Which creative studio do you most admire right now, and why? This is a question we asked our community via an ongoing survey. With more than 700 responses so far, these are the top winners. What's striking about this year's results is the popularity of studios that aren't just producing beautiful work but are also actively shaping discussions and tackling the big challenges facing our industry and society. From the vibrant energy of Brazilian culture to the thoughtful minimalism of North European aesthetics, this list reflects a global creative landscape that's more connected, more conscious, and more collaborative than ever before. In short, these studios aren't just following trends; they're setting them. Read on to discover the 25 studios our community is most excited about right now. 1. Porto Rocha Porto Rocha is a New York-based agency that unites strategy and design to create work that evolves with the world we live in. It continues to dominate conversations in 2025, and it's easy to see why. Founders Felipe Rocha and Leo Porto have built something truly special—a studio that not only creates visually stunning work but also actively celebrates and amplifies diverse voices in design. For instance, their recent bold new identity for the São Paulo art museum MASP nods to Brazilian modernist design traditions while reimagining them for a contemporary audience. The rebrand draws heavily on the museum's iconic modernist architecture by Lina Bo Bardi, using a red-and-black colour palette and strong typography to reflect the building's striking visual presence. As we write this article, Porto Rocha just shared a new partnership with Google to reimagine the visual and verbal identity of its revolutionary Gemini AI model. We can't wait to see what they come up with! 2. DixonBaxi Simon Dixon and Aporva Baxi's London powerhouse specialises in creating brand strategies and design systems for "brave businesses" that want to challenge convention, including Hulu, Audible, and the Premier League. The studio had an exceptional start to 2025 by collaborating with Roblox on a brand new design system. At the heart of this major project is the Tilt: a 15-degree shift embedded in the logo that signals momentum, creativity, and anticipation. They've also continued to build their reputation as design thought leaders. At the OFFF Festival 2025, for instance, Simon and Aporva delivered a masterclass on running a successful brand design agency. Their core message centred on the importance of people and designing with intention, even in the face of global challenges. They also highlighted "Super Futures," their program that encourages employees to think freely and positively about brand challenges and audience desires, aiming to reclaim creative liberation. And if that wasn't enough, DixonBaxi has just launched its brand new website, one that's designed to be open in nature. As Simon explains: "It's not a shop window. It's a space to share the thinking and ethos that drive us. You'll find our work, but more importantly, what shapes it. No guff. Just us." 3. Mother Mother is a renowned independent creative agency founded in London and now boasts offices in New York and Los Angeles as well. They've spent 2025 continuing to push the boundaries of what advertising can achieve. And they've made an especially big splash with their latest instalment of KFC's 'Believe' campaign, featuring a surreal and humorous take on KFC's gravy. As we wrote at the time: "Its balance between theatrical grandeur and self-awareness makes the campaign uniquely engaging." 4. Studio Dumbar/DEPT® Based in Rotterdam, Studio Dumbar/DEPT® is widely recognised for its influential work in visual branding and identity, often incorporating creative coding and sound, for clients such as the Dutch Railways, Instagram, and the Van Gogh Museum. In 2025, we've especially admired their work for the Dutch football club Feyenoord, which brings the team under a single, cohesive vision that reflects its energy and prowess. This groundbreaking rebrand, unveiled at the start of May, moves away from nostalgia, instead emphasising the club's "measured ferocity, confidence, and ambition". 5. HONDO Based between Palma de Mallorca, Spain and London, HONDO specialises in branding, editorial, typography and product design. We're particular fans of their rebranding of metal furniture makers Castil, based around clean and versatile designs that highlight Castil's vibrant and customisable products. This new system features a bespoke monospaced typeface and logo design that evokes Castil's adaptability and the precision of its craftsmanship. 6. Smith & Diction Smith & Diction is a small but mighty design and copy studio founded by Mike and Chara Smith in Philadelphia. Born from dreams, late-night chats, and plenty of mistakes, the studio has grown into a creative force known for thoughtful, boundary-pushing branding. Starting out with Mike designing in a tiny apartment while Chara held down a day job, the pair learned the ropes the hard way—and now they're thriving. Recent highlights include their work with Gamma, an AI platform that lets you quickly get ideas out of your head and into a presentation deck or onto a website. Gamma wanted their brand update to feel "VERY fun and a little bit out there" with an AI-first approach. So Smith & Diction worked hard to "put weird to the test" while still developing responsible systems for logo, type and colour. The results, as ever, were exceptional. 7. DNCO DNCO is a London and New York-based creative studio specialising in place branding. They are best known for shaping identities, digital tools, and wayfinding for museums, cultural institutions, and entire neighbourhoods, with clients including the Design Museum, V&A and Transport for London. Recently, DNCO has been making headlines again with its ambitious brand refresh for Dumbo, a New York neighbourhood struggling with misperceptions due to mass tourism. The goal was to highlight Dumbo's unconventional spirit and demonstrate it as "a different side of New York." DNCO preserved the original diagonal logo and introduced a flexible "tape graphic" system, inspired by the neighbourhood's history of inventing the cardboard box, to reflect its ingenuity and reveal new perspectives. The colour palette and typography were chosen to embody Dumbo's industrial and gritty character. 8. Hey Studio Founded by Verònica Fuerte in Barcelona, Spain, Hey Studio is a small, all-female design agency celebrated for its striking use of geometry, bold colour, and playful yet refined visual language. With a focus on branding, illustration, editorial design, and typography, they combine joy with craft to explore issues with heart and purpose. A great example of their impact is their recent branding for Rainbow Wool. This German initiative is transforming wool from gay rams into fashion products to support the LGBT community. As is typical for Hey Studio, the project's identity is vibrant and joyful, utilising bright, curved shapes that will put a smile on everyone's face. 9. Koto Koto is a London-based global branding and digital studio known for co-creation, strategic thinking, expressive design systems, and enduring partnerships. They're well-known in the industry for bringing warmth, optimism and clarity to complex brand challenges. Over the past 18 months, they've undertaken a significant project to refresh Amazon's global brand identity. This extensive undertaking has involved redesigning Amazon's master brand and over 50 of its sub-brands across 15 global markets. Koto's approach, described as "radical coherence", aims to refine and modernize Amazon's most recognizable elements rather than drastically changing them. You can read more about the project here. 10. Robot Food Robot Food is a Leeds-based, brand-first creative studio recognised for its strategic and holistic approach. They're past masters at melding creative ideas with commercial rigour across packaging, brand strategy and campaign design. Recent Robot Food projects have included a bold rebrand for Hip Pop, a soft drinks company specializing in kombucha and alternative sodas. Their goal was to elevate Hip Pop from an indie challenger to a mainstream category leader, moving away from typical health drink aesthetics. The results are visually striking, with black backgrounds prominently featured (a rarity in the health drink aisle), punctuated by vibrant fruit illustrations and flavour-coded colours. Read more about the project here. 11. Saffron Brand Consultants Saffron is an independent global consultancy with offices in London, Madrid, Vienna and Istanbul. With deep expertise in naming, strategy, identity, and design systems, they work with leading public and private-sector clients to develop confident, culturally intelligent brands. One 2025 highlight so far has been their work for Saudi National Bank (SNB) to create NEO, a groundbreaking digital lifestyle bank in Saudi Arabia. Saffron integrated cultural and design trends, including Saudi neo-futurism, for its sonic identity to create a product that supports both individual and community connections. The design system strikes a balance between modern Saudi aesthetics and the practical demands of a fast-paced digital product, ensuring a consistent brand reflection across all interactions. 12. Alright Studio Alright Studio is a full-service strategy, creative, production and technology agency based in Brooklyn, New York. It prides itself on a "no house style" approach for clients, including A24, Meta Platforms, and Post Malone. One of the most exciting of their recent projects has been Offball, a digital-first sports news platform that aims to provide more nuanced, positive sports storytelling. Alright Studio designed a clean, intuitive, editorial-style platform featuring a masthead-like logotype and universal sports iconography, creating a calmer user experience aligned with OffBall's positive content. 13. Wolff Olins Wolff Olins is a global brand consultancy with four main offices: London, New York, San Francisco, and Los Angeles. Known for their courageous, culturally relevant branding and forward-thinking strategy, they collaborate with large corporations and trailblazing organisations to create bold, authentic brand identities that resonate emotionally. A particular highlight of 2025 so far has been their collaboration with Leo Burnett to refresh Sandals Resorts' global brand with the "Made of Caribbean" campaign. This strategic move positions Sandals not merely as a luxury resort but as a cultural ambassador for the Caribbean. Wolff Olins developed a new visual identity called "Natural Vibrancy," integrating local influences with modern design to reflect a genuine connection to the islands' culture. This rebrand speaks to a growing traveller demand for authenticity and meaningful experiences, allowing Sandals to define itself as an extension of the Caribbean itself. 14. COLLINS Founded by Brian Collins, COLLINS is an independent branding and design consultancy based in the US, celebrated for its playful visual language, expressive storytelling and culturally rich identity systems. In the last few months, we've loved the new branding they designed for Barcelona's 25th Offf Festival, which departs from its usual consistent wordmark. The updated identity is inspired by the festival's role within the international creative community, and is rooted in the concept of 'Centre Offf Gravity'. This concept is visually expressed through the festival's name, which appears to exert a gravitational pull on the text boxes, causing them to "stick" to it. Additionally, the 'f's in the wordmark are merged into a continuous line reminiscent of a magnet, with the motion graphics further emphasising the gravitational pull as the name floats and other elements follow. 