First impressions of #NintendoSwitch2 mouse controls​

Coolers News Noctua's Next Big Thing: Liquid Cooling and Thermosiphons | Technical Deep-DiveJune 2, 2025Last Updated: 2025-06-02Noctua's Computex 2025 showcase includes engineering and design information on their new Thermosiphon cooler and CPU liquid coolerThe HighlightsNoctua shows off its upcoming AIO liquid coolerThe company also shows off its new NF-A12 G2 fanNoctua also discusses its Antec Flux Pro Noctua Edition PC caseTable of ContentsAutoTOC Grab a GN15 Large Anti-Static Modmat to celebrate our 15th Anniversary and for a high-quality PC building work surface. The Modmat features useful PC building diagrams and is anti-static conductive. Purchases directly fund our work! (or consider a direct donation or a Patreon contribution!)IntroWe visited Noctua’s booth at Computex, where the company showed off its upcoming liquid cooler, which is set to launch in Q1 2026. Once again, we have to give Noctua an award for least RGB LED BS we’ve seen at a trade show as we couldn’t find any in their booth.Editor's note: This was originally published on May 20, 2025 as a video. This content has been adapted to written format for this article and is unchanged from the original publication.CreditsHostSteve BurkeCamera, Video EditingMike GaglioneVitalii MakhnovetsWriting, Web EditingJimmy ThangThe company showed off its AIO liquid cooler prototype, which consisted of 3D printed pieces that are intended to go into the pump block to reduce some of the most annoying aspects of liquid coolers with pumps as opposed to thermosiphons. The fan that goes on top of the pump block is an existing Noctua fan that they’ve reshaped the frame for. And it’s optional to mount on top and it projects the air out towards the memory and VRM components. We also looked at the company’s thermosiphon, which was briefly shown at Computex last year. It is a 2-phase thermosiphon, which means that it does a phase change. This makes it comparable to a heat-pipe in a way. We also got to see a bunch of different types of cold plate designs.We also got another look at the Noctua x Antec Flux Pro case, which we previously covered at Antec’s booth.G2 FansNoctua showed off its 120mm G2 fan, which also appears in the shroud top of the Antec Flux Pro case. A couple things have changed about the fan, which include the RPM offset being a little different.Grab a GN Soldering & Project Mat for a high-quality work surface with extreme heat resistance. These purchases directly fund our operation, including our build-out of the hemi-anechoic chamber for our acoustic testing! (or consider a direct donation or a Patreon contribution!)When we reviewed the NH-D15 G2, the RPM offset between the 2 fans was about 25, but the fans we saw at Computex are about plus or minus 50.  Noctua provided some first-party data and stated that on a 120x49mm water cooler radiator comparing the G2 fan versus the company’s NF-A12x25 fan under a 200W heat-loud, the G2 fan performed roughly 3 degrees cooler, which is really good.    Paired with an air cooler, there was about a 1 degree difference between the 2 fans, which is a lot for an air cooler. Noctua Liquid CoolerFor its liquid cooler, Noctua is working with Asetek, using the company’s Gen 8 V2 platform.  Asetek has been around for a long time and they’re one of the biggest suppliers. In the old days, they worked with Corsair, NZXT, and basically everyone’s stuff.The landscape has diversified a bit. Apaltek has gotten really big as a supplier. For as much s*** we’ve given Asetek over the years, in our experience, they’ve had fewer widespread failures of gunk buildup compared to competing solutions. Noctua MouseWe don’t cover mice, but Noctua also showed off a mouse with a small fan built into it. Noctua's Jakob Dellinger Interview Visit our Patreon page to contribute a few dollars toward this website's operation (or consider a direct donation or buying something from our GN Store!) Additionally, when you purchase through links to retailers on our site, we may earn a small affiliate commission.We wrapped up our Noctua coverage by interviewing Noctua’s Jakob Dellinger. Make sure to watch our Computex video where we do a deeper dive into the company’s upcoming liquid cooler, how a thermosiphon works, and more.

Interviews Love, Death + Robots – Volume 4: Tim Miller (Creator & Director) & Jennifer Yuh Nelson (Supervising Director) By Vincent Frei - 02/06/2025 Earlier this year, Tim Miller spoke to us about his animated anthology Secret Level. Now, he returns to discuss the latest season of Love, Death + Robots. Jennifer Yuh Nelson talked about season two of Love, Death + Robots in 2021. She later worked on The Sea Beast, before returning once again to the anthology universe. What was your overall vision for the fourth season of Love, Death and Robots and how did it evolve from previous seasons? Tim Miller (TM) // We have the same strategy as every volume – we try to pick the best stories we know of and provide a mix that is hopefully appealing to everyone. There are a lot of variables to consider. Including genre, tone, and style of animation, such as stop motion, CG, and 2D. We try not to have two stories that are too similar. For example, if there’s already a military sci-fi story, we avoid selecting another one. We like to mix humor, horror, sci-fi, fantasy, and anything else that we think might be interesting from either a story or animation perspective. How did you approach the balance between experimenting with new styles and maintaining the signature identity of the show? TM // Honestly, we just try and follow our gut. What we think is interesting as filmmakers, animators, and storytellers will also be interesting to the animation community and fans alike. So, we keep an eye out for new voices, filmmakers, and new ways of doing things to keep things interesting. I’m not sure we have an identity of the show. In fact, I think if we did have an identity, it would be that we don’t have an identity… but we try and do whatever we think is interesting. Jennifer Yuh Nelson (JYN) // The fortunate thing about LDR is that the signature itself is experimenting with new styles. The trick is finding new aggressively experimental styles that still communicate to a mass audience. The stories are key to that. If the story is engaging, even to an audience that doesn’t usually gravitate to animation, then you can make it looks as weird as you want. What are some of the key challenges you faced while overseeing this season and how do you tackle them? TM // This season, there was a lot going on in the animation community that created some challenges with getting work done, whether studios were too full or ceased to exist entirely. Everyone struggled with budgets. But I didn’t feel like it was a problem with our show but rather a problem with the entire industry. People were struggling. And then it’s just always difficult when your ambition is high, your budgets are reasonable but still challenging, and you have to wrangle hundreds of people to get on board with your vision. (JYN) // These shows take a long time to make. R&D for a look that doesn’t exist can take a lot of trial and error. For example, Emily Dean, who directed Very Pulse of the Machine last season, did For He Can Creep this season. She had a cool angle of making her episode look like lithography. That was very very hard, but somehow Polygon, the studio that made both shorts, came through with it. And I think it turned out very well. Can you talk about how you selected the different animation studios for this season? What made you decide to work with the studios involved? (JYN) // We’ve been very fortunate to have worked with amazing people and studios these last few seasons, so it made sense to float some stories by them again. But it really comes down to the stories, and how each leans towards a certain technique. For example, How Zeke Found Religion was holding a slot where we wanted something 2D. We went to Titmouse because they were great with pushing the boundaries of 2D animation, and they suggested Diego Porral as a director who could bring a modern edge. How do you ensure each studio’s unique visual style complements the story and tone of each episode? TM // I know this sounds a little mystical and I don’t mean it to be, but I think the story speaks to you about style. Some things just feels right, and you have an innate concept of what would be the best version of the story, whether it’s stop motion, CG, 2D animation, or even live action. When you start thinking about the story in a creative way, a style becomes apparent. Which is not to say there aren’t many ways to do things and tell stories, but we feel a best version becomes clear. (JYN) // We do a lot of research, not just into what the studios have done before, but also into what they wish to do but haven’t had the chance to do. Often it’s just a matter of getting to know them and seeing if they have a philosophy of pushing for experimentation and risk. Then we try to support them as much as possible in their creative R&D. You both directed episodes for this season, what was that experience like? How did it differ from your work as overseeing directors? TM // For me, it’s really just trying to create the best story and I love working with the artists and trying to be open to what everybody brings to the table because everybody wants to do the best possible episode they can. I try and be open to letting people help carry that load. The best thing about being a director is that you get to pick and choose between all the great ideas that everybody has and shape the narrative by getting the benefit of everyone’s expertise and talent. (JYN) // It’s a different mindset. As a Supervising Director, I help. As a Director, I do. On episodes I’m not directing, I am deciphering that director’s ambition and pushing for whatever is required to make that absolutely great. On an episode I’m directing, every choice and image has to go through my brain so it’s more a reflection of my personal taste. Plus I tend to storyboard a lot more on my own episodes since it’s a way for me to communicate to the crew. I storyboard a lot on other episodes, but mainly to help figure out problems here and there. It also doesn’t come out of those director’s budgets so the free storyboarding is often welcomed. How did you choose the episode you worked on yourself and what aspects of it made it resonate with you both? TM // In my case with “The Screaming of the Tyrannosaur,” it was really by default. I had written the episode for Zack Snyder but Zack was too busy, and by that time I’d already fallen in love with the story, so I figured, why not just do it myself? As for “Golgotha,” I always loved the story. It was very efficient and short, which is hard to find in a story – it felt like a full meal. It has a beginning, middle, and end and it resolves in a satisfying way. “Golgotha” had all of that, plus it was funny. (JYN) // Spider Rose was on the story wall since the beginning. It was one of the “special” ones- very hard, ambitious, uncomfortable. Over the seasons we offered it to different directors and they veered away from it for one reason or another. But it glowed with a complexity that’s rare in a short story. I think that’s because it was written as an exploration for a far larger world that Bruce Sterling was developing. For me, it was the raw emotionality that drew me in. It’s how I understand how to communicate any story. And I love the way Spider Rose draws you in with emotion then shivs you with it. Were there any episodes in this season that particularly pushed the boundaries of what you had done before? How did that push happen? TM // I think “How Zeke got Religion” pushed the boundaries of 2D animation. The amount of detail and action that the guys at Titmouse were able to pull off was truly astonishing. Once again, Robert Valley outdid himself with 400 boys. The action scene at the end was one of my favorite pieces of animation in all of Love, Death, and Robots. (JYN) // Golgotha, Tim’s episode is live action, which is a rarity for the show. There was one live action episode in season 1, but none since. It is primarily an animation series, but nowadays, the line is so fuzzy that it seemed to make sense. How do you balance creative freedom with the thematic unity required for a show like Love, Death, and Robots? TM // There isn’t really a thematic unity. We’re just trying to create the best version of each of the episodes. They don’t tie into each other, they don’t relate to each other, they aren’t supposed to be about either Love, Death or Robots – the title is a meant to be a “catchall” that could hold ANY story or visual art we thought might be cool. Hopefully, the overall assemblage feels like a balanced meal with a little bit of something for everybody. But thematically speaking, again, I think our theme is that there is no theme. (JYN) // We try to set the foundation with a good story, based off the many short stories Tim has read over the years. Then the HOW of what that story becomes is the wooly Wild West. The directors and studios are fully encouraged to push all the boundaries of how to make these as innovative, impractical, and beautiful as they want. And, since each short is under 15 minutes, the studios we choose can be as experimental and scrappy as each story demands. Looking at the overall direction of the season, was there any unexpected moments or surprises that stood out to you during production? TM // Yeah, I think the color palette for “Zeke” was a shock to me in a wonderful way because it was completely unexpected and nothing I would ever do as a director but boy did I love it. And I think that “Can’t Stop” was an interesting addition. We wanted to do a music video from volume 1 onward, and this was the moment that we took to do it. I think it’s the greatest concert video ever made. (JYN) // Why do we have so many cats and babies? I’ve no idea. But when we saw the first giant baby shots in 400 Boys, it was a rare joy. They walk like babies, real babies. And somehow that was both accurate and terrifying. Looking forward, where do you see the show heading in future seasons, are there any new themes or concepts you’d love to explore? TM // So many directors in the industry have asked if they could play in our sandbox, and I would like to expand our reach to get some established names. Not that we don’t want new talent – we will always want that – but it would be great to have some really fantastic directors who have accomplished big movies come and play with our stories. I also think there’s a version where we bring in some content that may have existed in other mediums like comic books and perhaps tell some larger stories that take more than one episode to tell. Truthfully, I’ve already got a some really interesting stories picked out for the next few seasons, — of course those will change as the show evolves, but they’re fascinating stories that explore the whole arc of history… past, present, and future and some of the big challenges that humanity is facing today. I’d be lying if I didn’t mention that many of them explore the future of what mankind will become with the advent of AI and how artificial intelligence and humanity’s future intersect. (JYN) // Often themes only show up afterwards. There is a bit of a “herding cats” energy to the show that promises surprises in the production process. But the point of a show like this is that it is surprising. It has its own energy, and sometimes we just have to listen to it rather than dictate. If you had the opportunity to create any kind of story for Love, Death, and Robots, what would your dream narrative and what type of animation style would you envision for it? TM // Well, I have to say that I love high-end 3D animation, and that’s what Blur does for a reason. And secondly, I’d like to do a kind of story that could be live action and has some vast scope to it, but we choose to do it in animation because we get more value from using the techniques that animation brings. We can tell a bigger story, with more scope, and more action than we would using any other methodology…. and it competes favorably with live action in terms of the kind of audience that comes to watch it. Not just fans of animation, but fans of good cinema. (JYN) // I’d love to see an anime episode, like a Tsutomu Nihei fight scene, or something by Katsuhiro Otomo. A big thanks for your time. WANT TO KNOW MORE?Blur Studio: Dedicated page about Love, Death + Robots: Volume 4 on Blur Studio website. © Vincent Frei – The Art of VFX – 2025

Disney continues to make good on CEO Bob Iger’s stated 2023 plans to cut costs and reshape the company, this time with a round of massive layoffs in the name of “efficiency,” according to Variety. Although the exact number of affected employees is unclear, it is projected to be in the hundreds.  Attempts to confirm the reports by AWN have so far been unsuccessful. More information will be reported as it becomes available. The unfortunate move took place today across marketing teams for both film and TV, publicity, casting, development, and corporate finance. No teams are being eliminated completely. The Mouse House also cut nearly 200 employees in March across TV and ABC News Operations, 75 workers last October across ABC News and local stations, and a whopping 300 U.S. workers last September. The most startling layoffs of the bunch occurred in 2023 after the return of Disney chief Bob Iger as CEO, which resulted in over 8,000 job cuts. Journalist, antique shop owner, aspiring gemologist—L'Wren brings a diverse perspective to animation, where every frame reflects her varied passions.

Image: Nintendo LifeWho had the return of Survival Kids on their bingo cards for 2025? Let alone as a launch title for a brand new Nintendo console? Amidst a storm of third-party ports and first-party giants, Survival Kids quietly sneaked into the Nintendo Switch 2 Direct back in April 2025. And when we saw the Konami logo, something clicked — oh, it's that Survival Kids. The original Game Boy Color game launched way back in 1999 and was just added to the Game Boy app on Nintendo Switch Online. A GBC sequel, the Lost In Blue trilogy on DS, and a Wii game followed, but the series of survival RPGs has been dormant ever since. Until now.Subscribe to Nintendo Life on YouTube815kWatch on YouTube In a partnership with Unity Games — in what is the developer's first-ever game — Konami is flipping the script with this new entry. And, ahead of its Switch 2 release on 5th June, we had a chance to send Richard Jones, Creative Director at Konami Digital Entertainment, some questions about the surprise return of this cult classic series. Available today Nintendo Life: Konami has an extremely deep and rich back catalogue full of games and series that have lain dormant for years. Why did the team choose to bring back Survival Kids? Richard Jones, Creative Director at Konami Digital Entertainment: The reason we wanted to bring Survival Kids back was because the idea of being shipwrecked on an island is such a universally known story throughout the world and throughout generations. It harks back to stories like the Lost Boys from Peter Pan, Swallows and Amazons, or Treasure Island. There's something incredibly evocative about kids having adventures on remote islands. Thematically, the idea of kids on an island having fun and adventures is exactly what video games are about. The opportunity to update this game and play with some of the new Nintendo Switch 2 features was just very exciting. So, it just seemed like a really interesting theme to explore – where we could have fun and turn it into a game for all of the family. A sensation that goes back to everyone’s childhood, like running around the playground pretending to be pirates or whatever. How things change in over 25 years... — Images: Konami That idea of combining childhood adventure with modern co-operative gameplay felt like the perfect way to make something both nostalgic and new. We saw an opportunity to build a game that was more accessible, multiplayer-focused, and designed for families and friends to enjoy together. I think that’s why we liked the theme and thought there was a really good opportunity to update and reinvent it in a new, interesting way for modern audiences. You're working with Unity in what is the company's first fully developed video game. How did that partnership come about? I met with Unity a few years ago at Gamescom. It came to light that they were putting together a team for in-house development. I happened to be looking for external studios to work on a Konami IP, and it seemed like we were on the same sort of trajectory – same ideas around scope, budget, and timescale. So, we carried on talking and started exploring which IPs we’d be interested in working on. We quickly realised we were creatively aligned, and that led naturally into working together. Once we met the team at Unity, we realised what an experienced group of people they’d put together. Everyone throws around words like 'industry veteran,' but these were actual veterans – proper experts in their field with years and years of experience shipping all kinds of games. We knew immediately we were in safe hands – the developers and artists really knew their stuff, and we knew we could work really well with them. Are any of the original developers involved, or has Konami reached out to them about the new project? We love the original Survival Kids games – I remember working on Survival Kids (Stranded Kids, as it was called in the UK) when I first joined Konami. It’s a fantastic game, but we wanted to completely redesign it from the ground up. We had a different vision for what this game should be based on its premise. We wanted it to be more fun, more accessible – something people could play together. From the start, it was always about surviving together. this is very much a respectful reimagining based on the original’s premise - not a direct continuation. It was always going to be a group of kids on an island, working together to solve puzzles in fun ways. Rather than being a really hardcore, punishing RPG like the original, this is a lighter, more inclusive experience. So yeah, this is very much a respectful reimagining based on the original’s premise - not a direct continuation. The original Game Boy game is a single-player survival venture with resource management. How do these aspects translate into multiplayer? We wanted to use the idea of cooking and gathering food as something you could do communally. That was one of the really early ideas – we wanted people to come together around the cooking pot. We explored different iterations — should it be a campfire, should it be something else — and landed on a cooking pot. Everyone can throw bits of food in, and you get this communal pot of soup. Everyone gets something out of it. Rather than linking hunger or exhaustion to failure, we tied stats to improving your character. So, for example, if there's a really tall climbing net, you can’t just climb it straight away – you need to cook and eat food to build up stamina. That way, it encourages cooperation without punishing players. You're cooking to get stronger, not to avoid death. Image: Konami So it keeps that survival theme - but reframes it around teamwork and progression, not punishment. It’s a more approachable, co-op-friendly way to explore the same ideas. It’s all part of the shift from surviving alone to surviving together. What can returning fans expect in terms of new gameplay elements? The game is completely new, so it's a fresh experience. The original had a fairly hardcore, punishing survival design, but this version is less about failure states and more about creating time and space for people to have fun together – whether that’s in split-screen mode, using GameShare in the same room, or online with GameChat. this version is less about failure states and more about creating time and space for people to have fun together The whole point was friends and families gathering, solving puzzles, overcoming obstacles, and having fun. There are still challenges linked to the environment and items - and you can try speedrunning if you want, but at its heart it’s about playing together and enjoying the experience as a group. We want players to come away with a smile on their face at the end of a session. Was it always your goal to be a Switch 2 launch title? Will players be able to use GameShare between Switch 1 and 2? When we started the pitch and early design work, we didn’t even know about Switch 2. But during pre-production, speculation about the new console started to emerge, and it aligned closely with our schedule. We made some educated guesses – assuming the console would have a similar audience, and continue to target ways to play socially. We took a few leaps of faith early on, designing with those assumptions in mind - and they turned out to be close enough. Once we started designing around that, it all made sense – and we reached out to Nintendo to get dev kits and approval. Once they saw what we were doing, I think they realised it was a natural fit. So yes, it now supports new social features like GameChat but also GameShare with compatibility between Switch 1 and Switch 2. (EN: It's since been revealed that you can play Survival Kids via GameShare with up to two additional Switch 1 and/or Switch 2 consoles) Subscribe to Nintendo Life on YouTube815k Are you taking advantage of Switch 2 features like mouse mode or 120fps? We looked into mouse mode, but it didn’t really add anything meaningful to our gameplay. Instead, we focused on features like GameShare and GameChat, which made much more sense for the co-op experience. We also had to be mindful of performance – we’re supporting split screen and GameShare simultaneously, which puts constraints on frame rate. Those trade-offs were intentional - made to ensure a smooth, stable multiplayer experience across all supported modes. With games like Overcooked and Moving Out gaining popularity, how will Survival Kids stand out in a crowded multiplayer launch lineup? Games like Overcooked were definitely in our minds when we started this – the idea of co-op chaos is something we really liked. We approach it slightly differently – using real-time physics, for example. Things like logs rolling away from you or two players struggling to carry a heavy object. It’s deceptively simple, but ends up being chaotic, funny, and memorable - the kind of co-op experience where things go wrong in the best way. What sets Survival Kids apart is its tone - it’s light-hearted, session-based, and designed for friends and family to pick up and play. And it’s one of the few titles launching with full GameShare and GameChat support right out of the box. Image: Konami This interview has been edited lightly for clarity. Thank you to Richard Jones at Konami for taking the time to speak to us! Survival Kids washes onto the Switch 2's shores on the console's launch day, Thursday 5th June. Let us know if you're looking forward to this. Every game coming to Switch 2 on launch day Related Games See Also Share:0 0 Alana has been with Nintendo Life since 2022, and while RPGs are her first love, Nintendo is a close second. She enjoys nothing more than overthinking battle strategies, characters, and stories. She also wishes she was a Sega air pirate. Hold on there, you need to login to post a comment... Related Articles Pokémon Legends: Z-A's Switch 2 And Switch 1 Prices Have Been Revealed And we're pleasantly surprised Nintendo Updates Switch 2 Backwards Compatibility List Doom Eternal, NBA 2K25, and more to get an update Nintendo Appears To Have Updated Mario Kart World's Switch 2 File Size Some other file sizes have also changed Fantasy Life i Gets Switch 2 Release Date With Paid Upgrade Path For Switch 1 Players And it's coming launch day Title: Survival Kids System: Nintendo Switch 2 Also Available For: GBC Publisher: Konami Developer: Unity Games Genre: Adventure Players: 1 Release Date: Nintendo Switch 2 5th Jun 2025 — $49.99 5th Jun 2025 — £44.99 Series: Survival Kids Official Site: nintendo.com Where to buy: Buy on Amazon

Netflix has no shortage of options when it comes to science fiction programming and experimental anthology series, but Love, Death + Robots is an especially beautiful love letter to science fiction’s chameleonic nature and endless versatility. The unpredictable animated anthology series combines sci-fi with comedy, horror, fantasy, mystery, and romance as it brings gripping genre literature to life through a modern lens. In doing so, Love, Death + Robots doesn’t just celebrate science fiction; it helps it evolve. Sci-fi is a revelatory storytelling genre that can open the audience’s mind and forever change their perception of reality. The best of it probes, inspires, and admonishes, which is exactly what Tim Miller (Deadpool) and Jennifer Yuh Nelson (Kung Fu Panda 2 and 3) strive for in Love, Death + Robots, now in its fourth season. Nothing is off-limits in the series, whether it’s a cat-fueled dystopia, gladiatorial combat atop dinosaurs, or a poet’s feud with Satan. The show aims to create the same level of jubilation in its viewers as those who discovered these short stories for the first time. Pretty much all the vignettes have been based on short stories that Tim’s read throughout his life,” explains Nelson, Love, Death + Robots’ supervising director. “We have hundreds of these stories just piled up.” There’s a true passion for the source material that helps Love, Death + Robots excel. This enormous collection of genre classics gets carefully selected as each new season takes shape.  “We try to curate the perfect mix. So we have a little something for everybody,” creator Miller elaborates. This has been one of the secrets to Love, Death + Robots’ success. Each collection of episodes is truly unique and feels like a pulpy paperback of short stories. In fact, Love, Death + Robots has even published collections of each season’s stories. “All the money goes to the authors,” Miller proudly adds. “We want people to read the stories! Forget about making them into movies.” Love, Death + Robots has resonated with science fiction fans who appreciate captivating and concise storytelling. That being said, Love, Death + Robots is also a visual extravaganza that pushes just as many boundaries in animation. Four seasons in, the series “Often, we choose the director and the animation studio according to their specialty,” Nelson explains as she continues to break down the meticulous nature of this process. “If we have two tentpole episodes that look a certain way, then we want to make sure that those episodes are going to look vastly different from each other.” For instance, Titmouse’s impressionistic work on Volume IV’s “How Zeke Got Religion” actively enhances the story. “You need to find their thing,” Nelson adds in reference to Love, Death + Robots’ roster of animation studios and what they each bring to the table. “It’s important for us, especially for this series, to make sure that we’re really showcasing the whole breadth of animation,” asserts Nelson. “Sometimes these directors are very much pioneers in what they do, and no one else is doing what they do. That’s why we end up working with them.” Photo-realistic 3D animation, stop-motion, traditional 2D visuals, and stop-motion are just some of the animation styles on display in Love, Death + Robots. The series has even increasingly dipped its toe into live-action stories that blur the lines between reality and animation. “Rarely do you see such a showcase of animation like this,” Nelson says. “This is a way to show new ideas, new looks, and new innovation by different directors and studios around the world.” Miller reiterates that it’s a deeply collaborative process where the animation studios have just as much agency as the storytellers.  “We push it in the initial direction, and then the directors come in and do their pitch.” The final product becomes a synthesis of ideas that are built upon ambition and taking risks. “We try to give them as much freedom as we can,” Miller emphasizes. This relationship has paid off well, earning the animated series 13 Primetime Emmy Awards, including Outstanding Short Form Animated Program and Outstanding Individual Achievement in Animation. The series’ latest batch of episodes is likely to add to this already impressive collection of accolades. Love, Death + Robots’ 45 episodes provide a broad, brave mix of everything that science fiction and animation have to offer. However, the series continues to look forward and is determined to surpass these heights. “We’ve got a lot of stories,” boasts Miller. “I have the next season—seasons, actually—picked out.” And while there were previously spin-offs and off-shoots in consideration, Love, Death + Robots is the perfect incubator for these stories, whether they’re two minutes or 20 minutes. “The beauty of the show is that we’d never get some of these ideas made if we were asking to do a feature,” admits Miller.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! Love, Death + Robots plays by its own rules and continues to redefine anthology storytelling. It’s still the only series where fans can alternate between a string puppet rock concert and Russian Civil War soldiers fighting ancient supernatural evils. “There’s still a lot of room to do new and innovative things that we haven’t done before,” Miller insists. “Although we always seem to end up with too many cat stories. I can’t really explain that.” Four volumes of Love, Death & Robots are available to stream on Netflix now.

On top of the discount, Amazon gives you extra bonuses (like Office for Life, a wireless mouse, a portable 1TB SSD, and a CD/DVD drive) that make the Dell laptop almost free.

The default mouse and keyboard controls in Elden Ring Nightreign are serviceable at best, unless you customize them to meet your preferences. Out of the box, the control layout for PC feels clunky, but with a few key changes, you can bring the experience in-line with most modern open-world games. Bearing that in mind, the following is a recommended mouse and keyboard settings for Elden Ring Nightreign that feels familiar and tailored for PC, so that you can keep focusing on the Nightlords instead of wrestling with the controls.

If you've got a Samsung phone, you've got an alternative, lightweight option for computing on the go: Galaxy handsets come with a desktop interface called DeX built right in, and depending on what you need to do, you might be able to use this mode in place of a laptop while on your travels.Essentially, you plug your Samsung phone into a TV or monitor, and Android shifts to look more like Windows or macOS. You're still using the same software and the same apps, but you get floating windows and easier multitasking.While a lot of the apps will stick to their mobile views, you can make use of apps such as Google Docs or Google Chrome to get work done while you're away from home (or just in a different room). And of course you've got access to all your movie and music streaming apps too, on a bigger screen.How to set up Samsung DeXYou've got a few different connection options when it comes to Samsung DeX. It actually works wirelessly if you have a TV or monitor with Miracast technology built into it—or a streaming box or dongle with Miracast support. That includes most Samsung TVs made in the last few years, for example, so if you're heavily invested in the Samsung ecosystem then you're already a step ahead.To launch Samsung DeX wirelessly, open Settings on your Galaxy phone, then choose Connected devices > Samsung DeX. Alternatively open the Quick Settings panel (swipe down from the top right of the screen), then tap the DeX button—if you can't see it, swipe down on the panel of tiles to see the full selection. Your phone will scan your wifi network for compatible hardware, and you can tap on a device to connect. DeX in Quick Settings. Credit: Lifehacker If you can configure Samsung DeX with a wired connection, it's usually easier and more reliable. The cable you're going to need will depend on the external monitor or television you're connecting to: You might need a USB-C to USB-C cable, for example, or a USB-C to HDMI cable. Most cables should work with the right connectors, but I'd advise searching for ones that specifically mention DeX in the listing.You can use USB-C hubs and docking stations too, which is handy if you want to plug a mouse and keyboard in as well. Again, most models should work, but they won't necessarily all work—a bit of internet research should guide you towards products people are already using with DeX. This $12 Ugreen hub is the one I've been using for Samsung DeX, so you can see you don't necessarily need to spend a lot of money here. DeX can be set to launch automatically. Credit: Lifehacker You don't have to use a keyboard and mouse with DeX, because you can use your phone's keyboard, and turn it into a makeshift trackpad (you can even use an S Pen to control DeX). However, if you need to get some serious work done, from essay writing to emailing, then you'll probably want to hook up a mouse and keyboard. That's what I've done: The Galaxy phone, HDMI cable, and keyboard and mouse all plug into the hub.Launching DeX in a wired configuration is the same as launching it in a wireless configuration, though if you're using cables and hubs then as soon as you connect an external monitor to your Galaxy device, you should see a prompt to connect. Future connections can be launched automatically (to manage this open Settings on your phone, then choose Connected devices > Samsung DeX).How to use Samsung DeXWith DeX launched, you should see the desktop interface up on the external screen. It's a bit like having a second monitor for your phone, because you can carry on using apps on your Galaxy device the same as you normally would. You'll find a few app shortcuts already on the DeX desktop, which you can double-click to launch, and a taskbar showing open apps along the bottom.In the lower left corner, you've got the standard Android buttons: the recent apps button, the home button, and the back button. To the left of those is a search button and an all apps button, which brings up shortcuts to every app installed on your phone. Over on the right of the taskbar, you've got an array of buttons, including ones for checking notifications, taking screenshots, and checking battery and signal level. The app drawer view in DeX. Credit: Lifehacker To customize DeX further, double-click the Settings shortcut on the desktop, then pick Samsung DeX. You've got a host of options here, covering font size, wallpaper, the shortcuts available on the taskbar, how the keyboard and mouse work, and whether to play audio through your phone or through the speakers attached to the bigger screen.Operating DeX is fairly straightforward. Apps appear in Windows, with shortcut buttons in the top right corner. They will (from left to right) pin an app window (keep it on top of other apps), minimize an app window, put an app window full screen, or close the app. You're able to resize windows using their edges and move them about using their title bars much as you would on Windows or macOS. DeX means you can get work done on the go. Credit: Lifehacker There are a bunch of keyboard shortcuts you can make use of too, which make it a little easier to get around the interface: Ctrl+Enter (Windows keyboard) or Cmd+Enter (Mac keyboard) will take you to the home screen desktop. To see all of the shortcuts you can use, press Ctrl+/ (Windows) or Cmd+/ (Mac).It all works slickly and quickly, and while Samsung DeX isn't something I use a lot, it occasionally comes in handy—especially in moving between home and the office when I only need to carry a Galaxy phone in my pocket. It's actually such a good idea that Google is expected to include its own version of DeX in Android 16.

The dock, an iconic Mac feature, is used to launch apps, switch between them, and as a hub for displaying key apps and minimized windows while they're open. By default, the dock has a clean look and features a few apps that your computer thinks you might want to use. However, you can get a lot out of customizing your dock, like removing the icons for default Apple apps you don't use. You can also change its placement and its look. Here's what you need to know to do just that, plus a bit extra.Remove apps you're not going to use Credit: Pranay Parab You should start your dock tweaks by removing apps you're never going to use. To remove an app from your dock, right-click it and select Options > Remove from Dock. You can also ensure apps that are only in the dock temporarily (which appear on the right side of the dock, next to a separator) stay there by right-clicking them and selecting Options > Keep in Dock. Move apps around to make them easy to accessYour next step should be to reorder your Dock's apps, which is as simple dragging their icons where you want them. Note, though, that if you accidentally drop an icon outside of the dock, it'll be removed from your dock and you'll have to add it again.Change the size of the dockYou can also adjust your dock's size. Hover your mouse cursor over any of your dock's separators (those vertical dividing lines). The cursor will change to an arrow that points up and down. Drag it towards the top of the screen to make the dock larger or drag it downwards to make it smaller.Alternatively, you can adjust the dock’s size by clicking the Apple logo in the top-left corner of your Mac's screen and going to System Settings > Desktop & Dock and moving the Size slider.  Change the dock’s positionThe dock can be moved to either side of your screen, saving you precious real estate. To change this, right-click any vacant area in the dock and select Position on Screen. Pick Left or Right to align your dock vertically to your selected position. Center will place it back in the default spot.This option is also available in System Settings > Desktop & Dock > Position on screen.Automatically hide and show the dock Credit: Pranay Parab Some of us prefer to have a clean workspace, and if that's you, you can auto-hide the dock when it's not in use. It won't be gone entirely, but it'll only make itself visible when you move the cursor towards its location. This is also a good feature for those with limited screen space. Enable this feature by going to System Settings > Desktop & Dock > Automatically hide & show the dock. Alternatively, you can use the keyboard shortcut Command-Option-D to toggle this setting on and off.Remove recently opened apps from the dockThe right side of your dock will show your most recently opened apps. If this annoys you, you can disable the setting by going to System Settings > Desktop & Dock and disabling Show suggested and recent apps in Dock. I prefer this feature on, to help me navigate commonly used apps, but if you're short on screen space, it could be useful.Move minimized windows into the app iconWhenever you minimize apps on your Mac, each window appears as a separate icon on the dock. This can cause the dock to fill up fast, automatically making it smaller. If you’d rather avoid this, macOS allows you to minimize windows directly into the appropriate app icon instead. Just go to System Settings > Desktop & Dock and select Minimize windows into application icon. To access a window that's been minimized into an app icon, right-click it.Hide indicators for open apps Credit: Pranay Parab If an app is open on your Mac, a small dot will appear near its icon on the dock. You can remove these open app indicators if you'd like. Go to System Settings > Desktop & Dock and disable Show indicators for open applications.Customize magnification of iconsWhen you move your cursor near any app icon on your Mac’s dock, it’ll automatically enlarge. You can change the level of this magnification effect, or disable it altogether by going to System Settings > Desktop & Dock.To enable or disable enlarging icons, use the slider below Magnification. Moving the slider all the way to the left switches off magnification, while moving it elsewhere will adjust magnification size. Fun tip: If you have this feature disabled, you can temporarily activate it on command by holding Shift + Control.Add folders to the dock Credit: Pranay Parab You can add browsable folders to your Mac’s dock, as long as the folder is in the Favorites bar in Finder. Open Finder and locate the folder you want to add and drag it to the Favorites bar in the left pane. Right-click any folder in the Favorites bar and select Add to Dock. Here's the fun part: you can use this trick to group a bunch of apps into a single dock icon, which is great when you have a few apps that you want to keep in the dock, but you don't need them every single day. The trick is to go to the Applications folder in Finder and move the apps to a new folder. Just give the folder a name, move it to the Favorites Bar, and add it to the dock. You're all set!Add spacers to the dockYou can go a little beyond the options macOS gives you and add a few spacers, or blank spaces, to your dock to help organize it. You can use these blank spaces for aesthetics or to group similar apps. To do this, you'll need to use your Mac's Terminal. Press Command-Space, search for Terminal, and open the app. Then, paste and run the following command to add a full-size spacer in the dock.defaults write com.apple.dock persistent-apps -array-add '{tile-data={}; tile-type="spacer-tile";}' && killall DockIf you want a smaller spacer, use this command instead.defaults write com.apple.dock persistent-apps -array-add '{"tile-type"="small-spacer-tile";}' && killall DockFor more than one spacer, simply re-run your chosen command. The good news is that this is the only time you'll need the Terminal. Once you have your spacer, simply drag it around to change its position in the dock, or drop it outside the dock to remove it.Change app icons to make the dock more visually pleasingYou can also customize the dock by simply changing various app icons. This can make it look more pleasant or help it fit a particular theme. The best way to do this is to open your favorite apps and see if they let you change their app icons. If not, check out my guide on replacing macOS app icons, which highlights both a built-in method and one third-party app that makes it easier to change app icons. For alternative icons, a good resource is macOSicons.com.Use third-party apps to access hidden dock settings Credit: Pranay Parab Your Mac doesn't always make it easy to find everything you can do with it. Sometimes, you need to run a few Terminal commands to access hidden features (such as the spacers I just highlighted), and even then, some features aren't user-accessible at all. For more control, consider trying Mac apps that unlock these hidden features for you, such as TinkerTool (free) or Supercharge ($11). I've written about TinkerTool before, and my colleague Khamosh Pathak has covered Supercharge. Both apps have a few useful options for tweaking your dock, such as the ability to remove the delay before macOS reveals your hidden dock, or dimming the icons of hidden apps. TinkerTool also makes it easier to add spacers to the dock, and it even allows you to lock the dock, so that the positions of icons and spacers can't be changed. Supercharge, meanwhile, has a feature that directly opens dock folders in Finder, instead of showing their contents right in the dock. Use a dedicated dock customization appIf your goal is only to tweak the dock and nothing else, you may be better-served by a dedicated dock customization app. This type of an app will allow you to make cosmetic and functional changes to the dock, but won't be useful if you want other systemwide tweaks. Two good examples are DockFlow ($5.60) and uBar ($30). DockFlow lets you create presets for your dock. You can think of it like creating various profiles such as work, gaming, education, social media, etc. For each of these presets, you can drop a few apps into them and quickly switch between them as needed. uBar, meanwhile, focuses on making the dock look like the Windows taskbar, which could be useful if you're moving operating systems.