AI is packing and shipping efficiency for the retail and consumer packaged goods (CPG) industries, with a majority of surveyed companies in the space reporting the technology is increasing revenue and reducing operational costs. Global brands are reimagining every facet of their businesses with AI, from how products are designed and manufactured to how they’re marketed, shipped and experienced in-store and online. At NVIDIA GTC Paris at VivaTech, industry leaders including L’Oréal, LVMH and Nestlé shared how they’re using tools like AI agents and physical AI — powered by NVIDIA AI and simulation technologies — across every step of the product lifecycle to enhance operations and experiences for partners, customers and employees. 3D Digital Twins and AI Transform Marketing, Advertising and Product Design The meeting of generative AI and 3D product digital twins results in unlimited creative potential. Nestlé, the world’s largest food and beverage company, today announced a collaboration with NVIDIA and Accenture to launch a new, AI-powered in-house service that will create high-quality product content at scale for e-commerce and digital media channels. The new content service, based on digital twins powered by the NVIDIA Omniverse platform, creates exact 3D virtual replicas of physical products. Product packaging can be adjusted or localized digitally, enabling seamless integration into various environments, such as seasonal campaigns or channel-specific formats. This means that new creative content can be generated without having to constantly reshoot from scratch. Image courtesy of Nestlé The service is developed in partnership with Accenture Song, using Accenture AI Refinery built on NVIDIA Omniverse for advanced digital twin creation. It uses NVIDIA AI Enterprise for generative AI, hosted on Microsoft Azure for robust cloud infrastructure. Nestlé already has a baseline of 4,000 3D digital products — mainly for global brands — with the ambition to convert a total of 10,000 products into digital twins in the next two years across global and local brands. LVMH, the world’s leading luxury goods company, home to 75 distinguished maisons, is bringing 3D digital twins to its content production processes through its wine and spirits division, Moët Hennessy. The group partnered with content configuration engine Grip to develop a solution using the NVIDIA Omniverse platform, which enables the creation of 3D digital twins that power content variation production. With Grip’s solution, Moët Hennessy teams can quickly generate digital marketing assets and experiences to promote luxury products at scale. The initiative, led by Capucine Lafarge and Chloé Fournier, has been recognized by LVMH as a leading approach to scaling content creation. Image courtesy of Grip L’Oréal Gives Marketing and Online Shopping an AI Makeover Innovation starts at the drawing board. Today, that board is digital — and it’s powered by AI. L’Oréal Groupe, the world’s leading beauty player, announced its collaboration with NVIDIA today. Through this collaboration, L’Oréal and its partner ecosystem will leverage the NVIDIA AI Enterprise platform to transform its consumer beauty experiences, marketing and advertising content pipelines. “AI doesn’t think with the same constraints as a human being. That opens new avenues for creativity,” said Anne Machet, global head of content and entertainment at L’Oréal. “Generative AI enables our teams and partner agencies to explore creative possibilities.” CreAItech, L’Oréal’s generative AI content platform, is augmenting the creativity of marketing and content teams. Combining a modular ecosystem of models, expertise, technologies and partners — including NVIDIA — CreAltech empowers marketers to generate thousands of unique, on-brand images, videos and lines of text for diverse platforms and global audiences. The solution empowers L’Oréal’s marketing teams to quickly iterate on campaigns that improve consumer engagement across social media, e-commerce content and influencer marketing — driving higher conversion rates. Noli.com, the first AI-powered multi-brand marketplace startup founded and backed by the  L’Oréal Groupe, is reinventing how people discover and shop for beauty products. Noli’s AI Beauty Matchmaker experience uses L’Oréal Groupe’s century-long expertise in beauty, including its extensive knowledge of beauty science, beauty tech and consumer insights, built from over 1 million skin data points and analysis of thousands of product formulations. It gives users a BeautyDNA profile with expert-level guidance and personalized product recommendations for skincare and haircare. “Beauty shoppers are often overwhelmed by choice and struggling to find the products that are right for them,” said Amos Susskind, founder and CEO of Noli. “By applying the latest AI models accelerated by NVIDIA and Accenture to the unparalleled knowledge base and expertise of the L’Oréal Groupe, we can provide hyper-personalized, explainable recommendations to our users.”  https://blogs.nvidia.com/wp-content/uploads/2025/06/Noli_Demo.mp4 The Accenture AI Refinery, powered by NVIDIA AI Enterprise, will provide the platform for Noli to experiment and scale. Noli’s new agent models will use NVIDIA NIM and NVIDIA NeMo microservices, including NeMo Retriever, running on Microsoft Azure. Rapid Innovation With the NVIDIA Partner Ecosystem NVIDIA’s ecosystem of solution provider partners empowers retail and CPG companies to innovate faster, personalize customer experiences, and optimize operations with NVIDIA accelerated computing and AI. Global digital agency Monks is reshaping the landscape of AI-driven marketing, creative production and enterprise transformation. At the heart of their innovation lies the Monks.Flow platform that enhances both the speed and sophistication of creative workflows through NVIDIA Omniverse, NVIDIA NIM microservices and Triton Inference Server for lightning-fast inference. AI image solutions provider Bria is helping retail giants like Lidl and L’Oreal to enhance marketing asset creation. Bria AI transforms static product images into compelling, dynamic advertisements that can be quickly scaled for use across any marketing need. The company’s generative AI platform uses NVIDIA Triton Inference Server software and the NVIDIA TensorRT software development kit for accelerated inference, as well as NVIDIA NIM and NeMo microservices for quick image generation at scale. Physical AI Brings Acceleration to Supply Chain and Logistics AI’s impact extends far beyond the digital world. Physical AI-powered warehousing robots, for example, are helping maximize efficiency in retail supply chain operations. Four in five retail companies have reported that AI has helped reduce supply chain operational costs, with 25% reporting cost reductions of at least 10%. Technology providers Lyric, KoiReader Technologies and Exotec are tackling the challenges of integrating AI into complex warehouse environments. Lyric is using the NVIDIA cuOpt GPU-accelerated solver for warehouse network planning and route optimization, and is collaborating with NVIDIA to apply the technology to broader supply chain decision-making problems. KoiReader Technologies is tapping the NVIDIA Metropolis stack for its computer vision solutions within logistics, supply chain and manufacturing environments using the KoiVision Platform. And Exotec is using NVIDIA CUDA libraries and the NVIDIA JetPack software development kit for embedded robotic systems in warehouse and distribution centers. From real-time robotics orchestration to predictive maintenance, these solutions are delivering impact on uptime, throughput and cost savings for supply chain operations. Learn more by joining a follow-up discussion on digital twins and AI-powered creativity with Microsoft, Nestlé, Accenture and NVIDIA at Cannes Lions on Monday, June 16. Watch the NVIDIA GTC Paris keynote from NVIDIA founder and CEO Jensen Huang at VivaTech, and explore GTC Paris sessions.

