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Have things gone too far?

As is being discussed over on Resetera, a LinkedIn post from Naughty Dog co-founder and lead programmer on the original Crash Bandicoot from 1996, Andrew (Andy) Gavin, dives into a critical difference between the original box-bashing bandicoot experi

Do you feel nostalgia for a childhood novelty toy that had potential but ultimately fell short of its promise? Do you now have the skills to go make a better …read more

The original Kingdom Hearts came to the PlayStation 2 in 2002 when David Gallagher was 17 years old. The actor, now 40, has played deuteragonist and noted “sexy guy” who “the gamer girls” go crazy for, Riku, for more than half his lifetime, but someh

La industria marítima está experimentando una transformación importante gracias a la impresión 3D de gran formato. El grupo holandés CEAD, especialista en fabricación aditiva a gran escala, ha inaugurado recientemente su Maritime Application Center (

These 15 Dynamic Photos Will Make You Want to Dance Get footloose with these Smithsonian Magazine Photo Contest dance scenes Photographs selected by Quentin Nardi Text by Tracy Scott Forson June 13, 2025 In the 1500s, ballet roles for female characters were performed by men. Women entered the art form in the late 1600s and are now dominant in ballet. Libby Zhang, Texas, 2016 Like many art forms, dance transcends cultures, countries and continents. Flamenco, breakdancing, ballet, tango and other well-known genres are all forms of movement performed all across the globe. While being a professional can take decades of dedication and training, one appeal of dance is that you don’t have to be an expert to participate in or enjoy it. Just visit any preschool for evidence of that. “The arts teach tolerance because there is no one way of doing anything,” said dance icon and Emmy winner Debbie Allen. While some forms of dance are more structured and formal than others, they’re all about using the body as a tool of expression. Take a look. In Istanbul, a customary trance-like dance, embodying spiritual devotion and the pursuit of unity with the divine, is performed as part of a Sufi ceremony. Uku Sööt, Turkey, 2024 Passersby cheer and applaud energetic dancers in vibrant colors as they entertain a crowd at Fuzhou. Yi Yuan, China, 2024 A young dance student’s elegant movements are complemented by the flow and motion of her beautiful garment. Felicia Tolbert, Michigan, 2024 During a celebration in Tyrol, the locals perform a traditional dance called Schuhplattler, which is very demanding physically and requires the dancers to reach their shoes while jumping. Ory Schneor, Austria, 2024 Young dancers strike poses for photos before participating in a performance at Brihadeeswara Temple. Ravikanth Kurma, India, 2019 Members of Hush Crew, based in Boston, perform at public venues around the city—and all over social media—showing off their dance skills. Paul Karns, Massachusetts, 2024 A flamenco dancer from Granada jumps to heights that could rival any NBA Hall of Famer. Javier Fergo, Spain, 2017 Dancers of the Ho Chi Minh City Ballet nearly collide as they practice for a performance titled The Roof. Le Nguyen Huy Thuy, Vietnam, 2015 Genres converge as two dancers fuse the movements and choreography of ballet and hip-hop. Tom Griscom, Tennessee, 2015 A teenage dance student celebrates the first day of summer with an iconic ballet leap. Vicki Surges, Minnesota, 2010 Dressed in elaborate, ornate garments, dancers celebrating Day of the Dead participate in a colorful parade. Michelle Atkinson, Texas, 2013 With roots in Italy, ballet, like many forms of dance, is now common in countries and cultures around the world. Xiaoping Mao, China, 2023 Bodies blur as they move to the music during a party to celebrate the festive week of Maslenitsa at the St. Petersburg State University. Anton Golyshev, Russia, 2011 A wedding party celebrates new nuptials with a dance through the historic alleys of New Orleans’ French Quarter. Osman Sharif, Louisiana, 2021 Get the latest Travel & Culture stories in your inbox.

