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Our homes reflect who we are and what we value, and industrial-style décor embodies this concept perfectly. By embracing the raw, authentic charm of old factories and warehouses, it creates a space that is both functional and full of character. This design style highlights the beauty in imperfections, showcasing materials like exposed brick, metal, and reclaimed wood, each telling a unique story. Industrial chic is all about contrast, celebrating rugged textures paired with sleek design, imperfections that add depth, and a lived-in feel. Here’s how you can integrate this style, which celebrates character, functionality, and the timeless beauty of industrial heritage. 1. Use Exposed Bricks Exposed brick is a hallmark of industrial design that brings warmth, texture, and an urban edge to a space. Whether left raw for an authentic, bold statement or whitewashed for a softer touch, it adds character and depth. Even if your walls aren’t brick, you can recreate the look with realistic veneers or wallpaper for a hassle-free renovation. Exposed brick instantly gives any room a sense of history and a raw yet welcoming vibe. Also, industrial design features a neutral, muted color palette, with grays and blacks creating a sleek, modern look that complements exposed brick and maintains sophistication. The Vanke City Garden main building, located in Foshan, China, showcases a distinctive architectural style that blends eco-friendly, industrial, and chic elements. Designed by Percept Design, the structure draws inspiration from European architectural traditions while incorporating a harmonious combination of glass, brick, iron, and greenery on its exterior. The interior evokes the essence of a modern cathedral, merged with the tranquil ambiance of a greenhouse. Serving as an exhibition center, the building is dedicated to hosting various events and causes, offering a unique space that seamlessly integrates nature and industrial design. 2. Accentuate with Metal Metal is a key element of industrial design, prized for its durability and raw, edgy appeal. Once hidden in traditional architecture, exposed metal ductwork and pipes now take center stage, adding authenticity and visual intrigue. Incorporate materials like stainless steel, iron, or copper into hardware, lighting, shelving, bar stools, or as table and seating bases. Metal accessories or even a range hood can instantly elevate the kitchen while mixing finishes bring depth and character to the space. Metal furniture, such as steel tables, iron chairs, and metal shelves, adds strength and urban sophistication to a space. Industrial-style lighting, including Edison bulbs, metal pendants, and factory-inspired lamps, illuminates the space and adds to the aesthetics. The CLOCHE and ROUNDABOUT series by Dutch design studio RF Objects are handcrafted lighting collections designed by Ralph Frickel. The CLOCHE series takes inspiration from the early twentieth-century Parisian cloche hat and 1920s lampshades, blending vintage elegance with industrial aesthetics. The ROUNDABOUT collection, inspired by traffic circles, focuses on creating safer, more efficient intersections within the home. Both collections utilize a distinctive architectural wire rope, chosen for its shiny surface, which differentiates it from traditional industrial wire. This unique material imparts a soft, gentle sparkle to the lighting objects throughout the day. At night, the illuminated wire rope creates a dynamic interplay of shadows, enhancing the ambiance of the surrounding environment. Through innovative design and material selection, these elegant light designs successfully merge industrial style with elegance and functionality. 3. Integrate Raw Wood Wood adds warmth and softness, balancing the masculine elements of brick and metal to counteract the coldness of industrial chic and create a welcoming atmosphere. For added character, one can choose reclaimed wood, which brings a unique history and charm to the space. A wooden dining table, butcher block countertops, or shelves can soften the look while still preserving the industrial vibe. These natural elements introduce a sense of comfort and coziness, ensuring the space feels inviting without sacrificing the raw, edgy appeal that defines industrial design. The Stubby Chair blends nostalgia, nature, and minimalism into a modern design statement. Inspired by the simplicity of old park benches made from logs, it evokes a sense of the outdoors with a rugged yet refined presence. The designer aimed to reflect the human instinct to connect with nature by incorporating organic elements into a functional interior object. Crafted from wood and metal piping, the chair reimagines the traditional wooden seat in a bold, contemporary form. This fusion highlights a striking contrast like organic warmth paired with industrial strength that offers a timeless aesthetic that transcends fleeting trends. Designed to age gracefully, the Stubby Chair adapts to its environment and user over time. It avoids association with any specific era and embraces pure form and function. 4. Add Contrast The essence of industrial chic design lies in mixing contrasting elements. Combine sleek metal surfaces with the rough textures of brick, reclaimed wood, or raw concrete for a bold, dynamic look. Soft touches like rugs, cushions, and curtains in areas like the living room and bedroom add warmth, striking a perfect balance between old and new, as well as hard and soft materials. In the kitchen, pair modern appliances or go for a stainless-steel sink in the bathroom with vintage lighting for a timeless vibe. This fusion of rugged and refined creates stylish, functional spaces that is both inviting and full of character. The Outlander is a bold, industrial-style tiny home designed and built in Tasmania. With an all-black exterior, it blends seamlessly into its surroundings and defies the typical cutesy or boho aesthetic of most tiny homes. Spanning nine meters, it includes an open kitchen, king-size loft bedroom, lounge, and a custom bathroom featuring a keg sink, ice tub bathtub, and corrugated iron shower walls that amplify its rugged appeal. The interior thrives on contrast like raw materials meet sleek finishes, and matte black fixtures stand out against crisp white shiplap walls. Concrete-look floors and neutral urban tones unify the space, while minimal wooden furniture adds warmth. Smart storage features like a shared kitchen-bathroom wardrobe, oversized cabinets, and a sculptural floating stair-ladder enhance functionality without compromising style while the loft bedroom offers generous hidden storage. By playing with texture, tone, and material, the Outlander achieves a refined balance between bold industrial edge and cozy livability. 5. Explore Timeless Vintage Finds Industrial-style home décor fuses raw beauty, antique charm, and urban sophistication. Repurposed industrial relics and vintage furniture breathe new life into old objects like factory carts transformed into coffee tables or rusty lockers repurposed for storage. Antique tools, vintage signage, and retro artwork add distinct character, infusing the space with nostalgia and personality. By emphasizing exposed elements like metal accents and thoughtfully incorporating vintage finds, one can create a room full of style and individuality. This blend of rugged and refined elements adds character and personality, giving the space a distinctive, lived-in feel that tells a unique story through timeless treasures. For collectors and enthusiasts of handcrafted designs, the Nixie Tube Vintage Clock is a striking timepiece. This clock evokes 19th-century charm with a design reminiscent of the Victorian era. Crafted entirely by hand, it features a hydro-mechanical column with a manual drive, constructed from brass, copper, bronze, and glass where each component is soldered and threaded with meticulous care. It supports both 12- and 24-hour formats and features seven LED colors for time indication, with the option to turn off the glow at night. Powered by a 5V adapter, it measures 24 x 29 x 11 cm and includes three functional buttons. A unique twist—there’s a cylinder-shaped side slot that doubles as a phone stand, cleverly blending vintage style with modern utility. Industrial-style décor celebrates raw materials and functional beauty, blending style with everyday practicality. Its charm lies in the imperfections of weathered wood and aged brick, which add warmth, texture, and a lived-in feel, making the space truly inviting.The post From Tiny Homes to Loft Apartments: How to Incorporate Industrial Chic Decor into Any Space first appeared on Yanko Design.

