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.”

Hi, friends! Welcome to Installer No. 87, your guide to the best and Verge-iest stuff in the world. (If you’re new here, welcome, happy It’s Officially Too Hot Now Week, and also you can read all the old editions at the Installer homepage.) This week, I’ve been reading about Sabrina Carpenter and Khaby Lame and intimacy coordinators, finally making a dent in Barbarians at the Gate, watching all the Ben Schwartz and Friends I can find on YouTube, planning my days with the new Finalist beta, recklessly installing all the Apple developer betas after WWDC, thoroughly enjoying Dakota Johnson’s current press tour, and trying to clear all my inboxes before I go on parental leave. It’s… going.I also have for you a much-awaited new browser, a surprise update to a great photo editor, a neat trailer for a meh-looking movie, a classic Steve Jobs speech, and much more. Slightly shorter issue this week, sorry; there’s just a lot going on, but I didn’t want to leave y’all hanging entirely. Oh, and: we’ll be off next week, for Juneteenth, vacation, and general summer chaos reasons. We’ll be back in full force after that, though! Let’s get into it.(As always, the best part of Installer is your ideas and tips. What do you want to know more about? What awesome tricks do you know that everyone else should? What app should everyone be using? Tell me everything: installer@theverge.com. And if you know someone else who might enjoy Installer, forward it to them and tell them to subscribe here.)The DropDia. I know there are a lot of Arc fans here in the Installerverse, and I know you, like me, will have a lot of feelings about the company’s new and extremely AI-focused browser. Personally, I don’t see leaving Arc anytime soon, but there are some really fascinating ideas (and nice design touches) in Dia already. Snapseed 3.0. I completely forgot Snapseed even existed, and now here’s a really nice update with a bunch of new editing tools and a nice new redesign! As straightforward photo editors go, this is one of the better ones. The new version is only on iOS right now, but I assume it’s heading to Android shortly.“I Tried To Make Something In America.” I was first turned onto the story of the Smarter Scrubber by a great Search Engine episode, and this is a great companion to the story about what it really takes to bring manufacturing back to the US. And why it’s hard to justify.. That link, and the trailer, will only do anything for you if you have a newer iPhone. But even if you don’t care about the movie, the trailer — which actually buzzes in sync with the car’s rumbles and revs — is just really, really cool. Android 16. You can’t get the cool, colorful new look just yet or the desktop mode I am extremely excited about — there’s a lot of good stuff in Android 16 but most of it is coming later. Still, Live Updates look good, and there’s some helpful accessibility stuff, as well.The Infinite Machine Olto. I am such a sucker for any kind of futuristic-looking electric scooter, and this one really hits the sweet spot. Part moped, part e-bike, all Blade Runner vibes. If it wasn’t $3,500, then I would’ve probably ordered one already.The Fujifilm X-E5. I kept wondering why Fujifilm didn’t just make, like, a hundred different great-looking cameras at every imaginable price because everyone wants a camera this cool. Well, here we are! It’s a spin on the X100VI but with interchangeable lenses and a few power-user features. All my photographer friends are going to want this.Call Her Alex. I confess I’m no Call Her Daddy diehard, but I found this two-part doc on Alex Cooper really interesting. Cooper’s story is all about understanding people, the internet, and what it means to feel connected now. It’s all very low-stakes and somehow also existential? It’s only two parts, you should watch it.“Steve Jobs - 2005 Stanford Commencement Address.” For the 20th anniversary of Jobs’ famous (and genuinely fabulous) speech, the Steve Jobs Archive put together a big package of stories, notes, and other materials around the speech. Plus, a newly high-def version of the video. This one’s always worth the 15 minutes.Dune: Awakening. Dune has ascended to the rare territory of “I will check out anything from this franchise, ever, no questions asked.” This game is big on open-world survival and ornithopters, too, so it’s even more my kind of thing. And it’s apparently punishingly difficult in spots.CrowdsourcedHere’s what the Installer community is into this week. I want to know what you’re into right now as well! Email installer@theverge.com or message me on Signal — @davidpierce.11 — with your recommendations for anything and everything, and we’ll feature some of our favorites here every week. For even more great recommendations, check out the replies to this post on Threads and this post on Bluesky.“I had tried the paper planner in the leather Paper Republic journal but since have moved onto the Remarkable Paper Pro color e-ink device which takes everything you like about paper but makes it editable and color coded. Combine this with a Remarkable planner in PDF format off of Etsy and you are golden.” — Jason“I started reading a manga series from content creator Cory Kenshin called Monsters We Make. So far, I love it. Already preordered Vol. 2.” — Rob“I recently went down the third party controller rabbit hole after my trusty adapted Xbox One controller finally kicked the bucket, and I wanted something I could use across my PC, phone, handheld, Switch, etc. I’ve been playing with the GameSir Cyclone 2 for a few weeks, and it feels really deluxe. The thumbsticks are impossibly smooth and accurate thanks to its TMR joysticks. The face buttons took a second for my brain to adjust to; the short travel distance initially registered as mushy, but once I stopped trying to pound the buttons like I was at the arcade, I found the subtle mechanical click super satisfying.” — Sam“The Apple TV Plus miniseries Long Way Home. It’s Ewan McGregor and Charley Boorman’s fourth Long Way series. This time they are touring some European countries on vintage bikes that they fixed, and it’s such a light-hearted show from two really down to earth humans. Connecting with other people in different cultures and seeing their journey is such a treat!” — Esmael“Podcast recommendation: Devil and the Deep Blue Sea by Christianity Today. A deep dive into the Satanic Panic of the 80’s and 90’s.” — Drew“Splatoon 3 (the free Switch 2 update) and the new How to Train Your Dragon.” — Aaron“I can’t put Mario Kart World down. When I get tired of the intense Knockout Tour mode I go to Free Roam and try to knock out P-Switch challenges, some of which are really tough! I’m obsessed.” — Dave“Fable, a cool app for finding books with virtual book clubs. It’s the closest to a more cozy online bookstore with more honest reviews. I just wish you could click on the author’s name to see their other books.” — Astrid“This is the Summer Games Fest week (formerly E3, RIP) and there are a TON of game demos to try out on Steam. One that has caught my attention / play time the most is Wildgate. It’s a