15. Studio Spass Studio Spass is a creative studio based in Rotterdam, the Netherlands, focused on vibrant and dynamic identity systems that reflect the diverse and multifaceted nature of cultural institutions. One of their recent landmark projects was Bigger, a large-scale typographic installation created for the Shenzhen Art Book Fair. Inspired by tear-off calendars and the physical act of reading, Studio Spass used 264 A4 books, with each page displaying abstract details, to create an evolving grid of colour and type. Visitors were invited to interact with the installation by flipping pages, constantly revealing new layers of design and a hidden message: "Enjoy books!" 16. Applied Design Works Applied Design Works is a New York studio that specialises in reshaping businesses through branding and design. They provide expertise in design, strategy, and implementation, with a focus on building long-term, collaborative relationships with their clients. We were thrilled by their recent work for Grand Central Madison (the station that connects Long Island to Grand Central Terminal), where they were instrumental in ushering in a new era for the transportation hub. Applied Design sought to create a commuter experience that imbued the spirit of New York, showcasing its diversity of thought, voice, and scale that befits one of the greatest cities in the world and one of the greatest structures in it. 17. The Chase The Chase Creative Consultants is a Manchester-based independent creative consultancy with over 35 years of experience, known for blending humour, purpose, and strong branding to rejuvenate popular consumer campaigns. "We're not designers, writers, advertisers or brand strategists," they say, "but all of these and more. An ideas-based creative studio." Recently, they were tasked with shaping the identity of York Central, a major urban regeneration project set to become a new city quarter for York. The Chase developed the identity based on extensive public engagement, listening to residents of all ages about their perceptions of the city and their hopes for the new area. The resulting brand identity uses linear forms that subtly reference York's famous railway hub, symbolising the long-standing connections the city has fostered. 18. A Practice for Everyday Life Based in London and founded by Kirsty Carter and Emma Thomas, A Practice for Everyday Life built a reputation as a sought-after collaborator with like-minded companies, galleries, institutions and individuals. Not to mention a conceptual rigour that ensures each design is meaningful and original. Recently, they've been working on the visual identity for Muzej Lah, a new international museum for contemporary art in Bled, Slovenia opening in 2026. This centres around a custom typeface inspired by the slanted geometry and square detailing of its concrete roof tiles. It also draws from European modernist typography and the experimental lettering of Jože Plečnik, one of Slovenia's most influential architects.⁠ A Practice for Everyday Life. Photo: Carol Sachs Alexey Brodovitch: Astonish Me publication design by A Practice for Everyday Life, 2024. Photo: Ed Park La Biennale di Venezia identity by A Practice for Everyday Life, 2022. Photo: Thomas Adank CAM – Centro de Arte Moderna Gulbenkian identity by A Practice for Everyday Life, 2024. Photo: Sanda Vučković 19. Studio Nari Studio Nari is a London-based creative and branding agency partnering with clients around the world to build "brands that truly connect with people". NARI stands, by the way, for Not Always Right Ideas. As they put it, "It's a name that might sound odd for a branding agency, but it reflects everything we believe." One landmark project this year has been a comprehensive rebrand for the electronic music festival Field Day. Studio Nari created a dynamic and evolving identity that reflects the festival's growth and its connection to the electronic music scene and community. The core idea behind the rebrand is a "reactive future", allowing the brand to adapt and grow with the festival and current trends while maintaining a strong foundation. A new, steadfast wordmark is at its centre, while a new marque has been introduced for the first time. 20. Beetroot Design Group Beetroot is a 25‑strong creative studio celebrated for its bold identities and storytelling-led approach. Based in Thessaloniki, Greece, their work spans visual identity, print, digital and motion, and has earned international recognition, including Red Dot Awards. Recently, they also won a Wood Pencil at the D&AD Awards 2025 for a series of posters created to promote live jazz music events. The creative idea behind all three designs stems from improvisation as a key feature of jazz. Each poster communicates the artist's name and other relevant information through a typographical "improvisation". 21. Kind Studio Kind Studio is an independent creative agency based in London that specialises in branding and digital design, as well as offering services in animation, creative and art direction, and print design. Their goal is to collaborate closely with clients to create impactful and visually appealing designs. One recent project that piqued our interest was a bilingual, editorially-driven digital platform for FC Como Women, a professional Italian football club. To reflect the club's ambition of promoting gender equality and driving positive social change within football, the new website employs bold typography, strong imagery, and an empowering tone of voice to inspire and disseminate its message. 22. Slug Global Slug Global is a creative agency and art collective founded by artist and musician Bosco (Brittany Bosco). Focused on creating immersive experiences "for both IRL and URL", their goal is to work with artists and brands to establish a sustainable media platform that embodies the values of young millennials, Gen Z and Gen Alpha. One of Slug Global's recent projects involved a collaboration with SheaMoisture and xoNecole for a three-part series called The Root of It. This series celebrates black beauty and hair, highlighting its significance as a connection to ancestry, tradition, blueprint and culture for black women. 23. Little Troop New York studio Little Troop crafts expressive and intimate branding for lifestyle, fashion, and cultural clients. Led by creative directors Noemie Le Coz and Jeremy Elliot, they're known for their playful and often "kid-like" approach to design, drawing inspiration from their own experiences as 90s kids. One of their recent and highly acclaimed projects is the visual identity for MoMA's first-ever family festival, Another World. Little Troop was tasked with developing a comprehensive visual identity that would extend from small items, such as café placemats, to large billboards. Their designs were deliberately a little "dream-like" and relied purely on illustration to sell the festival without needing photography. Little Troop also carefully selected seven colours from MoMA's existing brand guidelines to strike a balance between timelessness, gender neutrality, and fun. 24. Morcos Key Morcos Key is a Brooklyn-based design studio co-founded by Jon Key and Wael Morcos. Collaborating with a diverse range of clients, including arts and cultural institutions, non-profits and commercial enterprises, they're known for translating clients' stories into impactful visual systems through thoughtful conversation and formal expression. One notable project is their visual identity work for Hammer & Hope, a magazine that focuses on politics and culture within the black radical tradition. For this project, Morcos Key developed not only the visual identity but also a custom all-caps typeface to reflect the publication's mission and content. 25. Thirst Thirst, also known as Thirst Craft, is an award-winning strategic drinks packaging design agency based in Glasgow, Scotland, with additional hubs in London and New York. Founded in 2015 by Matthew Stephen Burns and Christopher John Black, the company specializes in building creatively distinctive and commercially effective brands for the beverage industry. To see what they're capable of, check out their work for SKYY Vodka. The new global visual identity system, called Audacious Glamour', aims to unify SKYY under a singular, powerful idea. The visual identity benefits from bolder framing, patterns, and a flavour-forward colour palette to highlight each product's "juicy attitude", while the photography style employs macro shots and liquid highlights to convey a premium feel.

To this day, Jaws remains the best example of Steven Spielberg‘s genius as a filmmaker. He somehow took a middling pulp novel about a killer shark and turned it into a thrilling adventure about masculinity and economic desperation. And to the surprise of no one, the massive success of Jaws spawned a lot of knockoffs, a glut of movies about animals terrorizing communities. None of these reach the majesty of Jaws, of course. But here’s the thing—none of them had to be Jaws. Sure, it’s nice that Spielberg’s film has impeccably designed set pieces and compelling characters, but that’s not the main reason people go to animal attack movies. We really just want to watch people get attacked. And eaten. With such standards duly lowered, let’s take a look at the best animal attack movies that came out in the past half-century since Jaws first scared us out of the water. Of course this list doesn’t cover every movie inspired by Jaws ( for example Godzilla Minus One, which devotes its middle act to a wonderful Jaws riff), and some can argue that these movies were less inspired by Jaws than other nature revolts features, such as Alfred Hitchcock‘s The Birds. But every one of these flicks owes a debt to Jaws, either in inspiration or simply getting people interested in movies about animals eating people. Those warning aside, lets make like drunken revelers on Amity Island and dive right in! 20. Sharknado (2013) Sharknado almost doesn’t belong on this list because it’s less a movie and more of a meme, a precursor to Vines and TikTok trends. Yes, many fantastic movies have been made off of an incredibly high concept and a painfully low budget. Heck, that approach made Roger Corman’s career. But Sharknado‘s high concept—a tornado sweeps over the ocean and launches ravenous sharks into the mainland—comes with a self-satisfied smirk. Somehow, Sharknado managed to capture the imagination of the public, making it popular enough to launch five sequels. At the time, viewers defended it as a so bad it’s good-style movie like The Room. But today Sharknado‘s obvious attempts to be wacky are just bad, making the franchise one more embarrassing trend, ready to be forgotten. 19. Orca (1977) For a long time, Orca had a reputation for being the most obvious Jaws ripoff, and with good reason—Italian producer Dino De Laurentiis, who would go on to support Flash Gordon, Manhunter, and truly launch David Lynch‘s career with Blue Velvet, wanted his own version of the Spielberg hit. On paper he had all the right ingredients, including a great cast with Richard Harris and Charlotte Rampling, and another oceanic threat, this time a killer whale. Orca boasts some impressive underwater cinematography, something that even Jaws largely lacks. But that’s the one thing Orca does better than Jaws. Everything else—character-building, suspense and scare scenes, basic plotting and storytelling—is done in such a haphazard manner that Orca plays more like an early mockbuster from the Asylum production company (makers of Sharknado) than it does a product from a future Hollywood player. 