This month, join forces to tackle the paranormal crises of a mysterious federal agency under siege in the cooperative first-person shooter FBC: Firebreak, lead your team to victory in the iconic all-out warfare of Battlefield 2042, test your skills as a new Fazbear employee managing and maintaining the eerie pizzeria of Five Nights at Freddy’s: Help Wanted 2 or live for the thrill of the hunt in the realistic hunting open world theHunter: Call of the Wild. All of these titles and more are available in June’s PlayStation Plus Game Catalog lineup*.    Meanwhile, PS2’s Deus Ex: The Conspiracy merges action-RPG, stealth and FPS gameplay in PlayStation Plus Premium.    All titles will be available to play on June 17.   PlayStation Plus Extra and Premium | Game Catalog  View and download image Download the image close Close Download this image FBC: Firebreak | PS5 Launching on the PlayStation Plus Game Catalog this month is FBC: Firebreak, a cooperative first-person shooter set within a mysterious federal agency under assault by otherworldly forces. Return to the strange and unexpected world of Control or venture in for the first time in this standalone, multiplayer experience. As a years-long siege on the agency’s headquarters reaches its boiling point, only Firebreak—the Bureau’s most versatile unit—has the gear and the guts to plunge into the building’s strangest crises, restore order, contain the chaos, and fight to reclaim control. Join forces with friends or strangers to tackle each job as a well-oiled crew. Survival in this three-player cooperative FPS hinges on quick thinking and seamless teamwork as you scramble to tame raging paranatural crises across a variety of unexpected locations.    View and download image Download the image close Close Download this image Battlefield 2042 | PS4, PS5 Battlefield 2042 is a first-person shooter that marks the return to the iconic all-out warfare of the franchise. With the help of a cutting-edge arsenal, engage in intense, immersive multiplayer battles. Lead your team to victory in both large all-out warfare and close quarters combat on maps from the world of 2042 and classic Battlefield titles. Find your playstyle in class-based gameplay and take on several experiences comprising elevated versions of Conquest and Breakthrough. Explore Battlefield Portal, a platform where players can discover, create, and share unexpected battles from Battlefield’s past and present. View and download image Download the image close Close Download this image Five Nights at Freddy’s: Help Wanted 2 | PS5 Five Nights at Freddy’s: Help Wanted 2 is the sequel to the terrifying VR experience that brought new life to the iconic horror franchise. As a brand new Fazbear employee you’ll have to prove you have what it takes to excel in all aspects of Pizzeria management and maintenance. Find out if you have what it takes to be a Fazbear Entertainment Superstar! View and download image Download the image close Close Download this image theHunter: Call of the Wild | PS4 Discover an atmospheric hunting game like no other in this realistic, stunning open world – regularly updated in collaboration with its community. Immerse yourself in the single player campaign, or share the ultimate hunting experience with friends. Roam freely across meticulously crafted environments and explore a diverse range of regions and biomes, each with its own unique flora and fauna. Experience the intricacies of complex animal behavior, dynamic weather events, full day and night cycles, simulated ballistics, highly realistic acoustics, and scents carried by the wind. Select from a variety of weapons, ammunition, and equipment to create the ultimate hunting experience. With a diverse range of wildlife, including Jackrabbits, Mallard Ducks, Black Bears, Elk, and Moose, you will need to strategically match prey to weaponry to successfully track, lure, and ambush animals based on their unique behavior and environment. View and download image Download the image close Close Download this image We Love Katamari Reroll + Royal Reverie | PS4, PS5 We Love Katamari Damacy, the second title in the Katamari series released in 2005, has been remastered with redesigned graphics and a revamped in-game UI. The King of the Cosmos accidentally destroyed all the stars in the universe. He sent his son, the Prince, to Earth and ordered him to create a large katamari. Roll the katamari to make it bigger and bigger, rolling up all the things on the earth. You can roll up anything from paper clips and snacks in the house, to telephone poles and buildings in the town, to even living creatures such as people and animals. Once the katamari is complete, it will turn into a star that colors the night sky. You cannot roll up anything larger than the current size of your katamari, so the key is to think in advance about the order in which you roll things up around the stage. In Royal Reverie, roll up katamari as the King of All Cosmos in his boyhood! View and download image Download the image close Close Download this image Eiyuden Chronicles: Hundred Heroes | PS4, PS5 Directed and produced by the creator of treasured JRPG series Suikoden, Eiyuden Chronicle: Hundred Heroes provides a contemporary take on the classic JRPG experience. In the land of Allraan, two friends from different backgrounds are united by a war waged by the power-hungry Galdean Empire. Explore a diverse, magical world populated by humans, beastmen, elves and desert people. Meet and recruit over 100 unique characters, each with their own vivid voice acting and intricate backstories. Over four years in the making, and funded by the most successful Kickstarter videogame campaign of 2020, Eiyuden Chronicle: Hundred Heroes features turn-based battles, a staggering selection of heroes and a thrilling story to discover. View and download image Download the image close Close Download this image Train Sim World 5 | PS4, PS5 The rails are yours in Train Sim World 5! Take on new challenges and new roles as you master the tracks and trains of iconic cities across 3 new routes. Immerse yourself in the ultimate rail hobby and embark on your next journey. Be swept off your feet with the commuter mayhem of the West Coast main line with the Northwestern Class 350, the twisting Kinzigtalbahn with the tilting DB BR 411 ICE-T, or the sun-soaked tracks of the San Bernardino line and its Metrolink movements, powered by the MP36 & F125.  View and download image Download the image close Close Download this image Endless Dungeon | PS4, PS5 Endless Dungeon is a unique blend of roguelite, tactical action, and tower defense set in the award-winning Endless Universe. Plunge into an abandoned space station alone or with friends in co-op, recruit a team of shipwrecked heroes, and protect your crystal against never-ending waves of monsters… or die trying, get reloaded, and try again. You’re stranded on an abandoned space station chock-full of monsters and mysteries. To get out you’ll have to reach The Core, but you can’t do that without your crystal bot. That scuttling critter is your key to surviving the procedurally generated rooms of this space ruin. Sadly, it’s also a fragile soul, and every monster in the place wants a piece of it. You’re going to have to think quick, plan well, place your turrets, and then… fireworks! Bugs, bots and blobs will stop at nothing to turn you and that crystal into dust and debris. With a large choice of weapons and turrets, the right gear will be the difference between life and death. PlayStation Plus Premium  View and download image Download the image close Close Download this image Deus Ex: The Conspiracy | PS4, PS5This is an emulation of the classic PS2 title, Deus Ex: The Conspiracy, playable on PS4 and PS5 for the first time. The year is 2052 and the world is a dangerous and chaotic place. Terrorists operate openly – killing thousands; drugs, disease and pollution kill even more. The world’s economies are close to collapse and the gap between the insanely wealthy and the desperately poor grows ever wider. Worst of all, an age- old conspiracy bent on world domination has decided that the time is right to emerge from the shadows and take control.  *PlayStation Plus Game Catalog and PlayStation Plus Premium/Deluxe lineups may differ by region. Please check PlayStation Store on release day. 

