Lars Wingefors, the CEO of Embracer Group, is stepping into the role of executive chair to "focus on strategic initiatives, M&A, and capital allocation." This move is both alarming and infuriating. Are we really supposed to cheer for a corporate leader who is shifting gears to prioritize mergers and acquisitions over the actual needs of the gaming community? It's absolutely maddening! Let’s break this down. Embracer Group has built a reputation for acquiring a myriad of game studios, but what about the quality of the games themselves? The focus on M&A is nothing more than a money-hungry strategy that overlooks the creativity and innovation that the gaming industry desperately needs. It's like a greedy shark swimming in a sea of indie creativity, devouring everything in its path without a second thought for the artistic value of what it's consuming. Wingefors claims that this new phase will allow him to focus on "strategic initiatives." What does that even mean? Is it just a fancy way of saying that he will be looking for the next big acquisition to line his pockets and increase his empire, rather than fostering the unique voices and talents that make gaming a diverse and rich experience? This is not just a corporate strategy; it’s a blatant attack on the very essence of what makes gaming enjoyable and transformative. Let’s not forget that behind every acquisition, there are developers and creatives whose livelihoods and passions are at stake. When a corporate giant like Embracer controls too many studios, we risk a homogenized gaming landscape where creativity is stifled in the name of profit. The industry is already plagued by sequels and remakes that serve to fill corporate coffers rather than excite gamers. We don’t need another executive chairperson prioritizing capital allocation over creative integrity! Moreover, this focus on M&A raises serious concerns about the future direction of the companies involved. Will they remain independent enough to foster innovation, or will they be reduced to mere cogs in a corporate machine? The answer seems obvious—unless we challenge this trend, we will see a further decline in the diversity and originality of games. Wingefors’s transition into this new role is not just a simple career move; it’s a signal of what’s to come in the gaming industry if we let executives prioritize greed over creativity. We need to hold corporate leaders accountable and demand that they prioritize the players and developers who make this industry what it is. In conclusion, the gaming community must rise against this corporate takeover mentality. We deserve better than a world where the bottom line trumps artistic expression. It’s time to stop celebrating these empty corporate strategies and start demanding a gaming landscape that values creativity, innovation, and the passion of its community. #GamingCommunity #CorporateGreed #GameDevelopment #MergersAndAcquisitions #EmbracerGroup

Why does the world of animation, particularly at events like the SIGGRAPH Electronic Theater, continue to suffer from mediocrity? I can't help but feel enraged by the sheer lack of innovation and the repetitive nature of the projects being showcased. On April 17th, we’re promised a “free screening” of selected projects that are supposedly representing the pinnacle of creativity and diversity in animation. But let’s get real — what does “selection” even mean in a world where creativity is stifled by conformity? Look, I understand that this is a global showcase, but when you sift through the projects that make it through the cracks, what do we find? Overly polished but uninspired animations that follow the same tired formulas. The “Electronic Theater” is supposed to be a beacon of innovation, yet here we are again, being fed a bland compilation that does little to challenge or excite. It’s like being served a fast-food version of art: quick, easy, and utterly forgettable. The call for diversity is also a double-edged sword. Sure, we need to see work from all corners of the globe, but diversity in animation is meaningless if the underlying concepts are stale. It’s not enough to tick boxes and say, “Look how diverse we are!” when the actual content fails to push boundaries. Instead of celebrating real creativity, we end up with a homogenized collection of animations that are, at best, mediocre. And let’s talk about the timing of this event. April 17th? Are we really thinking this through? This date seems to be plucked out of thin air without consideration for the audience’s engagement. Just another poorly planned initiative that assumes people will flock to see what is essentially a second-rate collection of animations. Is this really the best you can do, Montpellier ACM SIGGRAPH? Where is the excitement? Where is the passion? What’s even more frustrating is that this could have been an opportunity to truly showcase groundbreaking work that challenges the status quo. Instead, it feels like a desperate attempt to fill seats and pat