18. Tentacles (1977) Another Italian cheapie riding off the success of Jaws, Tentacles at least manages to be fun in its ineptitude. A giant octopus feature, Tentacles is directed by Ovidio G. Assonitis, a man whose greatest claim to fame is that he annoyed first-time director James Cameron so much on Piranha II: The Spawning that he activated the future legend’s infamous refusal to compromise with studios and producers. Tentacles somehow has a pretty impressive cast, including John Huston, Shelly Winters, and Henry Fonda all picking up paychecks. None of them really do any hard work in Tentacles, but there’s something fun about watching these greats shake the the octopus limbs that are supposed to be attacking them, as if they’re in an Ed Wood picture. 17. Kingdom of the Spiders (1977) Spielberg famously couldn’t get his mechanical shark to work, a happy accident that he overcame with incredibly tense scenes that merely suggested the monster’s presence. For his arachnids on the forgotten movie Kingdom of the Spiders, director John “Bud” Cardos has an even more formative tool to make up for the lack of effects magic: William Shatner. Shatner plays Rack Hansen, a veterinarian who discovers that the overuse of pesticides has killed off smaller insects and forced the tarantula population to seek larger prey, including humans. These types of ecological messages are common among creature features of the late ’70s, and they usually clang with hollow self-righteousness. But in Kingdom of the Spiders, Shatner delivers his lines with such blown out conviction that we enjoy his bluster, even if we don’t quite buy it. 16. The Meg (2018) The idea of Jason Statham fighting a giant prehistoric shark is an idea so awesome, it’s shocking that his character from Spy didn’t already pitch it. And The Meg certainly does deliver when Statham’s character does commit to battle with the creature in the movie’s climax. The problem is that moment of absurd heroism comes only after a lot of long sappy nonsense. Join our mailing list Get the best of Den of Geek delivered right to your inbox! It’s hard to figure out who is to blame for The Meg‘s failure. Director Jon Turteltaub hails from well-remembered Disney classics Cool Runnings and National Treasure. But too often he forgets how to pace an adventure film and gives into his most saccharine instincts here. One of the many Chinese/Hollywood co-produced blockbusters of the 2010s, The Meg also suffers from trying to innocuously please too wide an audience. Whatever the source, The Meg only fleetingly delivers on the promise of big time peril, wasting too much time on thin character beats. 15. Lake Placid (1999) I know already some people reading this are taking exception to Lake Placid‘s low ranking, complaining that this list isn’t showing enough respect to what they consider a zippy, irreverent take on a creature feature, one written by Ally McBeal creator David E. Kelley and co-starring Betty White. To those people, I can only say, “Please rewatch Lake Placid and then consider its ranking.” Lake Placid certainly has its fun moments, helped along by White as a kindly grandmother who keeps feeding a giant croc, Bill Pullman as a dumbfounded simple sheriff, and Oliver Platt as a rich adventurer. Their various one-liners are a pleasure to remember. But within the context of a movie stuffed with late ’90s irony, the constant snark gets tiresome, sapping out all the fun of a killer crocodile film. 14. Open Water (2003) Like Sharknado, Open Water had its fans for a few years but has fallen in most moviegoers’ esteem. Unlike Sharknado, Open Water is a real movie, just one that can’t sustain its premise for its entire runtime. Writer and director Chris Kentis draws inspiration from a real-life story about a husband and wife who were accidentally abandoned in the middle of the ocean by their scuba excursion group. The same thing happens to the movie’s Susan Watkins (Blanchard Ryan) and Daniel Travis (Daniel Kintner), who respond to their predicament by airing out their relationship grievances, even as sharks start to surround them. Kentis commits to the reality of the couple’s bleak situation, which sets Open Water apart from the thrill-a-minute movies that mostly make up this list. But even with some shocking set pieces, Open Water feels too much like being stuck in car with a couple who hates each other and not enough like a shark attack thriller. 13. Eaten Alive (1976) Spielberg’s artful execution of Jaws led many of the filmmakers who followed to attempt some semblance of character development and prestige, even if done without enthusiasm (see: Orca). Not so with Tobe Hooper, who followed up the genre-defining The Texas Chainsaw Massacre with Eaten Alive. Then again, Hooper draws just as much from Psycho as he does Jaws. Neville Brand plays Judd, the proprietor of a sleazy hotel on the bayou where slimy yokels do horrible things to one another. Amity Island, this is not. But when one of the visitors annoy Judd, he feeds them to the pet croc kept in the back. Eaten Alive is a nasty bit of work, but like most of Hooper’s oeuvre, it’s a lot of fun. 12. Prophecy (1979) Directed by John Frankenheimer of The Manchurian Candidate and Grand Prix fame, Prophecy is easily the best of the more high-minded animal attack movies that followed Jaws. This landlocked film, written by David Seltzer, stars Robert Foxworth as Dr. Robert Verne, a veterinarian hired by the EPA to investigate bear attacks against loggers on a mountain in Maine. Along with his wife Maggie (Talia Shire), Verne finds himself thrown into a conflict between the mining company and the local Indigenous population who resist them. Prophecy drips with an American hippy mentality that reads as pretty conservative today (“your body, your choice” one of Maggie’s friends tells her… to urge her against getting an abortion), making its depictions of Native people, including the leader played by Italian American actor Armand Assante, pretty embarrassing. But there is a mutant bear on the loose and Frankenheimer knows how to stage an exciting sequence, which makes Prophecy a worthwhile watch. 11. Piranha 3D (2010) Piranha 3D begins with a denim-wearing fisherman named Matt, played by Richard Dreyfuss no less, falling into the water and immediately getting devoured by the titular flesh-eaters. This weird nod to Matt Hooper and Jaws instead of Joe Dante’s Piranha, the movie Piranha 3D is supposed to be remaking, is just one of the many oddities at play yhere. Screenwriters Pete Goldfinger and Josh Stolberg have some of the wacky energy and social satire of the original film, but director Alexandre Aja, a veteran of the French Extreme movement, includes so much nastiness in Piranha 3D that we’re not sure if we want to laugh or throw up. Still, there’s no denying the power of Piranha 3D‘s set pieces, including a shocking sequence in which the titular beasties attack an MTV/Girls Gone Wild Spring Break party and chaos ensues. Furthermore, Piranha 3D benefits from a strong cast, which includes Elizabeth Shue, Adam Scott, and Ving Rhames. 10. Anaconda (1997) With its many scenes involving an animal attacking a ragtag group on a boat, Anaconda clearly owes a debt to Jaws. However, with its corny characters and shoddy late ’90s CGI, Anaconda feels today less like a Jaws knockoff and more like a forerunner to Sharknado and the boom of lazy Syfy and Redbox horror movies that followed. Whatever its influences and legacy, there’s no denying that Anaconda is, itself, a pretty fun movie. Giant snakes make for good movie monsters, and the special effects have become dated in a way that feels charming. Moreover, Anaconda boasts a enjoyably unlikely cast, including Eric Stoltz as a scientist, Owen Wilson and Ice Cube as members of a documentary crew, and Jon Voight as what might be the most unhinged character of his career, second only to his crossbow enthusiast from Megalopolis. 9. The Shallows (2016) The Shallows isn’t the highest-ranking shark attack movie on this list but it’s definitely the most frightening shark attack thriller since Jaws. That’s high praise, indeed, but The Shallows benefits from a lean and mean premise and clear direction by Jaume Collet-Serra, who has made some solid modern thrillers. The Shallows focuses almost entirely on med student Nancy Adams (Blake Lively), who gets caught far from shore after the tide comes in and is hunted by a shark. A lot of the pleasure of The Shallows comes from seeing how Collet-Serra and screenwriter Anthony Jaswinski avoid the problems that plague many of the movies on this list. Adams is an incredibly competent character, and we pull for her even after the mistake that leaves her stranded. Moreover, The Shallows perfectly balances thrill sequences with character moments, making for one of the more well-rounded creature features of the past decade. 8. Razorback (1984) Jaws, of course, has a fantastic opening scene, a thrilling sequence in which the shark kills a drunken skinny dipper. Of the movies on this list, only Razorback comes close to matching the original’s power, and it does so because director Russell Mulcahy, who would make Highlander next, goes for glossy absurdity. In the Razorback‘s first three minutes, a hulking wild boar smashes through the rural home of an elderly man in the Australian outback, carrying away his young grandson. Over the sounds of a synth score, the old man stumbles away from his now-burning house, screaming up into the sky. Sadly, the rest of Razorback cannot top that moment. Mulcahy directs the picture with lots of glossy style, while retaining the grit of the Australian New Wave movement. But budget restrictions keep the titular beast from really looking as cool as one would hope, and the movie’s loud, crazy tone can’t rely on Jaws-like power of suggestion. 7. Crawl (2019) Alexandre Aja’s second movie on this list earns its high rank precisely because it does away with the tonal inconsistencies that plagued Piranha 3D and leans into what the French filmmaker does so well: slicked down and mean horror. Set in the middle of a Florida hurricane, Crawl stars Kaya Scodelario as competitive swimmer Haley and always-welcome character actor Barry Pepper as her father Dave, who get trapped in a flooding basement that’s menaced by alligators. Yet as grimy as Crawl can get, Aja also executes the strong character work in the script by Michael Rasmussen and Shawn Rasmussen. Dave and Haley are real people, not just gator-bait, making their peril feel all the more real, and their triumphs all the sweeter. 