Lloyd Lee/BI 2025-05-25T10:37:01Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? This post originally appeared in the BI Today newsletter. You can sign up for Business Insider's daily newsletter here. Welcome back to our Sunday edition, where we round up some of our top stories and take you inside our newsroom. This week, BI's Polly Thompson took an inside look at how artificial intelligence is set to upend a pillar of the white-collar world: the Big Four.On the agenda today:Many millennials face a cursed inheritance with their parents' homes.Internal memos reveal how an ex-Facebook exec leads Microsoft's new AI unit.Losing faith in the ROI of college, Gen Z is pivoting to blue-collar jobs.Wall Street bigwigs are questioning the safety of government bonds. Now what?But first: Tesla's robotaxis are taking the wheel.If this was forwarded to you, sign up here. Download Business Insider's app here.This week's dispatch Robin Marchant/Getty, Sean Gallup/Getty, Tyler Le/BI Tesla's big betI remain in awe of self-driving cars.I took my first Waymo earlier this year in San Francisco. Like any newbie, I immediately pulled out my phone, recorded the ride, and then gleefully shared videos with friends and family.The market for robotaxis is well beyond the shock and awe phase. For Tesla, the stakes are high to get it right.The EV maker's long-awaited autonomous ride-hailing service is expected to debut next month in Austin. It will join Waymo, owned by Google's parent company Alphabet, which is already entrenched in San Francisco and expanding into other cities.My BI colleagues Lloyd Lee and Alistair Barr tried to see which company offers the better self-driving experience: Tesla or Waymo. They test drove both, expecting the results of their not-so-scientific test to come down to minute details. (They couldn't compare the robotaxi services because Tesla hasn't launched its yet).The results surprised them.While the rides were mostly similar, the differentiator was Tesla running a red light at a complex intersection. It was an error too big to overlook. Waymo won the test.Lloyd and Alistair's story ricocheted around the internet and social media. On Tuesday, CNBC's David Faber pressed Tesla CEO Elon Musk about it, particularly the Tesla running a red light.Musk didn't address specific details in BI's reporting. Instead, he said Tesla's robotaxis will be "geo-fenced" — meaning they will avoid some intersections and certain parts of Austin.Waymo already uses geo-fencing. Its car avoided the intersection where the Tesla ran the red light, instead taking a route that was farther away and less time-efficient but perhaps safer to navigate, according to the BI story.Tesla's robotaxi plans come at a critical time for a brand that's taken a hit from Musk's work with the Trump administration. Overseas competition is also ramping up, and prices for used Teslas, including Cybertrucks, are falling.The excitement around the robotaxis is helping, though. Tesla's stock has risen about 40% since Musk talked up the robotaxi last month and signaled he was re-committing to Tesla and stepping back from DOGE.We'll stay all over this coverage for you, including the big debut.The new millennial home dilemmaMillennials are set to benefit from a massive wealth transfer from their boomer parents, most of which is held up in real estate.But because boomers tend to stay in their homes for decades, many children will inherit properties in need of some serious TLC.Microsoft's "age of AI agents" Microsoft CEO Satya Nadella recently tapped Jay Parikh, formerly Facebook's global head of engineering, to spearhead Microsoft's new AI unit, CoreAI. BI viewed internal memos to get a glimpse of Parikh's vision and progress.Parikh is focusing on cultural shifts, operational improvements, and customer experience as he leads Microsoft into a new era.He has plans for an AI "agent factory."From PowerPoint to plumbing Peter Dazeley/Getty Images AI is decimating jobs, and the cost of college is ever-rising. Gen Zers are losing faith in the ROI of a degree, but they've got another option: the trades.White-collar jobs are stagnating, but fields like plumbing, construction, and electrical work are projected to grow. Blue-collar jobs offer a work-life balance and a path to becoming your own boss.The shaky bond market Mario Tama/Getty Images Bonds have always been viewed as a safe haven, especially ones backed by the US government. But concerns over the growing deficit are changing investors' perspective on the asset.KKR has cast doubt over bonds, and JPMorgan CEO Jamie Dimon has been vocal about US credit being a "bad risk." Here's what investors have to think about amid the turmoil.Also read:This week's quote:"But if you want one of these jobs, you've got to play the game."— A recent graduate who moved to New York City early to be in a good position for the private-equity recruiting process.More of this week's top reads:Duolingo drama underscores the new corporate balancing act on AI hype.Elon Musk went on a media blitz. Here are five takeaways from his interviews.See inside the luxurious Boeing 747 Qatar is giving to Trump to serve as Air Force One.Instagram head Adam Mosseri on the "paradigm shift" from posting in public to sharing in private.Four reasons Walmart is raising prices and Home Depot isn't.Please, Jony Ive, I beg you not to make a voice device.Meet the Yale student and hacker moonlighting as a cybersecurity watchdog.Inside the little-known perks that come from a stock exchange "bake-off."Why these Americans agree with the DOGE firings: "Welcome to the real world."The BI Today team: Dan DeFrancesco, deputy editor and anchor, in New York. Grace Lett, editor, in Chicago. Amanda Yen, associate editor, in New York. Lisa Ryan, executive editor, in New York. Elizabeth Casolo, fellow, in Chicago.

Ongoing Regent’s Park Estate Story Trail Regent’s Park Estate, London NW1Regent’s Park Estate Story Trail is a public art trail. Artworks include Unwritten by Polish artist Rafal Zajko, which excavates the history of a clandestine LGBTQ+ bar located beneath St Mary Magdalene church and You Are Here by Ocean Stefan, a queer, trans and non-binary artist based in Margate. olddiorama.com Unwritten by Rafal Zajko. Photography: Nick Turpin 22 May AJ goes OUT sixteen3’s showroom, London EC1Advertisement Sponsored by UK furniture designer sixteen3 and held at its showrooms in Clerkenwell as part of Clerkenwell Design Week, the AJ is holding a party to celebrate the release of this issue. Expect music, drinks, posters, copies of the AJ and lots of networking with co-collaborators and contributors. sixteen3.co.uk 24 May Queer Archi* Social London LGBT+ Community Centre, London SE1Organised by Queerscapes, Queer Archi* Social is a meet-up for queer and trans people working in the architecture, landscape, horticulture and built environment sectors. Not a formal networking event, it’s a chance to meet others who get it, swap stories and find new collaborators. londonlgbtqcentre.org queerscapes.com Still from E.1027 Eileen Gray and the House by the Sea. Credit: Rise And Shine World Sales 31 May Linden Archives Museum of LiverpoolStuart Linden Rhodes established Instagram account @Linden_Archives during Covid, digitising hundreds of 35mm photographs he shot for All Points North and Gay Times in the 1990s. This talk covers his books on the pub and club scene from Birmingham to Newcastle, as well as Pride events across the whole of England. liverpoolmuseums.org.ukAdvertisement 7 June Queer Realms – Zine Workshop Ada Haus, London SW8Part of The London Festival of Architecture, this zine workshop, organised by and for LGBTQ+ people, invites attendees to explore how their identities shape and are shaped by the London landscape, using zine-making as a creative tool. londonfestivalofarchitecture.org You Are Here by Ocean Stefan. Part of Regent's Park Estate Art Trail. Photography: Nick Turpin 9 June-14 September The Painted Picnic – A Summer Pavilion Citypoint, London EC2Designed by artist John Booth, Citypoint’s plaza will be transformed into a vibrant scene from an outdoor party. Inspired by the LFA’s 2025 theme Voices, the installation reimagines a still-life composition at an architectural scale that visitors can interact with. Digital illustrations by Booth celebrating Pride month will also be on display on the screen at Citypoint throughout June. Brookfield Properties as the commissioners. londonfestivalofarchitecture.org 14-18 June Queer Frontiers 1 Customs Wharf, EdinburghHeld