team based spaceship shooter where ship crews battle and try to escape with a powerful artifact.” — Sean“Battlefront 2 is back for some reason. Still looks great.” — IanSigning offI have long been fascinated by weather forecasting. I recommend Andrew Blum’s book, The Weather Machine, to people all the time, as a way to understand both how we learned to predict the weather and why it’s a literally culture-changing thing to be able to do so. And if you want to make yourself so, so angry, there’s a whole chunk of Michael Lewis’s book, The Fifth Risk, about how a bunch of companies managed to basically privatize forecasts… based on government data. The weather is a huge business, an extremely powerful political force, and even more important to our way of life than we realize. And we’re really good at predicting the weather!I’ve also been hearing for years that weather forecasting is a perfect use for AI. It’s all about vast quantities of historical data, tiny fluctuations in readings, and finding patterns that often don’t want to be found. So, of course, as soon as I read my colleague Justine Calma’s story about a new Google project called Weather Lab, I spent the next hour poking through the data to see how well DeepMind managed to predict and track recent storms. It’s deeply wonky stuff, but it’s cool to see Big Tech trying to figure out Mother Nature — and almost getting it right. Almost.See you next week!See More:

With the ongoing jobs cuts across the gaming industry, the shift of “Grand Theft Auto 6” from release this fall to a launch next spring, and the distraction of the first new Nintendo console in eight years, there was a chance that Summer Game Fest 2025 wouldn’t have the same allure as the annual video game showcase has had in years past. (There was also the factor of the actors strike against video game companies, which, as of June 11, has been called off by SAG-AFTRA.) Related Stories But the gamers came out in full force for the Geoff Keighley-hosted event on June 6, which live-streamed out of the YouTube Theater at SoFi Stadium in Los Angeles. Popular on Variety “Viewership was up significantly year over year,” Keighley told Variety. “Stream charts said it doubled its audience year over year for the peak concurrency to over 3 million peak concurrent viewers, which does not include China.” In person, both the Summer Game Fest live showcase event and its subsequent weekend Play Days event for developers and press saw “significantly higher” media creator attendance this year: more than 600 registered attendees vs. “somewhere in the 400s” in 2024, per SGF. The boost is an indicator that both the current U.S. political climate and significant changes in 2025’s game release schedule, like the delay of “Grand Theft Auto 6” until next May, didn’t affect interest in the event. “Things happen in the industry all the time that are big news worthy happenings,” Summer Game Fest producer and iam8bit co-creator Amanda White. “Switch 2 just happened and we’re here, it’s all working out, everybody’s having a great time playing games. It’s not irrelevant — it’s just part of the way things go.” As big a hit as the Switch 2 was with consumers upon release — selling more than 3.5 million units during the first four days after its June 5 launch — and noted multiple times during the Summer Game Fest live showcase on June 6, Nintendo’s new console was not the star of the three-day Play Days event for developers and media in Downtown Los Angeles, which ran June 7-9. “I have not seen a single attendee with a Switch 2 on campus,” SGF producer and iam8bit co-creator Jon M. Gibson said with a laugh. “There’s a few Switch 2s that Nintendo supplied. Some dev kits for Bandai and for Capcom. Of course, the launch happened on Thursday, so bandwidth from Nintendo is stretched thin with all the midnight launches and stuff. But they’re really supportive and supply some for some pre-release games, which is exciting.” Some big video publishers such as EA, Take-Two and Ubisoft skipped this year’s SGF, eliminating potential splashy in-show hits for eagerly anticipated games like “Grand Theft Auto 6.” But SGF still managed a few big moments, like the announcement and trailer release for “Resident Evil Requiem.” Gibson and White attribute that reveal and other moments like it to the immense trust the festival has managed to build up with video game publishers in just a few years. “We are very proud of our ability to keep the trust of all the publishers on campus,” Gibson said. “Six years into SGF as a whole, four years into Play Days, we’re very good. Because we have to print everything ahead of time, too. So there are lots of unannounced things that we’re very careful about who sees what. We have vendors who print and produce and manufacture physical objects under very tight wraps. We’re just very protective, because we know what it means to have to keep a secret because we’ve had our own games that we’ve had to announce, as well. Capcom is a great example with ‘Resident Evil.’ We knew that for a very long time, but they trusted us with information, and we were very careful about what our team actually knew what was going on.” And even though some of the gaming giants sat this year out, White says conversations were already happening on the Play Days campus about who is ready to return next year and what they’ll bring. “People get excited, they come and see. And each year we grow, so people see more potential,” White said. As for next year, the June show will take place just a few weeks after the planned May 26 release for “GTA 6.” While Switch 2 didn’t seem to distract too much, will the draw of playing the newly launched “GTA 6” prove to be so powerful it outshines whatever could be announced at SGF 2026? “My view is that all boats rise with ‘GTA’ launch,” Keighley said. “It is a singular cultural event that is the biggest thing in all of entertainment this decade. It will bring more people into gaming, sell lots of consoles and bring back lapsed gamers. There will never be a better time to feel the excitement and energy around gaming than SGF 2026.” See more from Variety‘s Q&A with Keighley about Summer Game Fest 2025 below. How was this year’s show impacted by the date shift for “GTA 6”? How much was planned before and after that big announcement? So far as I know there wasn’t any material impact, but I think the date move did allow a number of teams to feel more confident announcing their launch dates. Halfway through the year, what do you see as some of the biggest trends in gaming for 2025, and how did you look to reflect that in the show? We continue to see some of the most interesting and successful games come from smaller teams outside of the traditional publisher system – games like “Clair Obscur,” “Blue Prince” and “REPO.” So we wanted to highlight some of those projects at the show like “Ill” and “Mortal Shell 2.” What game announcements and trailers do you think resonated most with audiences after this show? What assets were the most popular? “Resident Evil Requiem” was a massive moment. Also we saw a lot of love for “Ill” from a small team in Canada and Armenia.