6. Piranha (1978) Piranha is the only entry on this list to get a seal of approval from Stephen Spielberg himself, who not only praised the movie, even as Universal Pictures planned to sue the production, but also got director Joe Dante to later helm Gremlins. It’s not hard to see why Piranha charmed Spielberg, a man who loves wacky comedy. Dante’s Looney Tunes approach is on full display in some of the movie’s best set pieces. But Piranha is special because it also comes from legendary screenwriter John Sayles, who infuses the story with social satire and cynicism that somehow blends with Dante’s approach. The result is a film about piranha developed by the U.S. military to kill the Vietnamese getting unleashed into an American river and making their way to a children’s summer camp, a horrifying idea that Dante turns into good clean fun. 5. Slugs (1988) If we’re talking about well-made movies, then Slugs belongs way below any of the movies on this list, somewhere around the killer earthworm picture Squirm. But if we’re thinking about pure enjoyable spectacle, it’s hard to top Slugs, a movie about, yes, flesh-eating slugs. Yes, it’s very funny to think about people getting terrorized by creatures that are famous for moving very, very slowly. But Spanish director Juan Piquer Simón, perhaps best known for his equally bugnuts giallo Pieces (1982), pays as little attention to realism as he does to good taste. Slugs is filled with insane and ghastly sequences of killer slugs ending up in unlikely places, swarming the floor of someone’s bedroom or inside a fancy restaurant, and then devouring people, one methodical bite at a time. 4. Deep Blue Sea (1999) When it comes to goofy ’90s CGI action, it’s hard to top Deep Blue Sea, directed by Renny Harlin and featuring sharks with genetically enhanced brains. Deep Blue Sea doesn’t have a strong sense of pacing, it lacks any sort of believable character development, and the effects looked terrible even in 1999. But it’s also the only movie on this list that features LL Cool J as a cool chef who recites a violent version of the 23rd Psalm and almost gets cooked alive in an oven by a genius-level shark. It’s scenes like the oven sequence that makes Deep Blue Sea such a delight, despite its many, many flaws. The movie tries to do the most at every turn, whether that’s clearly reediting the movie in postproduction so that LL Cool J’s chef becomes a central character, stealing the spotlight form intended star Saffron Burrows, or a ridiculous Samuel L. Jackson monologue with a delightfully unexpected climax. 3. Alligator (1980) In many ways, Alligator feels like screenwriter John Sayles’ rejoinder to Piranha. If Joe Dante sanded down Piranha‘s sharp edges with his goofy humor, then Alligator is so filled with mean-spiritedness that no director could dilute it. Not that Lewis Teague, a solid action helmer who we’ll talk about again shortly, would do that. Alligator transports the old adage about gators in the sewers from New York to Chicago where the titular beast, the subject of experiments to increase its size, begins preying on the innocent. And on the not so innocent. Alligator shows no respect for the good or the bad, and the film is filled with scenes of people getting devoured, whether it’s a young boy who becomes a snack during a birthday party prank or an elderly mafioso who tries to abandon his family during the gator’s rampage. 2. Grizzly (1976) Grizzly stands as the greatest of the movies obviously ripping off Jaws precisely because it understands its limitations. It takes what it can from Spielberg’s masterpiece, including the general premise of an animal hunting in a tourist location, and ignores what it can’t pull off, namely three-dimensional characters. This clear-eyed understanding of everyone’s abilities makes Grizzly a lean, mean, and satisfying thriller. Directed by blaxploitation vet William Girdler and written by Harvey Flaxman and David Sheldon, Grizzly stars ’70s low-budget king Christopher George as a park ranger investigating unusually vicious bear attacks on campers. That’s not the richest concept in the world, but Girdler and co. execute their ideas with such precision, and George plays his character with just the right amount of machismo, that Grizzly manages to deliver on everything you want from an animal attack. 1. Cujo (1983) To some modern readers, it might seem absurd to put Cujo on a list of Jaws knockoffs. After all, Stephen King is a franchise unto himself and he certainly doesn’t need another movie’s success to get a greenlight for any of his projects. But you have to remember that Cujo came out in 1983 and was just the third of his works to get adapted theatrically, which makes its Jaws connection more valid. After all, the main section of the film—in which mom (Dee Wallace) and her son Tad (Danny Pintauro) are trapped in their car and menaced by the titular St. Bernard—replicates the isolation on Quint’s fishing vessel, the Orca, better than any other film on this list. However, it’s not just director Lewis Teague’s ability to create tension that puts Cujo at the top. Writers Don Carlos Dunaway and Lauren Currier key into the complicated familial dynamics of King’s story, giving the characters surprising depth. It’s no wonder that Spielberg would cast Wallace as another overwhelmed mom for E.T. The Extraterrestrial the very next year, proving that he still has a soft spot for animal attack movies—even if none of them came close to matching the power of Jaws.

Polaroid’s new collaboration with the Metropolitan Museum of Art (MoMA) is designed to make your retro photos look like colorful works of pop art—and it feels like a flashback to 2014. The partnership includes two exclusive items: an $130 Polaroid camera and a separate $22 set of eight custom film frames. The camera itself is an analog instant camera—specifically, Polaroid’s Now Generation 3 model—rendered in a bright blue housing, complete with the “MoMA” wordmark in a lighter blue across the front. Included with the device are three neon, MoMA branded wrist straps to customize the look.  [Photo: Polaroid] Where the collaboration really shines is with its custom Polaroid film frames. The MoMA and Polaroid teams have designed 12 unique frames, each in high-octane color combinations like turquoise and bright red or lemon yellow and blue. Six of the frames feature the MoMA logo, while the other six come pre-captioned with quotes from artists including Carmen Herrera, Betye Saar, Meret Oppenheim, and Milton Glaser. You might receive a quote like, “I am interested in restless ideas,” by An-My Lê, or “If one truly loves nature, one finds beauty everywhere,” by Vincent Van Gogh. [Photo: Polaroid] It’s a cute, if corny, concept that feels like it would’ve gone instantly viral in Tumblr’s heyday of quote posting and aesthetic collages. According to a press release, the collab is intended to “capture the ethos of those who dared to see the world differently and invite today’s creatives to do the same.” For anyone who’s interested in the camera but not the inspiring quotes, the device is also compatible with regular Polaroid i-Type film. This new collection is one of several recent collaborations that Polaroid has produced based on design and art icons, including an Eames-inspired Now Generation 2 camera and another Now Generation 2 that’s fully decked out in imagery from Jean-Michel Basquiat’s artwork Boy and Dog in a Johnnypump.

Nanoleaf Expo Smart LED Display Case Smarter Kit$270$30010% off$270A proper collection deserves a proper showcase, which is where Nanoleaf’s smart LED cases come in. Each reactive, stackable box can display tunable white lighting and up to 16 million hues, allowing you to bathe your shoes, figurines, and other items in whatever colors you see fit. And because it’s Nanoleaf, you’ll even be able to access the same smart features as the company’s bulbs.$270 at Amazon$270 at Nanoleaf$35Who needs a Ruggable or a pricey Tibetan rug when you can get one emblazoned with Sora, Sonic, or a dual-wielding Master Chief? RugsRat’s circular rugs are soft, durable, and pay homage to video game series new and old. That includes classics like Halo 2 and Grand Theft Auto: Vice City, as well as newer releases such as Elden Ring and Cyberpunk 2077. Hell, you can even design your own.$35 at RugsRat$60Whether they’re outfitting their dorm room or an apartment, Ikea’s Skådis Pegboard Combination offers grads a sleek, space-saving way to stay organized. The spacious board comes with a set of containers, hooks, clips, and a shelf, all of which are perfect for neatly displaying everything from keys and sticky notes to cables, pens, and other accessories.$60 at Ikea$100Now that the school year is officially over, your giftee likely has a lot more time to binge. For that, we recommend the Google TV Streamer 4K, which boasts onboard Google Assistant, easy-to-use smart home controls, and the best interface of any streaming device available. The set-top box even features a handy button for pinging the remote, giving it an edge over your couch.Apple iPad (11th-gen)$299$34914% off$299With its spacious 11-inch display, Apple’s latest iPad makes it easy to dive into studying or unwind with your favorite TV shows. It delivers snappy performance courtesy of Apple’s A16 chip, letting you off emails, take notes, or binge-watch to your heart’s content. Plus, it has a solid front-facing camera this time, ensuring you can video call and stay in touch with loved ones back home with ease.Beats Pill speaker$100$15033% off$100Portable and powerful, the latest Beats Pill offers good sound and IP67 dust and water resistance, making it ideal for beach days or study sessions. It’s also packed with features geared toward grads on the go, including a speakerphone for hands-free calls and a USB-C port for charging other devices. It even supports Find My / Find My Device support on both iOS and Android, so they won’t have to worry about losing it.Looking Glass Go$299$299If they’re feeling homesick, the 6-inch Looking Glass Go can bring photos of family and friends to life like no ordinary picture frame can. Just upload an image from any iOS or Android device, and the app will transform it into a high-resolution hologram with the help of AI. You can even share your 3D pictures with loved ones, making it a meaningful way to stay connected from afar.$299 at Looking Glass$46A personalized hometown puzzle is the kind of gift that hits the sweet spot in terms of nostalgia. The 400-piece jigsaw puzzles encapsulate a 6 x 4-mile coverage area with a given address at the center, and because they’re based on USGS mapping, each shows roads, waterways, vegetation, transit, and other geographical tidbits your giftee should be all too familiar with.$46 at AmazonAway The Carry-On$234$27515% off$234Whether you intend to use it for work trips or weekend getaways with friends, the Carry-On is a sleek, durable suitcase that makes travel easier. It’s packed with thoughtful touches — including a TSA-approved lock, 360-degree wheels, and a separate laundry bag — and it’s small enough to fit in most overhead bins yet spacious enough that you should have no trouble stowing everything you need for a three-day jaunt.$234 at Away$275 at AmazonAnker Charging Station (7-in-1, 100W)$40$5020% off$40A cluttered desk can make it hard to concentrate, which is why Anker’s 7-in-1 charging station is a great gift for grads. The 100W hub features a pair of USB-C and USB-A ports on the front and three AC outlets on the back, making it easy to power a 16-inch MacBook Pro, table lamp, phone, and other gadgets while keeping a tidy workspace.$40 at Amazon$40 at Anker (with code WS7DV2FFTMLH)Hoto Hand Tool Set$50$6017% off$50Hoto’s electric screwdrivers are a mainstay at The Verge, and the company’s Hand Tool Set is just as eye-catching. All of the included components, from the needlenose pliers and claw hammer to the textured carrying case, showcase a handsome minimalist design that’s far more attractive than the usual white-label fare. It makes for an attractive starter kit, if nothing else.