on the Switch 2 among third-party publishers at the console's launch. You know, just another average day in the gaming world. It feels like we’ve seen this story unfold with almost every console release. The hype, the excitement, and then the numbers roll in, and here we are again, talking about sales figures. It’s kind of fascinating, in a way. Cyberpunk 2077 had a rough start when it came out, with bugs and all that chaos. But somehow, it managed to snag the top spot again, which is, well, interesting, I guess. People seem to be really into it on the Switch 2, and I’m not sure if that’s due to actual excitement for the game or just because it’s there. I mean, it’s not like there are a ton of options available at launch, right? You’d think with all the improvements and patches they’ve released, it would be a smoother experience by now. But still, I can’t help but feel a little underwhelmed. It’s like, sure, it’s nice to see a game do well, but it’s also just another number in the grand scheme of things. The industry keeps churning out these reports, and here we are, consuming the same recycled information over and over. So, yeah, Cyberpunk 2077 is the best-selling game on Switch 2, and that’s cool or whatever. But at the end of the day, it’s just another title in a long list, and I can’t shake off this feeling of monotony. Maybe some people are really excited about it, but for me, it’s all a bit... meh. Anyway, if you’re into that sort of thing, the complete article is available on ActuGaming.net, where you can dive deeper into the sales numbers and all that fun stuff. But honestly, who really needs more stats? #Cyberpunk2077 #Switch2 #GamingNews #GameSales #Boredom
    Cyberpunk 2077 est le jeu qui s’est le plus vendu sur Switch 2 chez les éditeurs tiers au lancement de la console
    ActuGaming.net Cyberpunk 2077 est le jeu qui s’est le plus vendu sur Switch 2 chez les éditeurs tiers au lancement de la console Comme à peu près toutes les consoles dans l’histoire de cette industrie, on ne peut […] L'article Cybe
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  • ## Introduction

    Brand mascots have been part of marketing strategies for decades, serving as recognizable figures that embody the essence of companies and their products. From the iconic Bibendum, also known as the Michelin Man, to the energetic Benny the Bull, mascots tell stories and create connections. This article explores the journey of various brand mascots, highlighting those that have left an indelible mark, as well as those that have faded into obscurity.

    ## The Evolution of Brand Ma...
    ## Introduction Brand mascots have been part of marketing strategies for decades, serving as recognizable figures that embody the essence of companies and their products. From the iconic Bibendum, also known as the Michelin Man, to the energetic Benny the Bull, mascots tell stories and create connections. This article explores the journey of various brand mascots, highlighting those that have left an indelible mark, as well as those that have faded into obscurity. ## The Evolution of Brand Ma...
    Les mascottes de marques, de Bibendum à Benny the Bull
    ## Introduction Brand mascots have been part of marketing strategies for decades, serving as recognizable figures that embody the essence of companies and their products. From the iconic Bibendum, also known as the Michelin Man, to the energetic Benny the Bull, mascots tell stories and create connections. This article explores the journey of various brand mascots, highlighting those that have...
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  • Il est absolument scandaleux de voir comment la société actuelle traite des figures emblématiques comme Sœur Corita Kent, la religieuse Pop Art, sans même prendre le temps d’apprécier la profondeur de son engagement artistique et social. Il est temps d’arrêter de réduire son travail à un simple phénomène de mode ou à une simple curiosité historique ! Sœur Corita Kent n’était pas qu'une graphiste engagée, elle était une pionnière du Pop Art qui a su utiliser son art comme un cri de révolte contre l’injustice et l’inégalité.

    Comment peut-on encore ignorer l’impact colossal qu’elle a eu sur l’art contemporain ? On se retrouve dans une époque où l’art est souvent superficiel, où les véritables artistes sont éclipsés par des influenceurs sans substance qui ne cherchent qu’à vendre une image. C’est une honte ! Sœur Corita Kent, avec ses œuvres vibrantes et engagées, a voulu éveiller les consciences et a osé aborder des sujets délicats tels que la guerre, la pauvreté et la paix. Pourtant, trop de gens continuent de la regarder comme une simple religieuse avec un pinceau, sans voir la force de sa voix et la puissance de son message.

    Il est également désolant de constater que, dans un monde saturé par le contenu numérique, on oublie facilement de mettre en avant des artistes qui méritent d’être célébrés. Au lieu de cela, on glorifie des créations éphémères qui n’ont rien à dire. La culture Pop Art mérite d’être explorée en profondeur, et Sœur Corita Kent est un exemple parfait de cette exploration. Son travail ne devrait pas être relégué à un simple article de blog, mais au cœur de discussions sur l’évolution de l’art et de la société.

    Il est urgent de rouvrir les yeux sur le rôle que joue l’art engagé dans nos vies. Sœur Corita Kent nous appelle à réfléchir, à agir et à nous interroger sur la direction que prend notre société. Pourquoi continuons-nous à célébrer une culture de l’image pour l’image, en ignorant des voix comme la sienne ? C’est une véritable trahison envers l’art et l’humanité.

    Nous devons nous battre pour que son héritage ne soit pas oublié. Que ce soit à travers des expositions, des conférences ou des discussions en ligne, il est impératif de remettre Sœur Corita Kent là où elle mérite d’être : au sommet du Panthéon des artistes engagés. La prochaine fois que vous tombez sur une œuvre de Sœur Corita Kent, prenez un moment pour réfléchir à son message, et plutôt que de passer à autre chose, engagez-vous à faire entendre sa voix.

    Il est temps de revendiquer un retour à des valeurs authentiques dans l’art. Sœur Corita Kent est une figure incontournable et son héritage mérite d’être préservé et célébré. Arrêtons de nous contenter de peu et de vivre dans l’ignorance !

    #SœurCoritaKent #PopArt #ArtEngagé #JusticeSociale #Culture
    Il est absolument scandaleux de voir comment la société actuelle traite des figures emblématiques comme Sœur Corita Kent, la religieuse Pop Art, sans même prendre le temps d’apprécier la profondeur de son engagement artistique et social. Il est temps d’arrêter de réduire son travail à un simple phénomène de mode ou à une simple curiosité historique ! Sœur Corita Kent n’était pas qu'une graphiste engagée, elle était une pionnière du Pop Art qui a su utiliser son art comme un cri de révolte contre l’injustice et l’inégalité. Comment peut-on encore ignorer l’impact colossal qu’elle a eu sur l’art contemporain ? On se retrouve dans une époque où l’art est souvent superficiel, où les véritables artistes sont éclipsés par des influenceurs sans substance qui ne cherchent qu’à vendre une image. C’est une honte ! Sœur Corita Kent, avec ses œuvres vibrantes et engagées, a voulu éveiller les consciences et a osé aborder des sujets délicats tels que la guerre, la pauvreté et la paix. Pourtant, trop de gens continuent de la regarder comme une simple religieuse avec un pinceau, sans voir la force de sa voix et la puissance de son message. Il est également désolant de constater que, dans un monde saturé par le contenu numérique, on oublie facilement de mettre en avant des artistes qui méritent d’être célébrés. Au lieu de cela, on glorifie des créations éphémères qui n’ont rien à dire. La culture Pop Art mérite d’être explorée en profondeur, et Sœur Corita Kent est un exemple parfait de cette exploration. Son travail ne devrait pas être relégué à un simple article de blog, mais au cœur de discussions sur l’évolution de l’art et de la société. Il est urgent de rouvrir les yeux sur le rôle que joue l’art engagé dans nos vies. Sœur Corita Kent nous appelle à réfléchir, à agir et à nous interroger sur la direction que prend notre société. Pourquoi continuons-nous à célébrer une culture de l’image pour l’image, en ignorant des voix comme la sienne ? C’est une véritable trahison envers l’art et l’humanité. Nous devons nous battre pour que son héritage ne soit pas oublié. Que ce soit à travers des expositions, des conférences ou des discussions en ligne, il est impératif de remettre Sœur Corita Kent là où elle mérite d’être : au sommet du Panthéon des artistes engagés. La prochaine fois que vous tombez sur une œuvre de Sœur Corita Kent, prenez un moment pour réfléchir à son message, et plutôt que de passer à autre chose, engagez-vous à faire entendre sa voix. Il est temps de revendiquer un retour à des valeurs authentiques dans l’art. Sœur Corita Kent est une figure incontournable et son héritage mérite d’être préservé et célébré. Arrêtons de nous contenter de peu et de vivre dans l’ignorance ! #SœurCoritaKent #PopArt #ArtEngagé #JusticeSociale #Culture
    Sœur Corita Kent, la religieuse Pop Art
    Sœur Corita Kent (1918-1986). Graphiste engagée et pionnière du Pop Art. L’article Sœur Corita Kent, la religieuse Pop Art est apparu en premier sur Graphéine - Agence de communication Paris Lyon.
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  • Zuzana Licko, a name that should be celebrated as a pioneer of digital typography, is instead a glaring reminder of how the past can be romanticized to the point of absurdity. Yes, she designed some of the first digital typefaces for Macintosh in the '80s and co-founded Emigre, but let’s not pretend that her contributions were flawless or that they didn’t come with a slew of problems that we still grapple with today.

    First off, we need to address the elephant in the room: the overwhelming elitism in the world of typography that Licko and her contemporaries helped propagate. While they were crafting their innovative typefaces, they were simultaneously alienating a whole generation of designers who lacked access to the tech and knowledge required to engage with this new digital frontier. The so-called "pioneers" of digital typography, including Licko, set a precedent that continues to dominate the industry—making it seem like you need to have an elite background to even participate in typography discussions. This is infuriating and downright unacceptable!