Last year, MACK Books published Architecture from Below, which anthologized writings by the French Brazilian architect, theorist, and painter Sérgio Ferro. (Douglas Spencer reviewed it for AN.) Now, MACK follows with Design and the Building Site and Complementary Essays, the second in the trilogy of books dedicated to Ferro’s scholarship. The following excerpt of the author’s 2023 preface to the English edition, which preserves its British phrasing, captures Ferro’s realization about the working conditions of construction sites in Brasília. The sentiment is likely relatable even today for young architects as they discover how drawings become buildings. Design and the Building Site and Complementary Essays will be released on May 22. If I remember correctly, it was in 1958 or 1959, when Rodrigo and I were second- or third year architecture students at FAUUSP, that my father, the real estate developer Armando Simone Pereira, commissioned us to design two large office buildings and eleven shops in Brasilia, which was then under construction. Of course, we were not adequately prepared for such an undertaking. Fortunately, Oscar Niemeyer and his team, who were responsible for overseeing the construction of the capital, had drawn up a detailed document determining the essential characteristics of all the private sector buildings. We followed these prescriptions to the letter, which saved us from disaster. Nowadays, it is hard to imagine the degree to which the construction of Brasilia inspired enthusiasm and professional pride in the country’s architects. And in the national imagination, the city’s establishment in the supposedly unpopulated hinterland evoked a re-founding of Brazil. Up until that point, the occupation of our immense territory had been reduced to a collection of arborescent communication routes, generally converging upon some river, following it up to the Atlantic Ocean. Through its ports, agricultural or extractive commodities produced by enslaved peoples or their substitutes passed towards the metropolises; goods were exchanged in the metropolises for more elaborate products, which took the opposite route. Our national identity was summed up in a few symbols, such as the anthem or the flag, and this scattering of paths pointing overseas. Brasilia would radically change this situation, or so we believed. It would create a central hub where the internal communication routes could converge, linking together hithertoseparate junctions, stimulating trade and economic progress in the country’s interior. It was as if, for the first time, we were taking care of ourselves. At the nucleus of this centripetal movement, architecture would embody the renaissance. And at the naval of the nucleus, the symbolic mandala of this utopia: the cathedral. Rodrigo and I got caught up in the euphoria. And perhaps more so than our colleagues, because we were taking part in the adventure with ‘our’ designs. The reality was very different — but we did not know that yet. At that time, architects in Brazil were responsible for verifying that the construction was in line with the design. We had already monitored some of our first building sites. But the construction company in charge of them, Osmar Souza e Silva’s CENPLA, specialized in the building sites of modernist architects from the so-called Escola Paulista led by Vilanova Artigas (which we aspired to be a part of, like the pretentious students we were). Osmar was very attentive to his clients and his workers, who formed a supportive and helpful team. He was even more careful with us, because he knew how inexperienced we were. I believe that the CENPLA was particularly important in São Paulo modernism: with its congeniality, it facilitated experimentation, but for the same reason, it deceived novices like us about the reality of other building sites. Consequently, Rodrigo and I travelled to Brasilia several times to check that the constructions followed ‘our’ designs and to resolve any issues. From the very first trip, our little bubble burst. Our building sites, like all the others in the future capital, bore no relation to Osmar’s. They were more like a branch of hell. A huge, muddy wasteland, in which a few cranes, pile drivers, tractors, and excavators dotted the mound of scaffolding occupied by thousands of skinny, seemingly exhausted wretches, who were nevertheless driven on by the shouts of master builders and foremen, in turn pressured by the imminence of the fateful inauguration date. Surrounding or huddled underneath the marquees of buildings under construction, entire families, equally skeletal and ragged, were waiting for some accident or death to open up a vacancy. In contact only with the master builders, and under close surveillance so we would not speak to the workers, we were not allowed to see what comrades who had worked on these sites later told us in prison: suicide abounded; escape was known to be futile in the unpopulated surroundings with no viable roads; fatal accidents were often caused by weakness due to chronic diarrhoea, brought on by rotten food that came from far away; outright theft took place in the calculation of wages and expenses in the contractor’s grocery store; camps were surrounded by law enforcement. I repeat this anecdote yet again not to invoke the benevolence of potential readers, but rather to point out the conditions that, in my opinion, allowed two students (Flávio Império joined us a little later) still in their professional infancy to quickly adopt positions that were contrary to the usual stance of architects. As the project was more Oscar Niemeyer’s than it was our own, we did not have the same emotional attachment that is understandably engendered between real authors and their designs. We had not yet been imbued with the charm and aura of the métier. And the only building sites we had visited thus far, Osmar’s, were incomparable to those we discovered in Brasilia. In short, our youthfulness and unpreparedness up against an unbearable situation made us react almost immediately to the profession’s satisfied doxa. Unprepared and young perhaps, but already with Marx by our side. Rodrigo and I joined the student cell of the Brazilian Communist Party during our first year at university. In itself, this did not help us much: the Party’s Marxism, revised in the interests of the USSR, was pitiful. Even high-level leaders rarely went beyond the first chapter of Capital. But at the end of the 1950s, the effervescence of the years to come was already nascent:  […] this extraordinary revival […] the rediscovery of Marxism and the great dialectical texts and traditions in the 1960s: an excitement that identifies a forgotten or repressed moment of the past as the new and subversive, and learns the dialectical grammar of a Hegel or an Adorno, a Marx or a Lukács, like a foreign language that has resources unavailable in our own. And what is more: the Chinese and Cuban revolutions, the war in Vietnam, guerrilla warfare of all kinds, national liberation movements, and a rare libertarian disposition in contemporary history, totally averse to fanaticism and respect for ideological apparatuses of (any) state or institution. Going against the grain was almost the norm. We were of course no more than contemporaries of our time. We were soon able to position ourselves from chapters 13, 14, and 15 of Capital, but only because we could constantly cross-reference Marx with our observations from well-contrasted building sites and do our own experimenting. As soon as we identified construction as manufacture, for example, thanks to the willingness and even encouragement of two friends and clients, Boris Fausto and Bernardo Issler, I was able to test both types of manufacture — organic and heterogeneous — on similar-sized projects taking place simultaneously, in order to find out which would be most convenient for the situation in Brazil, particularly in São Paulo. Despite the scientific shortcomings of these tests, they sufficed for us to select organic manufacture. Arquitetura Nova had defined its line of practice, studies, and research. There were other sources that were central to our theory and practice. Flávio Império was one of the founders of the Teatro de Arena, undoubtedly the vanguard of popular, militant theatre in Brazil. He won practically every set design award. He brought us his marvelous findings in spatial condensation and malleability, and in the creative diversion of techniques and material—appropriate devices for an underdeveloped country. This is what helped us pave the way to reformulating the reigning design paradigms.  We had to do what Flávio had done in the theatre: thoroughly rethink how to be an architect. Upend the perspective. The way we were taught was to start from a desired result; then others would take care of getting there, no matter how. We, on the other hand, set out to go down to the building site and accompany those carrying out the labor itself, those who actually build, the formally subsumed workers in manufacture who are increasingly deprived of the knowledge and know-how presupposed by this kind of subsumption. We should have been fostering the reconstitution of this knowledge and know-how—not so as to fulfil this assumption, but in order to reinvigorate the other side of this assumption according to Marx: the historical rebellion of the manufacture worker, especially the construction worker. We had to rekindle the demand that fueled this rebellion: total self-determination, and not just that of the manual operation as such. Our aim was above all political and ethical. Aesthetics only mattered by way of what it included—ethics. Instead of estética, we wrote est ética [this is ethics]. We wanted to make building sites into nests for the return of revolutionary syndicalism, which we ourselves had yet to discover. Sérgio Ferro, born in Brazil in 1938, studied architecture at FAUUSP, São Paulo. In the 1960s, he joined the Brazilian communist party and started, along with Rodrigo Lefevre and Flávio Império, the collective known as Arquitetura Nova. After being arrested by the military dictatorship that took power in Brazil in 1964, he moved to France as an exile. As a painter and a professor at the École Nationale Supérieure d’Architecture de Grenoble, where he founded the Dessin/Chantier laboratory, he engaged in extensive research which resulted in several publications, exhibitions, and awards in Brazil and in France, including the title of Chevalier des Arts et des Lettres in 1992. Following his retirement from teaching, Ferro continues to research, write, and paint.