ourselves on the back for hosting an event. Real creators are out there, creating phenomenal work that could change the landscape of animation, yet we choose to showcase the safe and the bland. It’s time to demand more from events like SIGGRAPH. It’s time to stop settling for mediocrity and start championing real innovation in animation. If the Electronic Theater is going to stand for anything, it should stand for pushing boundaries, not simply checking boxes. Let’s not allow ourselves to be content with what we’re served. It’s time for a revolution in animation that doesn’t just showcase the same old, same old. We deserve better, and the art community deserves better. #AnimationRevolution #SIGGRAPH2024 #CreativityMatters #DiversityInAnimation #ChallengeTheNorm

For most of us, music is a background hum that we tap into for motivation, relaxation, or simply to fill the silence. But what if it could be something more? Something like a portal into our most creative, focused selves? Yes, this is as cool as it sounds. And that's the premise behind Flow State, a new content series from AlphaTheta – the brand more commonly known for its Pioneer DJ products – created in collaboration with countercultural media platform HUCK and agency OCD Studio. Rooted in AlphaTheta's brand values of innovation, mindfulness and personal growth, Flow State signals a deliberate move beyond the decks and into a broader creative conversation. Through a series of stylised vignettes and intimate interviews, the series challenges audiences to think differently about music, not just as entertainment but as a tool for unlocking peak mental and creative performance. "We saw an opportunity to shift the perception of AlphaTheta beyond just DJ gear and toward a broader idea that music is a tool for peak performance," explains Tom Young, creative director at OCD Studio. "With more creatives talking about flow and mindfulness, now felt like the right time to connect the science of sound with the experience of creating." The framing is no accident, as AlphaTheta's very name alludes to alpha and theta brainwaves, which are both linked to heightened creativity, focus and flow states. By positioning music as a direct trigger for these mental modes, the series opens up a more expansive, holistic narrative around the brand. It's a strategy that builds on earlier efforts, such as AlphaTheta's documentary 'We Become One', which explored the psychological effects of dance music and collective experiences. With Flow State, the ambition goes deeper: to position AlphaTheta as a catalyst for creativity across disciplines, not just DJ booths. Visually, Flow State is stripped-back and cinematic. Each film captures a different creative immersed in their craft, whether that's music production, DJing or movement. Featuring names like Object Blue, Anu and Joel Mignott, the series offers a window into moments where chaos falls away and instinct takes over. "Your flow and how you get into it is quite personal," says Tom. "So we stripped back the aesthetic to reflect that. Clean frames, close textures, emotional clarity. The style mirrors the stillness creatives feel when they're in the zone." That quiet intensity runs throughout the series, mirroring the mental landscapes it seeks to explore. In an age where distraction is constant and attention spans are short, the ability to tune out noise and find focus has become its own kind of cultural currency. As Tom puts it: "In a world of AI-generated everything, your ability to lock in amongst a world of clutter and distraction communicates that you are a person of purpose and clarity." HUCK's editorial team played a central role in shaping the stories, drawing on their reputation for spotlighting subcultures and emerging creative voices. Known for championing artists like Mac Demarco, Flying Lotus and Ghetts before they hit the mainstream, HUCK's involvement ensures the series feels rooted in authenticity rather than product placement. "HUCK understood that this was about how people create," says Tom. "Their deep-rooted culture journalism helped us tell richer, more honest stories and made sure each film felt like a genuine reflection of the artist, not a product demo." While Object Blue, Anu and Joel Mignott each bring distinct disciplines and backgrounds to the table, what connects them is their emotional approach to creativity. Whether it's finding comfort in sound, using movement as a form of self-expression, or chasing a sense of presence, each story reveals that true flow isn't forced. "Interviewing them really showed that flow state only really comes when they're feeling open," says Tom. "It's not something that comes with extreme discipline." Beyond celebrating individual journeys, Flow State also taps into wider conversations about mental health, mindfulness and creative wellbeing. It reflects a growing shift in how brands engage with creative communities, moving away from surface-level aesthetics toward more nuanced, human-centred narratives. "Deep knowledge and understanding are status symbols," says Tom. "People want these deeper stories. Brands who understand that and help people tap into their full creative potential are the ones who will stay relevant." At a time when AI-generated content threatens to homogenise the creative industries, Flow State offers a timely reminder: creativity isn't just about output; it's a state of being. Sometimes, all it takes to access it is the right soundtrack. #exploring #creativity #flow #states #through