    Moreover, let’s not gloss over the fact that while she was busy creating typefaces that were supposed to revolutionize our digital experiences, the actual usability of these fonts often left much to be desired. Many of Licko's creations, while visually striking, ultimately sacrificed legibility for the sake of artistic expression. This is a major flaw in her work that deserves criticism. Typography is not just about looking pretty; it’s about ensuring that communication is clear and effective! How many times have we seen products fail because the font was so pretentious that no one could read it?

    And don’t even get me started on Emigre magazine. Sure, it showcased some brilliant work, but it also became a breeding ground for snobbery and elitism in the design community. Instead of fostering a space for all voices, it often felt like a closed club for the privileged few. This is not what design should be about! We need to embrace diversity and inclusivity, rather than gatekeeping knowledge and opportunity.

    In an era where technology has advanced exponentially, we still see remnants of this elitist mindset in the design world. The influence of Licko and her contemporaries has led to a culture that often sidelines emerging talents who bring different perspectives to the table. Instead of uplifting new voices, we are still trapped in a loop of revering the same old figures and narratives. This is not progress; it’s stagnation!

    Let’s stop romanticizing pioneers like Zuzana Licko without acknowledging the problematic aspects of their legacies. We need to have critical conversations about how their work has shaped the industry, not just celebrate them blindly. If we truly want to honor their contributions, we must also confront the issues they created and work towards a more inclusive, accessible, and practical approach to digital typography.

    #Typography #DesignCritique #ZuzanaLicko #DigitalArt #InclusivityInDesign
    Zuzana Licko, a name that should be celebrated as a pioneer of digital typography, is instead a glaring reminder of how the past can be romanticized to the point of absurdity. Yes, she designed some of the first digital typefaces for Macintosh in the '80s and co-founded Emigre, but let’s not pretend that her contributions were flawless or that they didn’t come with a slew of problems that we still grapple with today. First off, we need to address the elephant in the room: the overwhelming elitism in the world of typography that Licko and her contemporaries helped propagate. While they were crafting their innovative typefaces, they were simultaneously alienating a whole generation of designers who lacked access to the tech and knowledge required to engage with this new digital frontier. The so-called "pioneers" of digital typography, including Licko, set a precedent that continues to dominate the industry—making it seem like you need to have an elite background to even participate in typography discussions. This is infuriating and downright unacceptable! Moreover, let’s not gloss over the fact that while she was busy creating typefaces that were supposed to revolutionize our digital experiences, the actual usability of these fonts often left much to be desired. Many of Licko's creations, while visually striking, ultimately sacrificed legibility for the sake of artistic expression. This is a major flaw in her work that deserves criticism. Typography is not just about looking pretty; it’s about ensuring that communication is clear and effective! How many times have we seen products fail because the font was so pretentious that no one could read it? And don’t even get me started on Emigre magazine. Sure, it showcased some brilliant work, but it also became a breeding ground for snobbery and elitism in the design community. Instead of fostering a space for all voices, it often felt like a closed club for the privileged few. This is not what design should be about! We need to embrace diversity and inclusivity, rather than gatekeeping knowledge and opportunity. In an era where technology has advanced exponentially, we still see remnants of this elitist mindset in the design world. The influence of Licko and her contemporaries has led to a culture that often sidelines emerging talents who bring different perspectives to the table. Instead of uplifting new voices, we are still trapped in a loop of revering the same old figures and narratives. This is not progress; it’s stagnation! Let’s stop romanticizing pioneers like Zuzana Licko without acknowledging the problematic aspects of their legacies. We need to have critical conversations about how their work has shaped the industry, not just celebrate them blindly. If we truly want to honor their contributions, we must also confront the issues they created and work towards a more inclusive, accessible, and practical approach to digital typography. #Typography #DesignCritique #ZuzanaLicko #DigitalArt #InclusivityInDesign
    Zuzana Licko, pionnière de la typographie numérique
    Dans les 80s, Zuzana Licko dessine les premiers caractères de typographie numérique, pour Macintosh, et co-fonde le magazine-fonderie Emigre. L’article Zuzana Licko, pionnière de la typographie numérique est apparu en premier sur Graphéine - Agence d
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  • The Role of the 3-2-1 Backup Rule in Cybersecurity