As President Donald Trump kicked off a birthday military parade on the streets of Washington, DC, what’s estimated as roughly 2,000 events were held across the US and beyond — protesting Trump and Elon Musk’s evisceration of government services, an unprecedented crackdown by Immigration and Customs Enforcement (ICE), and countless other actions from the administration in its first five months. Held under the title “No Kings” (with, as you’ll see, one conspicuous exception), they’re the latest in several mass protests, following April’s Hands Off events and a wave of Tesla Takedown demonstrations in March.As The Verge’s Tina Nguyen went to downtown DC, we also sent reporters to No Kings demonstrations spanning the country, plus a “No Tyrants” event in the UK. How would they unfold after promises of “very heavy force” against protesters in the capital, after the deployment of thousands of military troops in a move a judge has bluntly called illegal, and after promises to “liberate” the city of Los Angeles from its “burdensome leadership” by local elected officials? What about the overnight killing of a Minnesota Democratic state representative and her husband, and the shooting of a Democratic state senator and his wife?The answer, at the events we attended, was fairly calmly — even against a backdrop of chaos.Downtown Los Angeles, CaliforniaAn inflatable baby Donald Trump, dressed in a diaper, hovered over throngs of people rallying outside of Los Angeles City Hall. Demonstrators outnumbered clumps of California National Guard members in fatigues posted up along sidewalks. “Go home to your families, we don’t need you in our streets,” one young person wearing a long braid down her back tells them while marching past. “Trump come catch these hands foo!” the back of her sign reads. I can’t see what the front says, but I can tell there’s an empty bag of Cheetos pasted to it.The big baby joins the march, floating through the streets of Downtown LA over demonstrators. A flatbed truck rolls ahead of it, the band — maybe LA’s own Ozomatli? — singing “We don’t like Trump” to the tune of “We Want The Funk.” Ducking inside Grand Central Market from the march, I talk to Puck and Twinkle Toes — two demonstrators in line for the public restrooms. Twinkle Toes tells me she’s part of an activist clown collective called Imp and Circumstance, wearing pink and white clown makeup and a striped pink and white bow wrapped around a loose hair bun atop her head. She’s here exercising her right to free speech, she says. Demonstrators in Los Angeles marched alongside an inflatable Donald Trump baby dressed in a diaper.“The more people that are out here, the more we know that this is not okay. That we don’t want an autocrat. We want democracy,” Puck tells me, adding that the Pride March in Hollywood last weekend was “nothing but love and sunshine” despite protests and burning driverless cars making headlines in downtown. “The news tries to make you think all of LA is rioting. It’s not.” Puck says.Back out on the streets, a young man quickly writes “Fuck ICE” on a black wall with white spray paint before a group of older demonstrators wearing floppy hats shushes him away — warning him that tagging will only attract more law enforcement.Further along, another older man with tufts of white hair sticking out under his Lakers cap walks stiffly and slowly along under the summer sun. A Mexican flag draped across his shoulders, he crosses Hope Street. A young man wearing a Nike cap makes his way over to ask if he wants water; the old man accepts a bottle and keeps walking without stopping. The march has looped around downtown, and is coming to an end back at City Hall. As I make my way to my bus stop, a line of police vehicles — sirens blasting — whizzes past me, back toward the crowd still gathering around City Hall.The Los Angeles Police Department issued a dispersal order for parts of downtown Los Angeles later in the afternoon, citing people “throwing rocks, bricks, bottles and other objects.” Law enforcement reportedly cleared crowds using gas, and the LAPD authorized the use of “less lethal” force.— Justine CalmaPortland, OregonFour different “No Kings” protests in the greater Portland area on Saturday drew massive crowds of tens of thousands across the city. Various activists, government officials, and representatives for politicians spoke at the rallies, which also featured music and live performances. (One advertised free drag shows.) Protesters of all ages came with dogs, strollers, flags, banners, and hand-made signs. At the downtown waterfront, some tourist boats appeared to still be departing, but the bike rental stand (which also sells ice cream) was closed for the day with a hand-lettered explanation reading “No crowns, no thrones, no kings” and “Americans against oligarchy.” Women appearing to be organizers passed out free American flags; many attendees came with their own American flags modified to fly upside down. Most protesters brought signs expressing a wide range of sentiments on the theme of “No Kings.” Some signs were surprisingly verbose (“If the founders wanted a unitary executive (a king) we’d all still be British”) while others were more succinct (“Sic semper tyrannis”). Others opted for simple images, such as a picture of a crown crossed out, or — less frequently — a guillotine. Image: Sarah JeongThe waterfront park area was filled with people from the shoreline to the curb of the nearest street, where protesters held up signs to passing cars that honked in approval. The honking of a passing fire truck sent the crowd into an uproarious cheer. Portland is about a thousand miles from the border with Mexico, but the flag of its distant neighbor nation has emerged as protest iconography in solidarity with Los Angeles. The rainbow pride flag was flown as often as the Mexican flag. Military veterans were scattered throughout the crowd, some identifying themselves as having seen action in conflicts spanning from Vietnam to Afghanistan. Emanuel, an Air Force veteran, told me that he had turned out in defense of the constitution and due process, saying, “Nobody has any rights if one person doesn’t have any rights.” Image: Sarah JeongAnger was directed at ICE and the mass deportations all throughout the day, in signage, in chants, and in rally speeches. The previous night, about 150 people protested at a local ICE facility — coincidentally located by the Tesla dealership — a mile south of downtown, near a highway exit. The ICE facility protests, which have been continuous for some days, have been steadily building up. A couple of “No Kings” signs were present on Friday. (The following day, a handful of “Chinga la migra” signs would show up at the “No Kings” protests). Demonstrators stood on the curb urging passing cars to “Honk if you hate fascists,” successfully eliciting car horns every few seconds, including some from a pristine white Tesla. Federal law enforcement in camo and helmets, their faces obscured, maced and shot at protesters with pepper balls, targeting them through the gates and sniping at them from the rooftop of the building. A handful of protesters — many wearing gas masks and respirators — formed phalanx formations in the driveway, wielding umbrellas and handmade shields. On Saturday, a speaker at one of the “No Kings” rallies advertised the occupation of the ICE facility, saying, “We’re a sanctuary city.” The crowd — replete with American flags both upside down and right side up — cheered. — Sarah JeongNew Port Richey, FloridaNearly every intersection on Pasco County’s State Road 54 looks the same: a cross-section of strip malls, each anchored by a Walmart or Target or Publix, surrounded by a mix of restaurants, nail salons, and gas stations. It’s not an environment that is particularly conducive to protests, but hundreds of people turned out in humid, 90-plus degree weather anyway. The overall size of the crowd is hard to determine, but it’s larger than I — and other attendees — anticipated, given the local demographics. (Trump won 61 percent of the vote in Pasco County in 2024.) New Port Richey, FL. Image: Gaby Del ValleEveryone is on the sidewalk; an organizer with a megaphone tells people to use crosswalks if they’re going to attempt to brave the six-lane highway. Two days earlier, Governor Ron DeSantis said Floridians could legally run over protesters on the street if they feel “threatened.” New Port Richey, FL. Image: Gaby Del ValleSo far, most drivers seem friendly. There are lots of supportive honks. One woman rolls down her window and thanks the protesters. “I love you! I wish I could be with you, but I have to work today!” she yells as she drives away. Not everyone is amenable. A man in a MAGA hat marches through the crowd waving a “thin green line” flag and yelling “long live the king!” as people in the crowd call him a traitor. A pickup truck drives by blasting “Ice Ice Baby,” waving another pro-law enforcement flag. The protesters have flags, too: American flags large and small, some upside down; Mexican; Ukrainian; Palestinian; Canadian; different configurations of pride and trans flags. Their signs, like their flags, illustrate their diverse reasons for attending: opposition to Trump’s “big beautiful” funding bill, DOGE’s budget cuts, and ICE arrests; support for immigrants, government workers, and Palestinians. One woman wears an inflatable chicken suit. Her friend pulls an effigy of Trump — dressed to look both like an eighteenth-century monarch, a taco, and a chicken — alongside her.New Port Richey, FL. Image: Gaby Del ValleMost of the demonstrators are on the older side, but there are people of all ages in attendance. “I thought it was going to be maybe 20 people with a couple of signs,” Abby, 24, says, adding that she’s pleasantly surprised at both the turnout and the fact that most of the protesters are of retirement age. Abe, 20, tells me this is his first protest. Holding a sign that says “ICE = GESTAPO,” he tells me he came out to support a friend who is Mexican. Three teenagers walk by with signs expressing support for immigrants: “While Trump destroys America, we built it.” “Trump: 3 felonies. My parents: 0.” As I drive away, I notice nine counter-protesters off to the side, around the corner from the main event. They wave their own flags, but the demonstrators seemingly pay them no mind.— Gaby Del ValleHistoric Filipinotown, Los AngelesWearing a camo baseball cap — “Desert Storm Veteran” emblazoned on the front — Joe Arciaga greets a crowd of about 100 people in Los Angeles’ Historic Filipinotown around 9:00AM.“Good morning everyone, are you ready for some beautiful trouble?” Arciaga says into the megaphone, an American flag bandana wrapped around his wrist. The faces of Filipino labor leaders Philip Vera Cruz and Larry Itliong, who organized farm workers alongside Cesar Chavez, peer over his shoulders from a mural that lines the length of Unidad Park where Arciaga and a group called Lakas Collective helped organize this neighborhood No Kings rally. “I’m a Desert Storm veteran, and I’m a father of three and a grandfather of three, and I want to work for a future where democracy is upheld, due process, civil rights, the preservation of the rule of law — That’s all I want. I’m not a billionaire, I’m just a regular Joe, right?”, he tells The Verge.Joe Arciaga speaks to people at a rally in Historic Filipinotown, Los Angeles. Image: Justine Calma“I am mad as hell,” he says, when I ask him about the Army 250th anniversary parade Donald Trump has organized in Washington, DC coinciding with the president’s birthday. “The guy does not deserve to be honored, he’s a draft dodger, right?” Arciaga says. He’s “livid” that the President and DOGE have fired veterans working for federal agencies and slashed VA staff.Arciaga organizes the crowd into two lines that file out of the park to stand along Beverly Blvd., one of the main drags through LA. Arciaga has deputized a handful of attendees with security or medical experience with whistles to serve as “marshals” tasked with flagging and de-escalating any potentially risky situation that might arise. Johneric Concordia, one of the co-founders of the popular The Park’s Finest barbecue joint in the neighborhood, is MCing out on Beverly Blvd. He and Arciaga direct people onto the sidewalks and off the asphalt as honking cars zip by. In between chants of “No hate! No fear! Immigrants are welcome here!” and rap songs from LA artist Bambu that Concordia plays from a speaker, Concordia hypes up the organizers. “Who’s cool? Joe’s cool?” He spits into the microphone connected to his speaker. “Who’s streets? Our streets!” the crowd cheers. An hour later, a man sitting at a red light in a black Prius rolls down his window. “Go home!” he yells from the intersection. “Take your Mexican flag and go home!”The crowd mostly ignores him. One attendee on the corner holds up his “No Kings” sign to the Prius without turning his head to look at him. A few minutes later, a jogger in a blue t-shirt raises his fist as he passes the crowd. “Fuck yeah guys,” he says to cheers.By 10AM, the neighborhood event is coming to a close. Demonstrators start to trickle away, some fanning out to other rallies planned across LA today. Concordia is heading out too, microphone and speaker still in hand, “If you’re headed to downtown, watch out for suspicious crew cuts!” — Justine CalmaSan Francisco, California1/10Most of the crowd trickled out after 2pm, which was the scheduled end time of the protest, but hundreds stayed in the area. Image: Vjeran PavicLondon, UKLondon’s protest was a little different than most: it was almost entirely bereft of “No Kings” signs, thanks to the fact that about two miles away much larger crowds were gathered to celebrate the official birthday of one King Charles III. “We don’t have anything against King Charles,” Alyssa, a member of organizers Indivisible London, told me. And so, “out of respect for our host country as immigrants,” they instead set up shop in front of the US embassy with a tweaked message: “No kings, no crowns” became “no tyrants, no clowns.” London, UK. Image: Dominic PrestonOf the hundreds gathered, not everyone got the memo, with a few painted signs decrying kings and crowns regardless, and one brave Brit brandishing a bit of cardboard with a simple message: “Our king is better than yours!”London, UK. Image: Dominic PrestonStill, most of the crowd were on board, with red noses, clown suits, and Pennywise masks dotted throughout, plus costumes ranging from tacos to Roman emperors. “I think tyrants is the better word, and that’s why I dressed up as Caesar, because he was the original,” says Anna, a Long Island native who’s lived in London for three years. “Nobody likes a tyrant. Nobody. And they don’t do well, historically, but they destroy a lot.”For 90 minutes or so the crowd — predominantly American, judging by the accents around me — leaned into the circus theme. Speakers shared the stage with performers, from a comic singalong of anti-Trump protest songs to a protracted pantomime in which a woman in a banana costume exhorted the crowd to pelt a Donald Trump impersonator with fresh peels. London, UK. Image: Dominic PrestonDuring a break in festivities, Alyssa told the crowd, “The most threatening sound to an oligarch is laughter.”