In a new effort to advance sovereign AI for European public service media, NVIDIA and the European Broadcasting Union (EBU) are working together to give the media industry access to high-quality and trusted cloud and AI technologies. Announced at NVIDIA GTC Paris at VivaTech, NVIDIA’s collaboration with the EBU — the world’s leading alliance of public service media with more than 110 member organizations in 50+ countries, reaching an audience of over 1 billion — focuses on helping build sovereign AI and cloud frameworks, driving workforce development and cultivating an AI ecosystem to create a more equitable, accessible and resilient European media landscape. The work will create better foundations for public service media to benefit from European cloud infrastructure and AI services that are exclusively governed by European policy, comply with European data protection and privacy rules, and embody European values. Sovereign AI ensures nations can develop and deploy artificial intelligence using local infrastructure, datasets and expertise. By investing in it, European countries can preserve their cultural identity, enhance public trust and support innovation specific to their needs. “We are proud to collaborate with NVIDIA to drive the development of sovereign AI and cloud services,” said Michael Eberhard, chief technology officer of public broadcaster ARD/SWR, and chair of the EBU Technical Committee. “By advancing these capabilities together, we’re helping ensure that powerful, compliant and accessible media services are made available to all EBU members — powering innovation, resilience and strategic autonomy across the board.” Empowering Media Innovation in Europe To support the development of sovereign AI technologies, NVIDIA and the EBU will establish frameworks that prioritize independence and public trust, helping ensure that AI serves the interests of Europeans while preserving the autonomy of media organizations. Through this collaboration, NVIDIA and the EBU will develop hybrid cloud architectures designed to meet the highest standards of European public service media. The EBU will contribute its Dynamic Media Facility (DMF) and Media eXchange Layer (MXL) architecture, aiming to enable interoperability and scalability for workflows, as well as cost- and energy-efficient AI training and inference. Following open-source principles, this work aims to create an accessible, dynamic technology ecosystem. The collaboration will also provide public service media companies with the tools to deliver personalized, contextually relevant services and content recommendation systems, with a focus on transparency, accountability and cultural identity. This will be realized through investment in sovereign cloud and AI infrastructure and software platforms such as NVIDIA AI Enterprise, custom foundation models, large language models trained with local data, and retrieval-augmented generation technologies. As part of the collaboration, NVIDIA is also making available resources from its Deep Learning Institute, offering European media organizations comprehensive training programs to create an AI-ready workforce. This will support the EBU’s efforts to help ensure news integrity in the age of AI. In addition, the EBU and its partners are investing in local data centers and cloud platforms that support sovereign technologies, such as NVIDIA GB200 Grace Blackwell Superchip, NVIDIA RTX PRO Servers, NVIDIA DGX Cloud and NVIDIA Holoscan for Media — helping members of the union achieve secure and cost- and energy-efficient AI training, while promoting AI research and development. Partnering With Public Service Media for Sovereign Cloud and AI Collaboration within the media sector is essential for the development and application of comprehensive standards and best practices that ensure the creation and deployment of sovereign European cloud and AI. By engaging with independent software vendors, data center providers, cloud service providers and original equipment manufacturers, NVIDIA and the EBU aim to create a unified approach to sovereign cloud and AI. This work will also facilitate discussions between the cloud and AI industry and European regulators, helping ensure the development of practical solutions that benefit both the general public and media organizations. “Building sovereign cloud and AI capabilities based on EBU’s Dynamic Media Facility and Media eXchange Layer architecture requires strong cross-industry collaboration,” said Antonio Arcidiacono, chief technology and innovation officer at the EBU. “By collaborating with NVIDIA, as well as a broad ecosystem of media technology partners, we are fostering a shared foundation for trust, innovation and resilience that supports the growth of European media.” Learn more about the EBU. Watch the NVIDIA GTC Paris keynote from NVIDIA founder and CEO Jensen Huang at VivaTech, and explore GTC Paris sessions. 