$20Classic team-based games like Codenames offer a good opportunity to break the ice with new schoolmates, whether you’re living with them or just linking up on the quad. The collaborative game charges two so-called “spymasters” with connecting a series of seemingly unrelated cards via a one-word clue, which their teammates must then uncover before the opposing team. It’s simple to learn but tough to master.13-inch MacBook Air (2025)$892$99911% off$892Many high school grads don’t have the budget for a new laptop, which is why gifting them one of the best is something they’ll appreciate. Apple’s M4 MacBook Air deftly balances performance and battery life, culminating in a 13-inch machine that’s as suitable for streaming as it is banging out that first-year composition paper.Cuisinart PerfecTemp Cordless Electric Kettle$100$13023% off$100Cuisinart’s cordless, 1,500W electric kettle lets you dial in the right temperature for whatever you’re drinking, be it coffee, a nice oolong, or a dorm room staple like instant ramen (no judgment here). The speedy stainless-steel kettle is loaded with six preset temps and an auto-shutoff timer, too, rendering it ideal for busy grads who always have to jet.The Last Lecture$11$11The Last Lecture captures the moving wisdom that Randy Pausch, a professor and former computer scientist, shared with his students following his cancer diagnosis cancer in ’06. His inspiring words encourage readers to reflect on what truly matters and the kind of legacy they hope to leave behind, making it a thoughtful guide for any graduate trying to figure out their next steps in life.Anker Laptop Power Bank$115$13515% off$115The Anker Laptop Power Bank is a lifesaver for anyone who works or studies on the go. With an impressive 25,000mAh capacity and 165W total output, it can quickly charge a beefy MacBook Pro to 50 percent capacity in just 30 minutes. Plus, with three USB-C ports and a USB-A port, you can power multiple devices at once, including phones, tablets, and handheld consoles.Apple AirTag$25$2914% off$25Whether they’re planning to take a well-earned vacation or just prone to losing things, an AirTag is a smart, stress-saving gift for any grad. The UWB Bluetooth trackers tap into Apple’s vast Find My network, letting you keep an eye out and quickly recover lost luggage, keys, passports, and other items using little more than a quick glance at your iPhone.Pantone Ceramic Bowls$116$12910% off$116Pantone’s vibrant, color-coded ceramic bowls provide a simple way to brighten up any kitchen cabinet… or bowl of Cap’n Crunch. The six sturdy, 5.75-inch bowls are also dishwasher-safe, making them suitable for everything from soup to messy study snacks.$116 at MoMA Design Store (members)$129 at MoMA Design Store (non-members)Kalita Wave 185 Dripper$21$3946% off$21The Kalita Wave 185 Dripper might be the only thing that gets your college-bound grad through linguistics or ochem. It brews a rich, full cup of pour-over coffee using wave filters and a flat-bottom, three-hold design, which makes it the perfect companion for pulling all-nighters when the nearest cafe is closed.Kobo Elipsa 2E$389$4003% off$389The Kobo Elipsa 2E isn’t just an e-reader — it’s the ideal study companion for grads heading to college or grad school. Its sizable 10.3-inch screen and included stylus makes annotating a breeze, while its ability to convert handwritten notes into typed text and solve math equations renders it an even more valuable tool for studying.$389 at Amazon$400 at Rakuten KoboNintendo Switch 2$449$449The Switch 2 could make for a stellar gift for any grad — that is, if you can manage to preorder one ahead of the console’s arrival on June 5th. Nintendo’s latest hybrid console packs a larger 7.9-inch 1080p display, magnetic Joy-Con controllers, and a host of other minor but welcome improvements that build upon what was already a winning formula.$15If you want to gift your grad a less traditional bouquet, Lovepop’s latest Black-Eyed Susan Bouquet could be a great alternative. The vibrant laser-cut flowers can add a pop of color to any new space and come packaged with a tuck-away card, which you can either fill out at home or personalize at checkout.$15 at Amazon$15 at LovepopSkullcandy Method 360 ANC$100$13023% off$100The Skullcandy Method 360 ANC are basically a pair of Bose earbuds in disguise, which isn’t a bad thing. They offer well-balanced sound, great features, and a comfortable fit that effectively blocks out unwanted noise, much more so than previous Skullcandy offerings. I guess that’s what you get when you license technology and audio tuning from Bose.Lodge Cast Iron Skillet (12-inch)$25$3017% off$25Everyone could use a good pan to cook their meals. With a Lodge skillet, your graduate can sear, sauté, bake, broil, braise, and fry all kinds of foods for years to come. Not only does the hardy 12-inch pan offer terrific heat distribution and retention, but it’s also safe to use in the oven or over an open fire. The included silicone handle is just an added plus that lets you ditch the oven mitts.Cotopaxi Nido Accessory Bag$34$4524% off$34Cotopaxi’s Nido Accessory Bag pairs wonderfully with work trips, road trips, and trips to a shared bathroom (hello, dorm life). The durable Dopp kit is great for holding both toiletries and tech accessories thanks to its zippered pocket and a bevy of small storage compartments, all of which let you store your essentials neatly in place.Circa Leather Discbound Notebook$99$13024% off$99Circa’s leather notebook offers a level of customization few journals can match. Given the pages are secured via a series of discs along the spine, your grad can easily add or remove sheets and organize sections in a way that fits their unique lifestyle and needs. That means they can reorient their thoughts for class, their next job interview, and a variety of other situations.$99 at LevengerF*cking Planner Stickers$6$6F*cking Planner Stickers can provide any grad who is trying to keep their life together (or at least look like they are) with a much-needed dose of humor. Bold, irreverent, and hilariously honest, they turn even the most mundane adulting tasks — from scheduling meetings to paying bills — into something a little less boring and a lot more fun.Black & Decker Furbuster$93$1007% off$93High-end robovacs with auto-empty docks and AI obstacle avoidance are great and all, but sometimes a classic handheld is all you need. Black & Decker’s rechargeable Furbuster is a great option for picking up fur, dirt, and other debris, especially since it offers a surprising amount of suction and an extra-long crevice tool for hitting those hard-to-reach areas.Songmics Bamboo Bed Desk with Tilting Top$36$5028% off$36The Songmics Bamboo Bed Desk is great for sick days, late-night study sessions, and a formidable breakfast in bed. It’s equipped with an adjustable top and legs, along with a small side drawer for storing pens, snacks, and everything needed to stay productive — or unwind — without leaving bed.$36 at Amazon (with on-page coupon)$46 at SongmicsFujifilm Instax Mini 99$180$19910% off$180The Instax Mini 99 is the perfect instant camera for budding photogs who crave a little more control over their shots. It quickly prints credit card-sized photos and features dual shutter buttons, along with a multitude of brightness settings and color effects. It even offers a Sports Mode, allowing you to effortlessly capture shots of subjects who refuse to sit still.RTIC Ultra-Tough Soft Cooler$76$8915% off$76If they plan on celebrating graduation on the road, RTIC’s rugged cooler can keep the La Croix flowing. The cooler’s insulated, waterproof design can keep drinks and other contents cold for up to two days, while a comfortable shoulder strap and end handles help ensure it’s never too difficult to lug from one hang to the next.Glocusent LED Neck Reading Light$20$2931% off$20If your grad is about to move in with a roommate or partner, Glocusent’s LED Neck Reading Light is a particularly useful gift. With adjustable brightness and warmth settings, the wearable neck lamp can help them comfortably pore over textbooks late into the night. It’s also not insanely bright, or at least not enough that it’ll keep their roommate awake.$20 at Amazon (with on-page coupon)

Game Dev Digest Issue #283 - Retro, Graphics Tricks, Multiplayer, and more posted in GameDevDigest Newsletter Published May 23, 2025 Advertisement This article was originally published on GameDevDigest.comEnjoy!“ZLinq”, a Zero-Allocation LINQ Library for .NET - I’ve released ZLinq v1 last month! By building on structs and generics, it achieves zero allocations. It includes extensions like LINQ to Span, LINQ to SIMD, LINQ to Tree (FileSystem, JSON, GameObject, etc.), a drop-in replacement Source Generator for arbitrary types, and support for multiple platforms including .NET Standard 2.0, Unity, and Godot.neuecc.medium.comPathfinding - I've recently been working on the pathfinding for NPCs in my game, which is something I've been looking forward to for a while now since it's a nice chunky problem to solve. I thought I'd write up this post about how I went about it all.juhrjuhr.itch.ioMy Work at Unity - I worked as a developer at Unity Technologies from 2009 to 2020. When I started, there were around 20 employees worldwide and Unity was still largely unknown. When I left, there were over 3000 employees and Unity had become the most widely used game engine in the industry.runevision.comIndie Game Marketing Examples: Campaigns We Loved - From Crabs to Chess: Creative marketing lessons from indie game campaigns that really worked!impress.gamesMaking Video Games in 2025 (without an engine) - I genuinely believe making games without a big "do everything" engine can be easier, more fun, and often less overhead. I am not making a "do everything" game and I do not need 90% of the features these engines provide. I am very particular about how my games feel and look, and how I interact with my tools.noelberry.caWelcome to Unity Design Patterns - Examples of programming design patterns in Unity C#NaphierPalette lighting tricks on the Nintendo 64 - Below I have some notes on the directional ambient and normal mapping techniques I developed. They are both pretty simple in the end but I haven’t seen them used elsewhere.30fps.netCan Itch.io Success Translate To Steam Success? - In my previous blog I looked at the stats for an itch.io game and what an over performing game looked like. Today I want to deep dive on a couple games that took their early itch.io success and parlayed it onto Steam with varied results.howtomarketagame.comWork with strings efficiently, keep the GC alive - This tip is not meant for everyone. If your code is simple, and not CPU-heavy, this tip might be overkill for your code, as it's about extremely heavy operations, where performance is crucial.old.reddit.comIndie Survival Guide - ProductsThe Indie Survival Guide is your ongoing archive of real talk and hard-won insights from the devs and industry experts making games happen—often against the odds. Whatever tools you’re using, this growing library of Q&As, livestreams, and VODs is here to help. There’s no magic formula, but we believe shared experience—across design, business, and survival—can give you the best shot.Unity VideosMultiplayer Systems in 10 Minutes/1 Hour/1 Day | Clocked and Loaded - Unity Developer Advocate Esteban Maldonado shows us how he scales multiplayer systems based on time constraints and how his approach differs depending on the circumstances.UnityFrom States to Trees: How Behavior Trees Revolutionized Game AI - In this final video of our NPC evolution series, we explore how Behavior Trees transformed game AI. Moving beyond the limitations of Finite State Machines, Behavior Trees introduced hierarchical decision-making that allowed NPCs to evaluate complex situations, prioritize actions, and respond intelligently to player choices.Mindplay