    Daniel Pearson , CEO, KnownHostJune 12, 20253 Min ReadBusiness success concept. Cubes with arrows and target on the top.Cyber incidents are expected to cost the US billion in 2025. According to the latest estimates, this dynamic will continue to rise, reaching approximately 1.82 trillion US dollars in cybercrime costs by 2028. These figures highlight the crucial importance of strong cybersecurity strategies, which businesses must build to reduce the likelihood of risks. As technology evolves at a dramatic pace, businesses are increasingly dependent on utilizing digital infrastructure, exposing themselves to threats such as ransomware, accidental data loss, and corruption.  Despite the 3-2-1 backup rule being invented in 2009, this strategy has stayed relevant for businesses over the years, ensuring that the loss of data is minimized under threat, and will be a crucial method in the upcoming years to prevent major data loss.   What Is the 3-2-1 Backup Rule? The 3-2-1 backup rule is a popular backup strategy that ensures resilience against data loss. The setup consists of keeping your original data and two backups.  The data also needs to be stored in two different locations, such as the cloud or a local drive.  The one in the 3-2-1 backup rule represents storing a copy of your data off site, and this completes the setup.  This setup has been considered a gold standard in IT security, as it minimizes points of failure and increases the chance of successful data recovery in the event of a cyber-attack.  Related:Why Is This Rule Relevant in the Modern Cyber Threat Landscape? Statistics show that in 2024, 80% of companies have seen an increase in the frequency of cloud attacks.  Although many businesses assume that storing data in the cloud is enough, it is certainly not failsafe, and businesses are in bigger danger than ever due to the vast development of technology and AI capabilities attackers can manipulate and use.  As the cloud infrastructure has seen a similar speed of growth, cyber criminals are actively targeting these, leaving businesses with no clear recovery option. Therefore, more than ever, businesses need to invest in immutable backup solutions.  Common Backup Mistakes Businesses Make A common misstep is keeping all backups on the same physical network. If malware gets in, it can quickly spread and encrypt both the primary data and the backups, wiping out everything in one go. Another issue is the lack of offline or air-gapped backups. Many businesses rely entirely on cloud-based or on-premises storage that's always connected, which means their recovery options could be compromised during an attack. Related:Finally, one of the most overlooked yet crucial steps is testing backup restoration. A backup is only useful if it can actually be restored. Too often, companies skip regular testing. This can lead to a harsh reality check when they discover, too late, that their backup data is either corrupted or completely inaccessible after a breach. How to Implement the 3-2-1 Backup Rule? To successfully implement the 3-2-1 backup strategy as part of a robust cybersecurity framework, organizations should start by diversifying their storage methods. A resilient approach typically includes a mix of local storage, cloud-based solutions, and physical media such as external hard drives.  From there, it's essential to incorporate technologies that support write-once, read-many functionalities. This means backups cannot be modified or deleted, even by administrators, providing an extra layer of protection against threats. To further enhance resilience, organizations should make use of automation and AI-driven tools. These technologies can offer real-time monitoring, detect anomalies, and apply predictive analytics to maintain the integrity of backup data and flag any unusual activity or failures in the process. Lastly, it's crucial to ensure your backup strategy aligns with relevant regulatory requirements, such as GDPR in the UK or CCPA in the US. Compliance not only mitigates legal risk but also reinforces your commitment to data protection and operational continuity. Related:By blending the time-tested 3-2-1 rule with modern advances like immutable storage and intelligent monitoring, organizations can build a highly resilient backup architecture that strengthens their overall cybersecurity posture. About the AuthorDaniel Pearson CEO, KnownHostDaniel Pearson is the CEO of KnownHost, a managed web hosting service provider. Pearson also serves as a dedicated board member and supporter of the AlmaLinux OS Foundation, a non-profit organization focused on advancing the AlmaLinux OS -- an open-source operating system derived from RHEL. His passion for technology extends beyond his professional endeavors, as he actively promotes digital literacy and empowerment. Pearson's entrepreneurial drive and extensive industry knowledge have solidified his reputation as a respected figure in the tech community. See more from Daniel Pearson ReportsMore ReportsNever Miss a Beat: Get a snapshot of the issues affecting the IT industry straight to your inbox.SIGN-UPYou May Also Like
    #role #backup #rule #cybersecurity
    The Role of the 3-2-1 Backup Rule in Cybersecurity
    Daniel Pearson , CEO, KnownHostJune 12, 20253 Min ReadBusiness success concept. Cubes with arrows and target on the top.Cyber incidents are expected to cost the US billion in 2025. According to the latest estimates, this dynamic will continue to rise, reaching approximately 1.82 trillion US dollars in cybercrime costs by 2028. These figures highlight the crucial importance of strong cybersecurity strategies, which businesses must build to reduce the likelihood of risks. As technology evolves at a dramatic pace, businesses are increasingly dependent on utilizing digital infrastructure, exposing themselves to threats such as ransomware, accidental data loss, and corruption.  Despite the 3-2-1 backup rule being invented in 2009, this strategy has stayed relevant for businesses over the years, ensuring that the loss of data is minimized under threat, and will be a crucial method in the upcoming years to prevent major data loss.   What Is the 3-2-1 Backup Rule? The 3-2-1 backup rule is a popular backup strategy that ensures resilience against data loss. The setup consists of keeping your original data and two backups.  The data also needs to be stored in two different locations, such as the cloud or a local drive.  The one in the 3-2-1 backup rule represents storing a copy of your data off site, and this completes the setup.  This setup has been considered a gold standard in IT security, as it minimizes points of failure and increases the chance of successful data recovery in the event of a cyber-attack.  Related:Why Is This Rule Relevant in the Modern Cyber Threat Landscape? Statistics show that in 2024, 80% of companies have seen an increase in the frequency of cloud attacks.  Although many businesses assume that storing data in the cloud is enough, it is certainly not failsafe, and businesses are in bigger danger than ever due to the vast development of technology and AI capabilities attackers can manipulate and use.  As the cloud infrastructure has seen a similar speed of growth, cyber criminals are actively targeting these, leaving businesses with no clear recovery option. Therefore, more than ever, businesses need to invest in immutable backup solutions.  Common Backup Mistakes Businesses Make A common misstep is keeping all backups on the same physical network. If malware gets in, it can quickly spread and encrypt both the primary data and the backups, wiping out everything in one go. Another issue is the lack of offline or air-gapped backups. Many businesses rely entirely on cloud-based or on-premises storage that's always connected, which means their recovery options could be compromised during an attack. Related:Finally, one of the most overlooked yet crucial steps is testing backup restoration. A backup is only useful if it can actually be restored. Too often, companies skip regular testing. This can lead to a harsh reality check when they discover, too late, that their backup data is either corrupted or completely inaccessible after a breach. How to Implement the 3-2-1 Backup Rule? To successfully implement the 3-2-1 backup strategy as part of a robust cybersecurity framework, organizations should start by diversifying their storage methods. A resilient approach typically includes a mix of local storage, cloud-based solutions, and physical media such as external hard drives.  From there, it's essential to incorporate technologies that support write-once, read-many functionalities. This means backups cannot be modified or deleted, even by administrators, providing an extra layer of protection against threats. To further enhance resilience, organizations should make use of automation and AI-driven tools. These technologies can offer real-time monitoring, detect anomalies, and apply predictive analytics to maintain the integrity of backup data and flag any unusual activity or failures in the process. Lastly, it's crucial to ensure your backup strategy aligns with relevant regulatory requirements, such as GDPR in the UK or CCPA in the US. Compliance not only mitigates legal risk but also reinforces your commitment to data protection and operational continuity. Related:By blending the time-tested 3-2-1 rule with modern advances like immutable storage and intelligent monitoring, organizations can build a highly resilient backup architecture that strengthens their overall cybersecurity posture. About the AuthorDaniel Pearson CEO, KnownHostDaniel Pearson is the CEO of KnownHost, a managed web hosting service provider. Pearson also serves as a dedicated board member and supporter of the AlmaLinux OS Foundation, a non-profit organization focused on advancing the AlmaLinux OS -- an open-source operating system derived from RHEL. His passion for technology extends beyond his professional endeavors, as he actively promotes digital literacy and empowerment. Pearson's entrepreneurial drive and extensive industry knowledge have solidified his reputation as a respected figure in the tech community. See more from Daniel Pearson ReportsMore ReportsNever Miss a Beat: Get a snapshot of the issues affecting the IT industry straight to your inbox.SIGN-UPYou May Also Like #role #backup #rule #cybersecurity
    WWW.INFORMATIONWEEK.COM
    The Role of the 3-2-1 Backup Rule in Cybersecurity
    Daniel Pearson , CEO, KnownHostJune 12, 20253 Min ReadBusiness success concept. Cubes with arrows and target on the top.Cyber incidents are expected to cost the US $639 billion in 2025. According to the latest estimates, this dynamic will continue to rise, reaching approximately 1.82 trillion US dollars in cybercrime costs by 2028. These figures highlight the crucial importance of strong cybersecurity strategies, which businesses must build to reduce the likelihood of risks. As technology evolves at a dramatic pace, businesses are increasingly dependent on utilizing digital infrastructure, exposing themselves to threats such as ransomware, accidental data loss, and corruption.  Despite the 3-2-1 backup rule being invented in 2009, this strategy has stayed relevant for businesses over the years, ensuring that the loss of data is minimized under threat, and will be a crucial method in the upcoming years to prevent major data loss.   What Is the 3-2-1 Backup Rule? The 3-2-1 backup rule is a popular backup strategy that ensures resilience against data loss. The setup consists of keeping your original data and two backups.  The data also needs to be stored in two different locations, such as the cloud or a local drive.  The one in the 3-2-1 backup rule represents storing a copy of your data off site, and this completes the setup.  This setup has been considered a gold standard in IT security, as it minimizes points of failure and increases the chance of successful data recovery in the event of a cyber-attack.  Related:Why Is This Rule Relevant in the Modern Cyber Threat Landscape? Statistics show that in 2024, 80% of companies have seen an increase in the frequency of cloud attacks.  Although many businesses assume that storing data in the cloud is enough, it is certainly not failsafe, and businesses are in bigger danger than ever due to the vast development of technology and AI capabilities attackers can manipulate and use.  As the cloud infrastructure has seen a similar speed of growth, cyber criminals are actively targeting these, leaving businesses with no clear recovery option. Therefore, more than ever, businesses need to invest in immutable backup solutions.  Common Backup Mistakes Businesses Make A common misstep is keeping all backups on the same physical network. If malware gets in, it can quickly spread and encrypt both the primary data and the backups, wiping out everything in one go. Another issue is the lack of offline or air-gapped backups. Many businesses rely entirely on cloud-based or on-premises storage that's always connected, which means their recovery options could be compromised during an attack. Related:Finally, one of the most overlooked yet crucial steps is testing backup restoration. A backup is only useful if it can actually be restored. Too often, companies skip regular testing. This can lead to a harsh reality check when they discover, too late, that their backup data is either corrupted or completely inaccessible after a breach. How to Implement the 3-2-1 Backup Rule? To successfully implement the 3-2-1 backup strategy as part of a robust cybersecurity framework, organizations should start by diversifying their storage methods. A resilient approach typically includes a mix of local storage, cloud-based solutions, and physical media such as external hard drives.  From there, it's essential to incorporate technologies that support write-once, read-many functionalities. This means backups cannot be modified or deleted, even by administrators, providing an extra layer of protection against threats. To further enhance resilience, organizations should make use of automation and AI-driven tools. These technologies can offer real-time monitoring, detect anomalies, and apply predictive analytics to maintain the integrity of backup data and flag any unusual activity or failures in the process. Lastly, it's crucial to ensure your backup strategy aligns with relevant regulatory requirements, such as GDPR in the UK or CCPA in the US. Compliance not only mitigates legal risk but also reinforces your commitment to data protection and operational continuity. Related:By blending the time-tested 3-2-1 rule with modern advances like immutable storage and intelligent monitoring, organizations can build a highly resilient backup architecture that strengthens their overall cybersecurity posture. About the AuthorDaniel Pearson CEO, KnownHostDaniel Pearson is the CEO of KnownHost, a managed web hosting service provider. Pearson also serves as a dedicated board member and supporter of the AlmaLinux OS Foundation, a non-profit organization focused on advancing the AlmaLinux OS -- an open-source operating system derived from RHEL. His passion for technology extends beyond his professional endeavors, as he actively promotes digital literacy and empowerment. Pearson's entrepreneurial drive and extensive industry knowledge have solidified his reputation as a respected figure in the tech community. See more from Daniel Pearson ReportsMore ReportsNever Miss a Beat: Get a snapshot of the issues affecting the IT industry straight to your inbox.SIGN-UPYou May Also Like
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  • Malicious PyPI Package Masquerades as Chimera Module to Steal AWS, CI/CD, and macOS Data

    Jun 16, 2025Ravie LakshmananMalware / DevOps

    Cybersecurity researchers have discovered a malicious package on the Python Package Indexrepository that's capable of harvesting sensitive developer-related information, such as credentials, configuration data, and environment variables, among others.
    The package, named chimera-sandbox-extensions, attracted 143 downloads and likely targets users of a service called Chimera Sandbox, which was released by Singaporean tech company Grab last August to facilitate "experimentation and development ofsolutions."
    The package masquerades as a helper module for Chimera Sandbox, but "aims to steal credentials and other sensitive information such as Jamf configuration, CI/CD environment variables, AWS tokens, and more," JFrog security researcher Guy Korolevski said in a report published last week.
    Once installed, it attempts to connect to an external domain whose domain name is generated using a domain generation algorithmin order to download and execute a next-stage payload.
    Specifically, the malware acquires from the domain an authentication token, which is then used to send a request to the same domain and retrieve the Python-based information stealer.

