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Guided by visual effects supervisor John Knoll, ILM embraced continually evolving methodologies to craft breathtaking visual effects for the iconic space battles in First Contact and Rogue One. By Jay Stobie Visual effects supervisor John Knoll (right) confers with modelmakers Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact (Credit: ILM). Bolstered by visual effects from Industrial Light & Magic, Star Trek: First Contact (1996) and Rogue One: A Star Wars Story (2016) propelled their respective franchises to new heights. While Star Trek Generations (1994) welcomed Captain Jean-Luc Picard’s (Patrick Stewart) crew to the big screen, First Contact stood as the first Star Trek feature that did not focus on its original captain, the legendary James T. Kirk (William Shatner). Similarly, though Rogue One immediately preceded the events of Star Wars: A New Hope (1977), it was set apart from the episodic Star Wars films and launched an era of storytelling outside of the main Skywalker saga that has gone on to include Solo: A Star Wars Story (2018), The Mandalorian (2019-23), Andor (2022-25), Ahsoka (2023), The Acolyte (2024), and more. The two films also shared a key ILM contributor, John Knoll, who served as visual effects supervisor on both projects, as well as an executive producer on Rogue One. Currently, ILM’s executive creative director and senior visual effects supervisor, Knoll – who also conceived the initial framework for Rogue One’s story – guided ILM as it brought its talents to bear on these sci-fi and fantasy epics. The work involved crafting two spectacular starship-packed space clashes – First Contact’s Battle of Sector 001 and Rogue One’s Battle of Scarif. Although these iconic installments were released roughly two decades apart, they represent a captivating case study of how ILM’s approach to visual effects has evolved over time. With this in mind, let’s examine the films’ unforgettable space battles through the lens of fascinating in-universe parallels and the ILM-produced fleets that face off near Earth and Scarif. A final frame from the Battle of Scarif in Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). A Context for Conflict In First Contact, the United Federation of Planets – a 200-year-old interstellar government consisting of more than 150 member worlds – braces itself for an invasion by the Borg – an overwhelmingly powerful collective composed of cybernetic beings who devastate entire planets by assimilating their biological populations and technological innovations. The Borg only send a single vessel, a massive cube containing thousands of hive-minded drones and their queen, pushing the Federation’s Starfleet defenders to Earth’s doorstep. Conversely, in Rogue One, the Rebel Alliance – a fledgling coalition of freedom fighters – seeks to undermine and overthrow the stalwart Galactic Empire – a totalitarian regime preparing to tighten its grip on the galaxy by revealing a horrifying superweapon. A rebel team infiltrates a top-secret vault on Scarif in a bid to steal plans to that battle station, the dreaded Death Star, with hopes of exploiting a vulnerability in its design. On the surface, the situations could not seem to be more disparate, particularly in terms of the Federation’s well-established prestige and the Rebel Alliance’s haphazardly organized factions. Yet, upon closer inspection, the spaceborne conflicts at Earth and Scarif are linked by a vital commonality. The threat posed by the Borg is well-known to the Federation, but the sudden intrusion upon their space takes its defenses by surprise. Starfleet assembles any vessel within range – including antiquated Oberth-class science ships – to intercept the Borg cube in the Typhon Sector, only to be forced back to Earth on the edge of defeat. The unsanctioned mission to Scarif with Jyn Erso (Felicity Jones) and Cassian Andor (Diego Luna) and the sudden need to take down the planet’s shield gate propels the Rebel Alliance fleet into rushing to their rescue with everything from their flagship Profundity to GR-75 medium transports. Whether Federation or Rebel Alliance, these fleets gather in last-ditch efforts to oppose enemies who would embrace their eradication – the Battles of Sector 001 and Scarif are fights for survival. From Physical to Digital By the time Jonathan Frakes was selected to direct First Contact, Star Trek’s reliance on constructing traditional physical models (many of which were built by ILM) for its features was gradually giving way to innovative computer graphics (CG) models, resulting in the film’s use of both techniques. “If one of the ships was to be seen full-screen and at length,” associate visual effects supervisor George Murphy told Cinefex’s Kevin H. Martin, “we knew it would be done as a stage model. Ships that would be doing a lot of elaborate maneuvers in space battle scenes would be created digitally.” In fact, physical and CG versions of the U.S.S. Enterprise-E appear in the film, with the latter being harnessed in shots involving the vessel’s entry into a temporal vortex at the conclusion of the Battle of Sector 001. Despite the technological leaps that ILM pioneered in the decades between First Contact and Rogue One, they considered filming physical miniatures for certain ship-related shots in the latter film. ILM considered filming physical miniatures for certain ship-related shots in Rogue One. The feature’s fleets were ultimately created digitally to allow for changes throughout post-production. “If it’s a photographed miniature element, it’s not possible to go back and make adjustments. So it’s the additional flexibility that comes with the computer graphics models that’s very attractive to many people,” John Knoll relayed to writer Jon Witmer at American Cinematographer’s TheASC.com. However, Knoll aimed to develop computer graphics that retained the same high-quality details as their physical counterparts, leading ILM to employ a modern approach to a time-honored modelmaking tactic. “I also wanted to emulate the kit-bashing aesthetic that had been part of Star Wars from the very beginning, where a lot of mechanical detail had been added onto the ships by using little pieces from plastic model kits,” explained Knoll in his chat with TheASC.com. For Rogue One, ILM replicated the process by obtaining such kits, scanning their parts, building a computer graphics library, and applying the CG parts to digitally modeled ships. “I’m very happy to say it was super-successful,” concluded Knoll. “I think a lot of our digital models look like they are motion-control models.” John Knoll (second from left) confers with Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact (Credit: ILM). Legendary Lineages In First Contact, Captain Picard commanded a brand-new vessel, the Sovereign-class U.S.S. Enterprise-E, continuing the celebrated starship’s legacy in terms of its famous name and design aesthetic. Designed by John Eaves and developed into blueprints by Rick Sternbach, the Enterprise-E was built into a 10-foot physical model by ILM model project supervisor John Goodson and his shop’s talented team. ILM infused the ship with extraordinary detail, including viewports equipped with backlit set images from the craft’s predecessor, the U.S.S. Enterprise-D. For the vessel’s larger windows, namely those associated with the observation lounge and arboretum, ILM took a painstakingly practical approach to match the interiors shown with the real-world set pieces. “We filled that area of the model with tiny, micro-scale furniture,” Goodson informed Cinefex, “including tables and chairs.” Rogue One’s rebel team initially traversed the galaxy in a U-wing transport/gunship, which, much like the Enterprise-E, was a unique vessel that nonetheless channeled a certain degree of inspiration from a classic design. Lucasfilm’s Doug Chiang, a co-production designer for Rogue One, referred to the U-wing as the film’s “Huey helicopter version of an X-wing” in the Designing Rogue One bonus featurette on Disney+ before revealing that, “Towards the end of the design cycle, we actually decided that maybe we should put in more X-wing features. And so we took the X-wing engines and literally mounted them onto the configuration that we had going.” Modeled by ILM digital artist Colie Wertz, the U-wing’s final computer graphics design subtly incorporated these X-wing influences to give the transport a distinctive feel without making the craft seem out of place within the rebel fleet. While ILM’s work on the Enterprise-E’s viewports offered a compelling view toward the ship’s interior, a breakthrough LED setup for Rogue One permitted ILM to obtain realistic lighting on actors as they looked out from their ships and into the space around them. “All of our major spaceship cockpit scenes were done that way, with the gimbal in this giant horseshoe of LED panels we got from [equipment vendor] VER, and we prepared graphics that went on the screens,” John Knoll shared with American Cinematographer’s Benjamin B and Jon D. Witmer. Furthermore, in Disney+’s Rogue One: Digital Storytelling bonus featurette, visual