over five days of the 2025 Architecture Fringe in Scotland, Queer Frontiers is a project that explores the ‘corporate capture’ of the queer as we progress towards a future where queer has become the norm. The event includes an exhibition and talks, organised by designer and researcher Kirsty Watt, designer Samuel Stair and Architecture Fringe co-director Andy Summers. architecturefringe.com Still from E.1027 Eileen Gray and the House by the Sea. Credit: Rise And Shine World Sales 18 June E.1027 Eileen Gray and the House by the Sea Museum of BathAs part of Queer Bath 2025’s festival and in partnership with FilmBath, this screening sheds light on Irish designer and architect Eileen Gray’s story and the significance of the Modernist villa E.1027 in queer architectural history. The screening will be followed by a discussion on gender, space, and visibility in design. queerbath.co.uk June, date TBC Architecture LGBT+ Life Drawing HOK, London W1Architecture LGBT+’s next free-to-attend monthly life drawing class is being held at HOK’s offices near Warren Street. A queer model will do a variety of poses throughout the evening for attendees to draw. Drawing supplies, music and drinks are all included. The event is aimed at those who work or study within the architectural field. architecturelgbt.com Life drawing at Heatherwick Studio. Photography: Daniel Innes and Joe Stancer 21 June Soho Queer History – Walking Tour Trafalgar Square, London WC2A two-hour walking tour exploring the history of London LGBTQ+ life. It takes you through the West End, sharing stories of drag queens of the 1700s, gay soirées of the 1920s, and the development of this queer neighbourhood. londonfestivalofarchitecture.org 4 July Queer Nightcrawl Through the City NLA, The London Centre, London EC2Dani Dinger and Dan de la Motte of Queer Tours of London shine a light on London's hidden queer stories. The tour strolls down Sodomites Walk, heads to the docks to discover the secret lives of the Mollies of 18th Century Wapping and minces down Old Compton Street to navigate the danger and dalliance of 1930s Soho. thelondoncentre.org 5 July Architecture LGBT+ London Pride Celebration 2025 London, location TBCArchitecture LGBT+ hosts a breakfast and drinks ahead of the London Pride parade to gather architects and built environment professionals together before joining the parade with the official architecture float. architecturelgbt.com London Pride Float competition winning scheme Proudspeaker by oo office. Credit: oo office 5 July London Pride Float Hyde Park Corner, LondonIn March this year, the LFA, Architecture LGBT+ and Freehold announced an open call for the annual £8,000 pride float competition, which is backed by Brookfield Properties and will celebrate the contributions of LGBTQIA+ architects to the built environment. The winner is oo office. architecturelgbt.com November, date TBC Queer Places: The Exhibition 2.0 Liverpool, location TBCLaunching its second round, exhibition Queer Places, a growing archive of Liverpool’s LGBTQ+ spaces past, present and future, opens its doors again in November. The exhibition will be filled with art, architectural models, maps, photographs and artefacts celebrating queer heritage. New this year are interactive 3D models of historic queer spaces. queerplaces.co.uk Queer Places exhibition. Credit: Queer Places Organisations, initiatives and platforms Architecture Foundation Young Trustees’ Spatial Queeries Spotlight Sunday A weekly spotlight on LGBT+ practitioners, design initiatives and queer spaces. @youngtrusteesArchitecture LGBT+ Not-for-profit organisation run by volunteers. It aims to provide an inclusive and prejudice-free environment for LGBT+ architects and those working and studying within the profession through learning, mentoring and networking events – including life drawing and yoga. architecturelgbt.com @architecturelgbtArchitecture LGBT+ Academic Champions Network (ACN) An alliance of academic champions – one per architecture school in the UK – working to improve representation and understanding of queer identity and action in architectural education. architecturelgbt.com/academic-champions-networkBuilding Equality UK-wide member association with resources for built environment consultants, engineers, developers, contractors and institutions – plus events. buildingequalityuk.comFirst Brick Community-led, democratically run housing organisation aiming to build housing and community spaces for LGBTQ+ people who want and need it. firstbrickhousing.co.ukFreehold Networking hub for LGBTQ professionals and allies in the UK’s real estate industry. freeholdlgbt.comFriends of The Joiners Arms: The JOIN Project Collaboration with community partners to explore how LGBTQIA+ venues and organisations can help create inclusive spaces and better opportunities for work, training and volunteering. friendsjoinersarms.comHomotopia Arts and social justice organisation based in Liverpool supporting local, national, and international queer and trans creatives, artists and makers. homotopia.netInterEngineering A professional network aiming to connect, inform and empower lesbian, gay, bisexual and transgender engineers and their straight allies. interengineeringlgbt.comLondon LGBT Community Centre Based in pop-up premises in Southwark, this centre is a safe, sober space that welcomes and supports anyone identifying as LGBTQ+. The space was fitted out by the design and architecture community, who rallied around to support the space. londonlgbtqcentre.orgOpen Plan Scotland A volunteer-led advocacy and support network for all who identify as LGBTQIA+ and study or work across architecture in Scotland. openplan.scot @openplanscotlandOutwardly Creative A new event in Brighton bringing together queer members of the arts and creative industries, including architects. outwardlycreative.co.uk @outwardlycreativePlanning Out Network for LGBT professionals in the town planning and planning sector. @planningoutPride of Place: England’s LGBTQ Heritage Resource and interactive map uncovering and celebrating the LGBTQ heritage of buildings, places and landscapes across England. historicengland.org.ukThe London Queer Housing Coalition Specialist steering group made up of by-and-for LGBTQ+ housing and homelessness organisations working in the capital. stonewallhousing.org/lqhcThe Outside Project London’s LGBTIQ+ community shelter, centre, domestic abuse refuge and trans night shelter. lgbtiqoutside.orgThe Proud Place, Manchester Manchester’s LGBT+ Community Centre hosting The Proud Trust in a purpose-built building. theproudtrust.orgTonic Community-led, not-for-profit organisation focused on creating vibrant and inclusive urban LGBTQ+ affirming retirement communities to address issues of loneliness and isolation of older LGBTQ+ people. tonichousing.org.ukRIBA Collections: LGBTQ+ spaces Research guide to a few of the historical spaces that have formed sites where LGBTQ+ communities have explored, celebrated or concealed sexual and gender identities. architecture.comQueerscapes A platform and community for queer and trans spatial practitioners, including architects, designers, landscape architects, urbanists, builders, gardeners, artists and anyone working with space. queerscapes.com @_queerscapesQueercircle Charity founded to fill the gaps and advocate for systemic change where other arts, health and education institutions fail or actively perpetuate harm, based in the Design District in a David Kohn-designed building. queercircle.orgQueer Design Club Online platform where LGBTQ+ designers can celebrate queer contributions to the design industry and visual culture, share their work and connect with each other. queerdesign.clubQuEAN: Queer Educators in Architecture Network Network of queer spatial design educators – with a focus on queer theory, pedagogies, identities and intersections with spatial design – founded by Gem Barton. @quean_the_networkQueer Places A growing, free digital archive celebrating the vibrant LGBTQ+ spaces of Liverpool’s past, present and future. queerplaces.co.uk @queerplacesQueer Scenarios A research, practice and dissemination community that explores and supports queer identities and queer approaches within critical spatial practices, working collaboratively between teaching staff and students. Based at Central Saint Martins. @queer_scenariosThis list is by no means comprehensive and there are plenty of other resources available. If you are doing something in this field, the AJ would love to hear from you.