— Dominic PrestonProspect Park, Brooklyn, New YorkThe No Kings protest at Brooklyn’s Grand Army Plaza was a calmer affair. Instead of gathering under the picturesque memorial arch, protesters were largely sequestered to a corner right outside Prospect Park, with some streets blocked off by police. The weekly farmers market was in full swing, meaning people cradling bundles of rhubarb were swerving in and out of protest signs that read things like, “Hating Donald Trump is Brat” and “Is it time to get out the pitch forks?” Like during the Hands Off protest in April, New York got rain on Saturday.Prospect Park, Brooklyn. Image: Mia SatoThe area where protesters were gathered made it difficult to count the crowd, but there were hundreds — perhaps a few thousand — people that streamed in and out. At one point, some protesters began marching down the street alongside Prospect Park, while others stayed at Grand Army Plaza to chant, cheer, and hold signs up at oncoming vehicles. With its proximity to the public library, the park, and densely populated neighborhoods, the massive intersection is a high-foot traffic area. Cars blared their horns as they passed, American flags waving in the chilly afternoon breeze.Jane, a Brooklyn resident who stood on the curb opposite the protesters, said she isn’t typically someone who comes out to actions like this: before the No Kings event, she had only ever been to one protest, the Women’s March. (Jane asked that The Verge use her first name only.) Prospect Park, Brooklyn. Image: Mia Sato“I’m deeply concerned about our country,” Jane said, pausing as a long stream of trucks and cars honked continuously in support of the protesters in the background. “I think Trump is behaving as an authoritarian. We’ve seen in Russia, in Hungary, in Hong Kong, that the slide from freedom to not freedom is very fast and very quick if people do not make their voices heard,” Jane said. “I’m concerned that that’s what’s happening in the United States.” Jane also cited cuts to Medicaid and funding for academic research as well as tariffs as being “unacceptable.”Prospect Park, Brooklyn. Image: Mia SatoThe event was peaceful — there were lots of kids present — and people were in good spirits despite the rain. Protest signs ran the gamut from general anti-Trump slogans (“I trust light tampons more than this administration”) to New York City-specific causes like “Andrew Cuomo can’t read” (there is a contenious mayoral election this month). One sign read, “Fix your hearts or die,” an iconic line from the late director, David Lynch’s, Twin Peaks: The Return. And of course, amid nationwide immigration raids that have been escalated by the involvement of the federal government, ICE was top of mind: one sign simply read, “Melt ICE,” and another protester held a large “NO ICE IN NYC” sign. Though it was smaller and more contained than other events, the protest didn’t lack conviction: attendees of all ages stood in the cold rain, chanting and blowing into vuvuzela, banging the lids of pots and pans. At one point a man stood on the median on the street, leading the group in chants of “No justice, no peace.” Cars laid on the horn as they drove by.— Mia SatoAkron, OhioIt’s been raining pretty hard the last few days in Akron, OH, so much that I didn’t think there’d be a large turnout for our chapter of the No Kings protest. But I was emphatically proven wrong as the crowds I saw dwarfed the Tesla Takedown protests last month. Officially, the protest was to take place in front of the John F. Seiberling Federal Building on Main Street in Downtown Akron. But the concentration of people spilled over from that small space down Main Street and up Market Street. All told, though there were no official counts, I estimate somewhere between 500 to 900 people in this blue enclave in Northeast Ohio.The mood was exuberant, buoyed by supporters who honked their horns as they passed. The chorus of horns was nonstop, and when a sanitation truck honked as it went by, cheers got louder. The chants the crowds were singing took on a local flare. Ohio is the home of the Ohio State Buckeyes and anywhere you go, shout “O-H” and you’ll invariably get an “I-O” response. The crowds used that convention to make their own chant, “OH-IO, Donald Trump has got to go.”There was no police presence here and the crowd was very good at policing itself. Ostensibly out of concern for the incidents where people have rammed their cars into protestor crowds, the people here have taken up crossing guard duties, aiding folks who wish to cross Main or Market Streets. Toward the end of my time at the protest, I saw an older gentleman wearing Kent State gear and holding a sign that read, “Remember another time the National Guard was called in?” His sign featured a drawing of the famous photo from the event in which four Kent State students during a protest of the Vietnam War were killed by National Guard troops. I caught up with him to ask him some questions and he told me his name was Chuck Ayers, a professional cartoonist, and was present at the shooting. Akron, OH. Image: Ash Parrish“When I saw the National Guard in front of the federal building in LA,” he told me, “It was just another flashback.”He did not tell me this at the time, but Ayers is a nationally recognized cartoonist, noted for co-creating the comic strip Crankshaft. He’s lived in Ohio his entire life and of course, drew that sign himself. As he was telling me about how seeing news of the National Guard being deployed in LA, I could see him strain to hold back his emotions. He said it still hurts to see this 55 years later, but that he was heartened to see so many people standing here in community and solidarity. He also said that given his pain and trauma he almost didn’t come. When I asked why he showed up when it so obviously causes him pain he said simply, “Because I have to.”— Ash ParrishOneonta, New YorkOn a northward drive to Oneonta — population roughly 15,000, the largest city in New York’s mainly rural Otsego County — one of the most prominent landmarks is a sprawling barn splashed in huge, painted block letters with TRUMP 2024. (The final digits have been faithfully updated every election since 2016.) It’s Trump country, but not uniformly Trumpy country, as evidenced by what I estimated as a hundreds-strong crowd gathered in a field just below Main Street that came together with a friendly county-fair atmosphere. Kids sat on their parents’ shoulders; American flags fluttered next to signs with slogans like SHADE NEVER MADE ANYONE LESS GAY, and attendees grumbled persistently about the event’s feeble sound system, set up on the bed of a pickup truck. It was the kind of conspicuously patriotic, far-from-urban protest that the Trump administration has all but insisted doesn’t exist.Image: Adi RobertsonBeyond a general condemnation of Trump, protest signs repped the same issues being denounced across the country. The wars in Gaza and Ukraine made an appearance, as did Elon Musk and Tesla. A couple of people called out funding cuts for organizations like NPR, one neatly lettered sign reminded us that WEATHER FORECASTING SAVES LIVES, another warned “Keep your nasty little hands off Social Security,” and a lot — unsurprisingly, given the past week’s events — attacked mass deportations and ICE. An attendee who identified himself as Bill, standing behind a placard that blocked most of him from sight, laid out his anger at the administration’s gutting of the Environmental Protection Agency. “I think if it was not for protests, there would be no change,” he told me.The event itself, supported by a coalition including the local chapter of Indivisible, highlighted topics like reproductive justice and LGBTQ rights alongside issues for groups often stereotyped as Republican blocs — there was a speech about Department of Veterans Affairs cuts and a representative from the local Office for the Aging (whose words were mostly lost to the sound system’s whims). Rules for a march around the modest downtown were laid out: no blocking pedestrians or vehicles, and for the sake of families doing weekend shopping, watch the language. “Fuck!” one person yelled indistinctly from the audience. “No, no,” the event’s emcee chided gently. The philosophy, as she put it, was one of persuasion. “We want to build the resistance, not make people angry at us.”Image: Adi RobertsonBut even in a place that will almost certainly never see a National Guard deployment or the ire of a Truth Social post, the Trump administration’s brutal deportation program had just hit close to home. Only hours before the protest commenced, ICE agents were recorded handcuffing a man and removing him in an unmarked black car — detaining what was reportedly a legal resident seeking asylum from Venezuela. The mayor of Oneonta, Mark Drnek, relayed the news to the crowd. “ICE! We see you!” boomed Drnek from the truckbed. “We recognize you for what you are, and we understand, and we reject your vile purpose.”The crowd cheered furiously. The stars and stripes waved.- Adi RobertsonSee More: Policy