effects producer Janet Lewin noted, “For the actors, I think, in the space battle cockpits, for them to be able to see what was happening in the battle brought a higher level of accuracy to their performance.” The U.S.S. Enterprise-E in Star Trek: First Contact (Credit: Paramount). Familiar Foes To transport First Contact’s Borg invaders, John Goodson’s team at ILM resurrected the Borg cube design previously seen in Star Trek: The Next Generation (1987) and Star Trek: Deep Space Nine (1993), creating a nearly three-foot physical model to replace the one from the series. Art consultant and ILM veteran Bill George proposed that the cube’s seemingly straightforward layout be augmented with a complex network of photo-etched brass, a suggestion which produced a jagged surface and offered a visual that was both intricate and menacing. ILM also developed a two-foot motion-control model for a Borg sphere, a brand-new auxiliary vessel that emerged from the cube. “We vacuformed about 15 different patterns that conformed to this spherical curve and covered those with a lot of molded and cast pieces. Then we added tons of acid-etched brass over it, just like we had on the cube,” Goodson outlined to Cinefex’s Kevin H. Martin. As for Rogue One’s villainous fleet, reproducing the original trilogy’s Death Star and Imperial Star Destroyers centered upon translating physical models into digital assets. Although ILM no longer possessed A New Hope’s three-foot Death Star shooting model, John Knoll recreated the station’s surface paneling by gathering archival images, and as he spelled out to writer Joe Fordham in Cinefex, “I pieced all the images together. I unwrapped them into texture space and projected them onto a sphere with a trench. By doing that with enough pictures, I got pretty complete coverage of the original model, and that became a template upon which to redraw very high-resolution texture maps. Every panel, every vertical striped line, I matched from a photograph. It was as accurate as it was possible to be as a reproduction of the original model.” Knoll’s investigative eye continued to pay dividends when analyzing the three-foot and eight-foot Star Destroyer motion-control models, which had been built for A New Hope and Star Wars: The Empire Strikes Back (1980), respectively. “Our general mantra was, ‘Match your memory of it more than the reality,’ because sometimes you go look at the actual prop in the archive building or you look back at the actual shot from the movie, and you go, ‘Oh, I remember it being a little better than that,’” Knoll conveyed to TheASC.com. This philosophy motivated ILM to combine elements from those two physical models into a single digital design. “Generally, we copied the three-footer for details like the superstructure on the top of the bridge, but then we copied the internal lighting plan from the eight-footer,” Knoll explained. “And then the upper surface of the three-footer was relatively undetailed because there were no shots that saw it closely, so we took a lot of the high-detail upper surface from the eight-footer. So it’s this amalgam of the two models, but the goal was to try to make it look like you remember it from A New Hope.” A final frame from Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). Forming Up the Fleets In addition to the U.S.S. Enterprise-E, the Battle of Sector 001 debuted numerous vessels representing four new Starfleet ship classes – the Akira, Steamrunner, Saber, and Norway – all designed by ILM visual effects art director Alex Jaeger. “Since we figured a lot of the background action in the space battle would be done with computer graphics ships that needed to be built from scratch anyway, I realized that there was no reason not to do some new designs,” John Knoll told American Cinematographer writer Ron Magid. Used in previous Star Trek projects, older physical models for the Oberth and Nebula classes were mixed into the fleet for good measure, though the vast majority of the armada originated as computer graphics. Over at Scarif, ILM portrayed the Rebel Alliance forces with computer graphics models of fresh designs (the MC75 cruiser Profundity and U-wings), live-action versions of Star Wars Rebels’ VCX-100 light freighter Ghost and Hammerhead corvettes, and Star Wars staples (Nebulon-B frigates, X-wings, Y-wings, and more). These ships face off against two Imperial Star Destroyers and squadrons of TIE fighters, and – upon their late arrival to the battle – Darth Vader’s Star Destroyer and the Death Star. The Tantive IV, a CR90 corvette more popularly referred to as a blockade runner, made its own special cameo at the tail end of the fight. As Princess Leia Organa’s (Carrie Fisher and Ingvild Deila) personal ship, the Tantive IV received the Death Star plans and fled the scene, destined to be captured by Vader’s Star Destroyer at the beginning of A New Hope. And, while we’re on the subject of intricate starship maneuvers and space-based choreography… Although the First Contact team could plan visual effects shots with animated storyboards, ILM supplied Gareth Edwards with a next-level virtual viewfinder that allowed the director to select his shots by immersing himself among Rogue One’s ships in real time. “What we wanted to do is give Gareth the opportunity to shoot his space battles and other all-digital scenes the same way he shoots his live-action. Then he could go in with this sort of virtual viewfinder and view the space battle going on, and figure out what the best angle was to shoot those ships from,” senior animation supervisor Hal Hickel described in the Rogue One: Digital Storytelling featurette. Hickel divulged that the sequence involving the dish array docking with the Death Star was an example of the “spontaneous discovery of great angles,” as the scene was never storyboarded or previsualized. Visual effects supervisor John Knoll with director Gareth Edwards during production of Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). Tough Little Ships The Federation and Rebel Alliance each deployed “tough little ships” (an endearing description Commander William T. Riker [Jonathan Frakes] bestowed upon the U.S.S. Defiant in First Contact) in their respective conflicts, namely the U.S.S. Defiant from Deep Space Nine and the Tantive IV from A New Hope. VisionArt had already built a CG Defiant for the Deep Space Nine series, but ILM upgraded the model with images gathered from the ship’s three-foot physical model. A similar tactic was taken to bring the Tantive IV into the digital realm for Rogue One. “This was the Blockade Runner. This was the most accurate 1:1 reproduction we could possibly have made,” model supervisor Russell Paul declared to Cinefex’s Joe Fordham. “We did an extensive photo reference shoot and photogrammetry re-creation of the miniature. From there, we built it out as accurately as possible.” Speaking of sturdy ships, if you look very closely, you can spot a model of the Millennium Falcon flashing across the background as the U.S.S. Defiant makes an attack run on the Borg cube at the Battle of Sector 001! Exploration and Hope The in-universe ramifications that materialize from the Battles of Sector 001 and Scarif are monumental. The destruction of the Borg cube compels the Borg Queen to travel back in time in an attempt to vanquish Earth before the Federation can even be formed, but Captain Picard and the Enterprise-E foil the plot and end up helping their 21st century ancestors make “first contact” with another species, the logic-revering Vulcans. The post-Scarif benefits take longer to play out for the Rebel Alliance, but the theft of the Death Star plans eventually leads to the superweapon’s destruction. The Galactic Civil War is far from over, but Scarif is a significant step in the Alliance’s effort to overthrow the Empire. The visual effects ILM provided for First Contact and Rogue One contributed significantly to the critical and commercial acclaim both pictures enjoyed, a victory reflecting the relentless dedication, tireless work ethic, and innovative spirit embodied by visual effects supervisor John Knoll and ILM’s entire staff. While being interviewed for The Making of Star Trek: First Contact, actor Patrick Stewart praised ILM’s invaluable influence, emphasizing, “ILM was with us, on this movie, almost every day on set. There is so much that they are involved in.” And, regardless of your personal preferences – phasers or lasers, photon torpedoes or proton torpedoes, warp speed or hyperspace – perhaps Industrial Light & Magic’s ability to infuse excitement into both franchises demonstrates that Star Trek and Star Wars encompass themes that are not competitive, but compatible. After all, what goes together better than exploration and hope? – Jay Stobie (he/him) is a writer, author, and consultant who has contributed articles to ILM.com, Skysound.com, Star Wars Insider, StarWars.com, Star Trek Explorer, Star Trek Magazine, and StarTrek.com. Jay loves sci-fi, fantasy, and film, and you can learn more about him by visiting JayStobie.com or finding him on Twitter, Instagram, and other social media platforms at @StobiesGalaxy.