What does it mean to treat food as art? For Bon Appétit, it means more than aesthetic plating or a perfectly crisp croissant on your feed. It's a deeper recognition of the visual culture, artistic intention, and emotional storytelling that underpin how we cook, eat, and experience food. That philosophy is the driving force behind the magazine's first-ever Art & Design issue, a vibrant, visually rich edition that sharply focuses on the often-overlooked connections between culinary culture and the creative industries. "As a brand, Bon Appétit aims to illustrate how food shapes culture and society," says editor-in-chief Jamila Robinson. "It's not only essential for life, but it's a creative expression." That thinking permeates every page of the special issue, from recipes riffing on iconic paintings to cutlery designed with sculptural ambition. The magazine has always been known for its sharp visuals and stylish sensibility, but this issue turns the dial up to eleven, and the cover alone is a striking signal of intent. Commissioned by French-based Argentine artist Matías Larraín, it's a bold, poster-like work that distils the spirit of the edition: colour-forward, culture-rich, and unabashedly design-minded. "His vibrant palette and distinctive aesthetic resonated with our brand's creative direction," explains Creative Director Caroline Newton, adding that his fascination with food as subject matter made him a natural choice for the project. Inside, the magazine takes readers on a multisensory journey across disciplines, from still lifes and museum-inspired meals to flatware that's equal parts sculpture and utensil and a digital cover that nods to Wayne Thiebaud's saccharine 1979 Cake Slice. There are also restaurant features that spotlight spaces like Clemente Bar in Manhattan and Central in Lima, where dining and visual storytelling go hand in hand. When it came to curating the content, Newton says the ideas came thick and fast. "When the theme was announced, our creative team was flooded with ideas," she recalls. "We refined our concepts, seeking a balance of diverse visual and cultural references that explore the intersections of art, design, and food." The result is a publication that feels both eclectic and intentional – not just a celebration of beautiful things but an invitation to look at the everyday through a more creative lens. It's also a showcase of Bon Appétit's own talent. "This issue is an important showcase for our extraordinarily talented creative department who make our dishes look so beautiful," says Jamila. From the editorial team to the test kitchen, there's a sense of creative cross-pollination behind each feature. Take A Bite at the Museum, a centrepiece story that brings together diverse contributors to reimagine food through fine art, flexing a different creative muscle in the process. Food, after all, is a medium most of us use every day. "Food is the art form we all participate in," Jamila writes in the issue's foreword – a mantra that underpins the editorial direction. Whether it's the way colour impacts our cravings or how food photography has evolved in the social media age, the magazine explores the role of visual culture in shaping what and how we eat. "Social media is simply a continuum, a modern means of communicating our relationship with food," Jamila reflects. "Humans have chronicled what we eat from the beginning, whether that's a cave painting, a still life, or a TikTok." Beyond the magazine, the edition also highlights a growing shift in hospitality spaces, from gallery-like interiors to artist collaborations that blur the boundaries between form, function, and flavour. "The visual storytelling in restaurants often gives you a sense of place," says Jamila. "It can convey the relationship the chefs have with these other art forms and helps open people to other kinds of expression." That immersive quality and the idea that food can tell stories beyond the plate is echoed throughout the issue. There's also a sense of fun underpinning it all. "We are not in the business of being bored," laughs Caroline when asked how chefs and creatives are using artistic processes in their work. Whether sketching, sculpting, or throwing a dinner party inspired by personal heritage, the magazine revels in food's ability to inspire and surprise. With its first Art & Design issue, Bon Appétit positions itself not just as a food publication but as a curator of culture that champions creativity in its many edible forms. "I hope readers are inspired to take note of the artist who drew the doodles on their apron," says Jamila. "I hope they gaze at the mural that is outside their favourite taco spot. Or pick up their phone and share a picture of their favourite dish – or something they cooked that turned out beautifully – with the rest of us." If there's one takeaway from this issue, it's that food isn't just something we consume. It's something we create. And sometimes, it belongs on a coffee table just as much as on a dinner plate.

Elon Musk said Tesla's robotaxis will be limited to certain areas of Austin during its launch next month. Chip Somodevilla/Getty Images 2025-05-20T22:25:07Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Tesla is planning to debut its robotaxi service next month in Austin. Business Insider tested Tesla's FSD Supervised software ahead of the launch. Tesla's FSD ran a red light at a complex intersection in San Francisco. Elon Musk said Tesla's robotaxis will be limited to certain parts of Austin and avoid intersections the company deems unsafe after the CEO was asked on TV about Business Insider's reporting on a critical error made by Tesla's Full Self-Driving Supervised software.In a May 17 story, two BI reporters took rides in a Waymo and a 2024 Tesla Model 3 equipped with the latest FSD software to compare both companies' autonomous driving technologies. Toward the end of the test, Tesla's FSD ran a red light at a complex intersection in San Francisco.During a discussion about Tesla's robotaxi launch, which is set for June in Austin, CNBC's David Faber asked Musk about BI's report."I guess my question is, is that a concern at all for you in terms of it encountering things that are still sort of a crucial test, and perhaps it fails," Faber said.Musk said BI's test "made no sense" because it compared Tesla's FSD Supervised, which he said assumes a driver is behind the wheel and ready to take over, rather than FSD Unsupervised. @businessinsider We tried two self-driving cars to find the differences between them. #tesla #waymo #fsd ♬ original sound - Business Insider BI noted in the story that the test compared a piece of Tesla technology that could be different from the software that will power the company's robotaxis. BI reported one of the test's goals was to see how far FSD had come since its beta rollout in 2020.Musk and a Tesla spokesperson didn't immediately respond to a request for comment on Tuesday. A Tesla spokesperson also didn't respond to a request for comment to BI's previous story about the driving test on May 17.In the CNBC interview, Musk didn't address specific details in BI's reporting. However, he said Tesla's robotaxis will be geo-fenced to certain parts of Austin.Alphabet's Waymo also uses geo-fencing to limit its autonomous cars to certain parts of a given city, including, for the moment, highways."When we deploy the cars in Austin, we are actually going to deploy it not to the entire Austin region but only to the parts of Austin we consider to be the safest," Musk said on CNBC. "So we will geo-fence it."He added: "It's not going to take intersections unless we are highly confident it's going to do well with that intersection. Or it will just take a route around that intersection."BI's test showed that Waymo appeared to avoid the same intersection where Tesla FSD made the error. Instead, Waymo took BI through a route that was farther and less time-efficient, based on estimated time arrivals provided by Google Maps.During the CNBC interview, the Tesla CEO reiterated his prediction that Tesla's robotaxis will see a quick ramp-up after a limited rollout next month."We'll start with probably 10 for a week, then increase it to 20, 30, 40," Musk said. "It will probably be at 1,000 within a few months."