In a previous article, we looked at some practical examples of how to code SVG by hand. In that guide, we covered the basics of the SVG elements rect, circle, ellipse, line, polyline, and polygon (and also g). This time around, we are going to tackle a more advanced topic, the absolute powerhouse of SVG elements: path. Don’t get me wrong; I still stand by my point that image paths are better drawn in vector programs than coded (unless you’re the type of creative who makes non-logical visual art in code — then go forth and create awe-inspiring wonders; you’re probably not the audience of this article). But when it comes to technical drawings and data visualizations, the path element unlocks a wide array of possibilities and opens up the world of hand-coded SVGs. The path syntax can be really complex. We’re going to tackle it in two separate parts. In this first installment, we’re learning all about straight and angular paths. In the second part, we’ll make lines bend, twist, and turn. Required Knowledge And Guide Structure Note: If you are unfamiliar with the basics of SVG, such as the subject of viewBox and the basic syntax of the simple elements (rect, line, g, and so on), I recommend reading my guide before diving into this one. You should also familiarize yourself with <text> if you want to understand each line of code in the examples. Before we get started, I want to quickly recap how I code SVG using JavaScript. I don’t like dealing with numbers and math, and reading SVG Code with numbers filled into every attribute makes me lose all understanding of it. By giving coordinates names and having all my math easy to parse and write out, I have a much better time with this type of code, and I think you will, too. The goal of this article is more about understanding path syntax than it is about doing placement or how to leverage loops and other more basic things. So, I will not run you through the entire setup of each example. I’ll instead share snippets of the code, but they may be slightly adjusted from the CodePen or simplified to make this article easier to read. However, if there are specific questions about code that are not part of the text in the CodePen demos, the comment section is open. To keep this all framework-agnostic, the code is written in vanilla JavaScript (though, really, TypeScript is your friend the more complicated your SVG becomes, and I missed it when writing some of these). Setting Up For Success As the path element relies on our understanding of some of the coordinates we plug into the commands, I think it is a lot easier if we have a bit of visual orientation. So, all of the examples will be coded on top of a visual representation of a traditional viewBox setup with the origin in the top-left corner (so, values in the shape of 0 0 ${width} ${height}. I added text labels as well to make it easier to point you to specific areas within the grid. Please note that I recommend being careful when adding text within the <text> element in SVG if you want your text to be accessible. If the graphic relies on text scaling like the rest of your website, it would be better to have it rendered through HTML. But for our examples here, it should be sufficient. So, this is what we’ll be plotting on top of: See the Pen SVG Viewbox Grid Visual [forked] by Myriam. Alright, we now have a ViewBox Visualizing Grid. I think we’re ready for our first session with the beast. Enter path And The All-Powerful d Attribute The <path> element has a d attribute, which speaks its own language. So, within d, you’re talking in terms of “commands”. When I think of non-path versus path elements, I like to think that the reason why we have to write much more complex drawing instructions is this: All non-path elements are just dumber paths. In the background, they have one pre-drawn path shape that they will always render based on a few parameters you pass in. But path has no default shape. The shape logic has to be exposed to you, while it can be neatly hidden away for all other elements. Let’s learn about those commands. Where It All Begins: M The first, which is where each path begins, is the M command, which moves the pen to a point. This command places your starting point, but it does not draw a single thing. A path with just an M command is an auto-delete when cleaning up SVG files. It takes two arguments: the x and y coordinates of your start position. const uselessPathCommand = `M${start.x} ${start.y}`; Basic Line Commands: M , L, H, V These are fun and easy: L, H, and V, all draw a line from the current point to the point specified. L takes two arguments, the x and y positions of the point you want to draw to. const pathCommandL = `M${start.x} ${start.y} L${end.x} ${end.y}`; H and V, on the other hand, only take one argument because they are only drawing a line in one direction. For H, you specify the x position, and for V, you specify the y position. The other value is implied. const pathCommandH = `M${start.x} ${start.y} H${end.x}`; const pathCommandV = `M${start.x} ${start.y} V${end.y}`; To visualize how this works, I created a function that draws the path, as well as points with labels on them, so we can see what happens. See the Pen Simple Lines with path [forked] by Myriam. We have three lines in that image. The L command is used for the red path. It starts with M at (10,10), then moves diagonally down to (100,100). The command is: M10 10 L100 100. The blue line is horizontal. It starts at (10,55) and should end at (100, 55). We could use the L command, but we’d have to write 55 again. So, instead, we write M10 55 H100, and then SVG knows to look back at the y value of M for the y value of H. It’s the same thing for the green line, but when we use the V command, SVG knows to refer back to the x value of M for the x value of V. If we compare the resulting horizontal path with the same implementation in a <line> element, we may Notice how much more efficient path can be, and Remove quite a bit of meaning for anyone who doesn’t