Schedule 1, the silly-looking drug-dealing game that took the gaming community by storm a few months back, got a new patch today, and it's headlined by the addition of an off-road skateboard. It also includes some bug fixes, tweaks, and improvements, such as a change to how stamina is consumed while skateboarding.The off-road skateboard is added to the inventory on sale at the Shred Shack, where it'll cost you $1,500. While minor in the grand scheme of things, it lets you live out your mountain-boarding dreams. If you're of a certain age, it might even let you reminisce about the mountain-board levels in Rocket Power: Beach Bandits for the PS2.This patch also tweaks a couple of other skateboarding-related things. First, the developer notes that it implemented some minor changes for skateboard animations. Second, stamina consumption while on a skateboard has changed from instantaneous to gradual, which will likely smooth out the skateboarding experience.Continue Reading at GameSpot

At GTC Paris — held alongside VivaTech, Europe’s largest tech event — NVIDIA founder and CEO Jensen Huang delivered a clear message: Europe isn’t just adopting AI — it’s building it. “We now have a new industry, an AI industry, and it’s now part of the new infrastructure, called intelligence infrastructure, that will be used by every country, every society,” Huang said, addressing an audience gathered online and at the iconic Dôme de Paris. From exponential inference growth to quantum breakthroughs, and from infrastructure to industry, agentic AI to robotics, Huang outlined how the region is laying the groundwork for an AI-powered future. A New Industrial Revolution At the heart of this transformation, Huang explained, are systems like GB200 NVL72 — “one giant GPU” and NVIDIA’s most powerful AI platform yet — now in full production and powering everything from sovereign models to quantum computing. “This machine was designed to be a thinking machine, a thinking machine, in the sense that it reasons, it plans, it spends a lot of time talking to itself,” Huang said, walking the audience through the size and scale of these machines and their performance. At GTC Paris, Huang showed audience members the innards of some of NVIDIA’s latest hardware. There’s more coming, with Huang saying NVIDIA’s partners are now producing 1,000 GB200 systems a week, “and this is just the beginning.” He walked the audience through a range of available systems ranging from the tiny NVIDIA DGX Spark to rack-mounted RTX PRO Servers. Huang explained that NVIDIA is working to help countries use technologies like these to build both AI infrastructure — services built for third parties to use and innovate on — and AI factories, which companies build for their own use, to generate revenue. NVIDIA is partnering with European governments, telcos and cloud providers to deploy NVIDIA technologies across the region. NVIDIA is also expanding its network of technology centers across Europe — including new hubs in Finland, Germany, Spain, Italy and the U.K. — to accelerate skills development and quantum growth. Quantum Meets Classical Europe’s quantum ambitions just got a boost. The NVIDIA CUDA-Q platform is live on Denmark’s Gefion supercomputer, opening new possibilities for hybrid AI and quantum engineering. In addition, Huang announced that CUDA-Q is now available on NVIDIA Grace Blackwell systems. Across the continent, NVIDIA is partnering with supercomputing centers and quantum hardware builders to advance hybrid quantum-AI research and accelerate quantum error correction. “Quantum computing is reaching an inflection point,” Huang said. “We are within reach of being able to apply quantum computing, quantum classical computing, in areas that can solve some interesting problems in the coming years.” Sovereign Models, Smarter Agents European developers want more control over their models. Enter NVIDIA Nemotron, designed to help build large language models tuned to local needs. “And so now you know that you have access to an enhanced open model that is still open, that is top of the leader chart,” Huang said. These models will be coming to Perplexity, a reasoning search engine, enabling secure, multilingual AI deployment across Europe. “You can now ask and get questions answered in the language, in the culture, in the sensibility of your country,” Huang said. Huang explained how NVIDIA is helping countries across Europe build AI infrastructure. Every company will build its own agents, Huang said. To help create those agents, Huang introduced a suite of agentic AI blueprints, including an Agentic AI Safety blueprint for enterprises and governments. The new NVIDIA NeMo Agent toolkit and NVIDIA AI Blueprint for building data flywheels further accelerate the development of safe, high-performing AI agents. To help deploy these agents, NVIDIA is partnering with European governments, telcos and cloud providers to deploy the DGX Cloud Lepton platform across the region, providing instant access to accelerated computing capacity. “One model architecture, one deployment, and you can run it anywhere,” Huang said, adding that Lepton is now integrated with Hugging Face, giving developers direct access to global compute. The Industrial Cloud Goes Live AI isn’t just virtual. It’s powering physical systems, too, sparking a new industrial revolution. “We’re working on industrial AI with one company after another,” Huang said, describing work to build digital twins based on the NVIDIA Omniverse platform with companies across the continent. Huang explained that everything he showed during his keynote was “computer simulation, not animation” and that it looks beautiful because “it turns out the world is beautiful, and it turns out math is beautiful.” To further this work, Huang announced NVIDIA is launching the world’s first industrial AI cloud — to be built in Germany — to help Europe’s manufacturers simulate, automate and optimize at scale. “Soon, everything that moves will be robotic,” Huang said. “And the car is the next one.” NVIDIA DRIVE, NVIDIA’s full-stack AV platform, is now in production to accelerate the large-scale deployment of safe, intelligent transportation. And to show what’s coming next, Huang was joined on stage by Grek, a pint-sized robot, as Huang talked about how NVIDIA partnered with DeepMind and Disney to build Newton, the world’s most advanced physics training engine for robotics. The Next Wave The next wave of AI has begun — and it’s exponential, Huang explained. “We have physical robots, and we have information robots. We call them agents,” Huang said. “The technology necessary to teach a robot to manipulate, to simulate — and of course, the manifestation of an incredible robot — is now right in front of us.” This new era of AI is being driven by a surge in inference workloads. “The number of people using inference has gone from 8 million to 800 million — 100x in just a couple of years,” Huang said. To meet this demand, Huang emphasized the need for a new kind of computer: “We need a special computer designed for thinking, designed for reasoning. And that’s what Blackwell is — a thinking machine.” Huang and Grek, as he explained how AI is driving advancements in robotics. These Blackwell-powered systems will live in a new class of data centers — AI factories — built to generate tokens, the raw material of modern intelligence. “These AI factories are going to generate tokens,” Huang said, turning to Grek with a smile. “And these tokens are going to become your food, little Grek.” With that, the keynote closed on a bold vision: a future powered by sovereign infrastructure, agentic AI, robotics — and exponential inference — all built in partnership with Europe. Watch the NVIDIA GTC Paris keynote from Huang at VivaTech and explore GTC Paris sessions.