Interviews A Minecraft Movie: Piotr Karwas (VFX Supervisor) & Elizabeth “Liz” Bernard (Animation Supervisor) – Digital Domain By Vincent Frei - 20/05/2025 With 20+ years in film and advertising, Piotr Karwas has supervised VFX for top directors including David Fincher and Tim Burton. His recent work includes The Electric State, Elevation, he’s here today to talk about the Digital Domain work on A Minecraft Movie. After discussing The Electric State with us a few months ago, Elizabeth ‘Liz’ Bernard is back—this time to talk about her work on A Minecraft Movie. How did you and Digital Domain get involved on this show? Piotr Karwas: We were approached by the Warner Bros. VFX team as they were looking to bring on an additional vendor to help complete the remaining visual effects work. It was also an opportunity to be the best dad ever, since both of my kids are huge Minecraft fans. How was the collaboration with Director Jared Hess and VFX Supervisor Dan Lemmon? Piotr Karwas: I’ve known Dan Lemmon since our time working together at Digital Domain. We collaborated on several projects in the early 2000s, so it was a great opportunity to team up again. As for Jared, I’ve been a fan of his work ever since his first feature, Napoleon Dynamite. Years ago, I also had the chance to briefly work on his film Gentlemen Broncos. The blend of Jared’s signature humor with the global phenomenon of Minecraft was simply too exciting to pass up. I knew I wanted to be involved. Although Digital Domain joined the project later in the production process, we quickly got up to speed and delivered our work on time, despite some challenges. What are the sequences made by Digital Domain? Piotr Karwas: Our primary focus was the final battle sequence, but we also contributed to several fully live-action shots featuring set extensions and some CG animation, primarily around the entrance to the mine. Could you walk us through the process of creating the 500+ Piglins and Iron Golems clashing in that 360° battlefield? What were some of the major technical challenges in making that sequence come to life? Piotr Karwas: One of the key creative challenges was striking the right balance between honoring the iconic look and feel of the game while delivering a cinematic, action-packed experience. The goal was to blend a sense of realism through the movement and design of characters and environments with the charm and style of the Minecraft universe. Under the guidance of Jared and Dan, and in close collaboration with the other vendors, we were able to craft something truly unique. The battle unfolds during the Piglin invasion, as the sunny atmosphere of the Overworld begins to transform into a darker, more menacing environment reminiscent of the Nether. The entire battlefield was designed to function seamlessly in both visual states, capturing the warmth and cheer of the original Overworld, while also supporting its dramatic shift into a hellish landscape filled with fire and gloom. Additionally, the stylized world of Minecraft presented some technical hurdles, especially in large scale crowd sequences. The characters’ unconventional anatomy, limited range of motion, and signature fighting styles added an extra layer of complexity but also pushed us to be creative and innovative. Liz Bernard: We started out with 10 piglins, each of which had 2-6 costumes, plus 8 weapons and 2 torches. We were able to get a lot of variety out of that for our piglin horde. The golem army was smaller and more uniform, and golems are too powerful to be messing around with weapons. Instead, they prefer to use their iron arms to smash through their opponents, so we didn’t have as many different iterations, costumes, and such for the iron golems. In Animation, we moved as fast as possible to clean up and modify a big pile of motion capture so that we could provide our Crowds team with over 300 unique animation cycles and clips. Those clips included everything from golems doing windmill arm attacks, to piglins hacking at golem legs with axes and swords, to baby piglins running around in circles, freaking out. Although we started with motion capture for most of the piglin actions, transferring those actions from a full sized human mocap actor onto 10 different blocky piglins with giant angular heads and different body proportions meant each mocap clip needed a lot of adjustment. For example, piglins cannot raise their square little arms very high because their shoulders will quickly crash into the head. Once we had ploughed through that chunk of work, our Crowds team strung those actions together in Autodesk’s Golaem software to create the crowds seen in the backgrounds of our shots. In the mid-ground, we animated a custom set of longer battle vignettes that we could reuse in a number of shots by reorienting them to camera and offsetting their timing. And of course, there was quite a lot of hero animation to fill in the foreground and tell the story of the ebb and flow of battle. Minecraft is known for its blocky aesthetic. How was the animation rigging approached to stay true to that while enhancing the characters’ performance for live action? Liz Bernard: The piglins, hoglins, and wolves were rigged as pretty standard fleshy characters. The wolves had blocky chests and hips, which our Rigging team kept relatively stiff to preserve the original block shape even when we posed the characters in action. Because we were in a hurry on this fast-paced show, we needed to get rigs into Animation’s hands as quickly as possible, so we ended up relying on our shot modeling/sculpting team to adjust some of the characters’ bodies after animation was approved. They paid special attention to the final look of their shoulders, elbows, and knees, to make sure that the bend at each joint stayed as blocky as possible. The iron golems were a lot trickier to get right because they were made of stiff blocks of metal, had no deforming parts, and their joints were extremely simple. We discovered right away that making an iron golem walk meant instant intersections where the legs attach to the hips and the arms attach to the shoulders. So, to solve that problem and get the golems engaged in the battle, we had to give the animators complete control over every body part. This is not something we typically do because it’s easy to go overboard and end up “off model,” but in this scenario, it was absolutely required. This level of control gave the animators the option to offset body parts to achieve the necessary range of movement without visible intersections on screen or gaps in silhouette. Houdini was used to procedurally generate environments for the film. What were some of the most challenging aspects of creating such vast, dynamic landscapes? Piotr Karwas: The environments posed a unique challenge, not just because of their blocky nature, but because it was essential to make the Overworld feel like a tangible, real place. Some design choices were influenced by physical sets that had been built, while others drew inspiration from the real world. We focused on introducing a sense of natural imperfection, subtle elements like slightly uneven lines, worn edges, scuff marks, scattered debris, dirt, and even touches of realistic vegetation. All of this had to be carefully integrated into the strict, grid-based aesthetic of the Minecraft universe. Our environment team rose to the challenge and delivered a highly detailed immersive location, while working under a demanding production schedule. What were the biggest challenges in adapting Minecraft’s creatures and characters into a live-action setting while retaining their iconic charm? Liz Bernard: Because we came onto the project towards the end of shot production, we were able to use other vendors’ work as a rough guide for how our characters should move and behave. The Iron Golems in particular were a fun challenge, and although Sony had a few shots that we could refer to for the overall movement, it was up to us to establish their combat style. We researched how the golems fight in the game, which, as it turns out, is quite simple. We stuck with the game’s stiff legged walk, simple straight arm swings and skyward scoops to match the game’s iron golem attack style as closely as we could. However, purely matching the game wasn’t going to look quite right in a live action environment with human actors. So, on top of the simple performance, we layered weight shifts to counterbalance the heavy arms. We also added some additional step patterns to get them into position to attack piglins so that they would appear clever and more agile without straying too far from the game aesthetic. We also improved the contacts between the golems’ arms and each piglin to really sell the sense of effort and weight in each attack and hit. The destruction of the Overworld Portal seems like a monumental task. How was such an epic scene created, and what role did the environment and FX teams play in bringing it to life? Piotr Karwas: One of the biggest challenges was figuring out the mechanics of how large-scale destruction would play out in the Minecraft world. We had to carefully determine which elements would follow real-world physics and which could behave in a more stylized, game inspired way. We also spent considerable time designing the post-collapse remains to ensure they were visually compelling and cohesive for the staging of the shots that followed. The portal destruction sequence, in particular, appeared in the two widest shots of the entire sequence. These moments required both armies to be on screen, complete with fallen Iron Golems, defeated or pork-chopped Piglins, and digital doubles for every actor. It was a massive technical, logistical, and creative undertaking. We worked on these shots all the way to the final hour. Can you describe the bespoke zombification transformation pipeline developed for the Piglins? How did this process differ from traditional character transformations? Piotr Karwas: By the time we joined the project, the zombification effect had already been largely developed by Weta FX. One of our main challenges was matching their established look while ensuring visual consistency across both their shots and ours. At the same time, we knew we had to push the effect further. After all, this was the grand finale, where the evil army was being defeated. We also wanted the transformation to feel distinct, especially when applied to large numbers of Piglins. To achieve that, we went as far as building complete skeletal systems that could be revealed during the transformation. How was lighting handled to simulate firelit nighttime chaos? What tools or techniques were critical in creating that atmosphere? Piotr Karwas: To achieve the most realistic look, we used actual fire simulations to