Asus ROG Xbox Ally, ROG Xbox Ally X to Start Pre-Orders in August, Launch in October – Rumour A new report indicates that the ROG Xbox Ally will be priced at around €599, while the more powerful ROG Xbox Ally X will cost €899. Posted By Joelle Daniels | On 16th, Jun. 2025 While Microsoft and Asus have unveiled the ROG Xbox Ally and ROG Xbox Ally X handheld gaming systems, the companies have yet to confirm the prices or release dates for the two systems. While the announcement  mentioned that they will be launched later this year, a new report, courtesy of leaker Extas1s, indicates that pre-orders for both devices will be kicked off in August, with the launch then happening in October. As noted by Extas1s, the lower-powered ROG Xbox Ally is expected to be priced around €599. The leaker claims to have corroborated the pricing details for the handheld with two different Europe-based retailers. The more powerful ROG Xbox Ally X, on the other hand, is expected to be priced at €899. This would put its pricing in line with Asus’s own ROG Ally X. Previously, Asus senior manager of marketing content for gaming, Whitson Gordon, had revealed that pricing and power use were the two biggest reasons why both the ROG Xbox Ally and the ROG Xbox Ally X didn’t feature OLED displays. Rather, both systems will come equipped with 7-inch 1080p 120 Hz LCD displays with variable refresh rate capabilities. “We did some R&D and prototyping with OLED, but it’s still not where we want it to be when you factor VRR into the mix and we aren’t willing to give up VRR,” said Gordon. “I’ll draw that line in the sand right now. I am of the opinion that if a display doesn’t have variable refresh rate, it’s not a gaming display in the year 2025 as far as I’m concerned, right? That’s a must-have feature, and OLED with VRR right now draws significantly more power than the LCD that we’re currently using on the Ally and it costs more.” Explaining further that the decision ultimately also came down to keeping the pricing for both systems at reasonable levels, since buyers often tend to get handheld gaming systems as their secondary machiens, Gordon noted that both handhelds would have much higher price tags if OLED displays were used. “That’s all I’ll say about price,” said Gordon. “You have to align your expectations with the market and what we’re doing here. Adding 32GB, OLED, Z2 Extreme, and all of those extra bells and whistles would cost a lot more than the price bracket you guys are used to on the Ally, and the vast majority of users are not willing to pay that kind of price.” Shortly after its announcement, Microsoft and Asus had released a video where the two companies spoke about the various features of the ROG Xbox Ally and ROG Xbox Ally X. In the video, we also get to see an early hardware prototype of the handheld gaming system built inside a cardboard box. The ROG Xbox Ally runs on an AMD Ryzen Z2A chip, and has 16 GB of LPDDR5X-6400 RAM and 512 GB of storage. The ROG Xbox Ally X, on the other hand, runs on an AMD Ryzen Z2 Extreme chip, and has 24 GB of LPDDR5X-8000 RAM and 1 TB of storage. Both systems run on Windows. Tagged With: Elden Ring: Nightreign Publisher:Bandai Namco Developer:FromSoftware Platforms:PS5, Xbox Series X, PS4, Xbox One, PCView More FBC: Firebreak Publisher:Remedy Entertainment Developer:Remedy Entertainment Platforms:PS5, Xbox Series X, PCView More Death Stranding 2: On the Beach Publisher:Sony Developer:Kojima Productions Platforms:PS5View More Amazing Articles You Might Want To Check Out! Summer Game Fest 2025 Saw 89 Percent Growth in Live Concurrent Viewership Since Last Year This year's Summer Game Fest has been the most successful one so far, with around 1.5 million live viewers on ... Asus ROG Xbox Ally, ROG Xbox Ally X to Start Pre-Orders in August, Launch in October – Rumour A new report indicates that the ROG Xbox Ally will be priced at around €599, while the more powerful ROG Xbo... Borderlands 4 Gets New Video Explaining the Process of Creating Vault Hunters According to the development team behind Borderlands 4, the creation of Vault Hunters is a studio-wide collabo... The Witcher 4 Team is Tapping Into the “Good Creative Chaos” From The Witcher 3’s Development Narrative director Philipp Weber says there are "new questions we want to answer because this is supposed to f... The Witcher 4 is Opting for “Console-First Development” to Ensure 60 FPS, Says VP of Tech However, CD Projekt RED's Charles Tremblay says 60 frames per second will be "extremely challenging" on the Xb... Red Dead Redemption Voice Actor Teases “Exciting News” for This Week Actor Rob Wiethoff teases an announcement, potentially the rumored release of Red Dead Redemption 2 on Xbox Se... View More

Studio555 announced today that it has raised €4 million, or about $4.6 million in a seed funding round. It plans to put this funding towards creating a playable app, a game-like experience focused on interior design. HOF Capital and Failup Ventures led the round, with participation from the likes of Timo Soininen, co-founder of Small Giant Games; Mikko Kodisoja, co-founder of Supercell; and Riccardo Zacconi, co-founder of King. Studio555’s founders include entrepreneur Joel Roos, now the CEO, CTO Stina Larsson and CPO Axel Ullberger. The latter two formerly worked at King on the development of Candy Crush Saga. According to these founders, the app in development combines interior design with the design and consumer appeal of games and social apps. Users can create and design personal spaces without needing any technical expertise. The team plans to launch the app next year, and it plans to put its seed funding towards product development and growing its team. Roos said in a statement, “At Studio555, we’re reimagining interior design as something anyone can explore: open-ended, playful, and personal. We’re building an experience we always wished existed: a space where creativity is hands-on, social, and free from rigid rules. This funding is a major step forward in setting an entirely new category for creative expression.” Investor Timo Soininen said in a statement, “Studio555 brings together top-tier gaming talent and design vision. This team has built global hits before, and now they’re applying that experience to something completely fresh – think Pinterest in 3D meets TikTok, but for interiors. I’m honored to support Joel and this team with their rare mix of creativity, technical competence, and focus on execution.”