Hideo Kojima's latest game, Death Stranding 2: On the Beach, has arrived on PlayStation 5. While players continue to pour over the details, they may find a few Easter eggs that were placed in the game by Kojima himself. According to Kojima, he only took that hands-on approach because his staff refused to do it for him.As reported by Game Spark (via Automaton), Kojima confirmed that he personally added those nods to his past. He went on to say that when his staff was asked to include his self-referential jokes, they would pretend they didn't hear him.It's possible that Kojima was only joking about his staff's lack of enthusiasm for his ideas, but he did share the details about where one of his Easter eggs is hidden. He noted that it can be found when players visit a hot spring and look up at the sky before zooming in on the stars.Continue Reading at GameSpot

Raccoon City was the American setting where Resident Evil began. After multiple instalments set around the world, Resident Evil Requiem producer Masato Kumazawa shared why the series is returning to the ruins of this iconic city.In a PlayStation Blog interview, Kumazawa explained that after more recent titles that had explored "the broader universe" of Resident Evil, Capcom wanted a story that "continues the overarching narrative rooted in Raccoon City and the secret machinations of the Umbrella Corporation." Following the T-virus outbreak, the US government ordered a missile strike to destroy the city in order to eradicate the virus. In having players return to its ruins about 30 years later, Kumazawa said that the team also wanted a character "with a personal connection to the city itself," introducing Grace Ashcroft, the presumed daughter of Resident Evil: Outbreak's Alyssa Ashcroft.Continue Reading at GameSpot

ActuGaming.net Les personnages de Street Fighter 6 sortent les maillots de bain pour fêter l’arrivée de Sagat en août Au programme du dernier Capcom Spotlight qui a eu lieu dans la nuit, Street Fighter […] L'article Les personnages de St

By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”