drive the lighting on both the characters and the environment. We initially started with just a few fires, but Jared was drawn to the striking visual accents and the warm hues they cast on the characters. As a result, we ended up populating the scenes with hundreds of fires. The air was also filled with atmospheric elements like smoke, ash, and embers, all contributing to a richly textured, apocalyptic feel in every shot. To manage this across numerous shots, we developed semi-automated methods to batch simulate the effects efficiently. How was humor incorporated into the animation, especially with subtle gags like pork chops dropping onto the battlefield or background antics? What approach was used to time these moments? Liz Bernard: We had a good time adding easter eggs and gags into this epic battle scene! Piotr let me know early on that Jared would welcome goofy touches, especially on background characters, so I made sure to pass that information on to my team of animators. What did I get back? Nose picks, butt scratches, belly slaps, and all sorts of goofy behaviour in the background. We usually didn’t center those things in the action unless it was called for in the script (in fact, Jared and Dan had to pull us back a few times), but if you look carefully, you’ll find maximum silliness all over the place. And, of course, I have to mention the Great Hog here. He was probably our funniest character and the most challenging to animate. His style of movement was dictated by his unusual proportions, in particular, his itty-bitty legs and long chunky arms. Those stumpy legs meant his stride was super short unless he broke out into a full quadruped gallop, which our team animated with extra oomph and effort to get a good laugh. The Great Hog’s low rider pants took a dive after one particularly strenuous sprint across the battlefield to attack Natalie. When he rose up on hind legs in anticipation of smashing her with his giant blocky fists, Jared wanted to make sure that the audience could see clearly the gag that his butt crack was showing. In VFX, we traditionally call a gradient of options that we would pitch to the client a “wedge.” In this case, we needed to get a read on how low to go with the pants before we simulated them in CFX, so we sent over a “wedge” for the pants and butt crack for Jared to pick from. In this case, I guess it was actually…a wedgie. How was the visual humor seamlessly integrated into the more intense action sequences, and was there a particular moment that captured this balance perfectly? Liz Bernard: The visual humour was baked into the action from the get-go, from game to storyboards to previsualization. I mean, there’s something inherently funny about dozens of piglins in shorts getting smacked high up into the air and then poof! turning into porkchops. When I welcomed each animator to the show, I made a point of mentioning that they were a little more free to tell jokes with pantomime on this show than they might be used to on more realistic productions. Because we were always in a mindset to make each shot as funny as possible without distracting from the story points, the flavour in animation dailies was always funny. My team pitched piglins getting run over by the Great Hog by accident, baby piglins riding on an iron golem attempting to attack its head, some utterly hilarious slow-mo action with exaggerated overlap a la Baywatch, a hoglin and piglin rider mugging for the camera as they gallop by in the foreground, wolves clamped on by their teeth to the waistband of the Great Hog, and a whole lot of over-acted melodramatic writhing as the piglins zombified after the portal collapsed. You don’t have to tell animators twice to be silly. With such a large-scale project, how did the animation and VFX teams collaborate to maintain a cohesive style across both departments? Were there any specific moments where this collaboration stood out? Liz Bernard: This was a ripsnorter of a project timeline, so all departments were hitting the ground running and developing their parts of the project concurrently. That’s always challenging and requires a lot of communication to pull off. We had a bullpen of experienced folks in our show leadership, and knowing what each other’s departments could and couldn’t do saved us a lot of time as we ramped up. For example, we were able to establish a single groundplane early in our animation schedule, which helped us avoid having to adjust the character’s feet contacts to an evolving environment even as artists were still building the overworld battlefield. The Environments team did a great job set dressing the environment after we had placed our animation and crowds’ characters, so that we did not need to worry about running through plants, pebbles, fires, or corpses. The FX department established a workflow with the Crowds team to “porkchop” any crowds piglin that got smacked by crowds’ iron golems. Setting these rules and criteria helped each department streamline their processes. And, our production team did an absolutely incredible job making sure that every department stayed on target, communicated their roadblocks and breakthroughs effectively downstream (and sometimes upstream!), and adjusted the schedule to compensate. I think the moment where this collaboration really shone was when we saw all of the zombification shots at the end of the sequence starting to fall into place. One day, it felt like we had all of them left to tackle, and the next, we had our methodology kinks worked out and they all started to drop like dominoes. Piotr Karwas: As Liz mentioned, the schedule was extremely tight, especially for executing the film’s grand finale. We had to move quickly and strategically, knowing that things would evolve and change throughout production. I’m incredibly grateful to our amazing team at Digital Domain. Across all four locations, Los Angeles, Vancouver, Montreal, and Hyderabad, our artists worked around the clock to bring it all to life. Yes, there were long hours, high stress, and the usual frustrations with technology that doesn’t always behave but in the end, it was all absolutely worth it. Seeing kids enjoy the movie so much made everything worthwhile. Chicken Jockey! Looking back on the project, what aspects of the visual effects are you most proud of? Piotr Karwas: Without a doubt, the Great Hog’s butt crack was the highlight for me. Liz Bernard: Just the sheer scale of this thing is wild. This is one of those “more is more” kinds of projects that don’t come around so often in our world of photorealistic visual effects. Nothing was supposed to be “real” here, everything was exaggerated, every frame we produced was chock full of crazy action, over the top humor, and easter eggs. I’m very proud of our animation team for embracing this hilarious show in a more cartoony style that we don’t often have the opportunity to tackle. And, man, it tickles me that the fans got such a huge kick out of it all when the movie hit theatres. What else can you ask for? How long have you worked on this show? Piotr Karwas: About six months Liz Bernard: Just six months from start to finish. What’s the VFX shots count? Piotr Karwas: Digital Domain delivered 187 shots not including omits. What is your next project? Piotr Karwas: A Minecraft Movie I hope. Jokes aside, I’m looking at a whole slate of different projects. Liz Bernard: All I can say right now is that it’s a science fiction film that comes out in 2026. Stay tuned! A big thanks for your time. WANT TO KNOW MORE?Digital Domain: Dedicated page about A Minecraft Movie on Digital Domain website. © Vincent Frei – The Art of VFX – 2025

Quantum computing promises to shorten the path to solving some of the world’s biggest computational challenges, from scaling in-silico drug design to optimizing otherwise impossibly complex, large-scale logistics problems. Integrating quantum hardware into state-of-the-art AI supercomputers — forming accelerated quantum supercomputers — helps speed the scaling of today’s quantum processors into helpful devices for solving these complex challenges. At the COMPUTEX trade show, NVIDIA underscored how its work with partners across the Taiwan supercomputing ecosystem is advancing quantum computing toward accelerated quantum supercomputers. Leading hardware developers are working with NVIDIA to equip quantum researchers with tools to make significant contributions in the field. Atlantic Quantum, the University of Edinburgh,, the University of Oxford, Quantum Circuits Inc., QuEra Computing and Yale University anticipate receiving NVIDIA Grace Hopper Superchips from Supermicro to explore and refine the intersections between AI supercomputing and quantum computing. Compal announced its CGA-QX platform, built using the NVIDIA CUDA-Q platform, to accelerate the simulation of quantum optimization problems. The platform has been adopted by the Taiwanese National Science and Technology Council and made available to researchers from universities across Taiwan. Quanta has employed NVIDIA CUDA-Q to experiment with physical quantum hardware, using the platform’s state vector simulations to verify and validate existing quantum processors. This allows Quanta to understand the details of noise in its systems and assess how well they work for use cases of interest. NVIDIA is also working with supercomputing centers to advance accelerated quantum supercomputing. Taiwan’s National Center for High-Performance Computing (NCHC) announced a new supercomputer for quantum research. Built by ASUS, the AI supercomputer at NCHC will feature NVIDIA HGX H200 systems with over 1,700 GPUs, two NVIDIA GB200 NVL72 rack-scale systems and an NVIDIA HGX B300 system built on the next-generation NVIDIA Blackwell Ultra platform — interconnected by NVIDIA Quantum InfiniBand networking. Announced today at COMPUTEX, it’s expected to go live later this year. NCHC is enabling over 20 companies working in quantum computing — collaborating under what’s known as the National Quantum Team. NVIDIA CUDA-Q is being used at the center to explore quantum solutions for applications ranging from machine learning to chemistry. In Japan, AIST’s ABCI-Q — the world’s most powerful supercomputer dedicated to quantum workloads — integrates an NVIDIA supercomputer with more than 2,000 NVIDIA H100 GPUs with quantum processors from Fujitsu, QuEra Computing and OptQC. Increased availability of these quantum-AI platforms is poised to accelerate the breakthroughs researchers can make in quantum computing — including developing new error correcting codes, integrating quantum processors within AI supercomputing and simulating low noise designs of quantum hardware. Learn more about NVIDIA’s work advancing accelerated quantum supercomputing at NVIDIA GTC Taipei, running May 21-22.