    The stealer malware is equipped to siphon a wide range of data from infected machines. This includes -

    JAMF receipts, which are records of software packages installed by Jamf Pro on managed computers
    Pod sandbox environment authentication tokens and git information
    CI/CD information from environment variables
    Zscaler host configuration
    Amazon Web Services account information and tokens
    Public IP address
    General platform, user, and host information

    The kind of data gathered by the malware shows that it's mainly geared towards corporate and cloud infrastructure. In addition, the extraction of JAMF receipts indicates that it's also capable of targeting Apple macOS systems.
    The collected information is sent via a POST request back to the same domain, after which the server assesses if the machine is a worthy target for further exploitation. However, JFrog said it was unable to obtain the payload at the time of analysis.
    "The targeted approach employed by this malware, along with the complexity of its multi-stage targeted payload, distinguishes it from the more generic open-source malware threats we have encountered thus far, highlighting the advancements that malicious packages have made recently," Jonathan Sar Shalom, director of threat research at JFrog Security Research team, said.

    "This new sophistication of malware underscores why development teams remain vigilant with updates—alongside proactive security research – to defend against emerging threats and maintain software integrity."
    The disclosure comes as SafeDep and Veracode detailed a number of malware-laced npm packages that are designed to execute remote code and download additional payloads. The packages in question are listed below -

    eslint-config-airbnb-compatts-runtime-compat-checksolders@mediawave/libAll the identified npm packages have since been taken down from npm, but not before they were downloaded hundreds of times from the package registry.
    SafeDep's analysis of eslint-config-airbnb-compat found that the JavaScript library has ts-runtime-compat-check listed as a dependency, which, in turn, contacts an external server defined in the former packageto retrieve and execute a Base64-encoded string. The exact nature of the payload is unknown.
    "It implements a multi-stage remote code execution attack using a transitive dependency to hide the malicious code," SafeDep researcher Kunal Singh said.
    Solders, on the other hand, has been found to incorporate a post-install script in its package.json, causing the malicious code to be automatically executed as soon as the package is installed.
    "At first glance, it's hard to believe that this is actually valid JavaScript," the Veracode Threat Research team said. "It looks like a seemingly random collection of Japanese symbols. It turns out that this particular obfuscation scheme uses the Unicode characters as variable names and a sophisticated chain of dynamic code generation to work."
    Decoding the script reveals an extra layer of obfuscation, unpacking which reveals its main function: Check if the compromised machine is Windows, and if so, run a PowerShell command to retrieve a next-stage payload from a remote server.
    This second-stage PowerShell script, also obscured, is designed to fetch a Windows batch script from another domainand configures a Windows Defender Antivirus exclusion list to avoid detection. The batch script then paves the way for the execution of a .NET DLL that reaches out to a PNG image hosted on ImgBB.
    "is grabbing the last two pixels from this image and then looping through some data contained elsewhere in it," Veracode said. "It ultimately builds up in memory YET ANOTHER .NET DLL."

    Furthermore, the DLL is equipped to create task scheduler entries and features the ability to bypass user account controlusing a combination of FodHelper.exe and programmatic identifiersto evade defenses and avoid triggering any security alerts to the user.
    The newly-downloaded DLL is Pulsar RAT, a "free, open-source Remote Administration Tool for Windows" and a variant of the Quasar RAT.
    "From a wall of Japanese characters to a RAT hidden within the pixels of a PNG file, the attacker went to extraordinary lengths to conceal their payload, nesting it a dozen layers deep to evade detection," Veracode said. "While the attacker's ultimate objective for deploying the Pulsar RAT remains unclear, the sheer complexity of this delivery mechanism is a powerful indicator of malicious intent."
    Crypto Malware in the Open-Source Supply Chain
    The findings also coincide with a report from Socket that identified credential stealers, cryptocurrency drainers, cryptojackers, and clippers as the main types of threats targeting the cryptocurrency and blockchain development ecosystem.

    Some of the examples of these packages include -

    express-dompurify and pumptoolforvolumeandcomment, which are capable of harvesting browser credentials and cryptocurrency wallet keys
    bs58js, which drains a victim's wallet and uses multi-hop transfers to obscure theft and frustrate forensic tracing.
    lsjglsjdv, asyncaiosignal, and raydium-sdk-liquidity-init, which functions as a clipper to monitor the system clipboard for cryptocurrency wallet strings and replace them with threat actor‑controlled addresses to reroute transactions to the attackers

    "As Web3 development converges with mainstream software engineering, the attack surface for blockchain-focused projects is expanding in both scale and complexity," Socket security researcher Kirill Boychenko said.
    "Financially motivated threat actors and state-sponsored groups are rapidly evolving their tactics to exploit systemic weaknesses in the software supply chain. These campaigns are iterative, persistent, and increasingly tailored to high-value targets."
    AI and Slopsquatting
    The rise of artificial intelligence-assisted coding, also called vibe coding, has unleashed another novel threat in the form of slopsquatting, where large language modelscan hallucinate non-existent but plausible package names that bad actors can weaponize to conduct supply chain attacks.
    Trend Micro, in a report last week, said it observed an unnamed advanced agent "confidently" cooking up a phantom Python package named starlette-reverse-proxy, only for the build process to crash with the error "module not found." However, should an adversary upload a package with the same name on the repository, it can have serious security consequences.

    Furthermore, the cybersecurity company noted that advanced coding agents and workflows such as Claude Code CLI, OpenAI Codex CLI, and Cursor AI with Model Context Protocol-backed validation can help reduce, but not completely eliminate, the risk of slopsquatting.
    "When agents hallucinate dependencies or install unverified packages, they create an opportunity for slopsquatting attacks, in which malicious actors pre-register those same hallucinated names on public registries," security researcher Sean Park said.
    "While reasoning-enhanced agents can reduce the rate of phantom suggestions by approximately half, they do not eliminate them entirely. Even the vibe-coding workflow augmented with live MCP validations achieves the lowest rates of slip-through, but still misses edge cases."

    Found this article interesting? Follow us on Twitter  and LinkedIn to read more exclusive content we post.