Three former executives at the French video game company Ubisoft used their position to bully or sexually harass staff, leaving women terrified and feeling like pieces of meat, a French court has heard.The state prosecutor Antoine Haushalter said the trial of three senior game creators for alleged bullying, sexual harassment and, in one case, attempted sexual assault was a “turning point” for the gaming world. It is the first big trial to result from the #MeToo movement in the video games industry, and Haushalter said the case had revealed “overwhelming” evidence of harassment.In four days of hearings, female former staff members variously described being tied to a chair, forced to do handstands, subjected to constant comments about sex and their bodies, having to endure sexist and homophobic jokes, drawings of penises being stuck to computers, a manager who farted in workers’ faces or scribbled on women with marker pens, gave unsolicited shoulder massages, played pornographic films in an open-plan office, and another executive who cracked a whip near people’s heads. The three men deny all charges.Haushalter said “the world of video games and its subculture” had an element of “systemic” sexism and potential abuse. He said the #MeToo movement in the gaming industry had allowed people to speak out.“It’s not that these actions were not punished by the law before. It’s just that they were silenced, and from now on they will not be silenced,” he said.Ubisoft is a French family business that rose to become one of the biggest video game creators in the world. It has been behind several blockbusters including Assassin’s Creed, Far Cry and the children’s favourite Just Dance.The court in Bobigny, in Seine-Saint-Denis, heard that between 2010 and 2020 at Ubisoft’s offices in Montreuil, east of Paris, the three executives created an atmosphere of bullying and sexism that one member of staff likened to a “boys’ club”. One alleged victim told the court: “The sexual remarks and sexual jokes were almost daily.”Tommy François, 52, a former vice-president of editorial and creative services, is accused of sexual harassment, bullying and attempted sexual assault. He was alleged once to have tied a female member of staff to a chair with tape, pushed the chair into a lift and pressed a button at random. He was also accused of forcing one woman wearing a skirt to do handstands.“He was my superior and I was afraid of him. He made me do handstands. I did it to get it over with and get rid of him,” one woman told the court.At a 2015 office Christmas party with a Back to the Future theme, François allegedly told a member of staff that he liked her 1950s dress. He then allegedly stepped towards her to kiss her on the mouth as his colleagues restrained her by the arms and back. She shouted and broke free. François denied all allegations.Another witness told the court that during a video games fair in the US, François “grabbed me by the hair and kissed me by force”. She said no one reacted, and that when she reported it to her human resources manager she was told “don’t make a big thing of it”.The woman said that later, in a key meeting, another unnamed senior figure told staff he had seen her “snogging” François, “even though he knew it had been an assault”.She said François called her into his office to show her pictures of his naked backside on his computers and on a phone. “Once he drew a penis on my arm when I was in a video call with top management,” she said.The woman said these incidents made her feel “stupefied, humiliated and professionally discredited”.François told the court he denied all charges. He said there had been a “culture of joking around”. He said: “I never tried to harm anyone.”Serge Hascoët told the court: ‘I have never wanted to harass anyone and I don’t think I have.’ Photograph: Xavier Galiana/AFP/Getty ImagesSerge Hascoët, 59, Ubisoft’s former chief creative officer and second-in-command, was accused of bullying and sexual harassment. The court heard how at a meeting of staff on an away day he complained about a senior female employee, saying she clearly did not have enough sex and that he would “show how to calm her” by having sex with her in a meeting room in front of everyone.He was alleged to have handed a young female member of staff a tissue in which he had blown his nose, saying: “You can resell it, it’s worth gold at Ubisoft.”The court heard he made guttural noises in the office and talked about sex. Hascoët was also alleged to have bullied assistants by making them carry out personal tasks for him such as going to his home to wait for parcel deliveries.Hascoët denied all the charges. He said: “I have never wanted to harass anyone and I don’t think I have.”The former game director Guillaume Patrux, 41, is accused of sexual harassment and bullying. He was alleged to have punched walls, mimed hitting staff, cracked a whip near colleagues’ faces, threatened to carry out an office shooting and played with a cigarette lighter near workers’ faces, setting alight a man’s beard. He denied the charges.The panel of judges retired to consider their verdict, which will be handed down at a later date. #harassment #ubisoft #executives #left #female