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I've wanted to rewatch the sci-fi thriller Strange Days for a long time, but I kept forgetting because, honestly, I couldn't remember the title. I finally came across it on Hulu and checked it out, and I can't stop thinking about it.Though Strange Days was released back in 1995, it looks and feels like it could've come out yesterday. It's one of those rare old movies that imagined the technology of virtual reality, or VR, without turning it into a gimmick. Strange Days takes place in 1999 Los Angeles during the last 48 hours of the millennium. Lenny Nero, played by Ralph Fiennes, is a former cop who now peddles an illegal virtual reality experience called Playback. Nero's friend and bodyguard, Mace (Angela Basset), tries to keep him rooted in reality and away from trouble. Together, they work to track down a brutal rapist and murderer -- a man who uses VR Playback discs to record his crimes from his own point of view.The movie wasted no time dropping me into its jarring setting: The opening scene is an armed robbery filmed in first-person perspective, with the robber running from cops and jumping from one rooftop to another. A couple of scenes later, I saw tanks on the streets of LA and heard radio callers declaring that the world would end at the stroke of midnight on Jan. 1, 2000. Strange Days reminds me of the best Black Mirror episodes -- both deeply disturbing and uncomfortably close to home. Director Kathryn Bigelow was influenced by the 1992 LA riots and incorporated those elements of racial tension and police violence into her work. The result is a movie that's sometimes difficult to watch but impossible to look away from. At the same time, Strange Days is grounded by emotion. Nero (Fiennes) spends a good portion of the movie reliving memories of his failed relationship with the singer Faith (played by actress-turned-rocker Juliette Lewis). Lying in bed while he plays back footage of happier days, he can trick himself into believing he's roller skating with Faith again -- until the disc stops spinning and he opens his eyes, back in the lonely present day."This is not 'like TV only better,'" says Nero, as he introduces the VR Playback tech to one of his clients. "This is life."But Bassett's character, Mace, believes otherwise, at one point confronting Nero over his attachment to his "used emotions." "This is your life!" says Mace. "Right here! Right now! It's real time, you hear me? Real time, time to get real, not Playback!" As I watched Strange Days in 2025, I couldn't help thinking of the virtual reality devices that exist today. VR headsets like the Meta Quest 3 and Google's upcoming AR glasses are bringing us closer than ever to the Playback tech in the film. And the immersive spatial videos for the Apple Vision Pro can make you feel like you're really reliving a three-dimensional recorded memory. As I considered the similarities between our current tech and Strange Days' Playback discs, I wondered if the future wants to be haunted by the past.Despite being 30 years old, Strange Days' special effects hold up incredibly well. Where other 1995 sci-fi flicks like Hackers and Johnny Mnemonic experimented with early computer-generated imagery, Strange Days went for a more practical approach: Characters shift in and out of the Playback footage with a simple analog distortion effect, just like you'd find while watching home videos on VHS tapes. The point-of-view shots were carefully choreographed, and the resulting footage looks like you're viewing it through the recorder's eyes.Strange Days also features standout musical acts. Juliette Lewis, in character as Faith, belts out two PJ Harvey tracks in on-screen performances that recall the best of '90s grunge. Rapper Jeriko One (played by Glenn Plummer) delivers biting social commentary in his music video. And contemporary artists Aphex Twin, Deee-Lite and Skunk Anansie perform during the movie's bombastic final act, a New Year's Eve rave in downtown LA. (It was a real-life concert with 10,000 attendees.)Strange Days is both a thrilling action movie and a mind-bending exploration of technology and memory. I'm surprised it was a box-office flop in 1995, and I wish it had received the recognition it deserved then. Still, I'm glad this sci-fi masterpiece is available to stream today. Though Strange Days isn't the easiest title to remember, the movie itself is unforgettable.

The Swiss Federal Railways’ repair works in Zürich are being lightly transformed for new commercial uses Workers at the Swiss Federal Railways’ (SBB) central repair works in Zürich used to climb the roof of its halls and practise handstands. It was as good a place as any to do gymnastics: out in the open air, with a view to the Käferberg rising across from a tangle of railway tracks and the river Limmat. A photograph from 1947 survives in the SBB archives, showing a light turf growing on the roof – most of the buildings that make up the works had been constructed about 30 years earlier, between 1906 and 1910 – and a group of young apprentices exercising under the stern supervision of a foreman. The photograph captures the beginning of the repair works’ heyday. SBB was formed in 1902, the result of an 1898 referendum to nationalise the nine major private railway companies operating in Switzerland at the time. The construction of the Zürich repair works began soon after, with an office building, a workers’ canteen, shower rooms, workshops, stores and carriage halls laid out across a 42,000m2 site flanked by Hohlstrasse to the south‑west and the railway tracks connecting Zürich Central and Altstetten stations to the north‑east. Here, rolling stock could easily be redirected to the works, and transferred into its functional, skylit brick halls with the use of a lateral transfer platform.  In the postwar decades, the works came to employ upwards of 800 staff, and served as the SBB’s main repair works, or Hauptwerkstätte – there were smaller ones in Bellinzona, Chur, Yverdon-les-Bains and other locations, established by the private railway firms before nationalisation. In the same period, SBB gained international fame for its early electrification drive – the landlocked confederation lacks fossil fuel deposits but has hydropower aplenty – and modern industrial design. The Swiss railway clock, designed in 1944 by SBB employee Hans Hilfiker, is now used in transit systems around the world, and the network’s adoption of Helvetica for its graphic identity in 1978 contributed to the widespread popularisation of the typeface – long before the first iPhone.  At the turn of the millennium, SBB was turned into a joint‑stock company. All shares are owned by the state and the Swiss cantons, but the new company structure allowed the network to behave more like a private enterprise. Part of this restructuring was an appraisal of the network’s sizable real-estate holdings, which a new division, SBB Immobilien, was set up to manage in 2003. Around the same time, the Hauptwerkstätte in Zürich was downgraded to a ‘repair centre’, and plans were drawn up to develop the site, which was vast, central and fashionably post‑industrial – and so ripe for profitable exploitation. The revenue generated by SBB Immobilien has only become more important to the network since then, as its pension fund – long beset by market volatility and continuous restructurings – relies heavily on it. When, in 2017, SBB and the city and canton of Zürich organised a competition for the redevelopment of the old repair works, Swiss architecture practice Baubüro In Situ was selected as winner ‘for its expertise in adaptive reuse, sustainable circular practices and participatory approach’, says an SBB Immobilien spokesperson. For SBB, it was important that the redevelopment, now dubbed Werkstadt Zürich, made use of the railways’ enormous catalogue of existing materials and components. (SBB even has its own online resale platform, where, for example, four tonnes of gravel, a disused train carriage or a stud welding machine can be acquired for a reasonable sum.) For the canton, it was imperative that the scheme make room for local manufacturing in line with a broader drive to bring production back into a city dominated by services.  