The Slime is one of the Minecraft mobs that initially appears hostile, but upon killing it you will find useful items for many sought-after crafting recipes in the survival game. We've got all you need to know on how to find and kill Slimes in Minecraft, as well as the items they drop, Slimeball crafting recipes, and more.Table of Contents [hide]How to find Slimes in MinecraftHow to find Slimes in MinecraftSlimes spawn in the overworld only, in specific slime chunks. These are all below layer 40, and you can show your Minecraft coordinates to see how close you are. Unlike most mobs, it doesn't matter what light level the environment is at for them to spawn. They can also spawn in swamp biomes between layers 51 and 69 if the light level is seven or less. Slimes spawn regardless of weather conditions. In swamps and mangrove swamps, slimes spawn most often on a full moon, but never on a new moon. Slimes will never spawn in mushroom fields or deep dark biomes.The Slime is a green cube in Minecraft, and is a hostile mob.Slimes do not spawn within 24 blocks of any player, and they despawn over time if no player is within 32 blocks. They despawn instantly if no player is within 128 blocks in Java edition, or 44 to 128 blocks in Bedrock depending on the simulation distance setting.Continue Reading at GameSpot

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.”

New monsters, features, and more arrive in the Forbidden Lands with Free Title Update 2, dropping in Monster Hunter Wilds on June 30! Watch the latest trailer for a look at what awaits you. Play Video Monster Hunter Wilds – Free Title Update 2 In addition to what’s featured in the trailer, Free Title Update 2 will also feature improvements and adjustments to various aspects of the game. Make sure to check the official Monster Hunter Wilds website for a new Director’s Letter from Game Director Yuya Tokuda coming soon, for a deeper dive into what’s coming in addition to the core new monsters and features. ● The Leviathan, Lagiacrus, emerges at last View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image The long-awaited Leviathan, Lagiacrus, has finally appeared in Monster Hunter Wilds! Floating at the top of the aquatic food chain, Lagiacrus is a master of the sea, boiling the surrounding water by emitting powerful currents of electricity. New missions to hunt Lagiacrus will become available for hunters at Hunter Rank 31 or above, and after clearing the “A World Turned Upside Down” main mission, and the “Forest Doshaguma” side mission. While you’ll fight Lagiacrus primarily on land, your hunt against this formidable foe can also take you deep underwater for a special encounter, where it feels most at home. During the underwater portion of the hunt, hunters won’t be able to use their weapons freely, but there are still ways to fight back and turn the tide of battle. Stay alert for your opportunities! Hunt Lagiacrus to obtain materials for new hunter and Palico armor! As usual, these sets can be used as layered armor as well. ● The Flying Wyvern, Seregios, strikes View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image Shining golden bright, the flying wyvern, Seregios, swoops into the Forbidden Lands with Free Title Update 2! Seregios is a highly mobile aerial monster that fires sharp bladescales, inflicting bleeding status on hunters. Keep an eye on your health and bring along rations and well-done steak when hunting this monster. Missions to hunt Seregios are available for hunters at HR 31 or above that have cleared the “A World Turned Upside Down” main mission. New hunter and Palico armor forged from Seregios materials awaits you! For hunters looking for a greater challenge, 8★ Tempered Lagiacrus and Seregios will begin appearing for hunters at HR 41 or higher, after completing their initial missions. Best of luck against these powerful monsters! Hunt in style with layered weapons With Free Title Update 2, hunters will be able to use Layered Weapons, which lets you use the look of any weapon, while keeping the stats and abilities of another. To unlock a weapon design as a Layered Weapon option, you’ll need to craft the final weapon in that weapon’s upgrade tree. Artian Weapons can be used as layered weapons by fully reinforcing a Rarity 8 Artian weapon. For weapons that change in appearance when upgraded, you’ll also have the option to use their pre-upgrade designs as well! You can also craft layered Palico weapons by forging their high-rank weapons. We hope this feature encourages you to delve deeper into crafting the powerful Artian Weapon you’ve been looking for, all while keeping the appearance of your favorite weapon. New optional features Change your choice of handler accompanying you in the