How to Train Your Dragon - Limited Edition Steelbook (4K Blu-ray) $40 at Amazon | $47 at Walmart Preorder at Amazon Preorder at Walmart See all editions at Amazon The live-action remake of How to Train Your Dragon hits theaters this weekend, but fans can already start thinking about adding it to their media shelves. Preorders for the remake and a two-movie collection with the original animated hit are live now at major retailers. Big fans will want to check out the eye-catching Limited Edition Steelbook on 4K Blu-ray, which is available to preorder for $40 at Amazon and comes with a collectible medallion inside the case. We'll update this story when a release date and details about special features are announced. Here's a list of the seven editions of How to Train Your Dragon available to preorder at Amazon and Walmart. Continue Reading at GameSpot

DriftingSpirit Member Oct 25, 2017 18,563 They note how they usually start with PC and scale down, but they will be doing it the other way around this time to avoid issues with the console versions. 4:15 for console focus and 60fps 38:50 for the Series S comment  bsigg Member Oct 25, 2017 25,153 [DF] Inside The Witcher 4 Unreal Engine 5 Tech Demo: CD Projekt RED + Epic Deep Dive Interview https://www.youtube.com/watch?v=OplYN2MMI4Q www.resetera.com   Skot Member Oct 30, 2017 645 720p on Series S incoming   Bulby Prophet of Truth Member Oct 29, 2017 6,006 Berlin I think think any series s user will be happy with a beautiful 900p 30fps   Chronos Member Oct 27, 2017 1,249 This better not be a Cyberpunk situation all over again. If they can't get it to work on S, then they may just need to abandon that console. Work out a deal with MS or wait for their next generation.   HellofaMouse Member Oct 27, 2017 8,551 i wonder if this'll come out before the gen is over? good chance itll be a 2077 situation, cross-gen release with a broken ps6 version  logash Member Oct 27, 2017 6,526 This makes sense since they want to have good performance on lower end machines and they mentioned that it was easier to scale up than to scale down. They also mentioned their legacy on PC and how they plan on scaling it up high like they usually do on PC.   KRT Member Aug 7, 2020 247 Series S was a mistake   chris 1515 Member Oct 27, 2017 7,116 Barcelona Spain The game have raytracing GI and reflection it will probably be 30 fps 600p-720p on Xbox Series S.   bitcloudrzr Member May 31, 2018 21,044 Bulby said: I think think any series s user will be happy with a beautiful 900p 30fps Click to expand... Click to shrink...   Yuuber Member Oct 28, 2017 4,540 KRT said: Series S was a mistake Click to expand... Click to shrink... Can we stop with these stupid takes? For all we know it sold as much as Series X, helped several games have better optimization on bigger consoles and it will definitely help optimizing newer games to the Nintendo Switch 2.  MANTRA Member Feb 21, 2024 1,198 No one who cares about 60fps should be buying a Series S, just make it 30fps.   Roytheone Member Oct 25, 2017 6,185 Chronos said: This better not be a Cyberpunk situation all over again. If they can't get it to work on S, then they may just need to abandon that console. Work out a deal with MS or wait for their next generation. Click to expand... Click to shrink... They can just go for 30 fps instead on the Series S. No need for a special deal for that, that's allowed.  Matterhorn Member Feb 6, 2019 254 United States Hoping for a very nice looking 30fps Switch 2 version.   Universal Acclaim Member Oct 5, 2024 2,617 Maybe off topic, but is 30fps target not so important anymore for 2027 industry-leading graphics? GTA is mainly doing it for design/physics/etc. whch is why the game can't be scaled down to 720-900p/60fps?   chris 1515 Member Oct 27, 2017 7,116 Barcelona Spain Matterhorn said: Hoping for a very nice looking 30fps Switch 2 version. Click to expand... Click to shrink... It will be a full port a few years after like The Witcher 3., they don't use software lumen here. I doubt the Switch 2 Raytracing capaclity is high enough to use the same pipeline to produce the Switch 2 version. EDIT: And they probably need to redo all the assets. https://www.reddit.com/r/FortNiteBR/comments/1l4a1o4/fortnite_on_the_switch_2_looks_great_these_low/ Fortnite doesn't use Nanite and Lumen on Switch 2.  Last edited: Yesterday at 4:18 PM bitcloudrzr Member May 31, 2018 21,044 Universal Acclaim said: Maybe off topic, but is 30fps target not so important anymore for 2027 industry-leading graphics? GTA is mainly doing it for design/physics/etc. whch is why the graphics can't be scaled down to 720p/60fps? Click to expand... Click to shrink... Graphics are the part of the game that can be scaled, it is CPU load that is the more difficult part, although devs have actually made cuts in the latter to increase performance mode fps viability. Even with this focus on 60fps performance modes, they are always going to have room to make a higher fidelity 30fps mode. Specifically with UE5 though, performance has been such a disaster all around and Epic seems to be taking it seriously now.   Greywaren Member Jul 16, 2019 13,530 Spain 60 fps target is fantastic, I wish it was the norm.   julia crawford Took the red AND the blue pills Member Oct 27, 2017 40,709 i am very ok with lower fps on the series s, it is far more palatable than severe resolution drops with upscaling artifacts.   Spoit Member Oct 28, 2017 5,599 Chronos said: This better not be a Cyberpunk situation all over again. If they can't get it to work on S, then they may just need to abandon that console. Work out a deal with MS or wait for their next generation. Click to expand... Click to shrink... And yet people keep talking about somehow getting PS6 games to work on the sony portable, which is probably going to be like half as powerful as a PS5, like that won't hold games back   PLASTICA-MAN Member Oct 26, 2017 29,563 chris 1515 said: The game have raytracing GI and reflection it will probably be 30 fps 600p-720p on Xbox Series S. Click to expand... Click to shrink... There is kinda a misconception of how Lumen and the hybrid RT is handled in UE5 titles. AO is also part of the ray traced pipeline through the HW Lumen too. Just shadows are handled separately from the RT system by using VSM which in final look behvae quite like RT shadows in shape, same how FF16 handled the shadows looking like RT ones while it isn't traced. UE5 can still trace shadows if they want to push things even further.  overthewaves Member Sep 30, 2020 1,203 What about the PS5 handheld?   