Founded in Basel by Barbara Buser and Eric Honegger in 1998, Baubüro In Situ (previously Baubüro Mitte) was in a unique position to meet such a brief, as it operates alongside what it terms its three ‘sister companies’: Unterdessen (founded in 2004, to organise ‘meanwhile’ uses for buildings and sites), Zirkular (established in 2020, focusing on materials and circular construction), and Denkstatt Sàrl, an urban think tank run by Buser and Honegger together with Tabea Michaelis and Pascal Biedermann. All informed the masterplan for Werkstadt Zürich, which will complete its first phase this year.  The Zürich offices of the four companies have been housed in various spaces on the repair works site since 2017, while the project has been ongoing. For the past year, they have had a permanent home on a new mezzanine level constructed around the internal perimeter of the works’ cathedral‑like carriage hall. This level is accessed via two central staircases composed of reused components from SBB’s network – I‑beams of various profiles, timber, metal tube railings – which, as has become a trademark of Baubüro In Situ’s work, come together in an artfully mismatched whole. ‘The main thing this office does is as little as possible,’ says Vanessa Gerotto, an interior architect at the firm. SBB still uses parts of the site, as is evident from train tracks that crisscross it. ‘They do repairs in some of the halls,’ explains Gerotto. ‘But they have reorganised, relocated and compacted their repair sites,’ so that approximately 18,450m2 have been freed up for commercial use at Werkstadt Zürich, including a swathe of units in the carriage hall. Here, as in other areas where they are no longer needed, SBB’s tracks have been retained but filled in with concrete and smoothed over.  Businesses have slowly filled Werkstadt Zürich as new units have been completed, and are mostly rarefied, small‑scale producers of luxury consumables: there is a chocolatier, a granola‑maker, a micro‑brewery, a gin distillery and a coffee roastery, as well as a manufacturer of coffee machines. The first commercial tenant, however, was somewhat more in keeping with the original programme of the site: the Swiss outdoor equipment brand Transa moved its repair workshop into one of the spaces in Werkstadt Zürich’s magazine building, to the south of the site, in 2023. Here, a team of 13 craftspeople repair and waterproof Gore-Tex clothing, backpacks, tents and sleeping bags that individual customers either drop off or mail to them, or that official partnering brands send directly to the centre.  ‘The Transa team is currently working on a new set of curtains for the Baubüro In Situ’s offices across the yard’ This part of Werkstadt Zürich was also the first to be renovated. Baubüro In Situ, working closely with colleagues at Zirkular, undertook a substantial interior fit‑out of the triple-height space, located in the western part of the magazine wing. A new timber mezzanine was added to maximise use of the space for the client, who did not require a double-height ground floor space. This was designed to be structurally independent from the shell of the building, so that the listed structure was not impacted.  However, the weight of the mezzanine necessitated new foundations, which needed to support a load of 100kN per timber support. There were not any suitable concrete elements available on site at Werkstadt Zürich, so the teams opted for what Zirkular architect Blanca Gardelegui admits was an ‘experimental’ move, reusing concrete from a demolition site in Winterthur. Here, slabs were cut using a diamond blade saw and stacked on site using a crane. ‘Additional work,’ explains Pascal Angehrn, architect at Baubüro In Situ, ‘came from the temporary storage of the blocks,’ and their transport. Once the blocks had been fitted into place, new concrete nevertheless had to be poured around the timber supports. This meant that, although efforts were made to reuse a wide variety of components and fittings – heaters, doors, plumbing fixtures, lights and stone windowsills – the fit‑out did not meet the architects’ own best‑case scenario of 50 per cent greenhouse gas savings, compared with using new materials and components for the renovation. Instead, they calculated the savings to sit at around 17 per cent. ‘Concrete is one of the most challenging materials to recycle,’ says Gardelegui. ‘The idea is not to do something perfectly, but to learn from the process.’ Finally, the teams introduced a wide staircase into the centre of the space, using the timber from the cut-out mezzanine flooring to make up its steps. Upon moving in, the staff at Transa’s repair centre embraced the architects’ spirit of reuse, creating their own furniture from pallets, and uplholstering with insulation cut‑offs. Tobias Stump, a member of staff at the centre, explains that their team is currently working on a new set of curtains for Baubüro In Situ’s offices across the yard.  ‘The idea is not to do something perfectly, but to learn from the process’ Werkstadt Zürich has the atmosphere of a creative testing ground, where materials get shifted around and reconfigured as needs and uses change. There is genuine camaraderie among the new commercial tenants: they make curtains for each other; organise monthly ‘open factory’ days; and have even recreated the 1947 photograph of the gymnasts on the roof. But antics on the roof may not be viable much longer. The next phase of Werkstadt Zürich involves the construction of vertical extensions atop the halls and magazine wing, densifying the site for further financial gain. Bland, brand new residential towers loom just off site, a little further up Hohlstrasse. Altstetten is gentrifying rapidly, part of the city’s continual remaking of itself.

Willis Building, 1975 Source:Nigel YoungWillis Building by Foster + Partners Located in Ipswich, Foster + Partners’ office for insurance company Willis Faber & Dumas features a swimming pool, roof-top garden and restaurant. Often used as an example of early high-tech buildings, the office hosts around 1,300 staff across open-plan offices and flexible spaces, which were said to be untraditional at the time. These spaces are spread over three floors connected by escalators which were innovative in the 1970s, particularly in offices. Outside, in contrast, the building reinforces rather than confronts the urban grain, with its free-form plan and low-rise construction responding to the scale of surrounding buildings, while its curved façade maintains a relationship to the medieval street pattern.Advertisement Read more about the project in AJ Buildings Library. Sainsbury Centre, 1978 Source:Ken KirkwoodSainsbury Centre by Foster + Partners This School of Fine Art and art centre was designed to house a collection gifted to the University of East Anglia by Sir Robert and Lady Sainsbury. The design incorporates structural and service elements within the double-layer walls and roof. Within this shell is a free-flowing sequence of spaces that incorporates a conservatory reception area, coffee bar, exhibition areas, the Faculty of Fine Art, senior common rooms and a restaurant. Full-height windows at either end of the structure allow the surrounding landscape to form a backdrop to the exhibition and dining areas, while aluminium louvres, linked to light sensors, line the interior to provide an infinitely flexible system for the control of natural and artificial light. Read more about the project in AJ Buildings Library.Advertisement Hong Kong and Shanghai Bank, 1985 Source:Ian LambotHong Kong and Shanghai Bank by Foster + Partners Completed in 1985, this Hong Kong bank tower has no internal supporting structure, allowing for a naturally bright, 10-story atrium. used a high degree of prefabricated elements The project was completed in less than three years and tight schedule requirements meant that the practice turned toward the use of prefabricated and factory-finished elements. With a suspension structure, the tower is expressed externally as a stepped building formed of three individual towers with heights of 29, 36 and 44 storeys. This formation creates floors of varying widths and depths inside, accommodating garden terraces. Bridges span between floors, while a mirrored sun scoop reflects sunlight through the atrium to a public plaza below. Discover more about this project in AJ Buildings Library. Millennium Bridge, 2000 Source:Nigel YoungMillennium Bridge by Foster + Partners Foster + Partners’ Millennium Bridge spans 320m across the River Thames. Completed in 2000, the construction of the bridge marked the first new crossing on this part of the river in over a century. For pedestrian use only, the shallow suspension bridge’s structure is supported by cables that never rise more than 2.3m above the deck, which lets the bridge enjoy uninterrupted views of London. Find out more about the project in AJ Buildings Library. 