field to Eric after completing the Lagiacrus mission in Free Title Update 2! You can always switch back to Alma too, but it doesn’t hurt to give our trusty handler a break from time to time. A new Support Hunter joins the fray Mina, a support hunter who wields a Sword & Shield, joins the hunt. With Free Title Update 2, you’ll be able to choose which support hunters can join you on quests. Photo Mode Improvements Snap even more creative photos of your hunts with some new options, including an Effects tab to adjust brightness and filter effects, and a Character Display tab to toggle off your Handler, Palico, Seikret, and more. Celebrate summer with the Festival of Accord: Flamefete seasonal event View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image The next seasonal event in Monster Hunter Wilds, the Festival of Accord: Flamefete, will take place in the Grand Hub from July 23 to August 6! Cool off with this summer themed celebration, where you can obtain new armor, gestures, and pop-up camp decorations for a limited time. You’ll also be able to eat special seasonal event meals and enjoy the fun of summer as the Grand Hub and all it’s members will be dressed to mark the occasion. Arch-Tempered Uth Duna slams down starting July 30 Take on an even more powerful version of Uth Duna when Arch-Tempered Uth Duna arrives as an Event Quest and Free Challenge Quest from July 30 to August 20! Take on and defeat the challenging apex of the Scarlet Forest to obtain materials for crafting the new Uth Duna γ hunter armor set and the Felyne Uth Duna γ Palico armor set. Be sure you’re at least HR 50 or above to take on this quest. We’ve also got plenty of new Event Quests on the way in the weeks ahead, including some where you can earn new special equipment, quests to obtain more armor spheres, and challenge quests against Mizutsune. Be sure to keep checking back each week to see what’s new! A special collaboration with Fender Monster Hunter Wilds is collaborating with world-renowned guitar brand Fender®! From August 27 to September 24, a special Event Quest will be available to earn a collaboration gesture that lets you rock out with the Monster Hunter Rathalos Telecaster®. In celebration of Monster Hunter’s 20th anniversary, the globally released Monster Hunter Rathalos Telecaster® collaboration guitar is making its way into the game! Be sure to experience it both in-game and in real life! A new round of cosmetic DLC arrives View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image Express your style with additional DLC, including four free dance gestures. Paid cosmetic DLC, such as gestures, stickers, pendants, and more will also be available. If you’ve purchased the Premium Deluxe Edition of Monster Hunter Wilds or the Cosmetic DLC Pass, Cosmetic DLC Pack 2 and other additional items will be available to download when Free Title Update 2 releases.  Free Title Update roadmap We hope you’re excited to dive into all the content coming with Free Title Update 2! We’ll continue to release updates, with Free Title Update 3 coming at the end of September. Stay tuned for more details to come. A Monster Hunter Wilds background is added to the PS5 Welcome hub Alongside Free Title Update 2 on June 30, an animated background featuring the hunters facing Arkveld during the Inclemency will be added to the Welcome hub. Customize your PS5 Welcome hub with Monster Hunter Wilds to get you in the hunting mood. View and download image Download the image close Close Download this image How to change the backgroundWelcome hub -> Change background -> Games Try out Monster Hunter Wilds on PS5 with a PlayStation Plus Premium Game Trial starting on June 30 View and download image Download the image close Close Download this image With the Game Trial, you can try out the full version of the game for 2 hours. If you decide to purchase the full version after the trial, your save data will carry over, allowing you to continue playing seamlessly right where you left off. If you haven’t played Monster Hunter Wilds yet, this is a great way to give it a try. Happy Hunting!

A favourite thing for the developers behind a complex software project is to embed an Easter egg: something unexpected that can be revealed only by those in the know. Apple …read more

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animation, animation techniques, L'animation côté coulisses, stop-motion, 2D animation, 3D animation, animation exhibition, film creation, Gentilly, Lavoir Numérique ## Introduction Ah, animation—the magical world where characters come to life, and childhood fantasies dance across the screen. But have you ever paused to wonder what lies behind the curtain of this animated spectacle? If you’ve...