speak path. Because, as we look at these strings, one of them is called “line”. And while the rest doesn’t mean anything out of context, the line definitely conjures a specific image in our heads. <path d="M 10 55 H 100" /> <line x1="10" y1="55" x2="100" y2="55" /> Making Polygons And Polylines With Z In the previous section, we learned how path can behave like <line>, which is pretty cool. But it can do more. It can also act like polyline and polygon. Remember, how those two basically work the same, but polygon connects the first and last point, while polyline does not? The path element can do the same thing. There is a separate command to close the path with a line, which is the Z command. const polyline2Points = M${start.x} ${start.y} L${p1.x} ${p1.y} L${p2.x} ${p2.y}; const polygon2Points = M${start.x} ${start.y} L${p1.x} ${p1.y} L${p2.x} ${p2.y} Z; So, let’s see this in action and create a repeating triangle shape. Every odd time, it’s open, and every even time, it’s closed. Pretty neat! See the Pen Alternating Triangles [forked] by Myriam. When it comes to comparing path versus polygon and polyline, the other tags tell us about their names, but I would argue that fewer people know what a polygon is versus what a line is (and probably even fewer know what a polyline is. Heck, even the program I’m writing this article in tells me polyline is not a valid word). The argument to use these two tags over path for legibility is weak, in my opinion, and I guess you’d probably agree that this looks like equal levels of meaningless string given to an SVG element. <path d="M0 0 L86.6 50 L0 100 Z" /> <polygon points="0,0 86.6,50 0,100" /> <path d="M0 0 L86.6 50 L0 100" /> <polyline points="0,0 86.6,50 0,100" /> Relative Commands: m, l, h, v All of the line commands exist in absolute and relative versions. The difference is that the relative commands are lowercase, e.g., m, l, h, and v. The relative commands are always relative to the last point, so instead of declaring an x value, you’re declaring a dx value, saying this is how many units you’re moving. Before we look at the example visually, I want you to look at the following three-line commands. Try not to look at the CodePen beforehand. const lines = [ { d: `M10 10 L 10 30 L 30 30`, color: "var(--_red)" }, { d: `M40 10 l 0 20 l 20 0`, color: "var(--_blue)" }, { d: `M70 10 l 0 20 L 90 30`, color: "var(--_green)" } ]; As I mentioned, I hate looking at numbers without meaning, but there is one number whose meaning is pretty constant in most contexts: 0. Seeing a 0 in combination with a command I just learned means relative manages to instantly tell me that nothing is happening. Seeing l 0 20 by itself tells me that this line only moves along one axis instead of two. And looking at that entire blue path command, the repeated 20 value gives me a sense that the shape might have some regularity to it. The first path does a bit of that by repeating 10 and 30. But the third? As someone who can’t do math in my head, that third string gives me nothing. Now, you might be surprised, but they all draw the same shape, just in different places. See the Pen SVG Compound Paths [forked] by Myriam. So, how valuable is it that we can recognize the regularity in the blue path? Not very, in my opinion. In some cases, going with the relative value is easier than an absolute one. In other cases, the absolute is king. Neither is better nor worse. And, in all cases, that previous example would be much more efficient if it were set up with a variable for the gap, a variable for the shape size, and a function to generate the path definition that’s called from within a loop so it can take in the index to properly calculate the start point. Jumping Points: How To Make Compound Paths Another very useful thing is something you don’t see visually in the previous CodePen, but it relates to the grid and its code. I snuck in a grid drawing update. With the method used in earlier examples, using line to draw the grid, the above CodePen would’ve rendered the grid with 14 separate elements. If you go and inspect the final code of that last CodePen, you’ll notice that there is just a single path element within the .grid group. It looks like this, which is not fun to look at but holds the secret to how it’s possible: <path d="M0 0 H110 M0 10 H110 M0 20 H110 M0 30 H110 M0 0 V45 M10 0 V45 M20 0 V45 M30 0 V45 M40 0 V45 M50 0 V45 M60 0 V45 M70 0 V45 M80 0 V45 M90 0 V45" stroke="currentColor" stroke-width="0.2" fill="none"></path> If we take a close look, we may notice that there are multiple M commands. This is the magic of compound paths. Since the M/m commands don’t actually draw and just place the cursor, a path can have jumps. So, whenever we have multiple paths that share common styling and don’t need to have separate interactions, we can just chain them together to make our code shorter. Coming Up Next Armed with this knowledge, we’re now able to replace line, polyline, and polygon with path commands and combine them in compound paths. But there is so much more to uncover because path doesn’t just offer foreign-language versions of lines but also gives us the option to code circles and ellipses that have open space and can sometimes also bend, twist, and turn. We’ll refer to those as curves and arcs, and discuss them more explicitly in the next article. Further Reading On SmashingMag “Mastering SVG Arcs,” Akshay Gupta “Accessible SVGs: Perfect Patterns For Screen Reader Users,” Carie Fisher “Easy SVG Customization And Animation: A Practical Guide,” Adrian Bece “Magical SVG Techniques,” Cosima Mielke