30 St Mary Axe, 2003 Source:Nigel Young30 St Mary Axe by Foster + Partners London’s first ecological tall building and an iconic addition to the city’s skyline, 30 St Mary Axe, also known as The Gherkin, was commissioned to hold the London headquarters of insurance company Swiss Re. Set around a radial plan, its iconic enclosure was designed to be energy-conscious. Merging the walls and roof into a continuous triangulated skin allowed for a column-free floor space, maximising natural  light and views. The double-glazed cladding sits outside of the structural gridshell. Inside the building are office spaces as well as a shopping arcade accessed from a newly created public plaza. The triangular atria, which have the planning benefit of leaving the office spaces almost rectangular, also provide greater daylight penetration. Discover more about this project in AJ Buildings Library. Millau Viaduct, 2004 Source:Nigel YoungMillau Viaduct by Foster + Partners Designed with engineer Michel Virlogeux, the 2.46km-long cable-stayed bridge formed a crucial transport link in the Paris to Barcelona motorway across a valley in south-west France. It has the highest elevated roadway in the world, with its deck set 270m above the River Tarn. Supported on seven concrete piers of varying heights, the bridge has a 3 per cent slope from south to north to encourage drainage. A gentle curve as the bridge approaches the northern plateau helps wind resistance. Both these factors work aesthetically too, accentuating the sense that the structure is tailored precisely to a specific site. Each of its sections spans 342m and its columns range in height from 75m to 245m, with the masts rising a further 90m above the road deck. Find out more in AJ Buildings Library. Wembley Stadium, 2007 Source:Nigel YoungWembley Stadium by Foster + Partners A collaboration with sports design specialists Populous, Foster + Partners’ arena replaced the old Wembley Stadium, which was one of the most important sports venues in Britain. With a 90,000 capacity and a retractable roof, the new structure was designed to maximise spectator enjoyment and retain the stadium’s iconic status The geometry and steeply raked seating tiers ensure that every spectator in the 90,000-capacity stadium has an unobstructed view of the pitch. The stadium has a retractable roof that allows the turf to get sufficient sunlight and air, while in poor weather it can be closed to cover the entire seating bowl. The roof is supported structurally by a 133m-high arch that towers above the stadium, providing an icon and a new London landmark. Read more about Wembley Stadium in AJ Buildings Library. Image, top: Photo by Nigel Young Maggie’s Manchester, 2016 Source:Nigel YoungMaggie's Manchester by Foster + Partners This cancer care centre in Manchester uses landscaping and greenery to help create a therapeutic sanctuary. The 500m², single-storey building is focused around a garden. At the eastern side adjoining the car park the garden is broken up into small courtyards, offering private spaces leading from each of the centre’s counselling rooms. To the west, the garden is more open and offers a threshold between the street and the centre. Meanwhile, a greenhouse with a faceted glass façade echoes the building’s triangular rooflights. Naturally illuminated by these triangular rooflights, the building is supported by lightweight timber lattice beams. These beams act as natural partitions between different internal areas, visually dissolving the architecture into the surrounding gardens. Discover more about this project in AJ Buildings Library. Bloomberg London, 2017 Source:Nigel YoungBloomberg HQ by Foster + Partners Foster + Partners’ £1 billion European HQ for business news giant Bloomberg is ambitious, accomplished and lavish. The fins, 117 in total, are the building’s way of ‘breathing’, with each section opening or closing depending on exterior conditions. This allows air to flow into the building while keeping external noise to a minimum, as well as filtering incoming air. Chunky stone corners and shear walls form part of the sandstone façade, with muscular poché sections fitted with thermal doors allowing air to circulate through the structure. Discover more about the HQ in AJ Buildings Library. Foster + Partners Norman Foster 2025-05-29 Katie Last comment and share

The first time you see it, your brain doesn’t register it as a keycap. It looks more like a diorama ripped straight out of a Pixar-directed sci-fi short – complete with a lone astronaut, and some sufficiently advanced quantum tech, all sealed in resin like they’re cryogenically frozen for your desk. That’s the Dwarf Factory Astrovert Quantum-ixer Spacebar. And calling it “just” a spacebar would be like calling the Millennium Falcon a cargo ship. This 6.25U artisan slab isn’t trying to be discreet. It demands attention, and frankly, earns it. Dwarf Factory’s MO has always leaned into visual storytelling, and the Quantum-ixer continues that trend with unapologetic whimsy. The SAR3 profile makes it ergonomically familiar if you’re already swimming in Cherry MX-compatible gear, but ergonomics are arguably beside the point. You’re not slamming this $99 artifact into your keyboard for WPM gains. You’re doing it because it lights up like a moonlit spaceship hangar when your RGB kicks in. Designer: Dwarf Factory Dwarf Factory doesn’t really do one-off designs. They build universes. The Quantum-ixer spacebar is the final chapter in their Astrovert series, and it plays like the climax of a well-paced space opera. According to them, this piece is the technological leap the Astrovert crew needed – essentially, the device that stabilizes their jumps through space-time. It’s less of a decorative flourish and more like the mission-critical core of their interstellar saga. The astronaut, the sidekick, the bizarre apparatus – they’re all locked in, mid-adventure, frozen inside resin like a scene from a comic book panel. This isn’t an homage to sci-fi; it’s an artifact from it, rendered in the same obsessive detail that defines everything Dwarf Factory touches. There are four colorways, each with its own visual flavor. T-800 channels a brutalist, chrome-heavy vibe – dark and industrial, almost noir. The 94B feels cooler and more clinical, with icy blue tones. PickIE takes a more playful turn, leaning into candy-colored optimism, while 14512F lands in deep-space territory with its moody purples and inky blacks. All of them look like artifacts pulled from different galaxies, unified by their surreal attention to detail. If your keyboard has backlighting (especially RGB) the translucent elements let that light filter through like some unholy alien core reactor. Sure, the spacebar has always been the most iconic key and never really needed labeling or backlit text, so something as whimsical as the Quantum-ixer feels appropriate for the keyboard. Why keep that piece of real estate empty? Why keep it boring? When you could, instead, outfit it with sci-fi tech? The spacebar fits like a dream on Cherry MX switches and clones, holding a 6.25u layout that’s standard for most mechanical keyboards. That SAR3 profile gives it a slight sculpt, comfortably sitting under your thumbs without disrupting the rhythm of your board. It’s plug-and-play in the most interstellar sense. Each one ships in a kraft box with stickers, finger gloves, and even a loose stem tightening kit, which somehow makes the whole thing feel like you’re unboxing lab equipment or a prop from a cyberpunk film. It’s silly. It’s self-aware. It’s perfect. At a glance, it might seem excessive to drop nearly a hundred bucks on a single keycap, but this isn’t about function anymore. It’s about expression. Dwarf Factory’s Quantum-ixer doesn’t improve your typing speed or enhance your workflow. What it does is transform your workspace into a miniature cosmos – something you interact with every day, but now through the lens of fantasy, imagination, and a little weirdness. And maybe, just maybe, that bit of storytelling is worth the splurge. The post The Most Ridiculously Cool Spacebar Ever Made Looks Like Some Quantum Alien Tech first appeared on Yanko Design.