Scholars of gender and sexuality have been exploring ‘queer spaces’ for over six decades. While for many years homes and domesticity remained out of focus or at the margins of queer space research, a recent ‘domestic turn’ has brought queer people’s homes to the foreground. Queer Spaces, a recollection of case studies of queer domestic spaces edited by Joshua Mardell and Adam Nathaniel Furman, is just one significant work within the recent shift to explore the intersection of queer identities and domesticity, for example. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival Over the past four years I have documented the homes of LGBTQ+ people and come to understand how they inhabit them through interviews, detailed spatial drawings and the creation of dollhouses. This methodology deliberately subverts traditional architectural model-making conventions, emphasising narrative over spatial clarity, interior qualities over façades, and incorporating elaborate details that standard architectural models typically avoid. While this may feel like a rather unusual pursuit for an architect, it’s also one I feel is necessary and urgent. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival My current research builds upon years of professional practice in London and scrutinises the limitations of standardised design approaches. Through interviews and detailed spatial surveys, I am examining how queer families navigate living spaces designed according to the London Plan’s Housing Design Guide.Advertisement Early findings from my field work show a chasm between the queer daily lives of some of London’s LGBTQ+ families and the rigid homes the standard produces. In cases where spatial flexibility is available within domestic architecture, wonderful, innovative, caring and radical uses of domestic space emerge, enabling queer forms of raising children or coexisting with current and former lovers. These are not just joyful nice-to-haves, but essential for my participants to live their queerness at home, in full. Homes should not just be where queer folk feel safe; they must also be spaces where our queerness flourishes. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival The housing emergency in the UK and most of the Western world has urged architects, planners and developers to focus on an increased delivery of ‘units of housing’. Perhaps unsurprisingly, my early findings suggest that this sense of urgency risks under-delivering on quality and space. Housing standards have codified aesthetic, functional, and spatial homogeneity. They reproduce conservative ideals of housing and family at a time when families are growing more and more diverse. All the while, with the expansion of permitted development rights, they are failing to deliver an overall improvement in size and quality of the UK’s housing stock. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival The need for an alternative, open-ended and, perhaps, queer toolkit to design homes – one that expands the ethical and aesthetic horizons of housing design – has never been more urgent. I am therefore also working on developing my ‘disobedient dollhouse making’ as a design tool. One that puts future users at the centre, allowing them to fabulate a different horizon for housing design. My aim is to use dollhouses as a ‘serious’ design game that enables participants to explore the true possibilities of housing beyond the ‘straightjacket’ of the standard. Follow Daniel Ovalle Costal’s research at @QueerDomCanon on Instagram 2025-06-03 Fran Williams comment and share #gays #dolls #how #architect #uses