Giant Squid’s upcoming title, Sword of the Sea, is a well-crafted union of all the titles the studio and Game Director Matt Nava have worked on. The aquatic wonder of Abzû, The Pathless’s sense of adventure, and Journey’s beautiful desert world. Sword of the Sea weaves those influences together so skillfully that it feels like this atmospheric surfing adventure was the goal all along.  I got a chance to go hands-on with Sword of the Sea and talk with Giant Squid about the new game, coming day one to PlayStation Plus Game Catalog on August 19. Surfing across the sands and sea The game begins as the player awakens as The Wraith, a vessel waiting to be filled, who is given the task of bringing the oceans back to the world. Appearing to be the last being left alive to get the job done, you receive a mystical surfboard and hit the dunes.  The starting area is a vast playground where you can get accustomed to the board, perform tricks, and learn how to interact with the world. As you zoom across the desert, you come across different nodes known as Ocean Seeds that allow you to cleanse the land and restore parts of the ocean and marine life.  Beyond pleasing aesthetics, water and sea life directly impact gameplay. The Wraith is significantly faster on water, leading to greater speed for bigger jumps and more tricks. Some sea life create new paths, like buoyant jellyfish that make great jump pads and long strands of climbable seaweed. Watching the landscape terraform was a highlight, as was searching for all the land’s secrets.  “Sword of the Sea is really all about the spiritual magic of surfing,” Nava explains. “ It’s inspired by my own experiences snowboarding, skateboarding, and surfing throughout my life. When you think of these extreme sports, the first thing that comes to mind is probably the high speed and the danger. But there’s more to it than just an adrenaline rush. When you are surfing on waves in the ocean, you are literally on the boundary between our world and the world beneath the waves, a world beyond our understanding.”  Golden triangles known as Tetra populate the world, acting as currency you can trade to mysterious vendors to learn more tricks, acquire skills, and open new paths. Want to see it all? You’ll have to detour off the main path to see and afford it all. Different vendors, triangles, and Trick Attack arenas are hidden throughout the world.  Show off your tricks and feel the terrain Pulling off stylish moves in Sword of the Sea is straightforward. When surfing, once you jump you can press X again to perform a variety of double jump tricks. Once you acquire advanced tricks from the vendor, you hold L1 and press Triangle, Square, Circle, or X to do special grabs, flips, and spins. They score more points, and combining grabs and flips in different ways create new tricks. While the timing is a little trickier, you can give yourself a much-needed jump boost and score high-point combos when performed just right.  Sword of the Sea constantly keeps score of the tricks you pull and how advanced they are. Hidden Trick Attack arenas let you put those skills to good use. What does racking up a high Trick Score lead to? Yet another mystery we’ll have to wait to uncover. Though the game takes place in the desert, there are plenty of different objects to grind on besides sea and sand. I came across ruins, ceramic tile roofs, and helpful aquatic life. The team at Giant Squid takes full advantage of the DualSense controller haptics to ensure every surface feels and sounds distinct. As I surfed along rooftops, I could hear the melodic tones of tiles underneath and the tingle in my fingers. The sand offers a coarse sensation, and you feel and hear the rushing water as you speed through on the makeshift highways parts of the ocean create. “The haptic feedback of the DualSense controller reacts to each surface differently so you can feel it when you cross from one to the next,” says Nava.  “Combined with special sound effects that play from the controller, it gives a very realistic sense of touching the surfaces you see in the game. We are very excited by the extra layer of detail the haptics adds to the experience of surfing in Sword of the Sea.” You’re free to explore in any given direction, and hard-to-reach places usually reward you with something appropriate for the time and skill it takes to reach them. However, as you explore, you will discover murals and other environmental elements that keep the story ever-present. A tale of loss and destruction, and trying to find out how you fit into it all is an intriguing thread to follow. Especially since at the end of my session, it was clear that a mysterious character was following me. It appeared to be another wraith, but whoever the pursuer was didn’t give vibes of good intentions.  It’s easy to compare Sword of the Sea to its predecessors, but the game truly feels like an evolution of everything the Giant Squid team has worked on to this point. The game’s sights, sounds, and feel connected me with the land, and I can’t wait to hop on the board again and see what’s really out there.  “Our games have a really recognizable and unique art style, and tell atmospheric stories with their bold color and music,” says Nava. “We start with a feeling, an experience, and a message that we want the player to feel. Really, all our games are all about movement, and how it can connect you with nature and the world in different ways. Sword of the Sea builds on the ideas in all our previous games to create something that is both very Giant Squid and an exciting new adventure.” Looking to reel in more Sword of the Sea details? Check out the latest trailer and more details from State of Play. More from June’s State of Play State of Play June 2025: all announcements, trailers 

Despite its appearance as just another arcady sandbox game, Deliver At All Costs is shockingly story-minded. So much so, that its constant focus on narrative might deter those just looking for some dumb fun. And after seeing the narrative through to the end, I wouldn’t blame them, given how hard the game tries to be a grand tapestry of storytelling excellence. The adventure is structured into three acts, each with a unique town to explore and complete missions in. One act even features a time skip accompanied by a moment of no return. So even if you just want to ignore story and focus on acing deliveries and causing mayhem in the streets, you still have to go through some cutscenes and narrative progression to unlock the next towns and side missions.   "The majority of the side content in Deliver At All Costs isn’t very enticing." Not that the side missions are worth doing anyway. The majority of side content in Deliver At All Costs isn’t very enticing. The rewards aren’t worth it and the fetch quest design doesn’t warrant the effort. I’d only recommend going out of your way for the side content if you’re already keen on exploring the various maps. The treasure chests and small boxes hidden throughout the game give cash that is used on materials for vehicle upgrades; however, a majority of upgrades can be purchased from the main story mission rewards anyway. I expected to have fun with the vehicle upgrades, but ended up sorely disappointed in their limited application. This is because upgrades cannot be used outside of curated story missions; bummer. Not that the crane attachment or extreme hauling capacity upgrade aren’t fun to play with; they are rather fun, but exclusively used for their particular missions. Again, if you’re expected a zany vehicular sandbox with a lot of options and unlockables, Deliver At All Costs isn’t that. The reason I keep associating the game with sandbox playability is due to its map design. It has an old-school 2D Grand Theft Auto style of isometric driving. In between story missions, you’re given the leisure to roam around town freely. All of your driving and running around is done through a top-down isometric camera angle that gives the environments a nice diorama look to them, and what’s more, you can move the camera between two different angles in case it’s difficult to see something. "Speaking of scenery, there’s a surprising amount of activity going on while you’re driving around delivering stuff." All the unique shops and landmarks of this diorama give off a classic vibe well. Oh, and the soundtrack fits the setting wonderfully. Lounge jazz and instrumental surfer rock accompany your deliveries, and it rarely gets repetitive. Tying it into GTA even more is the radio, with infrequent broadcasts that add flavor lore to the setting. Each town has multiple districts, each with their own theme, which helps vary up the scenery just that much more. Speaking of scenery, there’s a surprising amount of activity going on while you’re driving around delivering stuff. NPCs go about their business, birds glide across the sky, and plenty of vehicle traffic accompany the streets. In fact, there’s often a tad too much activity. Streets are so packed with cars and people that collisions are unavoidable. "NPCs roam the streets and become aggressive when threatened." I like how populated the game is, but it’s tuned a bit too high, getting in the way of enjoyability a lot of the time. Perhaps, it would have been better balanced to up the street traffic the further you get into the game, especially since the towns progress from rural to metropolitan through the course of the narrative. At the very least, there’s an attractive mini-map with well designed labels and indicators. Navigation is aided with helpful arrows showing the way to a mission destination too. But you aren’t merely delivering parcels to a destination in a given time limit; there’s a variety of ways the game mixes up its missions. Part of the game’s initial draw is its physics-based driving, which manifests in hilarious ways. One of the first missions tasks you with delivering a truck full of rotted watermelons. The first step is to bring them to a sanitizer, then you paint them so they look presentable, all while avoiding traffic and trying not to knock them over as they roll around in the back of the truck. It’s one of the enjoyable missions in the game, and one that demonstrates the physics gameplay best. I like how the missions get progressively more wacky and clever as you progress too. You even become a UFO hunter during one late-game job. It’s just too bad the very high traffic and wonky controls hamper the overall experience. "I like how the missions get progressively more wacky and clever as you progress." The driving controls are rather simple. Just aim in the direction you want to drive and hold the accelerate button. It’s the high sensitivity of the acceleration and the hard braking and turning that contribute to a somewhat frustrating experience. The high traffic just further compounds the controls to make for a somewhat clunky driving experience. Vehicles don’t differ in how they drive either, though you really only have the one truck for a large majority of the game anyway, so it doesn’t really make a difference. And the cars aren’t great to look at either. Heck, nothing looks particularly nice in the game, especially the characters. Facial animations are frankly bad and the bland art style doesn’t make up for the graphical shortcomings. What’s worse is there’s still some pretty substantial load times in-between regions, which hurts the flow of the open-world. But the element that gets hurt from graphics the most is the mixed story. It’s hard to take the drama seriously when its presented so poorly. There’s an attempt at cinematic camera angles during cutscenes, but textures are featureless and close-ups of people’s faces are serious PS1 quality stuff. Thankfully, a handful of characters are quite likable despite what their low poly models suggest. Winston’s delivery mates have surprising depth and a good amount of backstory. And Winston himself is a fully fledged personality and someone you can imagine working with. "Winston’s delivery mates have surprising depth and a good amount of backstory." Characters like Norman are instantly likeable while Winston’s arch-nemesis and hardline boss, Donovon, is perfectly punchable. I’m also impressed with a majority of the dialogue writing. Characters speak with a down-to-earth tone and level of informality that makes them realistic, even if they look like untextured Unity assets. Going back to where I started the review, the game goes surprisingly hard on the story axis, but it doesn’t fully land for me. The wacky yet earnest tone is great, but the execution of the plot doesn’t wrap up in a satisfying way. Winston’s mysterious past and the true motives of the delivery company’s executives had so much potential for an intriguing narrative thread. But alas, the finale just kinda falls flat without the payoff that the game was teasing. "The game goes surprisingly hard on the story front, but it didn’t fully land for me." As a whole, Delivery At All Costs delivers a zany and fun, though frustrating, isometric delivery experience with a story that tries a bit too hard. I can easily see this game being a cult classic, but for a majority of gamers, it won’t deliver a truly stunning experience. If you’re looking for a game with a wacky and inventive premise that experiments a bit, and don’t mind gameplay and graphics from three generations ago, give Deliver At All Costs a try and it might just deliver. This game was reviewed on the PlayStation 5.