Don't Feel Like Fighting? Check Out These Other Terrific PC Games Brawlhalla Brawlhalla (for PC) 3.5 Good The Blue Mammoth Games-developed Brawlhalla is a free-to-play fighting game—available on PC, console, and mobile—that builds upon Smash's wild, character-focused gameplay by introducing unlimited wall-jumps and various other movement options that facilitate fun combat.The expanding character roster also features the likes of G.I. Joe's Snake Eyes, WWE's Randy "Macho Man" Savage, Tomb Raider's Lara Croft, and Street Fighter’s Chun-Li. Many of these licensed fighters require spending cash, but that's fine; it's worth spending $20 for all current and future characters, because this platform-fighter is just that exciting. Capcom Fighting Collection 2 Capcom Fighting Collection 2 (for PC) 4.0 Excellent Capcom continues resurrecting its classic titles for modern audiences with Capcom Fighting Collection 2. This compilation features cool deep cuts not found in previous entries, including Power Stone and Project Justice. Along with the nostalgia, you'll enjoy new upgrades like online multiplayer (but no crossplay) and revamped display options. If you've had your fill of Street Fighter, this is a great way to broaden your fighting game horizons. Capcom Fighting Collection 2 (for PC) review Dead or Alive 6 Dead or Alive 6 (for PC) 3.5 Good Dead or Alive 6, much like its immediate predecessor, is one part fighting game, one part fashion show, and one part schlocky action movie. Individually, each of the game's widely differing elements might not stand up to scrutiny. After all, DOA 6 isn't the best fighter, doesn't offer the deepest character customization, and doesn't quite reach the Tekken series' level of story insanity.Still, Dead or Alive 6 is a fun and surprisingly strategic PC game that offers enough freshness to warrant playing with its new Break Blow and Break Hold tools. Plus, the game's familiar Triangle System and Danger Zones are highly entertaining, too. Divekick Divekick (for PC) 3.5 Good Iron Galaxy Studios' Divekick is the most hipster fighting game ever created. It's the product of the indie scene that mercilessly parodies fighting games and their die-hard community, yet demands that you be part of the underground circle to fully get all of the references and in-jokes.It's an odd game, but an interesting one if you open your mind to the insane concept of a two-button fighter based entirely on the idea of jumping and kicking. And 20-second rounds. And one-hit kills. And a line of scrimmage. Yes, Divekick is a fighting game freak show, but one worth checking out. Dragon Ball FighterZ Dragon Ball FighterZ (for PC) 4.0 Excellent Beside Fist of the Northstar and Jo Jo's Bizarre Adventure, there are few anime properties that are as intrinsically suited to the fighting-game treatment as the Dragon Ball series. Spanning multiple series, movies, and generations of characters, Akira Toriyama's manga-turned-anime-turned-game series is all about buff monkey men, humans, aliens, and androids trading blows in actual earth-shattering battles.The series' latest video game adaptation, Dragon Ball FighterZ, ditches the Xenoverse games' arena-brawling model in favor of 3-vs.-3, tag-team fighting on a 2D plane. The gameplay shift is just one of the many reasons Dragon Ball FighterZ is being held aloft as one of 2018's notable titles. Its beautiful design, intense combat, and accessible control scheme add up to a game that anyone can jump into for Super Saiyan thrills.Plus, you can kick Cell through a mountain. Dragon Ball FighterZ (for PC) review Fatal Fury: City of the Wolves Fatal Fury: City of the Wolves (for PC) 4.0 Excellent The King of Fighters series is great, but Fatal Fury: City of the Wolves resurrects the SNK fighter that started it all. Familiar faces like Terry Bogard and Mai Shiranui battle real-life guest characters like DJ Salavatore Gannaci and soccer star Cristiano Ronaldo gather for this excellent take on fundamental, 2D fisticuffs. Rich mechanics add depth to both offensive and defensive play, while comic book-inspired graphics give brawls a distinct visual identity. Crossplay multiplayer shines with rollback netcode. Fatal Fury: City of the Wolves (for PC) review Garou: Mark of the Wolves Garou: Mark of the Wolves (for PC) 4.5 Excellent Upon its 1999 release, Garou: Mark of the Wolves—a surprisingly deep and visually stunning entry in the long-running Fatal Fury series—was hailed as SNK's wondrous response to Capcom's Street Fighter III. Nearly 20 years later, SNK has finally given the fighting game the proper PC treatment by releasing it with numerous additional graphics options, leaderboards, and rollback, online versus play.Despite removing and downplaying some series-specific elements, Garou doesn't feel any less of a Fatal Fury game, however. It's set in the Southtown, and it features multiple fighters with classic Fatal Fury lineages, whether it's blood relationships to, or martial-arts tutelage from, older characters. Kim Kaphwan isn't in the game, for example, but his sons continue his legacy of swift, combo-heavy tae kwon do kicks.The result is an excellent game that boasts beautiful animation, Just Defend parries, and the strategic T.O.P. system that delivers increased attack damage, limited health regeneration, faster super-meter build up, and an exclusive special attack when your activate the mode. Guilty Gear Strive Guilty Gear Strive (for PC) 4.0 Excellent The Guilty Gear series reigns as the king of anime-style fighting games due to its gorgeous art style, and a rich, demanding, and lighting-quick combat system. Unfortunately, its oceanic depth and mountainous skill ceiling proved inaccessible to the causal player—until now. With Strive, developer Arc System Works streamlines the series’ unique combat mechanics to make them more newcomer-friendly, while retaining the older games' creative richness. Strive comes with fewer extra modes than its predecessors, but there is a lot to love in this PC game, including astounding visuals, impressive character play styles, and snappy, lag-free online play courtesy of top-tier, rollback netcode. Strive is an approachable series entry that shakes up the Guilty Gear formula in the best ways possible. Guilty Gear Xrd -Sign- Guilty Gear Xrd -Sign- (for PC) 3.5 Good Guilty Gear is a niche series within a niche genre, one that's enjoyed a cult following since its first appearance in 1998. With Xrd -SIGN-, developer Arc System Works ditches the series' 2D sprites in favor of 3D cel-shaded graphics in an attempt to expand its audience. Likewise, series creator Daisuke Ishiwatari sought a more approachable play style that maintains the depth and high skill ceiling that long-time Guilty Gear fans love.Still, Guilty Gear Xrd -SIGN- keeps the series familiar fighting action (Roman Cancels, Bursts, and Dusts) that enables creative offensive and defensive play. Guilty Gear Xrd -Sign- (for PC) review Killer Instinct Killer Instinct (for PC) 4.0 Excellent When Killer Instinct debuted for Windows 10 in March 2016, it represented the latest chapter in the continued PC fighting game renaissance. With its arrival, Microsoft's one-on-one game of fisticuffs joined the likes of Guilty Gear, The King of Fighters, Street Fighter, and other high-profile series that now grace the personal computer.Killer Instinct has a combo-heavy engine that caters to both novices and pros, incredibly detailed graphics that boast ridiculous particle effects (everything explodes!), and an over-the-top, NBA Jam-like announcer who screams your accomplishments ("C-c-c-combo Breaker!") at the top of his lungs.Killer Instinct is part of Microsoft's Play Anywhere initiative. So, if you buy Killer Instinct from the Microsoft Store, you'll also be able to play it on Xbox One at no additional cost. It has cross-platform play with Xbox One, too, thus expanding the online player base. There's a Steam version, too. Even better, the game's ridiculously good netcode ensures smooth play across the globe. Killer Instinct (for PC) review The King of Fighters '98: Ultimate Match Final Edition The King of Fighters '98 Ultimate Match Final Edition (for PC) 5.0 Outstanding The King of Fighters '98—with its hops, rolls, blowback attacks, and meter-filling Advance and Extra modes—is one of the best fighting games ever made, so it's no surprise that developer SNK has returned to the title many times since the game's original release.In 2008, SNK celebrated the game's tenth anniversary by porting the team-based fighter to the PlayStation 2 as The King of Fighters '98: Ultimate Match, a game loaded with extra characters (including the almighty '96 Boss Team!), stages, moves, and gameplay modes. Now, a tweaked Ultimate Match is available for purchase under the title The King of Fighters '98 Ultimate Match Final Edition.This version adds numerous graphics options and good, but not great, online connectivity that lets you battle other KOF fans around the globe in 3-vs.