Classic splitscreens, traditional face replacements and new approaches to machine learning-assisted face swapping allowed for twinning shots in ‘Mickey 17’. An excerpt from issue #32 of befores & afters magazine. The art of representing two characters on screen at the same time has become known as ‘twinning’. For Mickey 17 visual effects supervisor Dan Glass, the effect of seeing both Mickey 17 and 18 together was one he looked to achieve with a variety of methodologies. “With a technique like that,” he says, “you always want to use a range of tricks, because you don’t want people to figure it out. You want to keep them like, ‘Oh, wait a minute. How did they…?” “Going back to the way that Director Bong is so prepared and organized,” adds Glass, “it again makes the world of difference with that kind of work, because he thumbnails every shot. Then, some of them are a bit more fleshed out in storyboards. You can look at it and go, ‘Okay, in this situation, this is what the camera’s doing, this is what the actor’s doing,’ which in itself is quite interesting, because he pre-thinks all of this. You’d think that the actors show up and basically just have to follow the steps like robots. It’s not like that. He gives them an environment to work in, but the shots do end up extraordinarily close to what he thumbnails, and it made it a lot simpler to go through.” Those different approaches to twinning ranged from simple splitscreens, to traditional face replacements, and then substantially with a machine learned AI approach, now usually termed ‘face swapping’. What made the twinning work a tougher task than usual, suggests Glass, was the fact that the two Pattinson characters are virtually identical. “Normally, when you’re doing some kind of face replacement, you’re comparing it to a memory of the face. But this was right in front of you as two Mickeys looking strikingly similar.” Here’s how a typical twinning shot was achieved, as described by Glass. “Because Mickey was mostly dressed the same, with only a slight hair change, we were able to have Robert play both roles and to do them one after another. Sometimes, you have to do these things where hair and makeup or costume has a significant variation, so you’re either waiting a long time, which slows production, or you’re coming back at another time to do the different roles, which always makes the process a lot more complicated to match, but we were able to do that immediately.” “Based on the design of the shot,” continues Glass, “I would recommend which of Robert’s parts should be shot first. This was most often determined by which role had more impact on the camera movement. A huge credit goes to Robert for his ability to flip between the roles so effortlessly.” In the film, Mickey 17 is more passive and Mickey 18 is more aggressive. Pattinson reflected the distinct characters in his actions, including for a moment in which they fight. This fight, overseen by stunt coordinator Paul Lowe, represented moments of close interaction between the two Mickeys. It was here that a body double was crucial in shooting. The body double was also relied upon for the classic twinning technique of shooting ‘dirty’ over-the- shoulder out of focus shots of the double—ie. 17 looking at 18. However, it was quickly determined that even these would need face replacement work. “Robert’s jawline is so distinct that even those had to be replaced or shot as split screens,” observes Glass. When the shot was a moving one, no motion control was employed. “I’ve never been a big advocate for motion control,” states Glass. “To me it’s applicable when you’re doing things like miniatures where you need many matching passes, but I think when performances are involved, it interferes too much. It slows down a production’s speed of movement, but it’s also restrictive. Performance and camera always benefit from more flexibility.” “It helped tremendously that Director Bong and DOP Darius Khondji shot quite classically with minimal crane and Steadicam moves,” says Glass. “So, a lot of the moves are pan and dolly. There are some Steadicams in there that we were sometimes able to do splitscreens on. I wasn’t always sure that we could get away with the splitscreen as we shot it, but since we were always shooting the two roles, we had the footage to assess the practicality later. We were always prepared to go down a CG or machine learning route, but where we could use the splitscreen, that was the preference.” The Hydralite rig, developed by Volucap. Source: https://volucap.com Rising Sun Pictures (visual effects supervisor Guido Wolter) handled the majority of twinning visual effects, completing them as splitscreen composites, 2D face replacements, and most notably via their machine learning toolset REVIZE, which utilized facial and body capture of Pattinson to train a model of his face and torso to swap for the double’s. A custom capture rig, dubbed the ‘Crazy Rig’ and now officially, The Hydralite, was devised and configured by Volucap to capture multiple angles of Robert on set in each lighting environment in order to produce the best possible reference for the machine learning algorithm. “For me, it was a completely legitimate use of the technique,” attests Glass, in terms of the machine learning approach. “All of the footage that we used to go into that process was captured on our movie for our movie. There’s nothing historic, or going through past libraries of footage, and it was all with Robert’s approval. I think the results were tremendous.” “It’s staggering to me as I watch the movie that the performances of each character are so flawlessly consistent throughout the film, because I know how much we were jumping around,” notes Glass. “I did encourage that we rehearse scenes ahead. Let’s say 17 was going to be the first role we captured, I’d have them rehearse it the other way around so that the double knew what he was going to do. Therefore, eyelines, movement, pacing and in instances where we were basically replacing the likeness of his head or even torso, we were still able to use the double’s performance and then map to that.” Read the full Mickey 17 issue of befores & afters magazine in PRINT from Amazon or as a DIGITAL EDITION on Patreon. Remember, you can also subscribe to the DIGITAL EDITION as a tier on the Patreon and get a new issue every time one is released. The post The art of two Mickeys appeared first on befores & afters.