to a T – what a strange thing to happen (Annapurna Interactive) Having your arms stuck in a permeant T-pose leads to a wonderfully surreal narrative adventure, in this new indie treat from Katamari creator Keita Takahashi. Keita Takahashi seems to be a very nice man. We met him back in 2018, and liked him immensely, but we’re genuinely surprise he’s still working in the games industry. He rose to fame with the first two Katamari Damacy games but after leaving Bandai Namco his assertion that he wanted to leave gaming behind and design playgrounds for children seemed like a much more obvious career path, for someone that absolutely doesn’t want to be stuck making sequels or generic action games. That’s certainly not been his fate and while titles like Noby Noby Boy and Wattam were wonderfully weird and inventive they weren’t the breakout hits that his bank balance probably needed. His latest refusal to toe the line probably isn’t destined to make him a billionaire either, but we’re sure that was never the point of to a T. Instead, this is just a relentlessly sweet and charming game about the evils of bullying and the benefits of being nice to people. It’s frequently surreal and ridiculous, but also capable of being serious, and somewhat dark, when it feels the need. Which given all the signing giraffes is quite some accomplishment. The game casts you as a young schoolkid whose arms are permanently stuck in a T-pose, with both stretched out 90° from his torso. If you’re waiting for an explanation as to why then we’re afraid we can’t tell you, because your character (who you can customise and name as you see fit, along with his dog) doesn’t know either. You find out eventually and the answer is… nothing you would expect. This has all been going on for a while before the game starts, as you’re by now well used to sidling through doors and getting your dog to help you dress. You’re also regularly bullied at school, which makes it obvious that being stuck like this is just a metaphor for any difference or peculiarity in real-life. Although the specific situations in to a T are fantastical, including the fact that the Japanese village you live in is also populated by anthropomorphic animals (most notably a cadre of food-obsessed giraffes), its take on bullying is surprisingly nuanced and well written. There’re also some fun songs that are repeated just enough to become unavoidable earworms. The problem is that as well meaning as all this is, there’s no core gameplay element to make it a compelling video game. You can wander around talking to people, and a lot of what they say can be interesting and/or charmingly silly, but that’s all you’re doing. The game describes itself as a ‘narrative adventure’ and that’s very accurate, but what results is the sort of barely interactive experience that makes a Telltale game seem like Doom by comparison. There are some short little mini-games, like cleaning your teeth and eating breakfast, but the only goal beyond just triggering story sequences is collecting coins that you can spend on new outfits. This is gamified quite a bit when you realise your arms give you the ability to glide short distances, but it’s still very basic stuff. One chapter also lets you play as your dog, trying to solve an array of simple puzzles and engaging in very basic platforming, but while this is more interactive than the normal chapters it’s still not really much fun in its own right. More Trending Everything is all very charming – the cartoonish visuals are reminiscent of a slightly more realistic looking Wattam – but none of it really amounts to very much. The overall message is about getting on with people no matter their differences, but while that doesn’t necessarily come across as trite it’s also not really the sort of thing you need a £15 video game, with zero replayability, to tell you about. It also doesn’t help that the game can be quite frustrating to play through, making it hard to know what you’re supposed to do next, or where you’re meant to be going. The lack of camera controls means it’s hard to act on that information even if you do know what destination you’re aiming for, either because the screen is too zoomed in, something’s blocking your view, or you keep getting confused because the perspective changes. As with Wattam, we don’t feel entirely comfortable criticising the game for its failings. We’ll take a game trying to do something new and interesting over a workmanlike sequel any day of the week – whether it succeeds or not – but there’s so little to the experience it’s hard to imagine this fitting anyone to a T. to a T review summary In Short: Charming, silly, and occasionally profound but Keita Takahashi’s latest lacks the gameplay hook of Katamari Damacy, even if it is surprisingly well written. Pros: Wonderfully and unashamedly bizarre, from the premise on down. A great script, that touches on some dark subjects, and charming visuals and music. Cons: There’s very little gameplay involved and what there is, is either very simple or awkward to control. Barely five hours long, with no replayability. Score: 6/10 Formats: PlayStation 5 (reviewed), Xbox Series X/S, and PCPrice: £15.49Publisher: Annapurna InteractiveDeveloper: uvulaRelease Date: 28th May 2025Age Rating: 7 Who knew giraffes were so good at making sandwiches (Annapurna Interactive) 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

In this tutorial, we implement the Agent Communication Protocol (ACP) through building a flexible, ACP-compliant messaging system in Python, leveraging Google’s Gemini API for natural language processing. Beginning with the installation and configuration of the google-generativeai library, the tutorial introduces core abstractions, message types, performatives, and the ACPMessage data class, which standardizes inter-agent communication. By defining ACPAgent and ACPMessageBroker classes, the guide demonstrates how to create, send, route, and process structured messages among multiple autonomous agents. Through clear code examples, users learn to implement querying, requesting actions, and broadcasting information, while maintaining conversation threads, acknowledgments, and error handling. import google.generativeai as genai import json import time import uuid from enum import Enum from typing import Dict, List, Any, Optional from dataclasses import dataclass, asdict GEMINI_API_KEY = "Use Your Gemini API Key" genai.configure(api_key=GEMINI_API_KEY) We import essential Python modules, ranging from JSON handling and timing to unique identifier generation and type annotations, to support a structured ACP implementation. It then retrieves the user’s Gemini API key placeholder and configures the google-generativeai client for subsequent calls to the Gemini language model. class ACPMessageType(Enum): """Standard ACP message types""" REQUEST = "request" RESPONSE = "response" INFORM = "inform" QUERY = "query" SUBSCRIBE = "subscribe" UNSUBSCRIBE = "unsubscribe" ERROR = "error" ACK = "acknowledge" The ACPMessageType enumeration defines the core message categories used in the Agent Communication Protocol, including requests, responses, informational broadcasts, queries, and control actions like subscription management, error signaling, and acknowledgments. By centralizing these message types, the protocol ensures consistent handling and routing of inter-agent communications throughout the system. class ACPPerformative(Enum): """ACP speech acts (performatives)""" TELL = "tell" ASK = "ask" REPLY = "reply" REQUEST_ACTION = "request-action" AGREE = "agree" REFUSE = "refuse" PROPOSE = "propose" ACCEPT = "accept" REJECT = "reject" The ACPPerformative enumeration captures the variety of speech acts agents can use when interacting under the ACP framework, mapping high-level intentions, such as making requests, posing questions, giving commands, or negotiating agreements, onto standardized labels. This clear taxonomy enables agents to interpret and respond to messages in contextually appropriate ways, ensuring robust and semantically rich communication. @dataclass class ACPMessage: """Agent Communication Protocol Message Structure""" message_id: str sender: str receiver: str performative: str content: Dict[str, Any] protocol: str = "ACP-1.0" conversation_id: str = None reply_to: str = None language: str = "english" encoding: str = "json" timestamp: float = None def __post_init__(self): if self.timestamp is None: self.timestamp = time.time() if self.conversation_id is None: self.conversation_id = str(uuid.uuid4()) def to_acp_format(self) -> str: """Convert to standard ACP message format""" acp_msg = { "message-id": self.message_id, "sender": self.sender, "receiver": self.receiver, "performative": self.performative, "content": self.content, "protocol": self.protocol, "conversation-id": self.conversation_id, "reply-to": self.reply_to, "language": self.language, "encoding": self.encoding, "timestamp": self.timestamp } return json.dumps(acp_msg, indent=2) @classmethod def from_acp_format(cls, acp_string: str) -> 'ACPMessage': """Parse ACP message from string format""" data = json.loads(acp_string) return cls( message_id=data["message-id"], sender=data["sender"], receiver=data["receiver"], performative=data["performative"], content=data["content"], protocol=data.get("protocol", "ACP-1.0"), conversation_id=data.get("conversation-id"), reply_to=data.get("reply-to"), language=data.get("language", "english"), encoding=data.get("encoding", "json"), timestamp=data.get("timestamp", time.time()) ) The ACPMessage data class encapsulates all the fields required for a structured ACP exchange, including identifiers, participants, performative, payload, and metadata such as protocol version, language, and timestamps. Its __post_init__ method auto-populates missing timestamp and conversation_id values, ensuring every message is uniquely tracked. Utility methods to_acp_format and from_acp_format handle serialization to and from the standardized JSON representation for seamless transmission and parsing. class ACPAgent: """Agent implementing Agent Communication Protocol""" def __init__(self, agent_id: str, name: str, capabilities: List[str]): self.agent_id = agent_id self.name = name self.capabilities = capabilities self.model = genai.GenerativeModel("gemini-1.5-flash") self.message_queue: List[ACPMessage] = [] self.subscriptions: Dict[str, List[str]] = {} self.conversations: Dict[str, List[ACPMessage]] = {} def create_message(self, receiver: str, performative: str, content: Dict[str, Any], conversation_id: str = None, reply_to: str = None) -> ACPMessage: """Create a new ACP-compliant message""" return ACPMessage( message_id=str(uuid.uuid4()), sender=self.agent_id, receiver=receiver, performative=performative, content=content, conversation_id=conversation_id, reply_to=reply_to ) def send_inform(self, receiver: str, fact: str, data: Any = None) -> ACPMessage: """Send an INFORM message (telling someone a fact)""" content = {"fact": fact, "data": data} return self.create_message(receiver, ACPPerformative.TELL.value, content) def send_query(self, receiver: str, question: str, query_type: str = "yes-no") -> ACPMessage: """Send a QUERY message (asking for information)""" content = {"question": question, "query-type": query_type} return self.create_message(receiver, ACPPerformative.ASK.value, content) def send_request(self, receiver: str, action: str, parameters: Dict = None) -> ACPMessage: """Send a REQUEST message (asking someone to perform an action)""" content = {"action": action, "parameters": parameters or {}} return self.create_message(receiver, ACPPerformative.REQUEST_ACTION.value, content) def send_reply(self, original_msg: ACPMessage, response_data: Any) -> ACPMessage: """Send a REPLY message in response to another message""" content = {"response": response_data, "original-question": original_msg.content} return self.create_message( original_msg.sender, ACPPerformative.REPLY.value, content, conversation_id=original_msg.conversation_id, reply_to=original_msg.message_id ) def process_message(self, message: ACPMessage) -> Optional[ACPMessage]: """Process incoming ACP message and generate appropriate response""" self.message_queue.append(message) conv_id = message.conversation_id if conv_id not in self.conversations: self.conversations[conv_id] = [] self.conversations[conv_id].append(message) if message.performative == ACPPerformative.ASK.value: return self._handle_query(message) elif message.performative == ACPPerformative.REQUEST_ACTION.value: return self._handle_request(message) elif message.performative == ACPPerformative.TELL.value: return self._handle_inform(message) return None def _handle_query(self, message: ACPMessage) -> ACPMessage: """Handle incoming query messages""" question = message.content.get("question", "") prompt = f"As agent {self.name} with capabilities {self.capabilities}, answer: {question}" try: response = self.model.generate_content(prompt) answer = response.text.strip() except: answer = "Unable to process query at this time" return self.send_reply(message, {"answer": answer, "confidence": 0.8}) def _handle_request(self, message: ACPMessage) -> ACPMessage: """Handle incoming action requests""" action = message.content.get("action", "") parameters = message.content.get("parameters", {}) if any(capability in action.lower() for capability in self.capabilities): result = f"Executing {action} with parameters {parameters}" status = "agreed" else: result = f"Cannot perform {action} - not in my capabilities" status = "refused" return self.send_reply(message, {"status": status, "result": result}) def _handle_inform(self, message: ACPMessage) -> Optional[ACPMessage]: """Handle incoming information messages""" fact = message.content.get("fact", "") print(f"[{self.name}] Received information: {fact}") ack_content = {"status": "received", "fact": fact} return self.create_message(message.sender, "acknowledge", ack_content, conversation_id=message.conversation_id) The ACPAgent class encapsulates an autonomous entity capable of sending, receiving, and processing ACP-compliant messages using Gemini’s language model. It manages its own message queue, conversation history, and subscriptions, and provides helper methods (send_inform, send_query, send_request, send_reply) to construct correctly formatted ACPMessage instances. Incoming messages are routed through process_message, which delegates to specialized handlers for queries, action requests, and informational messages. class ACPMessageBroker: """Message broker implementing ACP routing and delivery""" def __init__(self): self.agents: Dict[str, ACPAgent] = {} self.message_log: List[ACPMessage] = [] self.routing_table: Dict[str, str] = {} def register_agent(self, agent: ACPAgent): """Register an agent with the message broker""" self.agents[agent.agent_id] = agent self.routing_table[agent.agent_id] = "local" print(f"✓ Registered agent: {agent.name} ({agent.agent_id})") def route_message(self, message: ACPMessage) -> bool: """Route ACP message to appropriate recipient""" if message.receiver not in self.agents: print(f"✗ Receiver {message.receiver} not found") return False print(f"\n📨 ACP MESSAGE ROUTING:") print(f"From: {message.sender} → To: {message.receiver}") print(f"Performative: {message.performative}") print(f"Content: {json.dumps(message.content, indent=2)}") receiver_agent = self.agents[message.receiver] response = receiver_agent.process_message(message) self.message_log.append(message) if response: print(f"\n📤 GENERATED RESPONSE:") print(f"From: {response.sender} → To: {response.receiver}") print(f"Content: {json.dumps(response.content, indent=2)}") if response.receiver in self.agents: self.agents[response.receiver].process_message(response) self.message_log.append(response) return True def broadcast_message(self, message: ACPMessage, recipients: List[str]): """Broadcast message to multiple recipients""" for recipient in recipients: msg_copy = ACPMessage( message_id=str(uuid.uuid4()), sender=message.sender, receiver=recipient, performative=message.performative, content=message.content.copy(), conversation_id=message.conversation_id ) self.route_message(msg_copy) The ACPMessageBroker serves as the central router for ACP messages, maintaining a registry of agents and a message log. It provides methods to register agents, deliver individual messages via route_message, which handles lookup, logging, and response chaining, and to send the same message to multiple recipients with broadcast_message. def demonstrate_acp(): """Comprehensive demonstration of Agent Communication Protocol""" print("🤖 AGENT COMMUNICATION PROTOCOL (ACP) DEMONSTRATION") print("=" * 60) broker = ACPMessageBroker() researcher = ACPAgent("agent-001", "Dr. Research", ["analysis", "research", "data-processing"]) assistant = ACPAgent("agent-002", "AI Assistant", ["information", "scheduling", "communication"]) calculator = ACPAgent("agent-003", "MathBot", ["calculation", "mathematics", "computation"]) broker.register_agent(researcher) broker.register_agent(assistant) broker.register_agent(calculator) print(f"\n📋 REGISTERED AGENTS:") for agent_id, agent in broker.agents.items(): print(f" • {agent.name} ({agent_id}): {', '.join(agent.capabilities)}") print(f"\n🔬 SCENARIO 1: Information Query (ASK performative)") query_msg = assistant.send_query("agent-001", "What are the key factors in AI research?") broker.route_message(query_msg) print(f"\n🔢 SCENARIO 2: Action Request (REQUEST-ACTION performative)") calc_request = researcher.send_request("agent-003", "calculate", {"expression": "sqrt(144) + 10"}) broker.route_message(calc_request) print(f"\n📢 SCENARIO 3: Information Sharing (TELL performative)") info_msg = researcher.send_inform("agent-002", "New research paper published on quantum computing") broker.route_message(info_msg) print(f"\n📊 PROTOCOL STATISTICS:") print(f" • Total messages processed: {len(broker.message_log)}") print(f" • Active conversations: {len(set(msg.conversation_id for msg in broker.message_log))}") print(f" • Message types used: {len(set(msg.performative for msg in broker.message_log))}") print(f"\n📋 SAMPLE ACP MESSAGE FORMAT:") sample_msg = assistant.send_query("agent-001", "Sample question for format demonstration") print(sample_msg.to_acp_format()) The demonstrate_acp function orchestrates a hands-on walkthrough of the entire ACP framework: it initializes a broker and three distinct agents (Researcher, AI Assistant, and MathBot), registers them, and illustrates three key interaction scenarios, querying for information, requesting a computation, and sharing an update. After routing each message and handling responses, it prints summary statistics on the message flow. It showcases a formatted ACP message, providing users with a clear, end-to-end example of how agents communicate under the protocol. def setup_guide(): print(""" 🚀 GOOGLE COLAB SETUP GUIDE: 1. Get Gemini API Key: https://makersuite.google.com/app/apikey 2. Replace: GEMINI_API_KEY = "YOUR_ACTUAL_API_KEY" 3. Run: demonstrate_acp() 🔧 ACP PROTOCOL FEATURES: • Standardized message format with required fields • Speech act performatives (TELL, ASK, REQUEST-ACTION, etc.) • Conversation tracking and message threading • Error handling and acknowledgments • Message routing and delivery confirmation 📝 EXTEND THE PROTOCOL: ```python # Create custom agent my_agent = ACPAgent("my-001", "CustomBot", ["custom-capability"]) broker.register_agent(my_agent) # Send custom message msg = my_agent.send_query("agent-001", "Your question here") broker.route_message(msg) ``` """) if __name__ == "__main__": setup_guide() demonstrate_acp() Finally, the setup_guide function provides a quick-start reference for running the ACP demo in Google Colab, outlining how to obtain and configure your Gemini API key and invoke the demonstrate_acp routine. It also summarizes key protocol features, such as standardized message formats, performatives, and message routing. It provides a concise code snippet illustrating how to register custom agents and send tailored messages. In conclusion, this tutorial implements ACP-based multi-agent systems capable of research, computation, and collaboration tasks. The provided sample scenarios illustrate common use cases, information queries, computational requests, and fact sharing, while the broker ensures reliable message delivery and logging. Readers are encouraged to extend the framework by adding new agent capabilities, integrating domain-specific actions, or incorporating more sophisticated subscription and notification mechanisms. Download the Notebook on GitHub. All credit for this research goes to the researchers of this project. Also, feel free to follow us on Twitter and don’t forget to join our 95k+ ML SubReddit and Subscribe to our Newsletter. Asif RazzaqWebsite |  + postsBioAsif Razzaq is the CEO of Marktechpost Media Inc.. As a visionary entrepreneur and engineer, Asif is committed to harnessing the potential of Artificial Intelligence for social good. His most recent endeavor is the launch of an Artificial Intelligence Media Platform, Marktechpost, which stands out for its in-depth coverage of machine learning and deep learning news that is both technically sound and easily understandable by a wide audience. The platform boasts of over 2 million monthly views, illustrating its popularity among audiences.Asif Razzaqhttps://www.marktechpost.com/author/6flvq/Yandex Releases Yambda: The World’s Largest Event Dataset to Accelerate Recommender SystemsAsif Razzaqhttps://www.marktechpost.com/author/6flvq/Stanford Researchers Introduced Biomni: A Biomedical AI Agent for Automation Across Diverse Tasks and Data TypesAsif Razzaqhttps://www.marktechpost.com/author/6flvq/DeepSeek Releases R1-0528: An Open-Source Reasoning AI Model Delivering Enhanced Math and Code Performance with Single-GPU EfficiencyAsif Razzaqhttps://www.marktechpost.com/author/6flvq/A Coding Guide for Building a Self-Improving AI Agent Using Google’s Gemini API with Intelligent Adaptation Features