-3 action. The King of Fighters '98 Ultimate Match Final Edition (for PC) review The King of Fighters 2002 Unlimited Match The King of Fighters 2002 Unlimited Match (for PC) 4.0 Excellent Like The King of Fighters '98 Ultimate Match Final Edition, The King of Fighters 2002 Unlimited Match is a dream match that eschews a storyline so that developer SNK could include as many characters as possible—even some that are canonically dead, like crime boss Geese Howard. As a result, Unlimited Match boasts one of the largest fighting game rosters of all time, with a 66-character strong lineup.King of Fighters 2002 Ultimate Match continues the series tradition of excellent combat. Although it lacks KOF '98 UMFE's three radically different fight mechanics (Advanced, Extra, and Ultimate), Unlimited Match has a lone system that resembles Advanced Mode. This fighting style gives you plenty of offensive (Dash, Run, Hops, Super Jumps) and defensive (Guard Cancel Strike, Guard Cancel Roll Throw) options for setting up or evading traps. Excellent rollback netcode lets you play people around the world without hiccup. The King of Fighters XIII: Steam Edition The King of Fighters XIII: Steam Edition (for PC) 4.0 Excellent The King of Fighters XIII: Steam Edition brings SNK's incredibly dense, 3-vs.-3, team-based fighter to the PC via Valve's video game marketplace. It's an all-around excellent fighting game, and one of the best in SNK's rich catalog.If you've rumbled with friends and foes in the version that appeared on PlayStation 3 and Xbox 360, you'll feel right at home here: The intricate combat mechanics, meter management, and the best sprite-based graphics ever seen in a fighting game are brought over successfully in this Steam port.Even better, The King of Fighters XIII: Steam Edition contains all the console DLC and the King of Fighters XIII: Climax arcade features. Similar to The King of Fighters '98: Ultimate Match Final Edition, The King of Fighters XIII: Steam Edition has decent online play, but you can expect some hiccups. The King of Fighters XIII: Steam Edition (for PC) review The Last Blade The Last Blade (for PC) 4.0 Excellent SNK put weapons-based, 2D fighting on the map with 1993's delightful Samurai Shodown, but the developer went on to refine the idea of sword-based combat four years later in a somewhat lesser-known Neo Geo title: The Last Blade.Released to the Steam platform with several contemporary bells and whistles, The Last Blade boasts excellent swordplay, a dozen exquisitely designed characters, and a gorgeous anime- and manga-style presentation that make its 19th-century Japanese setting one of the most beautiful in fighting-game history. Marvel vs. Capcom: Infinite Marvel vs. Capcom Infinite (for PC) 3.5 Good Marvel vs. Capcom: Infinite has taken its fair share of flack since its reveal, and the venom is not at all unwarranted. The initial trailer for the tag-team fighting game featured dull, washed-out graphics, and Capcom highlighted the new novice-friendly, auto-combo options that are designed to help casuals bust out cool-looking moves in an otherwise hardcore genre. As a result, fight fans were highly skeptical of the game, as was I.Fortunately, my Infinite sentiments changed upon logging several hours with the game. The Infinity Stone hook and the move to 2-vs.-2, tag team action make Marvel vs. Capcom Infinite an incredibly fun PC game to play in both casual and hardcore sessions.Still, Infinite has presentation and MCU-focused roster issues that prevent it from rising to the very top of the fighting game elite. Mortal Kombat XL Mortal Kombat XL (for PC) 4.0 Excellent When NetherRealm Studios released the blood-drenched Mortal Kombat X to consoles in 2015, the one-on-one fighting game continued to evolve via free and paid updates that added characters, balanced the roster, and improved online play. However, the High Voltage Studios-ported PC version of the game received zero post-launch support, much to the dismay of hardcore Mortal Kombat fans.Thankfully, that changed with the Mortal Kombat XL update, a version of MKX that finally gives PC gamers all the extras that console-based fight fans have enjoyed for some time now. I dislike the idea of paying more money for PC content released long after the console version, but it's hard not to love the additions, which include even more fighters, stages, costumes, and gore.Paid DLC added plenty of guest fighters, which has becoming commonplace in the fighting game circle. They include the Predator and Friday the 13th's Jason Vorhees. The King of Fighters XV The King of Fighters XV (for PC) 4.0 Excellent Developer SNK took KOF XIV's core, revamped the MAX meter, added the Shatterstrike counter system, and gave the character models an eye-catching redesign to create one of the best fighting games in recent history. KOF XV features an updated fighting engine that facilitates fast-paced, creative combat, and near-flawless rollback netcode that will keep you knuckling up with online rivals for hours on end.The game's dense with options. You can play the narrative-driven Story mode, use DJ Station to listen to more that 300 music tracks culled from SNK's rich, decades-long game library (many compositions unlock as you play Arcade mode), engage in casual and ranked online battles, view leaderboards, and check out match replays. In a community-fostering move, SNK included an esports-friendly tournament mode tailor-made for locals and majors like Evo. You can save 15 custom teams, set up brackets and rulesets, and register up to 32 entrants. It's a great touch. In addition, KOF XV lets you join online lobbies to play against others or simply spectate. Mortal Kombat 11 Mortal Kombat 11 (for PC) 4.5 Excellent Mortal Kombat 11 is far more than the guts and gore titles on which the series built its fame. The narrative sequel to Mortal Kombat X, Mortal Kombat 11 uses time travel to pit characters against their rivals in the past in order to alter the present. Whatever.Mortal Kombat 11 continues the series tradition of chop-socky action and otherworldly mysticism to lay the foundation for military operatives, ninjas, gods, and monsters to punch each other squarely in the face. With its character customization, HDR10 support, smooth animations, and new offensive and defensive meters, MK11 is the best Mortal Kombat game to date. Mortal Kombat 11 (for PC) review Samurai Shodown Samurai Shodown (for PC) 3.5 Good Clashing swords, blood spurts, and tense, measured play define Samurai Shodown, SNK's beloved weapons-based fighting game series. This series refresh, the simply named Samurai Shodown, carries those elements to PC after the game first appeared on console. If you've waited this long in hopes that Samurai Shodown would add many PC-exclusive extras, you may be disappointed; this is largely the same game that appeared elsewhere. Still, Samurai Shodown's unique, defense-orientated gameplay makes it a fighting game to check out for sword-swinging, blood-letting action. Prep for lengthy load times, though. Samurai Shodown Neo Geo Collection Samurai Shodown Neo Geo Collection (for PC) 4.0 Excellent Samurai Shodown Neo Geo Collection, SNK and Digital Eclipse's follow up to the delightful SNK 40th Anniversary Collection, contains all the SamSho games that appeared on the original Neo Geo, plus production art, SNK staff interviews, and a true surprise—an unreleased title that only briefly saw a location test. Overall, Samurai Shodown Neo Geo Collection is a wonderful piece of playable history, with the only blight against the PC game being its mediocre online components. Skullgirls 2nd Encore Skullgirls 2nd Encore (for PC) 4.5 Excellent Skullgirls 2nd Encore, the update to Reverge Labs's critically acclaimed original game, takes cues from many highly regarded fighting titles and blends it with the series' unique, cartoony, art deco-influenced visual style.However, Skullgirls 2nd Encore's graphics aren't all that separate it from the competition. The indie fighter boasts a Capcom vs. SNK-style ratio system that lets you select up to three characters to battle up to three rival characters, as well as a Marvel vs. Capcom-style assist system. The fighter also has a built-in system that automatically stops infinites, those annoying and abusive combos that never end. SNK vs. Capcom: The Match of the Millennium SNK vs. Capcom: Match of the Millennium (for PC) 4.5 Excellent With Match of the Millennium's rerelease, the secret best fighting game in the SNK vs. Capcom crossover series finds a new audience. Featuring an 18-character default roster (Athena, Chun-Li, Dan, Felicia, Guile, Haohmaru, Iori, Ken, Kyo, Leona, Mai, Morrigan, Nakoruru, Ryo, Ryu, Sakura, Terry, and Zangief), and three deep groove systems that replicate beloved the companies' beloved fighting game engines, SNK vs. Capcom: Match of the Millennium sees two fighting game universes collide in marvelous fashion.That would be more than enough variety, but Match of the Millennium offers additional goodies. It features standard Sparring, Survival, and Time Attack fighting modes. Olympics, however, is the most intriguing mode, as it lets you indulge in several