with AaronInside Doom: The Dark Ages - Creating id Tech 8 - Interview With id Software - Want to know more about Doom: The Dark Ages and the technical make-up of the new id Tech 8? John Linneman has this extensive interview with id Software's Director of Engine Technology, Billy Khan. Every key aspect of the new technology is discussed here, along with answers to key questions like why The Dark Ages simply isn't possible without hardware accelerated ray tracing.Digital FoundryLet's Fix Unity's Animator - Let's fix the missing animation preview in Unity's Animator!Warped ImaginationWhy Did Older Games Feel So Much Bigger? - The evolution of game design has taken an interesting turn, where modern level design often feels more constrained despite technological advances. While retro games created vast worlds with limited resources, today's AAA games sometimes sacrifice that sense of wonder for visual fidelity.Devin ChaseMind-blowing graphical tricks in classic games - Your questions answered! | White_Pointer Gaming - It's time to answer even more viewer questions about how classic games achieved their graphical tricks! This video includes not just Mega Drive/Genesis and Super Nintendo games, but Neo Geo as well. Plus the big one that you might have been waiting for - Final Fantasy VI / Final Fantasy III! What mindblowing tricks will be unveiled this time?White_Pointer GamingJetBrains AI Assistant Just Got a Lot More Useful (and FREE) - JetBrains AI Assistant, improved in version 2025.1 with enhanced context awareness and deeper IDE integration, brings intelligent code generation, inline prompts, and web-enhanced context directly into our workflow. Together, we’ll explore how it uses these upgrades to incorporate external knowledge into its suggestions as we refactor a simple C# class into a clean and reusable programming pattern—then save that refactoring as a custom prompt for future use.git-amend AssetsLevel Up: 5K World Building Assets Bundle - Build the game of your dreams in any setting or scenario with our Level Up: 5K World Building Assets Bundle.__The Supreme Unreal & Unity Game Dev Bundle - Dive into an asset collection that offers the widest range of stylized towns, buildings, and more with The Supreme Unreal & Unity Game Dev Bundle! Save time and money by accessing this library of 50+ asset sets, ranging from medieval Viking villages to deserted military outposts—specific standouts include Whispering Grove Environment and Asian Dynasty Environment. Get the assets you need to help bring your game to life, and help support the charity of your choice with your purchase!Humble Bundle AffiliatePoiyomiToonShader - A feature rich toon shader for unity and VR Chatpoiyomi Open SourceAPFrameworkUI - A Text Mesh Pro based text only UI system for Unitydklassic Open SourceUnityProcgen - Library of procedural generation code for use in Unitycoryleach Open SourceGeneLit - GeneLit is an alternative to standard shader for Unity built-in pipeline.momoma-null Open Sourcebarelymusician - a real-time music engine.anokta Open SourceColliderMeshTool - Generate custom mesh colliders in Unity with hulls or hand-drawn outlines.SinlessDevil Open SourceGraphlit - Custom node shader editor for Unityz3y Open SourceEasy Peasy First Person Controller (FREE) - Easy Peasy First Person Controller is a user-friendly, ready-to-use first-person controller for Unity. It provides a wide range of customizable features for seamless integration into your game.assetstore.unity.com AffiliateUnityInGameConsole - A powerful Command Line Processor and log viewer for Unity. It can be run in the editor or in a built out player for any platform, allowing you to see your log and callstacks in you final product, without having to search for unity log files.ArtOfSettling Open SourceDescant - An enhanced and user-friendly Unity dialogue system pluginOwmacohe Open Sourceposition-visualizer - Unity editor tool to visualize positions in the scene.mminer Open SourceLua-CSharp - High performance Lua interpreter implemented in C# for .NET and Unitynuskey8 Open SourceUnityNativeFilePicker - A native Unity plugin to import/export files from/to various document providers on Android & iOSyasirkula Open Sourceusyrup - A runtime dependency injection framework for the Unity Game Engine!Jeffan207 Open SourceUnityIngameDebugConsole - A uGUI based console to see debug messages and execute commands during gameplay in Unityyasirkula Open SourceContentManagementSystem - CMS based on XK's realization for unitymegurte Open SourceIsoMesh - IsoMesh is a group of related tools for Unity for converting meshes into signed distance field data, raymarching signed distance fields, and extracting signed distance field data back to meshes via surface nets or dual contouring.EmmetOT Open SourceNavigathena - Scene management framework for Unity. Provides a new generation of scene management.mackysoft Open SourceUI Cursors - UI for Mouse Cursors is a great start for the development journey you are looking for either testing or a finished game it offers a great variety. Animatable and make the game look alive!verzatiledev.itch.io25% Off Unity Asset Store - Get 25% off your next purchase—even on discounted assets! Use code TWXJ982ND at checkout and keep building something amazing. Limited to 5 redemptions.Unity AffiliateShop up to 50% off Kyeoms - Publisher Sale - I'm an individual game VFX artist. I'm interested in Cartoon style and Stylized VFX. PLUS, get New Stylized Explosion Package for FREE with code KYEOMS2025Unity AffiliateUltimate World Building Asset Bundle - Imagine it—build it—love it Elevate your next project with elite 3D assets, textures, references, and more from the Ultimate World Building Asset Bundle by ScansMatter—featuring 300 free commercial credits on ScansMatter.com, Rooftop Asset Kit, Office Environment Kit, and much more. This limited-time partnership with ScansMatter gives Humble Bundle members a unique opportunity to access countless professional-quality assets at a fraction of the price. Get the assets you need to bring your next visual project to life—and help support the World Wildlife Fund with your purchase!Humble Bundle AffiliateUnlock Pro 3D Modeling Skills With Blender - Software Bundle - Unlock awesome 3D tools for Blender__ SpotlightBrine - An upcoming boomer shooter from Studio Whalefall, a 3rd year university team from Falmouth's Games Academy.Slippery fishy enemies are attacking your quaint Cornish town, and it's up to one disgruntled fisherman to save the day. Fight your way through waves of local seafood and paint the town with red.[Get the demo on Itch.io]Studio WhalefalMy game, Call Of Dookie. Demo available on SteamYou can subscribe to the free weekly newsletter on GameDevDigest.comThis post includes affiliate links; I may receive compensation if you purchase products or services from the different links provided in this article. Comments Nobody has left a comment. You can be the first! You must log in to join the conversation. 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Black Panther Founder Bobby Seale running for mayor (1972), 8 x 10 inches. All images © Stephen Shames, courtesy of Amar Gallery, shared with permission Stephen Shames Highlights a Transformational Era in ‘Black Panthers & Revolution’ May 21, 2025 Kate Mothes Completed in 1940, California Highway 17—now Interstate 880—bulldozed a vast swath of Oakland’s African American community to make room for the route. Cut off from downtown, these neighborhoods were stripped of their economic connections to the commercial center, disrupting social cohesion and among other policies and attitudes at the time, setting in motion an era of increased unrest. One of these damaging policies took the form of the Federal Housing Administration’s systematic program of discriminating against people of color in a process known as redlining. During this time, Black people were prohibited from purchasing homes so that white, middle- or lower-class families could do so instead, and suburban communities were segregated by design. It’s something the people of Oakland simply wouldn’t stand for. Black Panther kids demonstrate during the Bobby Seale and Ericka Huggins trial, New Haven, Connecticut, May 1, 1970. Gelatin silver print, printed 2016, 20 x 16 inches Starting in the mid-1940s, the Bay Area city was the locus of numerous demonstrations, from general strikes to peaceful protests to all-out riots. Excessive force by the Oakland Police Department exacerbated tensions and gave rise to numerous local organizations like the Oakland Community Organizations (PICO/OCO), Unity Council, Intertribal Friendship House, and perhaps most famously, the Black Panther Party. Often simply called the Panthers or the BPP, the political organization was founded in 1966 by college students Bobby Seale and Huey P. Newton. Its black berets and infamous so-called “copwatching” practices involved open-carry patrols with the mission to protect Black citizens from abuse by law enforcement. More importantly, the group also implemented a number of “survival programs” that provided essentials like food, medicine, clothing, and transportation to residents. Acclaimed photojournalist Stephen Shames had a front row seat to the party’s rise. While they were still in college, Seale invited him to be the official photographer of the BPP, and until 1973, Shames created hundreds of powerful images that highlight the Panthers’ actions and ethos around California and the country. “The Black Panther party burst upon our consciousness when Bobby Seale and other Panthers marched upon the California State Capitol in Sacramento—armed with guns,” Shames says in a statement. “This approach electrified a generation of Black youth.” More than 65 percent of the group’s membership comprised women. Black Panthers food program (c.1970s), 8 x 10 inches The BPP image was carefully choreographed, from militaristic uniforms to its distinctive logo to a deliberate and carefully designed weekly newspaper, with art director Emory Douglas, the party’s visual identity “master craftsman” at the helm. In 2016, Shames and Seale co-authored the book Power to the People: The World of the Black Panthers, which showcases Black pride, resilience, and empowerment during this revolutionary era. He says: The Panthers did not encourage hatred…The Black Panther Party sought to build a community through service to the people, providing free food and clothing. They gave purpose to the aimless, angry youth who loitered on street corners. The Panthers molded these young people into disciplined, hard workers who served their community and showed respect for mothers, fathers, and elders. This month, a remarkable selection of Shames’ photos opens in Black Panthers & Revolution: The Art of Stephen Shames at Amar Gallery. Panthers Line Up At A Free Huey Rally in DeFremery Park, Oakland, July 28, 1968. Gelatin silver, 16 x 20 inches Striking black-and-white imagery portrays Seale, Newton, and other renowned activists like Angela Davis and James Baldwin among daily scenes of local youth and families, the Panthers’ food distribution program, and demonstrations. Shames’ photographs invoke a range of emotions, from the intensity of BPP rallies to the energy of local programs to the fundamental joy of togetherness and community. Shames is known for his bold and emphathetic photo essays that shine light on social issues around the world. His work resides in the permanent collections of MoMA, The Metropolitan Museum of Art, San Francisco Museum of Art, the National Museum of American History, and dozens more. Black Panthers & Revolution opens May 28 and continues through July 7 in London. If you’re in Los Angeles, keep an eye out for Shames’ solo exhibition, Comrade Sisters: Women of the Black Panther Party, which opens on August 7 at the Museum of Social Justice. Find more on the artist’s website. Black Panther medical program (c.1970s), 8 x 10 inches Angela Davis (c.1970s), 16 x 20 inches Black Panther rally (c.1970s), 8 x 10 inches Kids of the Black Panthers (c.1970s), 8 x 10 inches Black Panther kid wearing a “Free Angela” T-shirt (c.1970s), 16 x 20 inches James Baldwin visiting Black Panther founder Bobby Seale in prison (1969), 16 x 20 inches “Free Our Sisters” (c.1970s), 8 x 10 inches Black Panther kids (c.1970s), 8 x 10 inches Next article