Level up GeForce NOW experiences this summer with 40% off Performance Day Passes. Enjoy 24 hours of premium cloud gaming with RTX ON, delivering low latency and shorter wait times. The hot deal comes just in time for the cloud’s highly anticipated launch of Dune: Awakening — a multiplayer survival game on a massive scale set on the unforgiving sands of Arrakis. It’s perfect to pair with the nine games available this week, including the Frosthaven demo announced at Steam Next Fest. Try Before You Buy One day, all in. Level up to the cloud, no commitment required. For a limited time, grab a Performance Day Pass at a price that’s less than an ice cream sundae and experience premium GeForce NOW gaming for 24 hours. With RTX ON, enjoy shorter wait times and lower latency for supported games, all powered by the cloud. Dive into popular games with upgraded visuals and smoother gameplay over free users, whether exploring vast open worlds or battling in fast-paced arenas. Take the experience even further by applying the value of the Day Pass toward a six-month Performance membership during the limited-time summer sale. It’s the perfect way to try out premium cloud gaming before jumping into a longer-term membership. Survive and Thrive Join the fight for Arrakis. Dune: Awakening, a multiplayer survival game on a massive scale from Funcom, is set on an ever-changing desert planet called Arrakis. Whether braving colossal sandworms, battling for spice or forging alliances, gamers can experience the spectacle of Arrakis with all the benefits of GeForce NOW. Manage hydration, temperature and exposure while contending with deadly sandworms, sandstorms and rival factions. Blend skills-based third-person action combat — featuring ranged and melee weapons, gadgets and abilities — with deep crafting, base building and resource management. Explore and engage in large-scale player vs. player and player vs. environment battles while vying for control over territory and the precious spice. The spice is flowing — and so is the power of the cloud. Stream it on GeForce NOW without waiting for lengthy downloads or worrying about hardware requirements. Dune: Awakening is available for members to stream from anywhere with the power of NVIDIA RTX for ultra-smooth gameplay and stunning visuals, even on low-powered devices. Chill Out Time to bundle up. Experience the highly anticipated Frosthaven demo in the cloud during Steam Next Fest with GeForce NOW. For a limited time, dive into a preview of the game directly from the cloud — no high-end PC required. Frosthaven — a dark fantasy tactical role-playing game from Snapshot Games and X-COM creator Julian Gollop — brings to life the board game of the same name. It features deep, turn-based combat, unique character classes, and single-player and online co-op modes. Play the Frosthaven demo on virtually any device with GeForce NOW and experience the magic of gathering around a board game — now in the cloud. Enter the frozen north of Frosthaven, strategize with friends and dive into epic battles without the hassle of setup or cleanup. With GeForce NOW, game night is just a click away, wherever members are playing from. Seize New Games A new era of “Rainbow Six Siege” has begun. Rainbow Six Siege X, the biggest evolution in the game’s history, is now available with free access for new players. It introduces a new 6v6 “Dual Front” game mode, where teams attack and defend simultaneously with respawns and new strategic objectives. R6 Siege X also brings new and improved gameplay features — such as modernized maps with enhanced visuals and lighting, new destructible environmental elements, advanced rappel, smoother movement, an audio overhaul and a communication wheel for precise strategic plays, as well as weapon inspections to showcase gamers’ favorite cosmetics. Look for the following games available to stream in the cloud this week: Frosthaven Demo (New release on Steam, June 9) Dune: Awakening (New release on Steam, June 10) MindsEye (New release on Steam, June 10) Kingdom Two Crowns (New release on Xbox, available on PC Game Pass, June 11) The Alters (New release on Steam and Xbox, available on PC Game Pass, June 13) Lost in Random: The Eternal Die (New release on Steam and Xbox, June 13, available on PC Game Pass, June 17) Firefighting Simulator – The Squad (Xbox, available on PC Game Pass) JDM: Japanese Drift Master (Steam) Hellslave (Steam) What are you planning to play this weekend? Let us know on X or in the comments below.