    SHARE




    #malicious #pypi #package #masquerades #chimera
    Malicious PyPI Package Masquerades as Chimera Module to Steal AWS, CI/CD, and macOS Data
    Jun 16, 2025Ravie LakshmananMalware / DevOps Cybersecurity researchers have discovered a malicious package on the Python Package Indexrepository that's capable of harvesting sensitive developer-related information, such as credentials, configuration data, and environment variables, among others. The package, named chimera-sandbox-extensions, attracted 143 downloads and likely targets users of a service called Chimera Sandbox, which was released by Singaporean tech company Grab last August to facilitate "experimentation and development ofsolutions." The package masquerades as a helper module for Chimera Sandbox, but "aims to steal credentials and other sensitive information such as Jamf configuration, CI/CD environment variables, AWS tokens, and more," JFrog security researcher Guy Korolevski said in a report published last week. Once installed, it attempts to connect to an external domain whose domain name is generated using a domain generation algorithmin order to download and execute a next-stage payload. Specifically, the malware acquires from the domain an authentication token, which is then used to send a request to the same domain and retrieve the Python-based information stealer. The stealer malware is equipped to siphon a wide range of data from infected machines. This includes - JAMF receipts, which are records of software packages installed by Jamf Pro on managed computers Pod sandbox environment authentication tokens and git information CI/CD information from environment variables Zscaler host configuration Amazon Web Services account information and tokens Public IP address General platform, user, and host information The kind of data gathered by the malware shows that it's mainly geared towards corporate and cloud infrastructure. In addition, the extraction of JAMF receipts indicates that it's also capable of targeting Apple macOS systems. The collected information is sent via a POST request back to the same domain, after which the server assesses if the machine is a worthy target for further exploitation. However, JFrog said it was unable to obtain the payload at the time of analysis. "The targeted approach employed by this malware, along with the complexity of its multi-stage targeted payload, distinguishes it from the more generic open-source malware threats we have encountered thus far, highlighting the advancements that malicious packages have made recently," Jonathan Sar Shalom, director of threat research at JFrog Security Research team, said. "This new sophistication of malware underscores why development teams remain vigilant with updates—alongside proactive security research – to defend against emerging threats and maintain software integrity." The disclosure comes as SafeDep and Veracode detailed a number of malware-laced npm packages that are designed to execute remote code and download additional payloads. The packages in question are listed below - eslint-config-airbnb-compatts-runtime-compat-checksolders@mediawave/libAll the identified npm packages have since been taken down from npm, but not before they were downloaded hundreds of times from the package registry. SafeDep's analysis of eslint-config-airbnb-compat found that the JavaScript library has ts-runtime-compat-check listed as a dependency, which, in turn, contacts an external server defined in the former packageto retrieve and execute a Base64-encoded string. The exact nature of the payload is unknown. "It implements a multi-stage remote code execution attack using a transitive dependency to hide the malicious code," SafeDep researcher Kunal Singh said. Solders, on the other hand, has been found to incorporate a post-install script in its package.json, causing the malicious code to be automatically executed as soon as the package is installed. "At first glance, it's hard to believe that this is actually valid JavaScript," the Veracode Threat Research team said. "It looks like a seemingly random collection of Japanese symbols. It turns out that this particular obfuscation scheme uses the Unicode characters as variable names and a sophisticated chain of dynamic code generation to work." Decoding the script reveals an extra layer of obfuscation, unpacking which reveals its main function: Check if the compromised machine is Windows, and if so, run a PowerShell command to retrieve a next-stage payload from a remote server. This second-stage PowerShell script, also obscured, is designed to fetch a Windows batch script from another domainand configures a Windows Defender Antivirus exclusion list to avoid detection. The batch script then paves the way for the execution of a .NET DLL that reaches out to a PNG image hosted on ImgBB. "is grabbing the last two pixels from this image and then looping through some data contained elsewhere in it," Veracode said. "It ultimately builds up in memory YET ANOTHER .NET DLL." Furthermore, the DLL is equipped to create task scheduler entries and features the ability to bypass user account controlusing a combination of FodHelper.exe and programmatic identifiersto evade defenses and avoid triggering any security alerts to the user. The newly-downloaded DLL is Pulsar RAT, a "free, open-source Remote Administration Tool for Windows" and a variant of the Quasar RAT. "From a wall of Japanese characters to a RAT hidden within the pixels of a PNG file, the attacker went to extraordinary lengths to conceal their payload, nesting it a dozen layers deep to evade detection," Veracode said. "While the attacker's ultimate objective for deploying the Pulsar RAT remains unclear, the sheer complexity of this delivery mechanism is a powerful indicator of malicious intent." Crypto Malware in the Open-Source Supply Chain The findings also coincide with a report from Socket that identified credential stealers, cryptocurrency drainers, cryptojackers, and clippers as the main types of threats targeting the cryptocurrency and blockchain development ecosystem. Some of the examples of these packages include - express-dompurify and pumptoolforvolumeandcomment, which are capable of harvesting browser credentials and cryptocurrency wallet keys bs58js, which drains a victim's wallet and uses multi-hop transfers to obscure theft and frustrate forensic tracing. lsjglsjdv, asyncaiosignal, and raydium-sdk-liquidity-init, which functions as a clipper to monitor the system clipboard for cryptocurrency wallet strings and replace them with threat actor‑controlled addresses to reroute transactions to the attackers "As Web3 development converges with mainstream software engineering, the attack surface for blockchain-focused projects is expanding in both scale and complexity," Socket security researcher Kirill Boychenko said. "Financially motivated threat actors and state-sponsored groups are rapidly evolving their tactics to exploit systemic weaknesses in the software supply chain. These campaigns are iterative, persistent, and increasingly tailored to high-value targets." AI and Slopsquatting The rise of artificial intelligence-assisted coding, also called vibe coding, has unleashed another novel threat in the form of slopsquatting, where large language modelscan hallucinate non-existent but plausible package names that bad actors can weaponize to conduct supply chain attacks. Trend Micro, in a report last week, said it observed an unnamed advanced agent "confidently" cooking up a phantom Python package named starlette-reverse-proxy, only for the build process to crash with the error "module not found." However, should an adversary upload a package with the same name on the repository, it can have serious security consequences. Furthermore, the cybersecurity company noted that advanced coding agents and workflows such as Claude Code CLI, OpenAI Codex CLI, and Cursor AI with Model Context Protocol-backed validation can help reduce, but not completely eliminate, the risk of slopsquatting. "When agents hallucinate dependencies or install unverified packages, they create an opportunity for slopsquatting attacks, in which malicious actors pre-register those same hallucinated names on public registries," security researcher Sean Park said. "While reasoning-enhanced agents can reduce the rate of phantom suggestions by approximately half, they do not eliminate them entirely. Even the vibe-coding workflow augmented with live MCP validations achieves the lowest rates of slip-through, but still misses edge cases." Found this article interesting? Follow us on Twitter  and LinkedIn to read more exclusive content we post. SHARE     #malicious #pypi #package #masquerades #chimera
    THEHACKERNEWS.COM
    Malicious PyPI Package Masquerades as Chimera Module to Steal AWS, CI/CD, and macOS Data
    Jun 16, 2025Ravie LakshmananMalware / DevOps Cybersecurity researchers have discovered a malicious package on the Python Package Index (PyPI) repository that's capable of harvesting sensitive developer-related information, such as credentials, configuration data, and environment variables, among others. The package, named chimera-sandbox-extensions, attracted 143 downloads and likely targets users of a service called Chimera Sandbox, which was released by Singaporean tech company Grab last August to facilitate "experimentation and development of [machine learning] solutions." The package masquerades as a helper module for Chimera Sandbox, but "aims to steal credentials and other sensitive information such as Jamf configuration, CI/CD environment variables, AWS tokens, and more," JFrog security researcher Guy Korolevski said in a report published last week. Once installed, it attempts to connect to an external domain whose domain name is generated using a domain generation algorithm (DGA) in order to download and execute a next-stage payload. Specifically, the malware acquires from the domain an authentication token, which is then used to send a request to the same domain and retrieve the Python-based information stealer. The stealer malware is equipped to siphon a wide range of data from infected machines. This includes - JAMF receipts, which are records of software packages installed by Jamf Pro on managed computers Pod sandbox environment authentication tokens and git information CI/CD information from environment variables Zscaler host configuration Amazon Web Services account information and tokens Public IP address General platform, user, and host information The kind of data gathered by the malware shows that it's mainly geared towards corporate and cloud infrastructure. In addition, the extraction of JAMF receipts indicates that it's also capable of targeting Apple macOS systems. The collected information is sent via a POST request back to the same domain, after which the server assesses if the machine is a worthy target for further exploitation. However, JFrog said it was unable to obtain the payload at the time of analysis. "The targeted approach employed by this malware, along with the complexity of its multi-stage targeted payload, distinguishes it from the more generic open-source malware threats we have encountered thus far, highlighting the advancements that malicious packages have made recently," Jonathan Sar Shalom, director of threat research at JFrog Security Research team, said. "This new sophistication of malware underscores why development teams remain vigilant with updates—alongside proactive security research – to defend against emerging threats and maintain software integrity." The disclosure comes as SafeDep and Veracode detailed a number of malware-laced npm packages that are designed to execute remote code and download additional payloads. The packages in question are listed below - eslint-config-airbnb-compat (676 Downloads) ts-runtime-compat-check (1,588 Downloads) solders (983 Downloads) @mediawave/lib (386 Downloads) All the identified npm packages have since been taken down from npm, but not before they were downloaded hundreds of times from the package registry. SafeDep's analysis of eslint-config-airbnb-compat found that the JavaScript library has ts-runtime-compat-check listed as a dependency, which, in turn, contacts an external server defined in the former package ("proxy.eslint-proxy[.]site") to retrieve and execute a Base64-encoded string. The exact nature of the payload is unknown. "It implements a multi-stage remote code execution attack using a transitive dependency to hide the malicious code," SafeDep researcher Kunal Singh said. Solders, on the other hand, has been found to incorporate a post-install script in its package.json, causing the malicious code to be automatically executed as soon as the package is installed. "At first glance, it's hard to believe that this is actually valid JavaScript," the Veracode Threat Research team said. "It looks like a seemingly random collection of Japanese symbols. It turns out that this particular obfuscation scheme uses the Unicode characters as variable names and a sophisticated chain of dynamic code generation to work." Decoding the script reveals an extra layer of obfuscation, unpacking which reveals its main function: Check if the compromised machine is Windows, and if so, run a PowerShell command to retrieve a next-stage payload from a remote server ("firewall[.]tel"). This second-stage PowerShell script, also obscured, is designed to fetch a Windows batch script from another domain ("cdn.audiowave[.]org") and configures a Windows Defender Antivirus exclusion list to avoid detection. The batch script then paves the way for the execution of a .NET DLL that reaches out to a PNG image hosted on ImgBB ("i.ibb[.]co"). "[The DLL] is grabbing the last two pixels from this image and then looping through some data contained elsewhere in it," Veracode said. "It ultimately builds up in memory YET ANOTHER .NET DLL." Furthermore, the DLL is equipped to create task scheduler entries and features the ability to bypass user account control (UAC) using a combination of FodHelper.exe and programmatic identifiers (ProgIDs) to evade defenses and avoid triggering any security alerts to the user. The newly-downloaded DLL is Pulsar RAT, a "free, open-source Remote Administration Tool for Windows" and a variant of the Quasar RAT. "From a wall of Japanese characters to a RAT hidden within the pixels of a PNG file, the attacker went to extraordinary lengths to conceal their payload, nesting it a dozen layers deep to evade detection," Veracode said. "While the attacker's ultimate objective for deploying the Pulsar RAT remains unclear, the sheer complexity of this delivery mechanism is a powerful indicator of malicious intent." Crypto Malware in the Open-Source Supply Chain The findings also coincide with a report from Socket that identified credential stealers, cryptocurrency drainers, cryptojackers, and clippers as the main types of threats targeting the cryptocurrency and blockchain development ecosystem. Some of the examples of these packages include - express-dompurify and pumptoolforvolumeandcomment, which are capable of harvesting browser credentials and cryptocurrency wallet keys bs58js, which drains a victim's wallet and uses multi-hop transfers to obscure theft and frustrate forensic tracing. lsjglsjdv, asyncaiosignal, and raydium-sdk-liquidity-init, which functions as a clipper to monitor the system clipboard for cryptocurrency wallet strings and replace them with threat actor‑controlled addresses to reroute transactions to the attackers "As Web3 development converges with mainstream software engineering, the attack surface for blockchain-focused projects is expanding in both scale and complexity," Socket security researcher Kirill Boychenko said. "Financially motivated threat actors and state-sponsored groups are rapidly evolving their tactics to exploit systemic weaknesses in the software supply chain. These campaigns are iterative, persistent, and increasingly tailored to high-value targets." AI and Slopsquatting The rise of artificial intelligence (AI)-assisted coding, also called vibe coding, has unleashed another novel threat in the form of slopsquatting, where large language models (LLMs) can hallucinate non-existent but plausible package names that bad actors can weaponize to conduct supply chain attacks. Trend Micro, in a report last week, said it observed an unnamed advanced agent "confidently" cooking up a phantom Python package named starlette-reverse-proxy, only for the build process to crash with the error "module not found." However, should an adversary upload a package with the same name on the repository, it can have serious security consequences. Furthermore, the cybersecurity company noted that advanced coding agents and workflows such as Claude Code CLI, OpenAI Codex CLI, and Cursor AI with Model Context Protocol (MCP)-backed validation can help reduce, but not completely eliminate, the risk of slopsquatting. "When agents hallucinate dependencies or install unverified packages, they create an opportunity for slopsquatting attacks, in which malicious actors pre-register those same hallucinated names on public registries," security researcher Sean Park said. "While reasoning-enhanced agents can reduce the rate of phantom suggestions by approximately half, they do not eliminate them entirely. Even the vibe-coding workflow augmented with live MCP validations achieves the lowest rates of slip-through, but still misses edge cases." Found this article interesting? Follow us on Twitter  and LinkedIn to read more exclusive content we post. SHARE    
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  • Those Investment Ads on Facebook Are Scams