Molecular Rebar Design, a nanomaterials company based in Austin, Texas, has patented a new additive manufacturingcomposition that utilizes oxidized discrete carbon nanotubeswith bonded dispersing agents to enhance 3D printing resins. The patent, published under US20210237509A1, outlines methods to improve resin properties for applications such as vat photopolymerization, sintering, and thermoplastic fusion. The inventors, Clive P. Bosnyak, Kurt W. Swogger, Steven Lowder, and Olga Ivanova, propose formulations that improve electrical conductivity, thermal stability, and mechanical strength, while overcoming dispersion challenges common with CNTs in composite materials. Image shows a schematic diagram of functionalized carbon nanotubes. Image via Molecular Rebar Design. Functionalized CNTs for additive manufacturing At the core of the invention is the chemical functionalization of CNTs with dispersing agents bonded to their sidewalls, enabling higher aspect ratios and more homogeneous dispersions. These dispersions integrate into UV-curable acrylates, thermoplastics, and elastomers, yielding improved green strength, sinterability, and faster cure rates. The patent emphasizes the benefit of using bimodal or trimodal distributions of CNT diametersto tune material performance. Additional fillers such as carbon black, silica, and metallic powders can also be incorporated for applications ranging from electronic encapsulation to impact-resistant parts. Experimental validation To validate the invention, the applicants oxidized carbon nanotubes using nitric acid and covalently bonded them with polyether dispersing agents such as Jeffamine M2005. These modified CNTs were incorporated into photopolymer resin formulations. In tensile testing, specimens produced with the dispersions demonstrated enhanced mechanical performance, with yield strengths exceeding 50 MPa and Young’s modulus values above 2.8 GPa. Impact strength improved by up to 90% in certain formulations compared to control samples without CNTs. These performance gains suggest suitability for applications demanding high strength-to-weight ratios, such as aerospace, electronics, and structural components. Nanotube innovations in AM Carbon nanotubeshave long been explored for additive manufacturingdue to their exceptional mechanical and electrical properties. However, challenges such as poor dispersion and inconsistent aspect ratios have hindered their widespread adoption in AM processes. Recent advancements aim to overcome these barriers by integrating oxidation and dispersion techniques into scalable production methods. For instance, researchers at Rice University have developed a novel acid-based solvent that prevents the common “spaghetti effect” of CNTs tangling together. This innovation simplifies the processing of CNTs, potentially enabling their scale-up for industrial 3D printing applications. Similarly, a research team led by the University of Glasgow has created a 3D printable CNT-based plastic material capable of sensing its own structural health. This material, inspired by natural porous structures, offers enhanced toughness and strength, with potential applications in medicine, prosthetics, automotive, and aerospace design. Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news. You can also follow us onLinkedIn and subscribe to the 3D Printing Industry YouTube channel to access more exclusive content. At 3DPI, our mission is to deliver high-quality journalism, technical insight, and industry intelligence to professionals across the AM ecosystem.Help us shape the future of 3D printing industry news with our2025 reader survey. Feature image shows schematic diagram of functionalized carbon nanotubes. Image via Molecular Rebar Design. #molecular #rebar #design #patents #carbon

All images courtesy of the artists, shared with permission Paper Sculptures Encounter Otherworldly Happenings in This Uncanny Animated Short Film A day like any other takes an unexpected turn for the paper characters of Shotaro Kitada and Hoji Tsuchiya’s new animation. The filmmakers collaborated on a music video for a track called “Prime” from Japanese saxophonist Tamoaki Baba’s 2024 album, Electric Rider. Constructing a world of paper cutouts and sculptures, Kitada and Tsuchiya worked remotely to make the experimental short film, never meeting in person due to their geographic distance. Tsuchiya would often provide backgrounds by using stop-motion, then Kitada would bring his sculptures to life through live-action techniques. The process required some initial trial and error and eventually came together through improvisation, which the artists liken to a musical jam session. “My three-dimensional works convey a sense of ‘reality’ that drawings or computer graphics cannot replicate,” Kitada says, “yet they evoke a sense of dissonance due to their awkward movements, unique scale, and homogeneous world.” Relatable scenes of a gas station, a sheriff on patrol, or a duo playing chess on a bench are met with a tinge of nostalgia and stilted movements, but as the film carries on, people begin disappearing by way of inexplicable phenomena. An enigmatic, high-strung character and a mysterious beverage may have something to do with it. Filmed digitally, the video was transferred to film to enhance the work’s “tactile quality,” Kitada says. In some scenes, we can see a piece of fishing line lifting a limb, while in others, stop-motion allows figures to move on their own. Get carried away with more projects on Kitada’s website, and see more from Tsuchiya on his site. Next article #paper #sculptures #encounter #otherworldly #happenings