nullpotential Member Jun 24, 2024 87 KRT said: Series S was a mistake Click to expand... Click to shrink... Consoles were a mistake.  GPU Member Oct 10, 2024 1,075 I really dont think Series S/X will be much of a factor by the time this game comes out.   Lashley <<Tag Here>> Member Oct 25, 2017 65,679 Just make series s 480p 30fps   pappacone Member Jan 10, 2020 4,076 Greywaren said: 60 fps target is fantastic, I wish it was the norm. Click to expand... Click to shrink... It pretty much is   Super Studied the Buster Sword Member Jan 29, 2022 13,601 I hope they can pull 60 FPS off in the full game.   Theorry Member Oct 27, 2017 69,045 "target" Uh huh. We know how that is gonna go.  Jakartalado Member Oct 27, 2017 2,818 São Paulo, Brazil Skot said: 720p on Series S incoming Click to expand... Click to shrink... If the PS5 is internally at 720p up to 900p, I seriously doubt that.  Revoltoftheunique Member Jan 23, 2022 2,312 It will be unstable 60fps with lots of stuttering.   defaltoption Plug in a controller and enter the Konami code The Fallen Oct 27, 2017 12,485 Austin KRT said: Series S was a mistake Click to expand... Click to shrink... With that same attitude in this case you could say consoles are the mistake. You on your Series X or PS5 Pro are holding my 5090 back. Not so fun of a take anymore. Thats why its stupid.   Horns Member Dec 7, 2018 3,423 I hope Microsoft drops the requirement for Series S by the time this comes out.   chris 1515 Member Oct 27, 2017 7,116 Barcelona Spain PLASTICA-MAN said: There is kinda a misconception of how Lumen and the hybrid RT is handled in UE5 titles. AO is also part of the ray traced pipeline through the HW Lumen too. Just shadows are handled separately from the RT system by using VSM which in final look behvae quite like RT shadows in shape, same how FF16 handled the shadows looking like RT ones while it isn't traced. UE5 can still trace shadows if they want to push things even further. Click to expand... Click to shrink... Yes indirect shadows are handled by hardware lumen. But at the end ot doesn¡t change my comment. i think the game will be 600´720p at 30 fps on Series S.  bitcloudrzr Member May 31, 2018 21,044 Spoit said: And yet people keep talking about somehow getting PS6 games to work on the sony portable, which is probably going to be like half as powerful as a PS5, like that won't hold games back Click to expand... Click to shrink... Has it been confirmed that Sony is going to have release requirements like the XS?   Commander Shepherd Member Jan 27, 2023 173 Anyone remember when no load screens was talked about for Witcher 3?   chris 1515 Member Oct 27, 2017 7,116 Barcelona Spain No this is probably different than most game are doing it here the main focus is the 60 fps mode and after they can create a balanced(40 fps) and 30 fps mode. This is not the other way around.  stanman Member Feb 13, 2025 235 defaltoption said: With that same attitude in this case you could say consoles are the mistake. You on your Series X or PS5 Pro are holding my 5090 back. Not so fun of a take anymore. Thats why its stupid. Click to expand... Click to shrink... And your mistake is comparing a PC graphics card to a console.  PLASTICA-MAN Member Oct 26, 2017 29,563 chris 1515 said: Yes indirect shadows are handled by hardware lumen. But at the end ot doesn¡t change my comment. i think the game will be 600´720p at 30 fps on Series S. Click to expand... Click to shrink... Yes. I am sure Series S will have HW solution but probably at 30 FPS. that would be a miracle if they achieve 60 FPS.  ArchedThunder Uncle Beerus Member Oct 25, 2017 21,278 chris 1515 said: It will be a full port a few years after like The Witcher 3., they don't use software lumen here. I doubt the Switch 2 Raytracing capaclity is high enough to use the same pipeline to produce the Switch 2 version. EDIT: And they probably need to redo all the assets. https://www.reddit.com/r/FortNiteBR/comments/1l4a1o4/fortnite_on_the_switch_2_looks_great_these_low/ Fortnite doesn't use Nanite and Lumen on Switch 2. Click to expand... Click to shrink... Fortnite not using Lumen or Nanite at launch doesn't mean they can't run well on Switch 2. It's a launch port and they prioritized clean IQ and 60fps. I wouldn't be surprised to see them added later. Also it's not like the ray tracing in a Witcher 3 port has to match PS5, there's a lot of scaling back that can be done with ray tracing without ripping out the kitchen sink. Software lumen is also likely to be an option on P.   jroc74 Member Oct 27, 2017 34,465 Interesting times ahead.... bitcloudrzr said: Has it been confirmed that Sony is going to have release requirements like the XS? Click to expand... Click to shrink... Your know good n well everything about this rumor has been confirmed. /S  Derbel McDillet ▲ Legend ▲ Member Nov 23, 2022 25,250 Chronos said: This better not be a Cyberpunk situation all over again. If they can't get it to work on S, then they may just need to abandon that console. Work out a deal with MS or wait for their next generation. Click to expand... Click to shrink... How does this sound like a Cyberpunk issue? They didn't say they can't get it to work on the S.   defaltoption Plug in a controller and enter the Konami code The Fallen Oct 27, 2017 12,485 Austin stanman said: And your mistake is comparing a PC graphics card to a console. Click to expand... Click to shrink...   reksveks Member May 17, 2022 7,628 Horns said: I hope Microsoft drops the requirement for Series S by the time this comes out. Click to expand... Click to shrink... why? dev can make it 30 fps on series s and 60 fps on series x if needed. if they aren't or don't have to drop it for gta vi, they probably ain't dropping it for tw4.  chris 1515 Member Oct 27, 2017 7,116 Barcelona Spain defaltoption said: With that same attitude in this case you could say consoles are the mistake. You on your Series X or PS5 Pro are holding my 5090 back. Not so fun of a take anymore. Thats why its stupid. Click to expand... Click to shrink... No the consoles won't hold back your 5090 because the game is created with hardware lumen, RT reflection, virtual shadows maps and Nanite plus Nanite vegetation in minds. Maybe Nanite character too in final version? If the game was made with software lumen as the base it would have holding back your 5090... Your PC will have much better IQ, framerate and better raytracing with Megalight(direct raytraced shadows with tons of lighe source) and better raytracing settings in general.  