10 incredible new tabletop games for you to play in summer 2025 Lucy Orr Published May 16, 2025 2:00pm Pokémon TCG is in for a hot summer (The Pokémon Company) GameCentral looks at the most exciting new summer tabletop releases, including adaptations of Final Fantasy, Assassin’s Creed, and Citizen Sleeper The tabletop games industry has become an unlikely victim of Trump’s tariff trade war. Just after it was recovering from Covid supply chain issues it now sees itself hit with manufacturing issues and an uncertain future. It’s so bad that board game developer CMON has already shut up shop and Stonemaier, famous for the hugely successful Wingspan, is suing the Trump administration. Meanwhile Cephalofair, developer of fan favourite Gloomhaven, can’t even get their product on to the shelves, as it’s stuck in China. While I don’t expect any empty shelves at the UK Games Expo this month, there’s definitely panic in the air. Although one company that doesn’t seem to be too concerned is Games Workshop, who have always manufactured most of their products in the UK – although accessories and terrain for your favourite Warhammer army might become harder to find in the future. After everyone got into it during lockdown, the tabletop industry was riding a huge boom, with recent industry projections of the market doubling to around £20 billion by 2030. But US tariffs have left the industry reeling and could see the price for tabletop games around the world rise significantly. Despite the doom and gloom there’s plenty of exciting new products already out this year and many more on the way from massive brands such as Pokémon and Disney, as well as new Kickstarters that you can print yourself, thereby completely bypassing any manufacturing issues. There’s also never been a better time to support your local board game shop or Dungeons & Dragons club, as their overheads rise, so here’s a selection of games you might find on their shelves right now and those coming soon, that I’m excited to play during the summer break. Magic: The Gathering – Final Fantasy Square Enix’s iconic Final Fantasy franchise is stepping onto the cardboard battlefield with Magic: The Gathering, and the result is as gloriously nostalgic as it is mechanically exciting. The Universes Beyond initiative brings beloved characters, summons, and settings into Magic’s gameplay, with Cloud Strife leading the charge. The Final Fantasy Starter Kit offers two pre-constructed 60 card decks, packed with flavour and function and perfect for newcomers attracted by the sight of a Chocobo or Moogle. Each deck includes five rares, a foil mythic legendary, deck boxes, and digital codes for Magic: The Gathering Arena. But the real draw? The cards themselves. They are stunning. Cloud channels Final Fantasy 7’s environmental and emotional themes, with equipment-focused synergies that feel spot-on. Stiltzkin the Moogle is a flavourful support piece for donation strategies and the terrifying Tonberry arrives with Deathtouch and First Strike, which is fitting for a creature that’s haunted players for decades. With gorgeous full art treatments by amazing artists such as Takahashi Kazuya and Yoshitaka Amano, underpinned by clever mechanical call backs, this crossover is more than fan service, it’s a lovingly crafted bridge between two gaming giants that’s bound to fly of the shelves. £15.99 on Amazon – releases June 13 Warhammer 40,000 Kill Team: Typhon There’s a possible future where Games Workshop is the final tabletop company left standing, as they dodge tariffs and take down licence infringers like a particularly vicious swarm of tyrranids. You too can act out this future in Kill Team: Typhon, which delivers the chaos of Warhammer 40,000 in a claustrophobic, subterranean brawl between flesh-rending Tyranid Raveners and a desperate Adeptus Mechanicus Battleclade. The latest Kill Team box looks stunning and turns up the tension with asymmetric forces: a lean, elite brood of Raveners – deadly melee predators that can tunnel through terrain – versus a jury-rigged Mechanicus strike team, built from repurposed servitors and guided by a technoarchaeologist scouring ancient relics. But this isn’t Helldivers 2. The Raveners can be customised into deadly variants like the Tremorscythe and Felltalon, each armed with bio-engineered weapons designed for close-quarters carnage. On the other side, the Mechanicus bring massed, lobotomised firepower: breachers, gunners, medics, and overseers to allow for some tactical coordination. Also included are Hormagaunts, the swarming Tyrranids shock troops and new Tyranid-infested terrain – always the standout feature of these kill team boxes, in my opinion, and perfect for narrative or larger 40K battles. Typhon embraces Kill Team’s strength: cinematic asymmetry and high stakes. Price TBA – releases June Scalpers are going to love this (The Pokémon Company) Pokémon Trading Card Game Scarlet & Violet – Destined Rivals Pokémon Center Elite Trainer Box This red and black box is going for gangbusters on eBay, before it’s even supposed to be out. The Scarlet & Violet Destined Rivals set reintroduces the beloved Trainer’s Pokémon mechanic, but now with a twist where players can align with iconic duos like Arven’s Mabosstiff and Ho-Oh ex or Cynthia and Garchomp ex. Or fall in with Team Rocket under Giovanni’s command, fielding heavy hitters like Mewtwo ex. It’s a rich throwback to the Gym Heroes era, with cards that spotlight specific trainer and pokémon bonds, each emblazoned with the trainer’s name. The expansion includes 83 cards branded under Team Rocket, 17 new Pokémon ex cards (10 of which are Trainer’s Pokémon ex), and a trove of high rarity collectibles: 23 illustration rares, 11 special illustration rares, and six hyper rare gold-etched cards. But the pre-launch hasn’t been all Sunflora and Jigglypuffs. Since its full reveal on March 24, pre-orders have sparked a frenzy amongst scalpers, with sellouts and early store hiccups are already marring the rollout. Still, between the nostalgia bait and villainous charm, Destined Rivals is shaping up to be one of 2025’s hottest trading card releases. RRP £54.99 – releases May 30 Finspan One game I just can’t put back on the shelf at the moment is Finspan; who’d of thought fish could be so much fun? Since Wingspan took flight in 2019, it’s become a modern classic: part art piece, part engine builder, and a benchmark for gateway games. Finspan, the third entry in the series, swaps feathers for fins, inviting players to explore marine ecosystems across oceanic zones in a beautifully illustrated, medium-lightweight game that last about 45 minutes. Mechanically, Finspan is more accessible than Wingspan, thanks to forgiving resource generation and a gentler deck structure. Strategic depth is still there, whether you chase high value fish, go wide with schools, or balance both. It’s more of a solo puzzle, and less about blocking opponents, which might suit more casual groups. Replayability is strong, and with one to five player support it scales well. The art is stunning, and the fish facts make you feel like a would-be marine biologist. But I missed the funny components (no birdhouse dice tower), so this is missing some of that Wingspan magic. Finspan is a fantastic entry point to the series and an accessible and fun addition to the franchise. It’s not as perfect as Wingspan, but it swims confidently in its own current. Could we see whale and crustacean expansions? I hope so. RRP £41.99 – available now Star Wars Unlimited – Jump To Lightspeed While you might have missed the Star Wars Celebration in Japan last month, and be bereft over the end of Andor Season 2, don’t worry – there are plenty of alternatives for Star Wars fandom. Fantasy