    Investment scams aren't anything new: Bad actors have long used pump-and-dump tactics to hype stocks or cryptocurrencies, preying on emotions like fear and greed. And who wouldn't want big—or even steady—returns on their money, especially amidst tariffs and other economic turmoil? Scammers are currently capitalizing on this with fraudulent Facebook ads to lure users into handing over large sums of money. Here's how to spot these schemes and avoid falling victim. Investment scams on Meta platformsAccording to a group of 42 state attorneys general, the current fraudulent investment campaigns also happen to have elements of impersonation scams. The scheme begins with ads on Facebook that feature prominent investors, including ARK Investment Management's Cathie Wood, CNBC's Joe Kernan, and Fundstrat's Tom Lee, along with other wealthy individuals like Warren Buffet and Elon Musk. If you click the ad, you'll be prompted to download or open WhatsApp to join an investment group. This is where the pump-and-dump kicks off. "Experts" in the group advise members to purchase specific stocks, inflating the price, which they in turn sell and profit from. The AG letter to Meta detailing the scam includes reports of individuals losing anywhere from to or more after clicking on a fraudulent ad on Facebook. Other investment scams originating on Facebook involve cyber criminals harvesting sensitive personal information via fraudulent investing platforms. Investment scam red flags to watch forFor many people, it seems obvious that you shouldn't get your investment advice from a Facebook ad or WhatsApp group. But fear and greed are powerful emotions, and scammers are counting on these social engineering tactics working at least some of the time. That's why you should be wary of any advice that promises an unrealistic rate of return in a short period of time with no risk of loss as well as endorsements from celebrities, political figures, and well-known investors. It's also just good practice not to click ads on Facebook, which are easy vectors for spreading scams and malware. Another sign of a scam is content or communication that appears to be generated by AI. After joining a WhatsApp group, an investigator from the New York Office of the Attorney General was called by a scammer who used AI to translate her speech into English. Unfortunately, emotions can cloud our ability to identify AI-generated content if we want to believe what we're seeing.
    #those #investment #ads #facebook #are
    Those Investment Ads on Facebook Are Scams
    Investment scams aren't anything new: Bad actors have long used pump-and-dump tactics to hype stocks or cryptocurrencies, preying on emotions like fear and greed. And who wouldn't want big—or even steady—returns on their money, especially amidst tariffs and other economic turmoil? Scammers are currently capitalizing on this with fraudulent Facebook ads to lure users into handing over large sums of money. Here's how to spot these schemes and avoid falling victim. Investment scams on Meta platformsAccording to a group of 42 state attorneys general, the current fraudulent investment campaigns also happen to have elements of impersonation scams. The scheme begins with ads on Facebook that feature prominent investors, including ARK Investment Management's Cathie Wood, CNBC's Joe Kernan, and Fundstrat's Tom Lee, along with other wealthy individuals like Warren Buffet and Elon Musk. If you click the ad, you'll be prompted to download or open WhatsApp to join an investment group. This is where the pump-and-dump kicks off. "Experts" in the group advise members to purchase specific stocks, inflating the price, which they in turn sell and profit from. The AG letter to Meta detailing the scam includes reports of individuals losing anywhere from to or more after clicking on a fraudulent ad on Facebook. Other investment scams originating on Facebook involve cyber criminals harvesting sensitive personal information via fraudulent investing platforms. Investment scam red flags to watch forFor many people, it seems obvious that you shouldn't get your investment advice from a Facebook ad or WhatsApp group. But fear and greed are powerful emotions, and scammers are counting on these social engineering tactics working at least some of the time. That's why you should be wary of any advice that promises an unrealistic rate of return in a short period of time with no risk of loss as well as endorsements from celebrities, political figures, and well-known investors. It's also just good practice not to click ads on Facebook, which are easy vectors for spreading scams and malware. Another sign of a scam is content or communication that appears to be generated by AI. After joining a WhatsApp group, an investigator from the New York Office of the Attorney General was called by a scammer who used AI to translate her speech into English. Unfortunately, emotions can cloud our ability to identify AI-generated content if we want to believe what we're seeing. #those #investment #ads #facebook #are
    LIFEHACKER.COM
    Those Investment Ads on Facebook Are Scams
    Investment scams aren't anything new: Bad actors have long used pump-and-dump tactics to hype stocks or cryptocurrencies, preying on emotions like fear and greed. And who wouldn't want big—or even steady—returns on their money, especially amidst tariffs and other economic turmoil? Scammers are currently capitalizing on this with fraudulent Facebook ads to lure users into handing over large sums of money. Here's how to spot these schemes and avoid falling victim. Investment scams on Meta platformsAccording to a group of 42 state attorneys general, the current fraudulent investment campaigns also happen to have elements of impersonation scams. The scheme begins with ads on Facebook that feature prominent investors, including ARK Investment Management's Cathie Wood, CNBC's Joe Kernan, and Fundstrat's Tom Lee, along with other wealthy individuals like Warren Buffet and Elon Musk (none of whom have any actual affiliation with the ad). If you click the ad, you'll be prompted to download or open WhatsApp to join an investment group. This is where the pump-and-dump kicks off. "Experts" in the group advise members to purchase specific stocks, inflating the price, which they in turn sell and profit from. The AG letter to Meta detailing the scam includes reports of individuals losing anywhere from $40,000 to $100,000 or more after clicking on a fraudulent ad on Facebook. Other investment scams originating on Facebook involve cyber criminals harvesting sensitive personal information via fraudulent investing platforms (also by spoofing celebrity endorsements). Investment scam red flags to watch forFor many people, it seems obvious that you shouldn't get your investment advice from a Facebook ad or WhatsApp group. But fear and greed are powerful emotions, and scammers are counting on these social engineering tactics working at least some of the time. That's why you should be wary of any advice that promises an unrealistic rate of return in a short period of time with no risk of loss as well as endorsements from celebrities, political figures, and well-known investors (who are almost certainly not endorsing anything). It's also just good practice not to click ads on Facebook, which are easy vectors for spreading scams and malware. Another sign of a scam is content or communication that appears to be generated by AI. After joining a WhatsApp group, an investigator from the New York Office of the Attorney General was called by a scammer who used AI to translate her speech into English. Unfortunately, emotions can cloud our ability to identify AI-generated content if we want to believe what we're seeing.
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  • Is the Newly Revealed Xbox Handheld a Switch 2 Killer?

    Home Is the Newly Revealed Xbox Handheld a Switch 2 Killer?

    News

    Is the Newly Revealed Xbox Handheld a Switch 2 Killer?

    6 min read

    Published: June 14, 2025

    Key Takeaways

    Xbox has announced two new handheld gaming devices in partnership with Asus: the ROG Xbox Ally and ROG Xbox Ally X.
    They’re expected to compete with Nintendo’s Switch 2, which has sold 3.5M units in just 4 days of its launch.
    Xbox aims to bring a wide range of game titles to portable handheld devices in order to cater to the gaming PC market.

    Xbox has entered the handheld gaming market with two new launches: the ROG Xbox Ally and ROG Xbox Ally X in partnership with ASUS.
    Interestingly, Nintendo released its Switch 2 just last week. The public has received it with much enthusiasm, seeing as it’s already sold around 3.5M units in the first four days of its release.
    Needless to say, Xbox and Nintendo will be direct competitors in the handheld segment now. We looked at the spec sheets and customer reviews, and both handheld gaming devices seem to have different target audiences.
    Let’s unpack them in detail.
    Memory and Storage
    The ROG Xbox Ally comes in standard white color and features the AMD Ryzen Z2 A Processor with 16GB of memory and 512GB of storage, with a 60Wh battery. The Ally X, on the other hand, comes in striking black with the AMD Ryzen AI Z2 Extreme Processor, 24 GB of memory, and 1 TB of storage, and a 80Wh battery.

    Source: Rog Ally Life
    Right off the bat, we believe that Microsoft has done a good job with the storage and processors. In comparison, the Nintendo Switch 2 has 12GB of memory with just 256GB of internal storage. On paper, the Xbox series looks to have an advantage over the Switch 2, which uses a custom NVIDIA T239 chipset for raw power.