bitcloudrzr Member May 31, 2018 21,044 jroc74 said: Interesting times ahead.... Your know good n well everything about this rumor has been confirmed. /S Click to expand... Click to shrink... Sony is like the opposite of a platform holder "forcing" adoption, for better or worse.   defaltoption Plug in a controller and enter the Konami code The Fallen Oct 27, 2017 12,485 Austin chris 1515 said: No the consoles won't hold back yout 5090 because the game is created with hardware lumen, RT reflection, virtual shadows maps and Nanite plus Nanite vegetation in minds. Maybe Nanite character too in final version? If the game was made with software lumen as the base it would have holding back your 5090... Your PC will have much better IQ, framerate and better raytracing with Megalight(direct raytraced shadows) and better raytracing settings in general. Click to expand... Click to shrink... Exactly, the series s is not a "mistake" or holding any version of the game on console or even PC back, that's what I'm saying to the person I replied to, its stupid to say that.   cursed beef Member Jan 3, 2021 998 Have to imagine MS will lift the Series S parity clause when the next consoles launch. Which will be before/around the time W4 hits, right?   Alvis Saw the truth behind the copied door Member Oct 25, 2017 12,270 EU Chronos said: This better not be a Cyberpunk situation all over again. If they can't get it to work on S, then they may just need to abandon that console. Work out a deal with MS or wait for their next generation. Click to expand... Click to shrink... ? they said that 60 FPS on Series S is challenging, not the act of releasing the game there at all. The game can simply run at 30 FPS on Series S if they can't pull off 60 FPS. Or have a 40 FPS mode in lieu of 60 FPS. The CPU and storage speed differences between last gen and current gen were gigantic. This isn't even remotely close to a comparable situation.  defaltoption Plug in a controller and enter the Konami code The Fallen Oct 27, 2017 12,485 Austin misqoute post   jroc74 Member Oct 27, 2017 34,465 defaltoption said: With that same attitude in this case you could say consoles are the mistake. You on your Series X or PS5 Pro are holding my 5090 back. Not so fun of a take anymore. Thats why its stupid. Click to expand... Click to shrink... Ah yes, clearly 5090 cards are the vast majority of the minimum requirements for PC games. How can anyone say this with a straight face anymore when there are now PC games running on a Steam Deck. At least ppl saying that about the Series S are comparing it to other consoles. That said, it is interesting they are focusing on consoles first, then PC. 

In a confident nod to the enduring power of print, Glasgow-based Newspaper Club has launched The Printing Press, its first-ever self-published newspaper. Known for helping designers, brands, and artists print their own publications, Newspaper Club is now telling its own story through a medium it knows best. "We're always sharing the brilliant things people print with us – usually online, through our blog and Instagram," explains CMO Kaye Symington. "Our customers have some great stories behind their projects, and it just made sense for a newspaper printing company to have a newspaper of its own!" Teaming up with their brilliant design partner Euan Gallacher at D8 Studio, Kaye said they also wanted to show what's possible with the format: "A lot of people just think of newspapers as something for breaking news, but there's so much more you can do with them." The tabloid-style publication explores the creative resurgence of newspapers as branding tools and storytelling devices, which is music to our ears. Inside, readers will find thoughtful features on how modern brands are embracing print, including interviews with Papier's head of brand on narrative design, Cubitts' in-house designer on developing a tactile, analogue campaign, and Vocal Type's Tré Seals on transforming a museum exhibition into a printed experience. Why the mighty turnaround? "There's just nothing quite like newsprint," says Kaye. "It slows you down in the best way, especially when there's so much competing for your attention online. A newspaper isn't trying to go viral, which is refreshing." She adds: "Putting together a newspaper makes you think differently. It's scrappy and democratic, which makes it a great space to play around and tell stories more creatively. And at the end of it, you've got something real to hand someone instead of just sending them a link." To celebrate this almighty launch, Newspaper Club is going beyond the page with a striking national ad campaign. In partnership with Build Hollywood, the company has installed billboards in Glasgow, Birmingham, Brighton, and Cardiff, all proudly showcasing the work of Newspaper Club customers. These include colourful pieces from artist Supermundane and independent homeware designer Sophie McNiven, highlighting the creative range of projects that come to life through their press. In London, the celebration continues with a special collaboration with News & Coffee at Holborn Station. For two weeks, the kiosk has been transformed into a shrine to print — complete with stacks of The Printing Press and complimentary coffee for the first 20 early birds each weekday until 17 June. The timing feels deliberate. As digital fatigue sets in, social media continues to disappoint, and brands look for fresh ways to stand out in a 'post-search' world, newspapers are experiencing a quiet renaissance. But they're being used not just for news but also as limited-edition catalogues, keepsakes for events, and props in photo shoots. It's this playful, flexible nature of newsprint that The Printing Press aims to explore and celebrate. Since 2009, Newspaper Club has built its reputation on making newspaper printing accessible to all — from major brands like Adobe and Spotify to indie creators, students and storytellers. This campaign marks a new chapter: a chance to turn the lens inward, shine a spotlight on the creative possibilities of print, and reassert the joy of ink on paper. As Kaye puts it, "We want people to see that newspapers can be a really creative format. It might be a traditional medium, but that's exactly what makes it stand out in a digital world. "Sometimes the hardest part is just knowing where to start with a new project, so we hope this campaign helps spark ideas and inspire people to print something they're excited about!" As The Printing Press hits streets and kiosks across the UK, one thing is clear: print isn't dead. It's just getting started.