Julian Rose’s Building Cultures, published last year by Princeton Architectural Press, contains 16 in-depth interviews with leading architects who have designed museums around the world. In 2022, András Szántó’s Imagining the Future Museum: 21 Dialogues with Architects, published by Hatje Cantz, offered a complementary glimpse into the sensibilities of a new generation of voices. (The titles share four interviewees: David Adjaye, David Chipperfield, Elizabeth Diller, and Kulapat Yantrasat) Rose and Szántó sat down with AN’s executive editor Jack Murphy to discuss the museum’s inexhaustible spatial variety and its capacity to shape civic and cultural space today. Julian Rose’s Building Cultures, published last year by Princeton Architectural Press, contains 16 interviews with architects. (Courtesy Princeton Architectural Press) AN: Julian, what are the major themes, concerns, and anxieties that you heard when interviewing architects about designing museums? Julian Rose (JR): The conversations in Building Culture grew out of my time at Artforum, so they began nearly 10 years ago in a pretty different world. In that context, one important theme was looking at the museum to understand how architecture relates to arts. Architects, either by choice or because the culture at large compels them to, are always defining what they do in relation to other cultural practices, especially the visual arts. This relationship goes back to the modernist avant-garde, and you could trace it even further. I was drawn towards architects who had deep connections to art, maybe they had even gone to art school or had a record of collaboration; not coincidentally, a lot of them have become known as museum specialists. The answers I heard were refreshing; people were not necessarily learning the lessons I expected. As an example: With Peter Zumthor, I thought we were going to have a focused conversation about the very architectural aesthetics and materials used by certain artists like Richard Serra or Donald Judd. No—he wanted to talk about the bigger picture, the emotional and philosophical connections. He’s obsessed with Walter de Maria’s landscape works like Lightning Field. Even if they don’t seem to have an obvious connection to architecture, he loves the scale and ambition. This kind of surprise happened in several conversations. The other key topic is the typological problem of the museum. As I write in my introduction, the museum refuses spatial optimization—there’s no “best” way to design one. In part, that’s because contemporary art is evolving. Look at the popularity of large-scale installations today, which require big open spaces, versus the more old-fashioned idea of a museum being the place you go to have a one-on-one moment with a masterpiece, which needs intimate galleries. Until recently, “public art” was a kind of forlorn category. It was something you might happen on in a park or a subway station, and it was separate from what most people thought of as real art, which of course was what you saw in the museum. And you went to the museum to have what was essentially a private experience of that art. Now you go to the museum to have an experience that’s both aesthetic and social—to look at art and to enjoy a public space—and I think that’s a huge part of why museums are so popular today. One of the fundamental takeaways from the book is that contemporary art is becoming more and more public, and the evolution of the art museum has been a crucial part of that shift. Artists are creating work that’s meant to be experienced by many people at once, and they need new spaces to do that. At the same time, all the architects wanted to talk about circulation, because there is a tension on some level between how we traditionally think of experiencing art and the crowds that certain museums are starting to receive. András Szántó’s Imagining the Future Museum: 21 Dialogues with Architects also features interviews with leading architects who design museums (Hatje Cantz) AN: András, how does this compare to how you approached your book? András Szántó (AS): One reason why the two books are quite complementary is that their genesis is so different. Julian, your book approaches its subjects with an interest in their relationship to art and their creative work. For me, the direction of travel was different. My talks came out of a previous book, which I did during the pandemic, for which I interviewed museum directors about how their institutions are changing. Rather than reviewing past projects, I was interested in the architects’ overall perspective on the museum as a form. Generally, there is the idea that architecture saved the visual arts from the fate of other forms of high art. And there has been a post-pandemic realization that you can do highly elitist and exclusive architecture in the language of modern design, just as you can using neoclassical architecture. We see a reckoning for how to realign museums to serve a wider segment of the population, not just the creation of these beautiful confections to attract the wealthy, highly educated cultural tourists of the world, but maybe the ability to send the message to someone who lives two miles away, “This is for you.” Venturi, Scott Brown and Associates, Sainsbury Wing, National Gallery, London, U.K., 1991 (Matt Wargo) Sainsbury Wing renovation by Selldorf Architects (Edmund Sumner/©The National Gallery London) AN: How did you go about selecting the architects you wanted to interview? AS: You consign yourself to a lifetime of apologies to people who you didn’t interview. I wanted to be global, so I didn’t stack my book with New York–based architects. I wanted to attempt a gender balance, which was difficult. Again, I think our books work well together, Julian, because you spoke with a lot of people on my dream list. JR: I agree that our books are a good pair; it was fun for me to read your book when mine was in progress. I was first educated as an architect, but I’m also coming at this as a historian, so the idea was trying to figure out how we got here: How did museums become so important? I think that the success of both the museum and contemporary art in general is a bit of a surprise to everyone. In this century, we’ve seen so many traditional “highbrow” forms of culture get pushed to the periphery, but museums are thriving. I thought about Building Culture as an oral history project. I almost did the opposite of András: I have a couple younger voices, but I wanted to speak with established figures because that generation has shaped the present and has ideas about the future, too. Frank Gehry was one of the first people I interviewed; he’s 96 and he still has important museums under construction. It was interesting to ask Renzo Piano what he thinks is next. People like Frank and Renzo have had plenty of media exposure, but I did feel like there was a certain depth missing from journalistic coverage. I wanted to do a relatively small number of longer conversations and cover the widest historical range I could. I was thrilled to have Denise Scott Brown in there, because the Sainsbury Wing [of the National Gallery, London] alone is a paradigm-shifting project. She’s part of a whole generation that had a huge impact through postmodern museum designs, although most of [her peers] are no longer with us. That felt important to capture. Gehry Partners, Guggenheim Museum Bilbao, Spain, 1997 (Courtesy Gehry Partners, LLP/© Frank O. Gehry) AS: We’re discussing the success of contemporary visual art, which for most people feels inscrutable and hard to access. You had an interesting thought experiment: What would the same art have done without the scaffolding of the museum around it? The art museum could have become a dusty, irrelevant thing—and often still is—but through the efforts of a new generation of museum experts, working together with architects, communicators, and other specialists, this form has been lifted up and made super contemporary through, frankly, a lot of the functions that were seen as somewhat secondary. This is where the rubber meets the road for architects: So many of the metrics, even the audience metrics, are related to the non-gallery functions of the museum. People flock to the museum as a place, and this is where architecture, landscape architecture, and interior design have been superb. Museums have become civic hubs, which was maybe a secondary concern initially. That’s why people like Piano and Gehry are interesting, because they came up having to work in both worlds. They created this highly successful institutional typology, which still has those art at its core, but it’s the civic infrastructure that is the most successful. JR: Museums have always had a civic function, but almost as a secondary part of the program. With an institution like the Centre Pompidou in Paris the civic aspect starts to dominate. Meanwhile, all of these other institutions that used to provide shared social space have largely disappeared, which has an isolating and alienating effect on culture. It’s funny: Civic engagement started out as almost an afterthought, but it has become a crucial function of the museum in the 21st century. AS: Another point to make about generations: Do not confuse age with being namby-pamby or conservative. Today’s older architects are people of the 1960s, absolutely. Many, like Elizabeth Diller and David Chipperfield, were more radical then than some of our younger architects are today. They did not necessarily expect to be multimillionaires. They were devoted to the public sphere. These “older” figures who now get giant commissions are, on a DNA level, super radical people. JR: Richard Gluckman is another important example. Like Chipperfield, he has a direct connection to modernism through his education. We can talk all day about modernism as a failed project, but the fact is that back when people like Richard and David were in school, architecture was still seen as a fundamental part of the progressive state. Gluckman went to school at Syracuse University in the late 1960s, and as a student he worked for his professors exclusively on projects like housing and university campuses. But by the time he got around to opening his own office, it was 1977. New York had almost gone bankrupt—no one was building that stuff anymore. Gluckman got involved in designing spaces for art, and this was his way of basically sneaking back into the public sphere. I think their generation was connected to a very different—and very powerful—understanding of what architecture meant for society, and you still see that in their work today. AS: We can think about the art museum as a scaffolding building around a core enterprise of artistic experience. But this means something different for collecting versus non-collecting institutions. Often, you find institutions places that are dedicating more and more