    Nvidia’s DLSS, however, gives Switch 2 an advantage over Xbox’s AMD Ryzen processors. DLSS can render games at lower resolutions and, therefore, achieve higher in-use frame rates, which boosts its overall performance.
    Simply put, despite the gap in on-paper specifications, the Switch 2 may render comparable performance to the Xbox Ally. Take this with a pinch of salt, though, because we’ll only be able to confirm this once we get our hands on the new Xbox handhelds.
    Display
    Both the Xbox handhelds feature a 7-inch Full HDscreen with a 120 Hz refresh rate. In comparison, the Switch 2 screen is bigger, with a 7.9-inch display, also rendering at 120 Hz. However, Switch 2 also features HDR10, giving it a significant edge over Xbox Ally.

    HDR10 ensures a much wider range of brightness levels and a broader spectrum of colors, so the display looks more vibrant and lifelike. Plus, you’ll see more detailed blacks and whites on the screen with better realism and depth, enhancing your overall gaming experience.
    The Switch 2 also features VRR technology, which prevents screen tearing and reduces stutter. Notably, the Xbox Ally range has its own version of the VRR, FreeSync Premium. So, truth be told, you might not experience much of a difference in that area. However, HDR10 can definitely prove to be a winner for Switch 2.
    Product Market Fit
    While both the Switch 2 and new Xbox handhelds are apparently the same genre of products, Microsoft and Nintendo seem to have different target markets in their minds.
    Microsoft is focusing more on the Windows handheld market, targeting players who want an on-the-go PC gaming experience. With access to Game Pass and titles from Steam and Epic Games, the Xbox Ally offers a more comprehensive library of games.
    Nintendo, on the other hand, looks to build on the legacy of the OG Nintendo Switch, which has sold 152M units since its launch in 2017. It aims to tap in on the Nintendo fan base with original titles such as Mario and an improved gaming experience.
    Also, Xbox is in direct competition with Valve’s Steam Deck. Both are essentially handheld PCs with wide access to PC-compatible aggregated game libraries on the go.
    Xbox is also introducing the ‘Xbox Experience for Handheld’ feature for its new Ally range, which will make Windows 11 more compatible and optimized for its handheld device – something similar to Valve’s SteamOS on the Steam Deck.
    Xbox Exploring a New Market Segment
    The global mobile and handheld gaming market is expected to expand at a rate of 13.8% CAGR till 2034. It may reach a market value of B. 
    Valve’s Steam Deck managed to sell around 3.7M units by the end of 2024. On the other hand, Windows-based devices like the ASUS ROG Ally, Lenovo Legion Go, and MSI Claw have sold ~5.9M units so far as per early 2025 reports. This shows there’s certainly demand for Windows-based handheld gaming devices. 
    Plus, Xbox’s partnership with ASUS could bring along a brand-value advantage for the product. With a seamless Windows 11 experience on an on-the-go device, these sales figures are expected to swell once the Xbox Ally hits the shelves.
    However, pricing will be a key determinant. The Switch 2 currently sells at – or with the Mario Kart bundle. The Steam Deck starts at and goes up to This means that the price range according to the current market demand is around -Anything more than that may result in market adoption issues.
    The original ASUS ROG Ally is currently priced at There’s little doubt, however, that Xbox would add a premium to this price. So, we’re expecting the price of the ROG Xbox Ally to be around while the ROG Xbox Ally X may cost more than This means that Xbox will be participating in the premium handheld gaming sector, which is something Nintendo and Steam do not cater to.
    Let’s wait for confirmation regarding the pricing and the launch date. Remember, this was only a feature comparison of the two products, and we’re yet to test them out for a detailed hands-on gaming experience comparison. Stick around for that.

    Krishi is a seasoned tech journalist with over four years of experience writing about PC hardware, consumer technology, and artificial intelligence.  Clarity and accessibility are at the core of Krishi’s writing style.
    He believes technology writing should empower readers—not confuse them—and he’s committed to ensuring his content is always easy to understand without sacrificing accuracy or depth.
    Over the years, Krishi has contributed to some of the most reputable names in the industry, including Techopedia, TechRadar, and Tom’s Guide. A man of many talents, Krishi has also proven his mettle as a crypto writer, tackling complex topics with both ease and zeal. His work spans various formats—from in-depth explainers and news coverage to feature pieces and buying guides. 
    Behind the scenes, Krishi operates from a dual-monitor setupthat’s always buzzing with news feeds, technical documentation, and research notes, as well as the occasional gaming sessions that keep him fresh. 
    Krishi thrives on staying current, always ready to dive into the latest announcements, industry shifts, and their far-reaching impacts.  When he's not deep into research on the latest PC hardware news, Krishi would love to chat with you about day trading and the financial markets—oh! And cricket, as well.

    View all articles by Krishi Chowdhary

    Our editorial process

    The Tech Report editorial policy is centered on providing helpful, accurate content that offers real value to our readers. We only work with experienced writers who have specific knowledge in the topics they cover, including latest developments in technology, online privacy, cryptocurrencies, software, and more. Our editorial policy ensures that each topic is researched and curated by our in-house editors. We maintain rigorous journalistic standards, and every article is 100% written by real authors.