8 Sage Green Color Palettes You’ve Got to Experience In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.There’s something undeniably calming about sage green that makes it one of my absolute favorite colors to work with as a designer. This muted, earthy hue has this incredible ability to ground a space while still feeling fresh and contemporary. Whether you’re working on a branding project, designing an interior space, or creating digital content, sage green offers a versatility that few colors can match. What I love most about sage green is how it bridges the gap between trendy and timeless. It’s not going anywhere anytime soon, and honestly, I don’t think it ever should. This sophisticated color has been quietly revolutionizing design palettes across every industry, and today I’m excited to share eight of my favorite sage green color combinations that will elevate your next project. 👋 Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just $16.95/mo? Learn more »The 8 Most Inspiring Sage Green Color Palettes 1. Garden Fresh #D2E5C4 #B2C69E #95B07B #79955D #5A743C Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper This monochromatic sage palette is pure perfection for anyone wanting to create depth without complexity. I use this combination constantly in botanical-themed projects because it captures every shade of green you’d find in a thriving garden. The progression from light to dark creates natural hierarchy, making it incredibly functional for both print and digital work. 2. Misty Morning #BDC9BB #ACBAA1 #B2C1A2 #A4B1A0 #ADC3B7 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper When I need something soft and ethereal, this is my go-to palette. These gentle sage tones remind me of early morning fog rolling over hills. It’s perfect for wellness brands, spa environments, or any project that needs to evoke tranquility and peace. The subtle variations create interest without ever feeling overwhelming. 3. Harvest Moon #9AAB89 #647056 #D6C388 #F8C565 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Get 300+ Fonts for FREEEnter your email to download our 100% free "Font Lover's Bundle". For commercial & personal use. No royalties. No fees. No attribution. 100% free to use anywhere. The combination of sage green with warm golds creates magic every single time. This palette captures that perfect autumn moment when the light hits everything just right. I love using this for brands that want to feel both grounded and optimistic – it’s earthy sophistication with a sunny disposition. 4. Moody Botanical #4D5D42 #6A894B #8DA67E #9B999A #C6B5DF Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper For projects that need a bit more drama, this palette delivers beautifully. The deeper sage tones paired with that unexpected lavender create intrigue without losing the calming essence of green. I find this combination works wonderfully for upscale restaurants or luxury lifestyle brands that want to feel approachable yet refined. 5. Countryside Charm #A3AC9A #8A9A5B #93A395 #748B74 #827D67 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper This palette feels like a walk through the English countryside – all rolling hills and weathered stone walls. The mix of sage greens with those earthy undertones creates incredible depth. I use this combination for projects that need to feel established and trustworthy, like financial services or heritage brands. 6. Industrial Farmhouse Zen #CED3D2 #3F5054 #6F675E #9CAB86 #C8CAB5 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper The marriage of sage green with industrial grays might seem unexpected, but it creates this incredibly sophisticated modern aesthetic. This palette is perfect for tech companies or architectural firms that want to feel innovative yet grounded. The sage adds warmth to what could otherwise be cold, sterile colors. 7. Desert Sage #9AAB89 #B2AC88 #A06464 #8C909C #C9AD99 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Inspired by the American Southwest, this palette combines sage with dusty terra cottas and warm beiges. There’s something so comforting about these colors together – they feel like sunset in the desert. I love using this for hospitality brands or any project that wants to evoke adventure and warmth. 8. Forest Floor #B2C69E #ACB6A6 #5B7553 #745000 #462800 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper This rich, earthy combination takes sage green into deeper territory with those gorgeous chocolate browns. It reminds me of walking through an old-growth forest where the light filters through layers of leaves. Perfect for organic brands, outdoor companies, or any project that wants to feel authentic and connected to nature. Why Sage Green Is Having Its Moment As someone who’s been watching color trends for years, I can tell you that sage green’s popularity isn’t just a passing fad. This color speaks to our collective desire for calm in an increasingly chaotic world. It’s the visual equivalent of taking a deep breath – immediately soothing and centering. The rise of biophilic design has also played a huge role in sage green’s dominance. As we spend more time indoors, we’re craving those connections to nature, and sage green delivers that botanical feeling without being overly literal. It’s nature-inspired design at its most sophisticated. What makes sage green particularly special is its incredible adaptability. Unlike brighter greens that can feel overwhelming or dated, sage green has this chameleon-like quality that allows it to work in virtually any context. Pair it with warm woods and it feels rustic; combine it with metallics and it becomes luxurious; add some crisp whites and suddenly it’s Scandinavian minimalism. Mastering Sage Green in Your Design Work The key to working with sage green successfully is understanding its undertones. Some sage greens lean more yellow, others more blue or gray. Recognizing these subtle differences will help you create more cohesive palettes and avoid color clashes that can make your work feel off. I always recommend testing your sage green palettes in different lighting conditions. What looks perfect on your computer screen might feel completely different in natural light or under warm artificial lighting. This is especially crucial for interior design projects or any work that will be viewed in physical spaces. When building palettes around sage green, I like to think about the mood I’m trying to create. For calm, peaceful vibes, I’ll pair it with other muted