of their space to social functions around the art, contemplative aspects of art, and so on. The best architects are absolutely capable of doing both things: One is creating transparency, porosity, ease of access, and landscape integration in a way that flows, and the other is delivering wonderful amenities like shops and cafes. We can question some old dichotomies: How hard do you have to separate gallery space and social space? How porous could those boundaries be? What everybody profoundly believes is that a successful museum experience must have a magic combination of three things: objects, humans, and architecture. And when those three things come together—incredible real objects with a social experience in the company of other people in a magisterial architectural space—that creates an enduring magic that you cannnot sacrifice. Shohei Shigematsu/OMA, rendering of the New Museum of Contemporary Art expansion, New York, New York, anticipated completion 2025 (Courtesy OMA/bloomimages.de) JR: It was interesting for me to think about how conservative the museum can be. My conversation with Shohei Shigematsu at OMA put that into relief for me. He was one of the lead architects for the Whitney Museum extension proposal. At the time, OMA’s whole thing was reinventing typologies for the 21st century—think CCTV twisting the skyscraper, or Seattle transforming the public library. They took that aggressive critical method to the museum too—in the 1990s for MoMA and the Tate Modern, and then to the Whitney in 2001, and didn’t win a single competition. The establishment was not interested! AS: I agree that architects are often more radical than their clients. Hopefully nobody misunderstands this, but there is often a profound disconnect between the veneration of rule-breaking, iconoclastic innovation in the gallery versus the conservatism of the museum organization. Organizationally speaking, most museums have not read an airport book on modern management. I see architects trying to push against that. An easy example: Why do these buildings still look like fortresses? Libraries have been redesigned to work for people while still accommodating books. All too often, art museums still feel like citadels with lots of walls. Why? Because walls are great for hanging art on the inside of the building. Is that really the singular goal? AN: How does the scale of the institution shape what it can do? AS: We have certainly seen the emergence of a lot of small institutes and institutions, because of the enormous expansion of private museums. I do think small scale is good. When you ask most people about their favorite museums, they will frequently mention places that are quite intimate, like the Fondation Beyeler, in Basel, by Renzo Piano, soon with a lovely modest expansion by Zumthor. Nobody likes a super tanker, which is easy to respect but hard to love. When it comes to big, we need to differentiate between the gigantic temple on the hill versus what I think could be the future: the SESC Pompéia model, an interdisciplinary, social-cultural hub that may be quite big in the aggregate, and where the visual arts play a role inside a larger matrix. Particularly in our big, sprawling cities, such multipurpose, campus-like configurations could be an ideal setting for a museum. JR: I agree that the future might be more like the biennale model: When done well, the whole city is activated. In that sense maybe the size of the institution itself is less important. But I worry that smaller institutions will be hurt as public funding dries up and all museums become increasingly reliant on philanthropy. The regional, kunsthalle-like spots will suffer because those aren’t glamorous places to give money, but those are often the locations the programming makes the biggest impact in the community. AN: What else should we discuss? AS: Globalization is worth mentioning. There is a parallel to be drawn, perhaps, to the evolution of art. At the end of the 20th century, an astonishing amount of liberation became available to artists as the master narrative of modernism splintered to a more pluralistic discourse where all kinds of positions were accepted as art. Today I think something similar has happened in museum architecture: With the proliferation of museums globally, the language of museum architecture has opened up into a new openness to difference and variation, often informed by regional, vernacular forms and needs. Museums can be built using local materials or respond to local typologies, versus the older ideas of the white cube or the enfilade gallery sequence. Anything can be a museum—not just because of reuse, which is important, but because architects can build some crazy stuff inside almost any kind of building: a power station, a prison, a hospital, an army barracks. And people will say, “That’s a museum.” JR: There’s a running joke in museum design that the Louvre is an adaptive reuse project. And it’s true: The world’s first public art museum started out as a palace. This speaks to the museum’s typological flexibility. Its program is very architectural in the sense that it’s about how people and artworks interact in space, but it’s not like an airport or a hospital with a hyper-specialized program that is understandably difficult to fit into an existing structure. I’m optimistic that museums will stay on the cutting edge of adaptive reuse even as it gets more and more important for the whole architectural profession. Another thing that came out of my book is how much museum architects pay attention to the spaces artists are working in. The New York loft is the classic example. Once upon a time, not every gallery looked like a renovated postindustrial space, but artists moved into defunct industrial spaces decades ago and eventually exhibition spaces followed. This exchange goes both ways—its dialectical. As museum buildings have gotten more varied, artists have had a lot of fun learning how to use these new spaces. The Guggenheim in New York is an example. For decades, [Frank Lloyd] Wright’s design has been criticized because it’s hard to show most traditional art forms on the spiral ramps. But the best things I’ve seen in that museum in the past ten years have been installations in the atrium. Artists can do something wild with that space. After seeing that, do you really want to look at a little painting on a curvy wall? Julian Rose is a designer, critic, and historian. He is currently completing a PhD at Princeton on the origin and evolution of museums of contemporary art. András Szántó advises museums, foundations, educational institutions, and corporations on cultural strategy and program development, worldwide. This post contains affiliate links. AN may have a commission if you make a purchase through these links.

“Woodrush, Viola, Golden Saxifrage, Field Horsetail, Marsh Marigold, Lesser Celandine, Sedge (Frylet, Violen, Gullpudran, Åkerfräknet, Kabelöken, Svalörten, Starrgräset)” from the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, and ink on paper from a portfolio of 46 drawings, sheet: 19 5/8 × 10 9/16 inches. All images courtesy of The Museum of Modern Art, New York, shared with permission A Unique Portfolio of Hilma af Klint’s Botanical Drawings Communes with Nature’s Spiritual Side May 21, 2025 Kate Mothes With the Industrial Revolution in full swing at the turn of the 20th century, jobs and opportunities attracted people to burgeoning cities. New technologies were being developed at breakneck speed and discoveries within the natural sciences introduced people to invisible yet potent concepts like radio waves and X-rays. During this period of social transformation, philosophical or occult religious movements like Spiritualism and Helena Blavatsky’s Theosophy offered ways to not only connect within a like-minded community but to explore the afterlife—the so-called spirit world—and the very fabric of the universe. “Sunflower (Solrosen)” from the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, ink, and metallic paint on paper from a portfolio of 46 drawings, sheet: 19 3/4 × 10 9/16 inches For Hilma af Klint (1862–1944), like many who sought refuge and inspiration in these belief systems, a spiritual link to her surroundings united her with the natural world during “a period of massive change…as people from all levels of society were searching for something new to hold on to,” Johan af Klint and Hedvig Ersman wrote about the Swedish artist’s spiritual journey. Now on view at The Museum of Modern Art in New York, Hilma af Klint: What Stands Behind the Flowers highlights the institution’s recent acquisition of a phenomenal, 46-leaf portfolio called Nature Studies. During the spring and summer of 1919 and 1920, af Klint recorded Sweden’s seasonal flora, from lilies of the valley and sunflowers to violets and cherry blossoms. Beyond traditional botanical studies, the artist incorporates her characteristic abstractions and diagrams, surrounding each rendering with esoteric annotations and geometries. “One has to think of the realm of the nature spirits as the realm of thought; these entities hover around us, some like driving winds, others like soft summer breezes,” af Klint once said. “Lily of The Valley, Water Avens, Common Milkwort (Liljekonvaljen, Fårkummern, Jungfrulinet)” from the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, ink, and metallic paint on paper from a portfolio of 46 drawings, sheet: 19 5/8 × 10 5/8 inches Grids with unique color relationships or energetic spirals accompany renderings of field woodrush or marsh marigold, and tree specimens are paired with dotted checkerboards. “Through these forms, af Klint seeks to reveal, in her words, ‘what stands behind the flowers,'” the museum says, “reflecting her belief that studying nature uncovers truths about the human condition.” What Stands Behind the Flowers continues through September 27 and is accompanied by a catalogue that is slated for release on Tuesday. Find your copy on Bookshop, and plan your visit to MoMA on the museum’s website. “Yellow Star-of-Bethlehem, Lungwort, Coltsfoot, Nailwort, Pasqueflower (Vårlöken, Lungörten, Hästhoförten, Nagelörten, Backsippan)” from the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, and ink on paper from a portfolio of 46 drawings, sheet: 19 5/8 × 10 9/16 inches “Common Lime (Linden)” from the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, ink, and metallic paint on paper from a portfolio of 46 drawings, sheet: 19 5/8 × 10 5/8 inches “Tulip (Tulpanen)” from the portfolio ‘Dornach Nature Studies’ (1920), watercolor, pencil, ink, and metallic paint on paper from a portfolio of 46 drawings, sheet: 19 5/8 × 10 5/8 inches Next article

This Algol TV was designed by Italian architect/designer Marco Zanuso and German industrial designer Richard Sapper. Released by Italian electronics brand Brionvega in 1964, the ABS-clad TV was described by Zanuso as "a little dog that looks up at its master."The design was popular, landing in both the MoMA and the V&A Museum in London, and was reissued multiple times—all the way until 1998! A 34-year lifespan for a television set—an 11" model, no less—seems insane today.A '90s marketing image It admittedly doesn't look fantastic with the handle deployed, though you wouldn't see that during ordinary use. Handle aside, Zanuso and Sapper really pulled off the canted form while retaining a pleasing proportion and gesture. To see how this effect can go really wrong, have a look at the back end of the unloved 1985 Alfa Romeo Milano. See Also:Two Fun 1960s/'70s Television Sets Designed by Rodolfo Bonetto