non-fighting game minigames. For example, you can blast Metal Slug's Mars People in a first-person shooting mode or guide Ghost 'N Goblins' Arthur across pits to snatch up treasure. The Versus points that you earn here unlock extra super moves for the default and secret characters. These contests have the depth of early mobile phone games, but they're a nice diversion from the standard fighting game action.Match of the Millennium is a genuinely entertaining and rich fighting game that combines challenge and strategy with a hefty helping of lighthearted humor. SoulCalibur VI SoulCalibur VI (for PC) 4.0 Excellent The weapons-based combat series has seen its ups and downs over the years, but with SoulCalibur VI, developer Bandai Namco has taken what's worked in the past—swift, strategic combat and robust character customization—and paired it with the new Reversal Edge and Soul Charge battle mechanics to create an engaging PC fighting game that'll shine in all sorts of battles, whether they're between buddies or on big esports stages like Evo.Combat is crisp and rewarding, with a universal control scheme that makes it a breeze to pick up a new character. Each fighter has a horizontal attack, vertical attack, kick, block, parry, sidestep, guard-crushing Break Attack, and Critical Edge super attack. This control scheme will feel familiar to anyone who's played recent SoulCalibur titles, and it leads to some tense combat moments as you attack and defend. Street Fighter 30th Anniversary Collection Street Fighter 30th Anniversary Collection (for PC) 4.0 Excellent Film aficionados rely on The Criterion Collection to take vital classic and contemporary movies and present them in thoughtful, information-filled packages for modern audiences. Until very recently, the 40-year old video game industry lacked its own Criterion Collection, letting important pop culture contributions slip into oblivion due to incompatible hardware and software formats, expired licenses, and plain neglect. Thankfully, the games preservation experts at Digital Eclipse have taken up the task, blessing gamers with titles that celebrate classic titles via accurate emulation and a bounty of production-related extras and modern touches. The company's first foray into the fighting game genre is Street Fighter 30th Anniversary Collection.This collection doesn't include Street Fighter: The Movie, the Street Fighter EX titles, or X-Men vs. Street Fighter, but you will find all the core arcade releases. The lineup includes Street Fighter (1987), Street Fighter II (1991), Street Fighter II: Champion Edition (1992), Street Fighter II: Hyper Fighting (1992), Super Street Fighter II: The New Challengers (1993) Super Street Fighter II Turbo (1994), Street Fighter Alpha (1995), Street Fighter Alpha 2 (1996), Street Fighter III: New Generation (1997), Street Fighter III: 2nd Impact Giant Attack (1997), Street Fighter Alpha 3 (1998), and Street Fighter III 3rd Strike: Fight For The Future (1999).Even better, you don't just get the games. This collection includes a sprite/animation view, design documents, a historical timeline, and a jukebox. In short, Street Fighter 30th Anniversary Collection is a love letter to one of the most important video game franchises of all time. Street Fighter V: Champion Edition Street Fighter V: Champion Edition (for PC) 3.5 Good In February 2016, Street Fighter V arrived on PC with many flaws that detracted from the stellar gameplay, including awful server instability, no true single-player mode, and a surprisingly limited multiplayer Battle Lounge. However, over the course of the last few years, developer Capcom released several updates that addressed (most of) those issues while also adding new stages and playable characters.Street Fighter V: Champion Edition, with its fresh and returning characters, new fight systems (like the cool V-Skills and V-Triggers mechanics), interactive stages, Cinematic Story Mode, and cross-platform play with PlayStation 4 owners, finally makes the one-on-one fighting game a title to pick up even for gamers who don't have Evo dreams. Street Fighter V: Champion Edition (for PC) review Street Fighter 6 Street Fighter 6 (for PC) 5.0 Outstanding Following Street Fighter V's lukewarm reception, Capcom had much to prove with Street Fighter 6. Thankfully, the developer not only righted the previous title's wrongs, but exceeded expectations by including nearly everything that fans would want in a contemporary fighting game.The title's powered by the new Drive Gauge, a meter that's full and ready for action at the beginning of each round. With the Drive Gauge, you can unleash the Drive Impact, Drive Parry, Drive Reversal, Drive Rush, and Overdrive moves (read our review for a breakdown of each one). It, along with the Dynamic and Modern control schemes, gives you more combat flexibility than any previous Street Fighter game. The result is one of the best fighters ever crafted, one that enables hype-fueled moments in casual and competitive play. Street Fighter 6 (for PC) review Tekken 7 Tekken 7 (for PC) 4.5 Excellent Tekken 7, like the main-line Tekken games that came before it, is a tale of fathers and sons attempting to murder each other to purge the Mishima clan of the Devil Gene, a magical bit of DNA that transforms certain people into hell spawn.The excellent combat accentuates the narrative ridiculousness. Like its predecessors, Tekken 7 is a fighting game that features simple, limb-mapped controls, massive character move sets, and numerous juggles that let you keep a combo flowing, if you're skilled enough to input the correct move at the right moment. With Tekken 7, the series receives super moves (Rage Arts) and enhanced, special attacks that can blow through an opponent's attack (Power Crush).Tekken 7 is an incredibly tense game of jabs, feints, and sidesteps, because any hit may lead to a long combo sting. Factor in characters with move sets that emulate real martial arts, interactive stages that let you knock people through floors and walls, and terrific slowdown effects that happen when both fighters' health bars are in the red and they perform close-quarter melee attacks, and you have a fighting game that's essentially an interactive martial arts flick. Ultimate Marvel vs. Capcom 3 Ultimate Marvel vs. Capcom 3 (for PC) 3.5 Good Ultimate Marvel vs. Capcom 3 pits Marvel's superheroes against Capcom's video game characters in a frantic 3-vs.-3, tag team brawl. The 48-character headcount is impressive, but it's the individual characters and visual aesthetic that truly make the game shine (unlike its Infinite sequel).Marvel's side has several popular and obscure characters, including Captain America, Iron Man, Iron Fist, and She-Hulk, and Spider-Man. Capcom's side mainly comprises characters from the company's fighting and action games, including Final Fight's Mike Haggar and Street Fighter's Ryu. The comic book-style graphics, with their bright colors and heavy black lines, gives Ultimate Marvel vs. Capcom 3 an eye-popping look.In terms of gameplay, Ultimate Marvel vs. Capcom 3 builds upon its Marvel vs. Capcom 3: Fate of Two Worlds predecessor by including a three-button control scheme, the momentum-changing X-Factor mechanic, and retooled aerial combat. Ultra Street Fighter IV Ultra Street Fighter IV (for PC) 4.5 Excellent Ultra Street Fighter IV marks Capcom's fourth version of Street Fighter IV and the third version available on the Steam platform. Like vanilla Street Fighter IV and Super Street Fighter IV, Ultra's combat is centered on Focus Attacks, a move that lets your character tank a blow and unleash a counterattack.This final iteration adds five new characters (Decapre, Elena, Hugo, Poison, and Rolento), six new stages, a YouTube upload option, Edition Select (which lets you pick different versions of characters, based on their past Street Fighter IV iterations), and Double Ultra (which makes a character's Ultra Combos available simultaneously, in exchange for reduced damage).It's Street Fighter IV's best and meatiest update, though some balance issues prove a bit irritating in play. Still, Ultra Street Fighter IV is an excellent, competitive one-on-one fighting game.

“Mathematically, what are we trying to optimise?”John MacLean/Millennium Images, UK Scheduling household chores is hard. Say you have three loads of washing: a regular load that will take 110 minutes to wash and 120 to dry; a heavily soiled load that needs an extra 30 minutes to wash; and a sensitive one that will take 130 minutes to wash and 160 to dry. In which order do you wash them? In the branch of applied maths known as operational research, this is called a two-machine problem. Lots of businesses have similar issues. One approach, to find the shortest overall…

Rockstar is one of the biggest gaming studios of all time, with the developer hitting their stride during the 2000s. The debut of Grand Theft Auto at the start of the millennium marked a major shift in the gaming landscape, turning open-world gaming into a coveted genre that countless fans can't get enough of.