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    #newly #revealed #xbox #handheld #switch
    Is the Newly Revealed Xbox Handheld a Switch 2 Killer?
    Home Is the Newly Revealed Xbox Handheld a Switch 2 Killer? News Is the Newly Revealed Xbox Handheld a Switch 2 Killer? 6 min read Published: June 14, 2025 Key Takeaways Xbox has announced two new handheld gaming devices in partnership with Asus: the ROG Xbox Ally and ROG Xbox Ally X. They’re expected to compete with Nintendo’s Switch 2, which has sold 3.5M units in just 4 days of its launch. Xbox aims to bring a wide range of game titles to portable handheld devices in order to cater to the gaming PC market. Xbox has entered the handheld gaming market with two new launches: the ROG Xbox Ally and ROG Xbox Ally X in partnership with ASUS. Interestingly, Nintendo released its Switch 2 just last week. The public has received it with much enthusiasm, seeing as it’s already sold around 3.5M units in the first four days of its release. Needless to say, Xbox and Nintendo will be direct competitors in the handheld segment now. We looked at the spec sheets and customer reviews, and both handheld gaming devices seem to have different target audiences. Let’s unpack them in detail. Memory and Storage The ROG Xbox Ally comes in standard white color and features the AMD Ryzen Z2 A Processor with 16GB of memory and 512GB of storage, with a 60Wh battery. The Ally X, on the other hand, comes in striking black with the AMD Ryzen AI Z2 Extreme Processor, 24 GB of memory, and 1 TB of storage, and a 80Wh battery. Source: Rog Ally Life Right off the bat, we believe that Microsoft has done a good job with the storage and processors. In comparison, the Nintendo Switch 2 has 12GB of memory with just 256GB of internal storage. On paper, the Xbox series looks to have an advantage over the Switch 2, which uses a custom NVIDIA T239 chipset for raw power. Nvidia’s DLSS, however, gives Switch 2 an advantage over Xbox’s AMD Ryzen processors. DLSS can render games at lower resolutions and, therefore, achieve higher in-use frame rates, which boosts its overall performance. Simply put, despite the gap in on-paper specifications, the Switch 2 may render comparable performance to the Xbox Ally. Take this with a pinch of salt, though, because we’ll only be able to confirm this once we get our hands on the new Xbox handhelds. Display Both the Xbox handhelds feature a 7-inch Full HDscreen with a 120 Hz refresh rate. In comparison, the Switch 2 screen is bigger, with a 7.9-inch display, also rendering at 120 Hz. However, Switch 2 also features HDR10, giving it a significant edge over Xbox Ally. HDR10 ensures a much wider range of brightness levels and a broader spectrum of colors, so the display looks more vibrant and lifelike. Plus, you’ll see more detailed blacks and whites on the screen with better realism and depth, enhancing your overall gaming experience. The Switch 2 also features VRR technology, which prevents screen tearing and reduces stutter. Notably, the Xbox Ally range has its own version of the VRR, FreeSync Premium. So, truth be told, you might not experience much of a difference in that area. However, HDR10 can definitely prove to be a winner for Switch 2. Product Market Fit While both the Switch 2 and new Xbox handhelds are apparently the same genre of products, Microsoft and Nintendo seem to have different target markets in their minds. Microsoft is focusing more on the Windows handheld market, targeting players who want an on-the-go PC gaming experience. With access to Game Pass and titles from Steam and Epic Games, the Xbox Ally offers a more comprehensive library of games. Nintendo, on the other hand, looks to build on the legacy of the OG Nintendo Switch, which has sold 152M units since its launch in 2017. It aims to tap in on the Nintendo fan base with original titles such as Mario and an improved gaming experience. Also, Xbox is in direct competition with Valve’s Steam Deck. Both are essentially handheld PCs with wide access to PC-compatible aggregated game libraries on the go. Xbox is also introducing the ‘Xbox Experience for Handheld’ feature for its new Ally range, which will make Windows 11 more compatible and optimized for its handheld device – something similar to Valve’s SteamOS on the Steam Deck. Xbox Exploring a New Market Segment The global mobile and handheld gaming market is expected to expand at a rate of 13.8% CAGR till 2034. It may reach a market value of B.  Valve’s Steam Deck managed to sell around 3.7M units by the end of 2024. On the other hand, Windows-based devices like the ASUS ROG Ally, Lenovo Legion Go, and MSI Claw have sold ~5.9M units so far as per early 2025 reports. This shows there’s certainly demand for Windows-based handheld gaming devices.  Plus, Xbox’s partnership with ASUS could bring along a brand-value advantage for the product. With a seamless Windows 11 experience on an on-the-go device, these sales figures are expected to swell once the Xbox Ally hits the shelves. However, pricing will be a key determinant. The Switch 2 currently sells at – or with the Mario Kart bundle. The Steam Deck starts at and goes up to This means that the price range according to the current market demand is around -Anything more than that may result in market adoption issues. The original ASUS ROG Ally is currently priced at There’s little doubt, however, that Xbox would add a premium to this price. So, we’re expecting the price of the ROG Xbox Ally to be around while the ROG Xbox Ally X may cost more than This means that Xbox will be participating in the premium handheld gaming sector, which is something Nintendo and Steam do not cater to. Let’s wait for confirmation regarding the pricing and the launch date. Remember, this was only a feature comparison of the two products, and we’re yet to test them out for a detailed hands-on gaming experience comparison. Stick around for that. Krishi is a seasoned tech journalist with over four years of experience writing about PC hardware, consumer technology, and artificial intelligence.  Clarity and accessibility are at the core of Krishi’s writing style. He believes technology writing should empower readers—not confuse them—and he’s committed to ensuring his content is always easy to understand without sacrificing accuracy or depth. Over the years, Krishi has contributed to some of the most reputable names in the industry, including Techopedia, TechRadar, and Tom’s Guide. A man of many talents, Krishi has also proven his mettle as a crypto writer, tackling complex topics with both ease and zeal. His work spans various formats—from in-depth explainers and news coverage to feature pieces and buying guides.  Behind the scenes, Krishi operates from a dual-monitor setupthat’s always buzzing with news feeds, technical documentation, and research notes, as well as the occasional gaming sessions that keep him fresh.  Krishi thrives on staying current, always ready to dive into the latest announcements, industry shifts, and their far-reaching impacts.  When he's not deep into research on the latest PC hardware news, Krishi would love to chat with you about day trading and the financial markets—oh! And cricket, as well. View all articles by Krishi Chowdhary Our editorial process The Tech Report editorial policy is centered on providing helpful, accurate content that offers real value to our readers. We only work with experienced writers who have specific knowledge in the topics they cover, including latest developments in technology, online privacy, cryptocurrencies, software, and more. Our editorial policy ensures that each topic is researched and curated by our in-house editors. We maintain rigorous journalistic standards, and every article is 100% written by real authors. More from News View all View all #newly #revealed #xbox #handheld #switch
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    Is the Newly Revealed Xbox Handheld a Switch 2 Killer?
    Home Is the Newly Revealed Xbox Handheld a Switch 2 Killer? News Is the Newly Revealed Xbox Handheld a Switch 2 Killer? 6 min read Published: June 14, 2025 Key Takeaways Xbox has announced two new handheld gaming devices in partnership with Asus: the ROG Xbox Ally and ROG Xbox Ally X. They’re expected to compete with Nintendo’s Switch 2, which has sold 3.5M units in just 4 days of its launch. Xbox aims to bring a wide range of game titles to portable handheld devices in order to cater to the gaming PC market. Xbox has entered the handheld gaming market with two new launches: the ROG Xbox Ally and ROG Xbox Ally X in partnership with ASUS. Interestingly, Nintendo released its Switch 2 just last week. The public has received it with much enthusiasm, seeing as it’s already sold around 3.5M units in the first four days of its release. Needless to say, Xbox and Nintendo will be direct competitors in the handheld segment now. We looked at the spec sheets and customer reviews, and both handheld gaming devices seem to have different target audiences. Let’s unpack them in detail. Memory and Storage The ROG Xbox Ally comes in standard white color and features the AMD Ryzen Z2 A Processor with 16GB of memory and 512GB of storage, with a 60Wh battery. The Ally X, on the other hand, comes in striking black with the AMD Ryzen AI Z2 Extreme Processor, 24 GB of memory, and 1 TB of storage, and a 80Wh battery. Source: Rog Ally Life Right off the bat, we believe that Microsoft has done a good job with the storage and processors. In comparison, the Nintendo Switch 2 has 12GB of memory with just 256GB of internal storage. On paper, the Xbox series looks to have an advantage over the Switch 2, which uses a custom NVIDIA T239 chipset for raw power. Nvidia’s DLSS (Deep Learning Super-Sampling), however, gives Switch 2 an advantage over Xbox’s AMD Ryzen processors. DLSS can render games at lower resolutions and, therefore, achieve higher in-use frame rates, which boosts its overall performance. Simply put, despite the gap in on-paper specifications, the Switch 2 may render comparable performance to the Xbox Ally. Take this with a pinch of salt, though, because we’ll only be able to confirm this once we get our hands on the new Xbox handhelds. Display Both the Xbox handhelds feature a 7-inch Full HD (FHD) screen with a 120 Hz refresh rate. In comparison, the Switch 2 screen is bigger, with a 7.9-inch display, also rendering at 120 Hz. However, Switch 2 also features HDR10, giving it a significant edge over Xbox Ally. HDR10 ensures a much wider range of brightness levels and a broader spectrum of colors, so the display looks more vibrant and lifelike. Plus, you’ll see more detailed blacks and whites on the screen with better realism and depth, enhancing your overall gaming experience. The Switch 2 also features VRR technology, which prevents screen tearing and reduces stutter. Notably, the Xbox Ally range has its own version of the VRR, FreeSync Premium. So, truth be told, you might not experience much of a difference in that area. However, HDR10 can definitely prove to be a winner for Switch 2. Product Market Fit While both the Switch 2 and new Xbox handhelds are apparently the same genre of products, Microsoft and Nintendo seem to have different target markets in their minds. Microsoft is focusing more on the Windows handheld market, targeting players who want an on-the-go PC gaming experience. With access to Game Pass and titles from Steam and Epic Games, the Xbox Ally offers a more comprehensive library of games. Nintendo, on the other hand, looks to build on the legacy of the OG Nintendo Switch, which has sold 152M units since its launch in 2017. It aims to tap in on the Nintendo fan base with original titles such as Mario and an improved gaming experience. Also, Xbox is in direct competition with Valve’s Steam Deck. Both are essentially handheld PCs with wide access to PC-compatible aggregated game libraries on the go. Xbox is also introducing the ‘Xbox Experience for Handheld’ feature for its new Ally range, which will make Windows 11 more compatible and optimized for its handheld device – something similar to Valve’s SteamOS on the Steam Deck. Xbox Exploring a New Market Segment The global mobile and handheld gaming market is expected to expand at a rate of 13.8% CAGR till 2034. It may reach a market value of $35.189B.  Valve’s Steam Deck managed to sell around 3.7M units by the end of 2024. On the other hand, Windows-based devices like the ASUS ROG Ally, Lenovo Legion Go, and MSI Claw have sold ~5.9M units so far as per early 2025 reports. This shows there’s certainly demand for Windows-based handheld gaming devices.  Plus, Xbox’s partnership with ASUS could bring along a brand-value advantage for the product. With a seamless Windows 11 experience on an on-the-go device, these sales figures are expected to swell once the Xbox Ally hits the shelves. However, pricing will be a key determinant. The Switch 2 currently sells at $449.99 – or $499.99 with the Mario Kart bundle. The Steam Deck starts at $399.00 and goes up to $649. This means that the price range according to the current market demand is around $400-$600. Anything more than that may result in market adoption issues. The original ASUS ROG Ally is currently priced at $499. There’s little doubt, however, that Xbox would add a premium to this price. So, we’re expecting the price of the ROG Xbox Ally to be around $600, while the ROG Xbox Ally X may cost more than $700. This means that Xbox will be participating in the premium handheld gaming sector, which is something Nintendo and Steam do not cater to. Let’s wait for confirmation regarding the pricing and the launch date. Remember, this was only a feature comparison of the two products, and we’re yet to test them out for a detailed hands-on gaming experience comparison. Stick around for that. Krishi is a seasoned tech journalist with over four years of experience writing about PC hardware, consumer technology, and artificial intelligence.  Clarity and accessibility are at the core of Krishi’s writing style. He believes technology writing should empower readers—not confuse them—and he’s committed to ensuring his content is always easy to understand without sacrificing accuracy or depth. Over the years, Krishi has contributed to some of the most reputable names in the industry, including Techopedia, TechRadar, and Tom’s Guide. A man of many talents, Krishi has also proven his mettle as a crypto writer, tackling complex topics with both ease and zeal. His work spans various formats—from in-depth explainers and news coverage to feature pieces and buying guides.  Behind the scenes, Krishi operates from a dual-monitor setup (including a 29-inch LG UltraWide) that’s always buzzing with news feeds, technical documentation, and research notes, as well as the occasional gaming sessions that keep him fresh.  Krishi thrives on staying current, always ready to dive into the latest announcements, industry shifts, and their far-reaching impacts.  When he's not deep into research on the latest PC hardware news, Krishi would love to chat with you about day trading and the financial markets—oh! And cricket, as well. View all articles by Krishi Chowdhary Our editorial process The Tech Report editorial policy is centered on providing helpful, accurate content that offers real value to our readers. We only work with experienced writers who have specific knowledge in the topics they cover, including latest developments in technology, online privacy, cryptocurrencies, software, and more. Our editorial policy ensures that each topic is researched and curated by our in-house editors. We maintain rigorous journalistic standards, and every article is 100% written by real authors. More from News View all View all
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