tones and plenty of white space. For something more energetic, I might add unexpected pops of coral or sunny yellow. The beauty of sage green is that it’s such a diplomatic color – it plays well with almost everything. Sage Green Across Different Design Applications Branding and Logo Design In branding work, sage green communicates reliability, growth, and environmental consciousness without hitting people over the head with it. I love using it for wellness companies, sustainable brands, and professional services that want to feel approachable. The key is pairing it with typography that reinforces your brand personality – clean sans serifs for modern feels, or elegant serifs for more traditional approaches. Interior Spaces Sage green walls have become incredibly popular, and for good reason. The color creates an instant sense of calm while still feeling current. I particularly love using darker sage greens in dining rooms or bedrooms where you want that cozy, enveloping feeling. Lighter sages work beautifully in kitchens and bathrooms where you want freshness without the sterility of pure white. Digital Design For websites and apps, sage green offers a refreshing alternative to the blues and grays that dominate digital design. It’s easy on the eyes, which makes it perfect for apps focused on wellness, meditation, or any platform where users will spend extended time. Just be mindful of accessibility – always test your sage green backgrounds with various text colors to ensure proper contrast ratios. Product Design The natural, organic feeling of sage green makes it perfect for product packaging, especially in the beauty, food, and wellness sectors. It communicates quality and naturalness without feeling overly earthy or crunchy. I’ve seen it work beautifully on everything from skincare packaging to high-end kitchen appliances. The Psychology Behind Sage Green’s Appeal Color psychology tells us that green represents growth, harmony, and balance – all things we desperately need in our modern lives. But sage green takes these positive associations and adds sophistication. It’s green without the intensity, nature without the rawness. There’s also something inherently honest about sage green. It doesn’t try too hard or demand attention the way brighter colors do. This authenticity resonates with consumers who are increasingly skeptical of brands that feel forced or overly polished. Sage green whispers where other colors shout, and sometimes that’s exactly what your message needs. Looking Forward: Sage Green’s Staying Power While I can’t predict the future, I’m confident that sage green will remain relevant for years to come. It hits all the right notes for contemporary design – it’s calming without being boring, natural without being literal, and sophisticated without being pretentious. The color also photographs beautifully, which matters more than ever in our Instagram-driven world. Whether it’s a sage green accent wall or a product shot featuring sage packaging, this color translates perfectly to social media, helping brands create that coveted “aesthetic” that drives engagement. As we continue to prioritize wellness and sustainability in design, sage green offers the perfect visual shorthand for these values. It’s a color that makes people feel good, and in a world that often doesn’t, that’s incredibly powerful. Bringing It All Together These eight sage green palettes represent just the beginning of what’s possible with this incredible color. Whether you’re drawn to the monochromatic serenity of Garden Fresh or the unexpected sophistication of Industrial Zen, there’s a sage green palette that can elevate your next project. The secret to success with sage green is trusting its natural elegance. Don’t feel like you need to overstyling or complicate things – sage green’s beauty lies in its understated sophistication. Let it be the calm, confident foundation that allows other elements of your design to shine. So go ahead and embrace the sage green revolution. Your designs (and your stress levels) will thank you for it. After all, in a world full of visual noise, sometimes the most powerful statement you can make is a quiet one. Riley Morgan Riley Morgan is a globe-trotting graphic designer with a sharp eye for color, typography, and intuitive design. They are a color lover and blend creativity with culture, drawing inspiration from cities, landscapes, and stories around the world. When they’re not designing sleek visuals for clients, they’re blogging about trends, tools, and the art of making design feel like home—wherever that may be. 8 Stunning Sunset Color PalettesThere’s something absolutely magical about watching the sun dip below the horizon, painting the sky in breathtaking hues that seem...10 Warm Color Palettes That’ll Brighten Your DayThere’s nothing quite like the embracing quality of warm colors to make a design feel inviting and alive. As someone...10 Luxurious Jewel Tone Color PalettesAs a designer who’s always searching for color combinations that exude sophistication and richness, I find myself constantly returning to...

If we don’t lock them down, it will be too late. The official trailer and key art have been revealed for Alien: Earth, which hits FX and Hulu August 12. In the upcoming series, when the mysterious deep space research vessel USCSS Maginot crash-lands on Earth, Wendy and a ragtag group of tactical soldiers make a fateful discovery that puts them face-to-face with the planet’s greatest threat. The series stars Sydney Chandler as Wendy; Timothy Olyphant as Kirsh; Alex Lawther as Hermit; Samuel Blenkin as Boy Kavalier; Babou Ceesay as Morrow;  Adrian Edmondson as Atom Eins; David Rysdahl as Arthur Sylvia; Essie Davis as Dame Sylvia; Lily Newmark as Nibs; Erana James as Curly; Adarsh Gourav as Slightly; Jonathan Ajayi as Smee; Kit Young as Tootles; Diêm Camille as Siberian; Moe Bar-El as Rashidi; and Sandra Yi Sencindiver as Yutani. Noah Hawley is creator and executive producer. Ridley Scott, David W. Zucker, Joseph Iberti, Dana Gonzales, and Clayton Krueger also executive produce. FX Productions produces. VFX are created by Clear Angle Studios, Fin Design & Effects, MPC, Pixomondo, The Third Floor, Untold Studios, and Zoic Studios, with Jonathan Rothbart acting as visual effects supervisor. Check out the official trailer now: Source: FX Journalist, antique shop owner, aspiring gemologist—L'Wren brings a diverse perspective to animation, where every frame reflects her varied passions.