Flight Games is revving its hyperdrive with Jump To Lightspeed, the fourth set for trading card game Star Wars Unlimited. A dramatic shift from previous ground-focused releases, this set propels players into orbit, with an emphasis on space combat and a host of gameplay refinements. Headlining the release are two new Spotlight Decks, each featuring a classic rivalry, such as Han Solo vs. Boba Fett. These 50-card preconstructed decks introduce Pilots, a brand-new card type that changes how space units operate. Pilots can be deployed to enhance ships with improved health and damage dealing abilities, offering fresh tactical depth. The set also debuts the Piloting keyword, a hyperspace mechanic, and five special rarity cards per deck, including one new Leader per Spotlight release. It’s a sleek continuation of Unlimited’s mission, with deep strategy wrapped in Star Wars flair. Fantasy Flight isn’t just releasing a new set; they’re effectively entering year two of the game with a soft reboot, that smartly rebalances and refreshes. For new and returning players, the standalone Spotlight Decks offer a refined on-ramp into the meta, while the stellar art and fan favourite make this one of the best sci-fi trading card games around. RRP: £34.99 – available now An indie tabletop game adapting an indie video game (Jump Over the Age) Citizen Sleeper: Spindlejack I was gutted I didn’t manage to nab some physical Cycles of the Eye Data-Cloud dice from Lost in Cult, before they sold out, so I was ecstatic to see the shadow drop of Citizen Sleeper: Spindlejack, especially as it’s completely free. It’s a lean, solo tabletop role-player set in the neon-drenched corridors of the Far Spindle, part of the Citizen Sleeper universe. Released on May 5th (aka Citizen Sleeper Day), it’s a print-and-play experience that trades dense narrative for kinetic delivery runs and tactical movement through a crumbling space station. Inspired by Kadet, the courier from Citizen Sleeper 2, Spindlejack casts you as one of the eponymous daredevils: airbike mounted messengers who dodge cargo haulers and urban decay to deliver sensitive payloads in a haunted, half-dead network. The draw? Not just the cryo or reputation, but the thrill, the competition, and the culture. Using your 10 six-sided dice, a pencil, and some printed sheets you’ll chart courses across randomly generated intersections, upgrade your bike, and edge toward Spindlejack legend status. Designed by Gareth Damian Martin, with stylish, gritty art from Guillaume Singelin, this is a tight, systems-focused dive into a beloved sci-fi setting. No campaign scheduling. No group required. Just you, your dice, and the Spindle’s rusted arteries. For fans of Citizen Sleeper or those craving a focused, atmospheric solo experience, Spindlejack is a no-brainer. DIY or DIE. Available now Disney Lorcana has become a certified hit (Ravensburger) Disney Lorcana – Reign Of Jafar Set 8 and Illumineer’s Quest: Palace Heist The internet has been on fire with the announcement that forthcoming Lorcana sets are to include Darkwing Duck and The Goofy Movie cast, emphasising that Disney Lorcana has become something of a juggernaut since its 2023 debut, captivating collectors and competitive players with a blend of nostalgic charm and evolving mechanics – judging scandals aside. During the Next Chapter of Lorcana livestream earlier this month, Ravensburger dropped major news. The autumn 2025 set, Fabled, will introduce Lorcana’s first ever set rotation, a sign the game is maturing into a competitive force. To support this shift, Fabled will include reprints from earlier sets, while also debuting two new rarity levels: epic and the ultra-rare Iconic. Reign Of Jafar, the game’s eighth set, sees Jafar rise as the new central villain, corrupting Archazia’s Island and bringing a darker twist to the narrative. Familiar faces like Mulan, Stitch, Rapunzel, and Bruno return, alongside new cards and accessories, including updated sleeves and deck boxes featuring classic Enchanted artwork. The new Illumineer’s Quest: Palace Heist PvE box expands on the beloved Deep Trouble, letting players face Jafar co-op style. Expect pre-built decks (Amethyst Amber and Ruby Steel), booster boxes, and enough lore-packed cardboard to fuel your summer break. £16.99 starter pack – releases May 30 The Lord Of The Rings: Fate Of The Fellowship While Finspan might be missing a dice tower, Fate Of The Fellowship more than makes up for that with a dice tower Barad-dûr. This is a one to five player co-op strategy game that builds on the Pandemic System but adds enough fresh features to feel distinct, deeper, and more precious than ever. Players take on the roles of Fellowship members and allies, racing to protect havens from surging shadow troops and helping Frodo sneak past the Nazgûl en route to Mount Doom. Unlike previous Pandemic adaptations, Fate Of The Fellowship leans hard into narrative mechanics. You’ll juggle four resources – stealth, valour, resistance, and friendship – across a sprawling map as you battle despair and shifting objectives. Each player commands two characters, with asymmetric abilities and layered decisions every turn. With 24 rotating objectives, a constant threat from the Eye of Sauron, and a cleverly tuned solo mode, designer Matt Leacock has crafted his richest Pandemic variant yet. I’ve seen plenty of tabletop gamers saying this will be their must-play at UK Games Expo. RRP £69.99 – releases June 27 Assassin’s Creed Animus Animus brings the Assassin’s Creed universe to the tabletop in a wholly fresh, narrative-driven experience. Up to four players select historical eras, each tied to a legendary assassin like Ezio or Eivor, resulting in distinct, asymmetric playstyles, unique objectives, and specialised mechanics. Rather than a miniatures skirmish, this is a competitive, timeline-jumping adventure where players dive into ancestral memories via the titular Animus. Strategic stealth and precision matter: while one player might rush to the end, victory favours those who stay synchronised with their ancestor’s memory by completing tasks efficiently and, of course, stealthily. While there’s still not much information about this game at the moment, Animus looks to employ modular and evolving dynamics driven by interactive card play. Players can impact each other’s timelines, which will hopefully keep the experience reactive and organic. With deep lore integration, and Ubisoft’s full support, this could the most ambitious Assassin’s Creed tabletop title yet. Crowdfunding starts summer 2025 Some like it Hoth (Days of Wonder) Star Wars: Battle Of Hoth Days of Wonder, the studio behind tabletop classic Ticket To Ride, has unveiled its next major release, with Star Wars: Battle Of Hoth. Designed for two to four players, aged 8 and up, this fast-paced board game runs around 30 minutes per session and leans on the accessible, card-driven Commands & Colors system. More Trending Players will face off as Imperial or Rebel forces across 17 scenario-driven missions, with options to escalate into campaign mode. Leader cards introduce familiar names like Vader, Luke, Leia, and Han to influence the tide of battle. Although it should be easy to learn, concerns linger about the scope of the battlefield. A cramped board could reduce tactical play to simple dice duels, something fans of strategic depth may find frustrating. Questions also remain about unit range and movement dynamics. Still, Battle Of Hoth promises cinematic nostalgia and the potential for layered tactics, and all for a very reasonable price. RRP: £49.99 – crowdfunding starts summer 2025 Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter. To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy