Senior Gameplay ProgrammerEpic GamesLondon, England, United Kingdom2 hours agoApplyWHAT MAKES US EPIC?At the core of Epic’s success are talented, passionate people. Epic prides itself on creating a collaborative, welcoming, and creative environment. Whether it’s building award-winning games or crafting engine technology that enables others to make visually stunning interactive experiences, we’re always innovating.Being Epic means being a part of a team that continually strives to do right by our community and users. We’re constantly innovating to raise the bar of engine and game development.PROGRAMMING - SPECIAL PROJECTSWhat We DoThe Special Projects team at Epic is responsible for executing high-impact projects that push the envelope to define the future of real-time graphics and gaming technology (The Matrix Awakens, Lumen in the Land of Nanite). In collaboration with the Unreal Engine team, we strive to put our technology and knowledge into the hands of users, empowering developers and content creators with the most powerful suite of real-time tools in the world.What You'll DoEpic Games is looking for a Senior Gameplay Programmer to join the team. As a member of our team, you will play a critical role in driving future projects that push boundaries, explore new technology, and help define the future of Unreal Engine. As a Senior Gameplay Programmer, you will define and implement the technical aspects of interactive projects and systems while collaborating with Programming teams and content creators to create cutting-edge interactive experiences.In this role, you willDesign, implement, and support new features or systems that interact with or extend Gameplay, Game AI, Sound, and Animation systemsExperiment with game design and use rapid prototyping while ensuring that strong architectural and algorithmic decisions are madePrototype and iterate on features and be willing to accept and respond to critical feedback while ensuring that strong architectural and algorithmic decisions are made; write robust, maintainable codeWork closely with art and design to create and iterate on gameplay featuresCollaborate with Unreal Engine teams to help guide ongoing feature developmentOptimize and fix bugs in existing gameplay systemsContribute ideas toward all aspects of the game’s production and developmentWhat we're looking forExperience developing games professionally and shipping AAA titlesFearless when it comes to diving into complex systems and existing code basesA keen analytical mind with strong problem-solving skillsStrong C++ skills and the ability to code and architect gameplay mechanics and systemsWell-versed in games and the ability to articulate what is strong/weak about the design of existing gamesAdept at delivering and responding to constructive feedbackSelf-motivated, strong work ethic, and the ability to work independentlyCreativity in problem-solving and the ability to think outside of the established solutionsKnowledge of ML/AI and its potential applicationsSomeone who is user-focused, passionate, solutions-focused, and innovative. These traits equal success at Epic and influence everything we doEPIC JOB + EPIC BENEFITS = EPIC LIFEWe pay 100% for benefits for both employees and dependents and offer coverage for supplemental medical, dental, vision, critical illness, telemedicine, Life and AD&D, long term disability insurance as well as weekly indemnity (short term disability) and a retirement savings plan with a competitive employer match. In addition to the EAP (employee assistance program), we also offer a robust mental well-being program through Modern Health, which provides free therapy and coaching for employees & dependents.ABOUT USEpic Games spans across 25 countries with 46 studios and 4,500+ employees globally. For over 25 years, we've been making award-winning games and engine technology that empowers others to make visually stunning games and 3D content that bring environments to life like never before. Epic's award-winning Unreal Engine technology not only provides game developers the ability to build high-fidelity, interactive experiences for PC, console, mobile, and VR, it is also a tool being embraced by content creators across a variety of industries such as media and entertainment, automotive, and architectural design. As we continue to build our Engine technology and develop remarkable games, we strive to build teams of world-class talent.Like what you hear? Come be a part of something Epic!Epic Games deeply values diverse teams and an inclusive work culture, and we are proud to be an Equal Opportunity employer. Learn more about our Equal Employment Opportunity (EEO) Policy here.Note to Recruitment Agencies: Epic does not accept any unsolicited resumes or approaches from any unauthorized third party (including recruitment or placement agencies) (i.e., a third party with whom we do not have a negotiated and validly executed agreement). We will not pay any fees to any unauthorized third party. Further details on these matters can be found here. Create Your Profile — Game companies can contact you with their relevant job openings. Apply

Iron Man is still yet to be shown (EA) A major Marvel title has been delayed to next year, as details emerge around EA’s upcoming Iron Man game via a job listing. It’s easy to forget about the huge number of Marvel games in development, as there are so few tangible details about any of them. Beyond Insomniac’s Wolverine, we have a standalone Black Panther game from Cliffhanger Games, an Iron Man title from EA Motive, Arkane Lyon’s Blade, throwback brawler Marvel Cosmic Invasion, and Marvel 1943: Rise Of Hydra from Uncharted director Amy Hennig. While the latter was due to be released later this year, developer Skydance New Media has announced it has now been delayed to early 2026. ‘Taking this additional time will allow us to add more polish, and make sure we give you the best possible experience, and one that lives up to our vision,’ read the brief statement from Skydance Games. ‘We have some exciting things in store and look forward to sharing more soon!’ A trailer for Marvel 1943: Rise Of Hydra was released last year. The action game will revolve around four heroes, namely Captain America, Black Panther, Howling Commandos member Gabriel Jones, and Wakandan leader Nanali, in an original story. Considering we haven’t seen any gameplay from the project yet, the delay isn’t exactly surprising. A 2026 launch could benefit the game timing wise too, as it might get a bump from the release of crossover film Avengers: Doomsday in May next year. However, that does start to stray perilously close to the release date of GTA 6, which is currently set for May 26. Beyond Marvel: 1943: Rise Of Hydra, a job listing for EA Motive’s Iron Man has outed new details about the single-player action game. As noted in the level designer advert, EA Motive is looking for someone who can ‘design and build major single-player levels, within the project’s creative constraints’. More Trending While it isn’t stated explicitly, this description suggests the game could be level-based. However, a prior job listing on the same game described it as an ‘open world action adventure AAA title’, so it’s unclear if plans have changed, or if it’s simply referring to levels within the open world. The listing also calls for ‘experience in single-player action RPG games’, which is the first mention we’ve had of any role-playing mechanics (even if it will likely just mean some sort of skill tree. Development on Iron Man is being led by Olivier Proulx, who previously worked on the acclaimed Guardians Of The Galaxy game for Square Enix. No footage has been shown, yet but the studio apparently hit a ‘major internal milestone’ on the project last year. With so many unknowns, we could hear more about both projects at Summer Game Fest on June 6, 2025. However, EA Motive is also working on the next Battlefield, which is set to launch before March 2026, so any news about Iron Man might be held back till after that. The Rise Of Hydra will have to wait (Skydance) Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter. To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy

The Slate Truck base model starts at $25,000, before possible tax credits. Slate 2025-05-14T16:23:16Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Slate Auto says more than 100,000 people have reserved one of its low-frills electric trucks. The ultra-customizable EVs are expected to start around $25,000, or less than $20,000 with the EV credit, with deliveries in late 2026. By comparison, the Cybertruck launch in 2019 nabbed 250,000 reservations in less than a week. It's looking like the utilitarian Slate EV pickup truck has struck a chord.The Michigan-based Slate Auto, backed by Jeff Bezos, says more than 100,000 people have reserved one of its low-frills electric trucks in the three weeks since it launched.Those numbers aren't bad, especially for a fledgling company with little brand awareness. By comparison, Tesla's blockbuster Cybertruck launch in 2019 nabbed 250,000 reservations in less than a week (five years later, around 50,000 have been delivered, according to a March 20 recall filing), and Rivian reportedly pulled in more than 68,000 reservations in the first 24 hours after announcing the new R2 last year.Slate's ultra-customizable electric trucks are expected to start at $25,000 for models that eschew such niceties as power windows, a radio, and an entertainment system, with possible EV tax credits bringing the final cost to below $20,000. Deliveries are expected to begin in late 2026. Slate Auto's website offers customized options (without specific prices for the add-on features) Slate Auto Slate's more traditional, minimalist truck design, specs, and low price have some calling it the "anti-Cybertruck," and other automakers are also betting that car buyers are looking for something more practical — and affordable — than Tesla's sci-fi-inspired pickup.Look no further than the new (and rather awkwardly named) ID.EVERY1, a $22,500 hatchback from Rivian and VW, which aims to prove that EVs can be both cheap and high-tech. The EV is expected to go on sale in Europe by 2027. The company hasn't said if a US launch is planned."We would like to enable choice for customers, but without such severe compromise in terms of the overall experience," Rivian's Wassym Bensaid told Business Insider.Tesla, meanwhile, is working ahead on "more affordable" models of its cars, which it recently said are on track to be announced in the first half of this year.While Slate's 100,000 reservations indicate healthy interest in the lower-cost pickup, it's important to note that refundable reservations often don't translate 1:1 into sales, and final pricing for Slate's truck has yet to be announced.However, CEO Chris Barman said last month that there are a lot of people out there like her who are nostalgic for a simpler way to haul themselves and their stuff around."My first car was a 1984 Ford Ranger pickup, with a five-speed manual, manual windows, and no air conditioning," Barman said. "It was basic transportation, but I loved the freedom it gave me to go places and do things." Recommended video

Imagine Montessori School | © Mariela Apollonio Located along the edge of the En Dolça ravine in Paterna, Valencia, the Imagine Montessori School by Gradolí & Sanz Arquitectes reimagines the relationship between educational space and nature. More than an academic facility, the project is a mediating layer between the urban grid and a Mediterranean pine forest. With an architectural strategy that prioritizes child-centered learning, spatial legibility, and material authenticity, the school articulates a pedagogical framework through its built form. Imagine Montessori School Technical Information Architects1-23: Gradolí & Sanz Arquitectes Location: Paterna, Valencia, Spain Area: 2,922 m2 | 31,449 Sq. Ft. Project Year: 2017 – 2024 Photographs: © Mariela Apollonio The building is not intended to be an object in the landscape, but a part of it, an extension of the terrain that disappears so that nature becomes the true façade. – Gradolí & Sanz Arquitectes Imagine Montessori School Photographs Street View | © Mariela Apollonio Entrance | © Mariela Apollonio Facade | © Mariela Apollonio Facade | © Mariela Apollonio Courtyard | © Mariela Apollonio Opening | © Mariela Apollonio Facade | © Mariela Apollonio Terrace | © Mariela Apollonio Balcony | © Mariela Apollonio Stairs | © Mariela Apollonio Interior | © Mariela Apollonio Classroom | © Mariela Apollonio Classroom | © Mariela Apollonio Classroom | © Mariela Apollonio Classroom | © Mariela Apollonio Classroom | © Mariela Apollonio Contextual Foundations: A Site-Driven Pedagogy The school’s defining gesture is its orientation, not toward the street but toward the landscape. In rejecting the street-facing urban façade, the building signals a reversal in conventional institutional typologies. The access route begins within a pine grove, where children traverse elevated wooden walkways between trees. This procession is not simply aesthetic but symbolic: a transition from the ordered rhythms of the city into the fluid, unpredictable logic of nature. Here, the site is not an inert backdrop but an active participant in shaping architectural decisions. The building emerges as an extension of the ravine itself, folding, settling, and disappearing beneath a green roof that mimics the topography. The landscape is not curated; it is left raw and wild, with pinecones, roots, and mushrooms serving as didactic tools. The design resists the sanitization often found in contemporary schoolyards and instead engages directly with the ecological conditions of the terrain. Spatial Strategy and Pedagogical Integration Formally, the building adopts an elongated S-shaped footprint, generating two distinct outdoor voids: a western entry plaza and an eastern natural playground. This configuration does more than optimize views; it choreographs an internal spatial rhythm aligned with Montessori principles. Each classroom opens onto the ravine, allowing daylight, ventilation, and natural stimuli to become integral components of the educational environment. Interior planning is liberated from hierarchical spatial orders. There is no teacher’s desk nor any central focal point. Classrooms are divided into five zones: sensory, practical life, language, mathematics, and cultural studies, enabling fluid movement and diverse learning modes. Circulation is not relegated to corridors but expanded into informal gathering spaces: widened paths, seating niches, double-height voids, and interior balconies foster spatial democracy and autonomy. Crucially, the architecture speaks to children through scale. Arched thresholds, lofted alcoves, and floor-level seating areas are intentionally designed to accommodate bodies in formative stages. These gestures create an environment where children encounter the building not as a fixed container but as a responsive medium. Imagine Montessori School Material Honesty The building’s construction is didactic. Clay and timber, the two principal materials, are left exposed, allowing the tectonic logic of the building to remain legible. The 60 cm-thick brick walls serve as a load-bearing structure, thermal mass, and finish. There is no applied cladding; instead, the imperfections of material tool marks, tonal variation, and subtle cracks are embraced as part of the building’s expression. Wood complements clay in both structural and experiential ways. Timber roof panels, partitions, and joinery elements soften the masonry mass, introducing warmth and tactile variation. Concrete use is minimized, restricted primarily to foundations, while steel appears only in strategic elements such as railings and slender columns. Mechanical and electrical systems are not concealed behind ceilings or walls. Their visibility transforms the building into a diagram of its operation, offering students insight into energy, water, and ventilation flows. This transparency reinforces the project’s pedagogical ethos: education begins not only in the classroom but also in the fabric of the building itself. Landscape as Curriculum Rather than isolating the building from its context, the project incorporates the landscape into every facet of the educational experience. Each classroom opens directly to a semi-covered terrace with a water fountain, a deciduous tree, and tiered seating. These thresholds become spatial hybrids, neither entirely interior nor exterior, blurring the division between architecture and ecology. The ravine functions as a temporal and sensory field. Its shifting hydrology during rains, the seasonal shedding of trees, and the growth of wild asparagus are not distractions but phenomena to be observed and interpreted. There is a deliberate absence of traditional sports infrastructure; the sloped terrain is manipulated into ramps, climbing walls, and caves, inviting exploration and risk within a safe environment. This approach aligns with contemporary ecological pedagogy but avoids its typical tropes. There is no simulation of “naturalness” through curated green spaces or artificial turf. Instead, the landscape is allowed to be what it is: dynamic, coarse, unpredictable, and children are entrusted to navigate it. Imagine Montessori School Plans Ground Level | © Gradolí & Sanz Arquitectes Level 2 | © Gradolí & Sanz Arquitectes Roof Plan | © Gradolí & Sanz Arquitectes Sections | © Gradolí & Sanz Arquitectes Elevations | © Gradolí & Sanz Arquitectes Imagine Montessori School Image Gallery About Gradolí & Sanz Arquitectes Gradolí & Sanz Arquitectes is a Valencia-based architecture studio founded by Carmel Gradolí and Arturo Sanz, known for their context-driven, materially honest, and environmentally conscious designs. Since 1993, the practice has developed a diverse portfolio of public and private projects that respond sensitively to their cultural and physical surroundings. Their work often engages with heritage, pedagogy, and sustainability themes, characterized by restrained formal language and thoughtful use of local materials. Guided by a commitment to civic responsibility and architectural clarity, the studio seeks to create functional and emotionally resonant spaces. Credits and Additional Notes Lead Architects: Arturo Sanz, Carmel Gradolí, Fran López Collaborating Architects: J. Luis Vilar, María Navarro, Daniel López Quantity Surveyor: Francisco Vallet Traditional Structure Engineering: Adolfo Alonso Timber Structure Engineering: Albura Wood & Concept Acoustic Consultant: Silens Acústica  Green Certification Consultant: GBCE  Phase 1 Installations & BREEAM Consultant: Zero Consulting  Phase 2 Installations: GME  Lighting Design: Cosmo Stil General Constructor: Grupo Valseco Brick Vaults: Cercaa Exterior Wood Carpentry: Morata Interior Carpentry: DISBEA Showlutions  Metalwork: Martí Cots  Glasswork: Cristalería Crevillente  Landscape Design (Phase 1): GM Paisajistas  3D Visualizations: Drawfield Client: Zubi Educational Real Estate Built-up Area: 2,922 m² Usable Floor Area: 2,298 m² Plot Size: 4,556 m² Construction Cost: €4.6 million

At 3DPI, our mission is to deliver high-quality journalism, technical insight, and industry intelligence to professionals across the additive manufacturing (AM) ecosystem. Whether you’re designing aerospace parts, building dental workflows, investing in next-generation materials, or shaping national AM strategy, you’re part of the reason we do this. But we want to go further. And that means hearing from you. 📋 Take the 3DPI Reader Survey We’re launching a short, focused reader survey to help us understand: What you value most in our content What’s missing How we can better serve your professional goals This is your chance to tell us: What kinds of stories or tools would help you do your job better Whether you want more technical explainers, market trend analysis, procurement tools, or vendor insights How 3DPI can improve your daily workflow—whether you’re in R&D, strategy, production, investment, or academia It takes less than 5 minutes. Your input directly informs editorial priorities and platform features. Why It Matters There’s a lot of noise in the AM space: press release churn, hype, and recycled headlines. At 3DPI, we aim to cut through that and bring you reporting, insight, and tools that actually move the needle. But to do that well, we need clarity on what you actually use, trust, and want more of. This survey helps us align what we publish with what you actually need; whether that’s: In-depth coverage of standards and regulations Real-world case studies that go beyond the brochure Technical deep dives Trend briefings or expert interviews Your voice shapes that roadmap. Thanks in advance for sharing your time and insight. We’re committed to keeping 3DPI the trusted source for professionals building the future of manufacturing. Michael Petch Michael Petch is the editor-in-chief at 3DPI and the author of several books on 3D printing. He is a regular keynote speaker at technology conferences where he has delivered presentations such as 3D printing with graphene and ceramics and the use of technology to enhance food security. Michael is most interested in the science behind emerging technology and the accompanying economic and social implications.

AI startup Stability AI has released Stable Audio Open Small, a “stereo” audio-generating AI model that the company claims is the fastest on the market — and efficient enough to run on smartphones. Stable Audio Open Small is the fruit of a collaboration between Stability AI and Arm, the chipmaker that produces many of the processors inside tablets, phones, and other mobile devices. While a number of AI-powered apps can generate audio, like Suno and Udio, most rely on cloud processing, meaning that they can’t be used offline. Stability also claims that Stable Audio Open Small’s training set is made up entirely of songs from the royalty-free audio libraries Free Music Archive and Freesound. That’s as opposed to the training sets of the aforementioned Suno and Udio, which reportedly contain copyrighted content, posing an IP risk. Stable Audio Open Small is 341 million parameters in size and optimized to run on Arm CPUs. (Parameters, sometimes referred to as weights, are the internal components of a model that guide its behavior.) Designed for quickly generating short audio samples and sound effects (e.g., drum and instrument riffs), Stable Audio Open Small can produce up to 11 seconds of audio on a smartphone in less than 8 seconds, claims Stability AI. Here’s a sample generated by Stable Audio Open Small: And here’s another one: The model isn’t without its limitations. Stable Audio Open Small only supports prompts written in English, and Stability notes in its documentation that the model can’t generate realistic vocals or high-quality songs. The model also doesn’t perform equally well across musical styles, Stability warns — a consequence of its Western-biased training data. Techcrunch event Join us at TechCrunch Sessions: AI Secure your spot for our leading AI industry event with speakers from OpenAI, Anthropic, and Cohere. For a limited time, tickets are just $292 for an entire day of expert talks, workshops, and potent networking. Exhibit at TechCrunch Sessions: AI Secure your spot at TC Sessions: AI and show 1,200+ decision-makers what you’ve built — without the big spend. Available through May 9 or while tables last. Berkeley, CA | June 5 REGISTER NOW In another potential wrinkle for devs, Stable Audio Open Small has somewhat restrictive usage terms. It’s free to use for researchers, hobbyists, and businesses with less than $1 million in annual revenue, but developers and organizations making over $1 million in revenue have to pay for Stability’s enterprise license. Stability, the beleaguered firm behind the popular image generation model Stable Diffusion, raised new cash last year as investors, including Eric Schmidt and Napster founder Sean Parker, sought to turn the business around. Emad Mostaque, Stability’s co-founder and ex-CEO, reportedly mismanaged Stability into financial ruin, leading staff to resign, a partnership with Canva to fall through, and investors to grow concerned about the company’s prospects. In the last few months, Stability has hired a new CEO, appointed Titanic director James Cameron to its board of directors, and released several new image generation models.

As Brian Chesky tells it, the reinvention of Airbnb started with the coup at OpenAI. On November 17, 2023, the board of OpenAI fired company CEO Sam Altman. His friend Chesky leapt into action—publicly defending his pal on X, getting on the phone with Microsoft’s CEO, and throwing himself into the thick of Altman’s battle to retake OpenAI. Five days later Altman prevailed, and Chesky—“I was so jacked up,” he says—turned his buzzing mind to his own company, Airbnb.Thanksgiving weekend was beginning. The Chesky extended family had already held their turkey get-together a week earlier, and the Airbnb CEO had no holiday plan. He was completely alone in his sprawling San Francisco apartment except for Sophie, his golden retriever.Still wired out of his mind from the cathartic corporate rescue, Chesky began to write. He wanted to bust the company he’d cofounded out of its pigeonhole of short-term home rentals. Amazon, he was fond of pointing out, was first an online bookstore before it became the everything store. Chesky had long believed that Airbnb should expand in a similar way. But things kept getting in the way—dealing with safety issues, fighting regulation, coping with the existential crisis of a global pandemic. The company was in danger of being tagged with the word that ambitious entrepreneurs dread like the plague: mature.Now Chesky was emboldened to lay out his vision. Home rentals are simply a service, so why stop there? Airbnb could be the platform for booking all sorts of services. While other apps cover specific sectors—food delivery, home maintenance, car rides—Chesky figured that Airbnb’s experience in attractively displaying homes, vetting hosts, and responding to crises could make it more trustworthy than competitors and therefore the go-to option for virtually anything.In a frantic typing spree at the dining room table, on the couch, the bed, and at times in his office, Chesky specced out how he would redesign the Airbnb app. Its users—now at 2 billion—would open up the app not only at vacation time but whenever they needed to find a portrait photographer, a personal trainer, or someone to cook their meals. Chesky reasoned that Airbnb would need to significantly strengthen its identity verification. He even thought he could get people to use the app as a credential, something as respected as a government-issued ID. If he could transform Airbnb into a storefront for real-world services, Chesky thought, he’d catapult his company from a nearly $10-billion-a-year business into one that boasted membership in tech’s pantheon.Over the next few days, Chesky spilled these thoughts into an Evernote document. “I was basically going from room to room just pouring out this stream-of-consciousness manifesto, like Jack Kerouac writing On the Road,” he says, referring to the frenetically produced single roll of teletype paper that catalyzed the beat movement. “I dusted off all my ideas from 2012 to 2016,” Chesky tells me. “I basically said, ‘We’re not just a vacation app—we’re going to be a platform, a community.’” By Friday he had around 10,000 words, “incomprehensible to anyone but me.” He began to refine it, and by the time the weekend was over, Chesky had distilled his document down to 1,500 words.PHOTOGRAPH: GABRIELA HASBUNAfter the holiday, Chesky gathered his leadership team into a conference room. He handed the team copies of his memo à la Jeff Bezos and waited as his direct reports took it in. “Usually when I share ideas, people aren’t bought in,” he says. “But this time, there wasn’t a lot of feedback. People were really excited. And two years later, that document will now be executed with an exacting detail to what I wrote.”This month, Airbnb will launch the first stage of its more than $200 million reinvention: a panoply of more than 10,000 vendors peddling a swath of services in 260 cities in 30 countries. It is also revitalizing an unsuccessful experiment the company began in 2016: offering bespoke local activities, or what it calls “experiences.” The next stage, launch date unspecified, involves making your profile on Airbnb so robust that it’s “almost like a passport,” as Chesky puts it. After that comes a deep immersion into AI: Inspired by his relationship with Altman, Chesky hopes to build the ultimate agent, a super-concierge who starts off handling customer service and eventually knows you well enough to plan your travel and maybe the rest of your life.“Brian’s been badly underrated as a tech CEO,” Altman says of his friend. “He's not usually mentioned in the same breath as Larry Page or Bill Gates, but I think he is on a path to build as big of a company.”That’s a stretch—Airbnb is nowhere near the size of those oligarchic powers. But Chesky was feeling the need for big changes; While impressive, Airbnb’s growth rate doesn’t suggest that the company will soon reach the trillion-dollar heights of Google and Microsoft. “I’m 43 and at a crossroads, where I can either be almost done or just getting started,” he tells me. “There's a scenario where I'm basically done. Airbnb is very profitable. We've kind of, mostly, nailed vacation rentals. But we can do more.”In early April, I visited Chesky at the company’s lavish San Francisco headquarters. The relaunch was five weeks away. The second floor—where signs warn employees not to bring visitors—had become a sprawling eyes-only command center. The walls were covered with dozens of large poster boards, each one featuring a city, that read as if a group of McKinsey consultants had tackled a fourth-grade geography assignment. Austin, Texas, was written up as “a funky come-as-you-are kind of place” with a handful of “first principles,” one of which was “Outlaw of Texas,” with pointers to food trucks and vintage markets. Another so-called principle was “Live and Alive,” referring to music venues and bat watching; a third was “Dam Lakes,” referring to various water sports. Other blindingly obvious notations included barbeque, tacos, and the two-step. The Paris poster painted a “revolutionary” city marked by slow living and enduring culture.Chesky strode up and greeted me enthusiastically. Dressed in a slim T-shirt that exposed his swole physique, he bounced on his heels with a jittery energy that reminded me of the first time I met him, in January 2009. He had just joined Y Combinator’s famous program for startups, and he and his classmates were at a party at the home of YC cofounder Paul Graham. (Graham told me then that he thought Airbnb’s business plan was crazy but was impressed by their determination.) I mentioned to Chesky that I was headed to Washington, DC, for Barack Obama’s inauguration, and he and his cofounders immediately tried to convince me to use their service to sleep on someone’s couch. I declined, but somehow over the next 15 years they managed to sell the idea to 2 billion people, including me, and now the company has a market cap worth more than Marriott.Chesky ushers me into a conference room to get a preview of the new Airbnb app. His engineers and designers have rebuilt the app from scratch, and he waves around a stick of lip balm as a talisman as he talks me through the redesign. Also in the room is his product marketing head, Jud Coplan, while his vice president of design, Teo Connor, Zooms in from London. While customers likely think of Airbnb as a travel company, its leaders view the operation as an achievement in design. Which makes sense; both Chesky and his cofounder Joe Gebbia were students at the Rhode Island School of Design.Airbnb's new user interface featuring experiences and services.COURTESY OF AIRBNBChesky explains that historically, people used Airbnb only once or twice a year, so its design had to be exceptionally simple. Now the company is retooling for more frequent access. Open the app, and you see a trio of icons that act as gateways to the expanded functions. Within minutes Chesky and his lieutenants are applauding the cheery, retro style of the icons—a house for traditional rentals, a hotel bell for services, and a Jules Verne-ish hot-air balloon representing activities. “We really thought deeply about the metaphor—what was the right visual to express an experience?” says Connor. Once they decided on the balloon, they drilled into how much fire should belch from the basket. The icons were drawn by a former Apple designer whose name Chesky would not divulge. “He’s a bit of a secret weapon,” he says.A less-secret weapon is Chesky’s collaboration with the iconic, also ex-Apple, industrial designer Jony Ive. Chesky’s north star, it should be said, is Apple. “Steve Jobs, to me, is like Michelangelo or da Vinci,” he says. Despite never meeting Jobs, “I feel like I know him deeply, professionally, in a way that few people ever did, in a way that you only possibly could by starting a tech company as a creative person and going on a rocket ship,” Chesky says. By hiring Ive’s LoveFrom company and working with Jobs’ key collaborator, Chesky gets a taste of the famous Jobs/Ive dynamic. Ive himself doesn’t make that comparison, but he does praise Chesky’s design chops. “There are certain tactical things where I hope that sometimes I'm of use to Brian, just as as a fellow designer,” Ive says. “But the majority of our work has been around ideas and the way we frame problems and understand opportunities.”Another key part of the app is the profile page. “You need trust,” Chesky says—meaning a verifiable identity. Airbnb has been vetting the new vendors, which it calls “service hosts.” For months, Chesky says, an army of background researchers has been scrutinizing the résumés, licenses, and recommendations of chefs, photographers, manicurists, masseuses, hair stylists, makeup artists, personal trainers, and aestheticians who provide spa treatments such as facials and microdermabrasions. They’re all being professionally photographed.Airbnb's new guest profile interface.COURTESY OF AIRBNBFor the next phase—turning Airbnb’s user profiles into a primary internet ID—Connor and her team have engaged in some far-out experimentation. She rattles off a list of technologies they’ve been exploring, including biometrics, holograms, and the reactive inks used to deter counterfeiting on official ID cards. But it’s far from easy to become a private identity utility (hello, Facebook), and even Chesky notes that getting governments to accept an Airbnb credential to verify identity is “a stretch goal.”Now that a whole slew of people will have new reasons to chat with each other and coordinate plans, Airbnb has also enhanced its messaging functions. Fellow travelers who share experiences can form communities, stay in touch, even share videos and photos. “I don’t know if I want to call it a social network, because of the stigma associated with it,” says Ari Balogh, Airbnb’s CTO. So they employ a fuzzier term. “We think of it as a connection platform,” he says. “You’re going to see us build a lot more stuff on top of it, although we’re not an advertising system, thank goodness.” (My own observation is that any for-profit company that can host advertising will, but whatever.)This brings us to the services—the heart and soul of this reinvention. Those now on offer seem designed to augment an Airbnb stay with all the stuff that drives up your bill at a luxury resort, like a DIY White Lotus. It will be interesting to see how the company handles the inevitable cases of food poisoning or bad haircuts (and skeezy customers), but Airbnb can draw on its 17 years of experience with dirty sheets, all-night discos on the ground floor, or a host who is literally terrorizing you. Eventually, Chesky says, Airbnb will offer “hundreds” of services, perhaps as far-ranging as plumbing, cleaning, car repair, guitar lessons, and tutoring, and then take its 15 percent fee.Crafted cuts by Bryan, Chicago, IllinoisCOURTESY OF AIRBNB; LYNDON FRENCHTrain with Steve Jordan, Trainer to the Stars, Los Angeles, CaliforniaCOURTESY OF AIRBNB; JACKIE BEALEThe other key feature of the company’s reinvention, of course, is Experiences. If the idea sounds familiar, that’s because Airbnb launched a service by that name almost a decade ago, with pretty much the same pitch: special activities for travelers, like architects leading tours of buildings or chefs showing people how to fold dumplings.It flopped, although Airbnb never formally pulled the plug. Chesky’s excuses include tactical errors: After a big initial splash, the company didn’t follow up with more marketing, and it didn’t establish a strong flow of new experiences. But the big reason, he says, was that it was too early. Now the company has five times as many customers and an ecosystem to support the effort. “It was like our Newton,” says Chesky, referring to Apple’s handheld device that predated the iPhone. (Another Apple reference, for those keeping score.)Chesky’s crew has arranged for more than 22,000 experiences in 650 cities, including a smattering of so-called “originals,” with people at the top of their field—star athletes, Michelin chefs, famous celebrities. In the pipeline is Conan O’Brien selling a perch behind a mic in his podcast studio. (Don’t expect it to air.) Taking a lesson from his earlier flop, Chesky has planned a steady cadence of these short-term promotional stunts, which, of course, is what the Conan experience ultimately is. “We’re going to have thousands of originals and maybe one day hundreds of thousands—a regular drumbeat of some of the biggest iconic celebrities,” Chesky says.He shows me how someone could take a trip to, say, Mexico City and book experiences instantly. “Fun fact—I’ve always dreamed of being a professional wrestler in Mexico. I want to be a luchador!” he tells me, then immediately regrets it. Regardless: In an Airbnb experience, he says, you can meet a real luchador, get in the ring with him, and learn some moves. Can you keep the mask?“Probably,” says Chesky. In any case, you’d share the photos with others in your group. (But don’t call it a social network.)Megan Thee Stallion in Los Angeles, CaliforniaCOURTESY OF AIRBNB; ADRIENNE RAQUELHorseback riding through four hidden temples of the Inkas, Cusco, PeruCOURTESY OF AIRBNB; PAZ OLIVARES-DROGUETTAirbnb’s planned transformation tracks with another reinvention: that of its leader.Chesky had originally taken the title of CEO over his two pretty-much equal cofounders because his personality was more forward facing—it wasn’t even formalized until 2010. But then, in 2011, the company had its first real crisis when a host publicly shared a horror story about how an Airbnb guest from deep, deep hell pillaged and trashed her home. What wasn’t stolen—the customer broke into a locked closet to grab a passport, cash, and heirloom jewelry—was ravaged and burned in the fireplace. “The death-like smell from the bathroom was frightening,” wrote the host. The story threatened to destroy the cheerful person-to-person vibe the company had cultivated. It didn’t help that Airbnb’s initial response was clueless and weak.Chesky stepped up to become the face of the company and instituted overdue safety protocols. Over the next few years, Chesky cemented his alpha status. In 2018 his cofounder Joe Gebbia stepped down from daily duties, though he still sits on the board. (Recently Gebbia has been in the news for his very public participation in DOGE’s remaking of the US government. When asked about it at a Q and A session with employees, Chesky said that Gebbia was free to have his own opinions, but they are not the company’s. Chesky did not attend Trump’s inauguration.) The third cofounder, Nathan Blecharczyk, is still with the company, though it’s notable that as I sat in meetings with over a dozen executives, the only time his name came up was when I mentioned it.Chesky was totally in charge during the pandemic, when Airbnb lost 80 percent of its business in eight weeks. He laid off a quarter of the staff. Now that bookings surpass pre-2020 levels, he thinks the company is stronger. And he learned a big lesson: “The pandemic was the turning point of the company,” he says. “My first principle became ‘Don’t apologize for how you want to run your company.’ Most of all you should not apologize for being in the details. The number one thing people want to do is keep you out of the details.”When Chesky shared some of these views at a Y Combinator event in 2024, Paul Graham was inspired to write an essay called “Founder Mode.” Graham used Chesky’s story to argue that only the person who created a company knows what is best, and the worst mistake is to listen to management types who haven’t built their own. The essay struck a nerve; people were stopping Chesky on the street and yelling “Founder mode!” Someone dropped off a baseball hat for him with those words; it now sits on a shelf in his conference room.Chesky, meanwhile, has been deep in the details, especially on this reinvention, itself kind of a classic founder move. “I did review work before the pandemic, but people kind of hated it. There were negative associations to a CEO reviewing everything; it’s considered micromanaging.” Also, his idol Steve Jobs was famous—infamous?—for his unsparing criticism. Chesky contends that once he went all-in on dishing out criticism, with no sheepishness, people seemed happier. But even if they weren’t, he’d do it anyway. Curious to see how this worked, I arranged to attend a Chesky review.Gathered in a conference room, the design and engineering teams presented near-final app tweaks affecting how hosts set up their services. Chesky seemed fairly pleased with what he was seeing—so much so that he apologized to me afterward that I didn’t get to see him go animal with his underlings. Nonetheless, even during this lovefest of a product review, Chesky babbled a constant stream of minor corrections. The cursor is oddly centered … Those visual cues are a little confusing … We need a subtle drop shadow here … The next line doesn’t seem centered vertically … That address input is pretty awkward … That button looks oddly short, is it supposed to be that short? … That shimmer, do we think we need it? Get rid of it … That top module doesn’t make sense … We need to rewrite all the copy on this page … I think we need a better empty state … That title’s not clear …The group shuffles out satisfied and a bit stunned that they got away so easy. But when I meet Chesky a day later to sum things up, he tells me that I’d just missed a spicier product review. Then he gets serious, explaining what the reinvention means to him. “I felt a little bit like the vacation rental guy,” he says. “Like we as a company are a little underestimated.” He brings up Apple again, saying that both companies embody the idea that a business relationship can generate emotion. “My ambition is kind of like the ambition of an artist and designer,” he says.At that point Chesky gets a little woo. “Magic, in hindsight, is not technology,” he says as he reflects on Apple’s wizardry. What he’s realized is that magic lies in forging connections with those who offer you a bed, a microdermabrasion, a sparring match in a lucha libre ring. “The magic that is timeless is, like, the stuff you remember at the end of your life.”He lets that sit for a minute. Then he puts a cap on that insight, sounding less like a CEO than a life coach. “I’ve never had a dream with a device in it,” he says. Leave it to the subconscious to highlight what matters. That said, his day dreams certainly involve a new kind of device. In his off hours he’s helping with a secret project headed by his friends Altman and Ive to create a device that Altman says is the next step beyond computers. (“This is not theoretical memo-swapping,” Altman tells me. “We’re hard at work on it, prototyping.”)But that’s somewhere off in the future. In the realm of products that actually exist in the world, Chesky will have to face competition from dozens of domain leaders including Yelp, Instacart, DoorDash, Ticketmaster, Hotels.com, Tinder, OpenTable, and Craigslist, to name but a few. You can probably add Apple, Meta, and Microsoft, since Chesky wants Airbnb to be a universal credential and what certainly looks like a social network. Even Steve Jobs might have blinked at taking on that crowd all at once.Images styled by Jillian Knox.Featuring: Liv Skinner, Liv Well and Francesca Lopez, Zinnia Wildflower BakehouseLet us know what you think about this article. Submit a letter to the editor at mail@wired.com or comment below.

At Sotheby's Modern Evening Auction last night, Frank Lloyd Wright's double-pedestal lamp broke a record when it sold for $7.5 million after an 11-minute battle between bidders. The iridescent lamp, in shades of gold, green, blue, and purple, is now the most valuable Wright work ever sold at auction, more than doubling his previous record. The price is four times what the lamp sold for when it was last on the block in 2002. Courtesy Sotheby'sFormally titled "An Important Double-Pedestal Lamp for the Susan Lawrence Dana House, Springfield, Illinois," the piece was initially commissioned for one of Wright's early residential homes. There are just two versions of this lamp in existence: the one that sold last night and one that Illinois Governor Jim Thompson and the Dana-Thomas House Foundation acquired in 1988 for the permanent collection of the Dana-Thomas House, which is now a museum.Courtesy Sotheby'sThe lamp is made from iridized and opalescent glass and bronze in a brass-plated “colonial” zinc frame. Wright designed the work in 1903 and it was executed by the Linden Glass Company in Chicago the next year. The lamp's gold, amber, and green shade features geometric patterns and the "sumac motif," a prairie plant Wright used as design inspiration throughout the Dana-Thomas House. Parts of the lamp gently move: the two vertical blue-green glass panels on each side have hinges. Sotheby's notes that these panels may reference Japanese “shoji” screens—believed to repel evil spirits—which Wright admired during visits to Japan.Courtesy Sotheby's Overall, this sale is a boon to the architect's already storied legacy. Jodi Pollack, Sotheby’s chairman and co-worldwide head of 20th century design notes that the sale, "celebrates not only a remarkable piece of American design but a landmark moment in the legacy of one of the most visionary architects in history."She continued: "A true testament to his genius, the lamp stands as a beacon of the American pursuit of design, innovation and progress that reflects Wright’s lasting influence on American architecture and culture." Annie GoldsmithSenior EditorAnnie Goldsmith is the senior editor and digital lead at ELLE Decor, where she covers design, culture, style, and trends. She previously held positions at The Information, covering technology and culture, and Town & Country, writing about news, entertainment, and fashion. Her work has also appeared in Vogue, Rolling Stone, and the SF Standard. 

Remedy Entertainment has a history of being experimental with genre favorites like Alan Wake 2 and Control, but largely sticking to the (comparatively) safe waters of premium single-player games. Now Remedy is using the setting of Control as a launching pad for a live service co-op shooter called FBC Firebreak, their first crack at an online co-op game about contending with The Oldest House following a new lockdown.Producing an online live service game these days is an increasingly risky business that many developers have struggled with. A key factor is that playing a live service game and keeping up with the content and other players is time-consuming—and only so many games can operate within that space at a given time. With that, the developers at Remedy Entertainment have built their take on an online live service game that not only allows players to tune the activities to match their pace, but also offer a way for players to take in as much as they want when they want.In a chat with Game Developer, game director Mike Kayatta explained that Remedy is expanding the 'Remedy Connected Universe' further, while also building an online co-op game that's all about getting players right into the action and progressing at their own pace—all to build a sustainable live service that can attract players without plenty of time on their hands, and how they're ensuring players who don't have a lot of free time won't feel left behind.Related:An online game built around the player's scheduleIn FBC Firebreak, squads of 3 players are tasked with completing various missions within The Oldest House—the extradimensional office building from the original Control—using jerry-rigged equipment and weapons to contain rogue Objects of Power or halt the invasion of the otherworldly monsters known as the Hiss. FBC Firebreak stands out in the live service space by providing more surreal objectives, like a mission called "Paper Chase," where players hunt supernatural sticky notes.According to Kayatta, FBC Firebreak and its first-person, co-op-driven gameplay have been long brewing at Remedy. The concept itself stretches back to the original's conceit of contending with a setting that's actively working against players."One of my favorite pieces of Control concept art is of an FBC employee trying to play a game of pool, but the floor has shifted one end of the table just enough to ruin his game. This is pretty much how we think about the Oldest House in FBC: Firebreak," said the game director. "It's a powerful and mysterious building, yes, but there's also a certain level of canonical 'grounded absurdity,' it produces that's perfect for our type of experience."Related:Image via Remedy Entertainment."But even aside from those tonal opportunities, the House's shifting and unknowable nature, and the fact that it can connect to other dimensions, gives us all the room we'll ever need to do what's best for Firebreak without violating what makes Control, Control."On the surface, the concept of FBC Firebreak recalls similar efforts from other developers attempting a stand-alone multiplayer game based on a single-player experience, another example being the upcoming Elden Ring: Nightreign. What makes FBC Firebreak particularly interesting is that it's not only leveraging the weirdness of the Control setting, but it's also an online game that seeks to remedy (pun intended) a growing problem with live-service games. Simply put, there's never enough time to play all the games out there while meeting the investments they expect from players.Kayatta stated that FBC Firebreak was all about removing the familiar pain points and sense of FOMO found in online games. To them, the Control spin-off aimed to be a game that players could play "on their terms, and not on the games."Related:Amusingly, Kayatta said the team at Remedy took inspiration from their own busy schedules as game developers, studying the pace of how they kept up with modern online games.FBC Firebreak lets players set their own progression paceThe developers of FBC Firebreak seek to solve the live-service dilemma with two solutions. First, all players can unlock key weapons and upgrades for their Crisis Kits (the game's take on class types), all from playing the game's set of missions and collecting resources. As players rank up their Requisitions—the game's take on the unlock system—they can spend points to unlock whatever they like, which includes new weapons, kit upgrades, and other add-ons to modify their loadouts.The second solution, and most interesting to FBC Firebreak's structure, is the customizable objectives and encounter difficulties. Before each job, the team leader can tune the enemy variety and spawn rate to different intensity levels while also setting the number of objectives needed to clear the mission.This means players can can have a mission with limited objectives but high enemy frequency, presenting a one-stage encounter with an onslaught of enemies. Conversely, they can customize the same mission to have a larger set of objectives, but with a lower frequency of enemies, making it more of an atmospheric, task-focused mission that culminates in a boss encounter.Image via Remedy Entertainment."With a multiplayer game, it's important to consider how your game slots into people's lives," he said. "In co-op, especially, friend groups are stepping in with an unpredictable set of needs: How experienced is each group member? How much time do they have? Are they treating the game session like a phone call, where they just want something to do in the background while talking about something personal?""And you can't solve this for a player forever because the same person who wants to zone out one night for thirty minutes sometimes turns around and wants to hyper-coordinate for two hours the next night. This goes back to putting the game on the players' terms instead of ours; we wanted to give you those controls so that Firebreak can meet you where you are on any given day."FBC Firebreak's approach to challenge and tuning of the experience is flexible by design, which feels like an oddity among other games that push players towards timed battle passes or monthly events.According to Kayatta, building the game's structure and more flexible approach to progression was all about removing potential barriers that so many other live service games have, to provide an online game that players of whatever time investment can get something out of. Remedy axed other popular live service features like dense statistics (think damage, buff, and debuff percentages) because it made players care about "min-maxing and tracking metas.""That in turn, can create barriers to people who don't want to be pressured into thinking about anything that's not directly in front of them," he said.It's an unconventional strategy to drive retention by asking players for less engagement, but Kayatta said targeting those busy everyday players will be key to FBC Firebreak's success."We just wanted to make a game that players without a lot of time could enjoy, which feels like it describes a lot of gamers these days," he concluded. "Some people lose their time to work or to their kids. Others are among the hundreds of incredible games destroying their backlogs. Some poor suckers, like me, lose time to both.""Too many games ask too much of their players, especially in the multiplayer space."

Square Enix game sales down but profits up as strategic shift continues Dragon Quest III HD-2D Remake was cited as a highlight of the year Image credit: Square Enix News by Samuel Roberts Editorial Director Published on May 14, 2025 Square Enix has released its financial results for the year ending March 31, 2025, with a drop in net sales attributed to the lack of comparable releases to games like last year's Final Fantasy VII Rebirth. Nonetheless, the company saw an increase in operating income and profit. Dragon Quest III HD-2D Remake also performed better than expected. The company is continuing its three-year plan – as revealed this time last year – to optimise its development operations and put quality over quantity for its future game releases, as well as prioritising multiformat development. The numbers Net sales: ¥324.5 billion ($2.22 billion, down 8.9% year-on-year) Digital entertainment sales: ¥206.54 billion ($1.42 billion, down 16.8% YoY) Operating income: ¥40.58 billion ($278.1 million, up 24.6% YoY) Profit attributable to owners of parent: ¥24.41 billion ($167.3 million, up 63.7%) The highlights HD-Games, a sub-segment of Square Enix's business that includes its main console and PC releases, dropped in net sales this year but turned profitable due to "lower development cost amortisation, advertising expenses, content valuation losses compared with the same period of the previous year." As noted, too, the latest Dragon Quest release also contributed to the positive result. Other new HD-Games releases this past year included Life is Strange: Double Exposure and Visions of Mana. The launch of Final Fantasy XIV's Dawntrail expansion increased net sales and operating income in the company's MMO (Massively Multiplayer Online) Game sub-segment. Net sales and operating income declined for the Games for Smart Devices/PC Browser sub-segment, though, which Square Enix attributed to "weakness in existing titles and the recognition of royalty revenue in the previous fiscal year". This was despite the release of new game Emberstoria. Today, the company announced the cancellation of mobile title Kingdom Hearts Missing-Link on Twitter. HD-Games collectively made ¥33.87 million in operating income, up 33% from the previous year. The future Image credit: Square Enix Square Enix also provided an update on its three-year 'medium-term' business plan. "In FY2025, we fundamentally revamped our development organisation structure for domestic studios," the report read. "Based on the concept of integrated studio operations, we reviewed the entire process of title development progress management and changed to a system in which management and studios manage the development progress of all large-scale investment titles, promoting optimisation of the development portfolio and schedule, as well as talent mobility and development cost optimisation among in-house development personnel." The revised process has led to significant changes behind the scenes. "Under the new management structure, we reviewed all projects at our domestic studios, including HDG and [Smart Devices] titles, and decided to discontinue development of some titles and invest additional funds in titles that require refinement, thereby steadily implementing a strategy of selecting and concentrating development resources." "We will continue to control the scale of development investment in a disciplined manner," the company added. The report underlined the approach of going into FY27 and beyond by putting multiple games on multiple platforms and releasing major titles on a consistent basis. The company also called out the PC market as a highlight of the year when it came to catalogue sales, and a result of its new multiformat strategy. PC sales were responsible for more than a third of its Digital Entertainment sales in FY25, a double digit percentage increase on FY24. Square Enix released Final Fantasy VII Rebirth on PC in January 2025 following its 2024 PC release, and also brought the Kingdom Hearts franchise to Steam for the first time in June 2024. For FY26, Square Enix forecasts sales declining again to ¥280 billion, with operating income steady at ¥41 billion. Upcoming releases include Bravely Default Flying Fairy Remaster on Nintendo Switch 2 and Dragon Quest I & II HD-2D Remake.