This GFN Thursday rolls out a new reward and games for GeForce NOW members. Whether hunting for hot new releases or rediscovering timeless classics, members can always find more ways to play, games to stream and perks to enjoy. Gamers can score major discounts on the titles they’ve been eyeing — perfect for streaming in the cloud — during the Steam Summer Sale, running until Thursday, July 10, at 10 a.m. PT. This week also brings unforgettable adventures to the cloud: We Happy Few and Broken Age are part of the five additions to the GeForce NOW library this week. The fun doesn’t stop there. A new in-game reward for Elder Scrolls Online is now available for members to claim. And SteelSeries has launched a new mobile controller that transforms phones into cloud gaming devices with GeForce NOW. Add it to the roster of on-the-go gaming devices — including the recently launched GeForce NOW app on Steam Deck for seamless 4K streaming. Scroll Into Power GeForce NOW Premium members receive exclusive 24-hour early access to a new mythical reward in The Elder Scrolls Online — Bethesda’s award-winning role-playing game — before it opens to all members. Sharpen the sword, ready the staff and chase glory across the vast, immersive world of Tamriel. Fortune favors the bold. Claim the mythical Grand Gold Coast Experience Scrolls reward, a rare item that grants a bonus of 150% Experience Points from all sources for one hour. The scroll’s effect pauses while players are offline and resumes upon return, ensuring every minute counts. Whether tackling dungeon runs, completing epic quests or leveling a new character, the scrolls provide a powerful edge. Claim the reward, harness its power and scroll into the next adventure. Members who’ve opted into the GeForce NOW Rewards program can check their emails for redemption instructions. The offer runs through Saturday, July 26, while supplies last. Don’t miss this opportunity to become a legend in Tamriel. Steam Up Summer The Steam Summer Sale is in full swing. Snag games at discounted prices and stream them instantly from the cloud — no downloads, no waiting, just pure gaming bliss. Treat yourself. Check out the “Steam Summer Sale” row in the GeForce NOW app to find deals on the next adventure. With GeForce NOW, gaming favorites are always just a click away. While picking up discounted games, don’t miss the chance to get a GeForce NOW six-month Performance membership at 40% off. This is also the last opportunity to take advantage of the Performance Day Pass sale, ending Friday, June 27 — which lets gamers access cloud gaming for 24 hours — before diving into the 6-month Performance membership. Find Adventure Two distinct worlds — where secrets simmer and imagination runs wild — are streaming onto the cloud this week. Keep calm and blend in (or else). Step into the surreal, retro-futuristic streets of We Happy Few, where a society obsessed with happiness hides its secrets behind a mask of forced cheer and a haze of “Joy.” This darkly whimsical adventure invites players to blend in, break out and uncover the truth lurking beneath the surface of Wellington Wells. Two worlds, one wild destiny. Broken Age spins a charming, hand-painted tale of two teenagers leading parallel lives in worlds at once strange and familiar. One of the teens yearns to escape a stifling spaceship, and the other is destined to challenge ancient traditions. With witty dialogue and heartfelt moments, Broken Age is a storybook come to life, brimming with quirky characters and clever puzzles. Each of these unforgettable adventures brings its own flavor — be it dark satire, whimsical wonder or pulse-pounding suspense — offering a taste of gaming at its imaginative peaks. Stream these captivating worlds straight from the cloud and enjoy seamless gameplay, no downloads or high-end hardware required. An Ultimate Controller Elevated gaming. Get ready for the SteelSeries Nimbus Cloud, a new dual-mode cloud controller. When paired with GeForce NOW, this new controller reaches new heights. Designed for versatility and comfort, and crafted specifically for cloud gaming, the SteelSeries Nimbus Cloud effortlessly shifts from a mobile device controller to a full-sized wireless controller, delivering top-notch performance and broad compatibility across devices. The Nimbus Cloud enables gamers to play wherever they are, as it easily adapts to fit iPhones and Android phones. Or collapse and connect the controller via Bluetooth to a gaming rig or smart TV. Transform any space into a personal gaming station with GeForce NOW and the Nimbus Cloud, part of the list of recommended products for an elevated cloud gaming experience. Gaming Never Sleeps “System Shock 2” — now with 100% more existential dread. System Shock 2: 25th Anniversary Remaster is an overhaul of the acclaimed sci-fi horror classic, rebuilt by Nightdive Studios with enhanced visuals, refined gameplay and features such as cross-play co-op multiplayer. Face the sinister AI SHODAN and her mutant army aboard the starship Von Braun as a cybernetically enhanced soldier with upgradable skills, powerful weapons and psionic abilities. Stream the title from the cloud with GeForce NOW for ultimate flexibility and performance. Look for the following games available to stream in the cloud this week: System Shock 2: 25th Anniversary Remaster (New release on Steam, June 26) Broken Age (Steam) Easy Red 2 (Steam) Sandwich Simulator (Steam) We Happy Few (Steam) What are you planning to play this weekend? Let us know on X or in the comments below. The official GFN summer bucket list Play anywhere Stream on every screen you own Finally crush that backlog Skip every single download bar Drop the emoji for the one you’re tackling right now — NVIDIA GeForce NOW (@NVIDIAGFN) June 25, 2025

Il y a quelques jours, un nouveau studio de motion capture a ouvert ses portes à Strasbourg : Ex Persona. Basé à 10 minutes du centre (et donc de la gare) de façon à faciliter l’accès du plateau pour les talents, Ex Persona dispose d’un p