The Obalende bus terminus is one of Lagos’s most important transport nodes and a ‘graveyard’ for old danfos, which in Yoruba means ‘hurry’. These yellow‑painted minibuses form the backbone of Lagos’s informal transport system and are mostly second‑hand imports from the global north. Located in the heart of Lagos Island, Obalende is one of the first areas to be developed east of the lagoon that splits Lagos into two main halves: the Island and the Mainland. It receives a large portion of urban commuters daily, especially those entering Lagos Island for work. Obalende plays a critical role in the cycle of material reuse across the city. The life of a danfo does not end at retirement; it continues through a vast network of informal markets and recyclers that sustain entire communities. Their metal parts are either repurposed to fix other buses or sold as scrap at markets such as Owode Onirin. Located about 25km away on the Lagos Mainland, Owode Onirin, which means ‘money iron market’ in Yoruba, is a major hub for recycled metals. Waste collectors scour the city’s demolition sites for brass and mild steel; they find copper, bronze and aluminium in discarded vehicles. These materials are then processed and sold to companies such as African Foundries and Nigerian Foundries, as well as to local smiths who transform them into building parts, moulds and decorative objects. Sorters, welders and artisans form the backbone of this circular micro‑economy. Their labour breathes new life into discarded matter.  Lagos has a State Waste Management Authority, but it is fraught with politicking and inefficient in managing the city’s complex waste cycle. In the absence of intelligent state strategies, it falls on people to engineer solutions. They add armatures, build networks and modulate the static thresholds and borders imposed by the state. Today, these techniques and intelligences, born out of scarcity, are collectively labelled ‘informality’, a term that flattens their ingenuity.  Across the streets of Obalende and around its central roundabout, kiosks and pop‑up shops dominate the landscape. Most are constructed from materials such as timber reclaimed from collapsed buildings or fallen fascias, along with salvaged tarpaulins. Stones and concrete blocks found at demolition sites are moulded into anchors using discarded plastic paint buckets, serving as bases for umbrellas offering relief from the scorching Lagos sun. To anticipate flash flooding, many structures are raised slightly above ground on short stilts. Space, which is in short supply, is creatively repurposed to serve different functions at various times of the day; a single location might host breakfast vendors in the morning, fruit sellers in the afternoon and medicine hawkers at night. Due to its proximity to the city centre, Obalende experiences constant population shifts. Most entering the city at this node have no means of livelihood and often become salvagers. Under the curling ends of the Third Mainland Bridge, for example, a community of migrants gathers, surviving by scavenging motor parts, sometimes from old danfos, zinc roofing sheets and other materials of meagre value. Discarded mattresses, bedding and mosquito nets are repurposed as shelter beneath the noisy overpass, which becomes both workplace and home. In the absence of supportive state frameworks, communities like those in Obalende create micro‑responses to urban precarity. Their fluid, multifunctional spaces are adaptive and resilient architectures resulting from necessity, survival and material intelligence.  ‘Informality as a way of life is inherently circular in its use of space and materials’ In Lagos, the most populous city in Nigeria and one of the most populated in Africa, two thirds of the population live on less than US$1 a day, according to Amnesty International. This speaks not only to income levels but to multidimensional poverty. Unlike global cities such as Mumbai, Cape Town and Rio de Janeiro, where poorer demographics are largely confined to specific neighbourhoods at the margins, informality in Lagos is not peripheral but integral to how the city functions, defying the rigid thresholds and boundaries of formal urban planning.  Across Lagos, self‑sustaining circular economies flourish. Orile, a metal market located on the mainland, is one of the sites where discarded metals from sites in Lagos can be sold as part of a recycling system. Further out in the suburbs of Lagos, also on the mainland, is the Katangua Market, which is the biggest second‑hand clothes market in the city. In Nigeria’s largest hardware technology hub, Computer Village, just south of Lagos in Ikeja, used electrical and electronic equipment (UEEE) is sold for parts. A TRT World report notes that about 18,300 tonnes of UEEE arrive in Nigeria annually – although the number varies in other studies to as much as 54,000 tonnes smuggled in – with the majority coming from Europe, closely followed by the US and China.  Computer Village evolved into a dense network of shops, stalls and kiosks between 1998 and 2000, just before Nigeria adopted early digital cellular network technology. The market sits just minutes from the local airport and the Ikeja High Court, but its edges are fluid, spilling out from the Ikeja Underbridge. Over time, formal plots have dissolved into an evolving mesh of trade; the streets are lined with kiosks and carts, built from repurposed plywood, corrugated metal and tarpaulin, that come and go. Space is not owned but claimed, temporarily held, sublet and reshuffled.  Today, Computer Village generates an estimated US$2 billion in annual revenue. Yet most of the shops lack permanence and are constantly at risk of demolition or displacement. In March this year, over 500 shops were demolished overnight at Owode Onirin; in 2023, shopping complexes at Computer Village were torn down in a similar way. The state has continuously announced plans to relocate Computer Village to Katangua Market, with demolition of parts of Katangua Market itself making way for the move in 2020. Urban development patterns in Lagos prioritise formal sectors while ignoring self‑organised makers and traders. This contributes to spatial exclusion, where such communities are often under threat of eviction and relocation.  Discarded devices eventually make their way to landfills. Olusosun, in the very heart of Lagos, is one of Africa’s largest landfills. Over 10,000 tonnes of waste are delivered daily, and more than 5,000 scavengers live and work here, sifting through an artificial mountain of refuse in search of value: aluminium, copper, plastic, cloth. The waste stream, enlarged by the influx of used hardware and fast fashion from the global north, creates both livelihood and hazard. Recent studies have shown that most of the residents in and around the site are exposed to harmful air conditions that affect their lungs. Additionally, the water conditions around the site show infiltration of toxic substances. Scavengers have lost their lives in the process of harvesting metals from discarded electronics.  More than a landfill, Olusosun is a stage for the politics of waste in the global south. Poor regulation enables the flow of unserviceable imports; widespread poverty creates demand for cheap, second‑hand goods. The result is a fragile, and at times dangerous, ecosystem where the absence of the state makes room for informal innovation, such as space reuse and temporary architecture, material upcycling and recycling. In Olusosun, metals are often extracted, crushed and smelted through dangerous processes like open burning. Copper and gold harvested from the ashes then make their way back into products and institutions, such as the insets of bronze or aluminium in a piece of furniture that might eventually travel back to the global north. In its usual fashion, the government has promised to decommission the Olusosun site, but little has been seen in terms of an effective plan to repurpose the site under the state’s so‑called ‘advanced waste treatment initiative’. Informality as a way of life is inherently circular in its use of space and materials. It embodies adaptability, resilience and an intuitive response to economic and environmental conditions. The self‑built infrastructures in Lagos reveal the creativity and resilience of communities navigating the challenges of urban life. Now is the time for designers, policymakers and community leaders to work together and rethink urban development in a way that is more sustainable and responsive to the needs of the people who make cities thrive. The question is not whether informal economies will continue to exist, but how they can be designed into wider city planning – making them part of the solution, not the problem. Featured in the May 2025 issue: Circularity Lead image: Olympia De Maismont / AFP / Getty 2025-05-30 Reuben J Brown Share

Today I will discover the hidden world ... inside my large intestines.That’s because I’m about to venture forth on an epic culinary quest. It will take me all the way to a mystic land populated by Vikings and ruled by a just and righteous king who has prepared a succulent feast of victuals roasted by the infernal breath of dragons.Translation: I’m eating everything on the new How to Train Your Dragon menu at Burger King.I might have fudged the mystic land part a little. Technically, this Burger King is located in Windsor Terrace across the street from Green-Wood Cemetery. I like this particular BK because it’s clean and quiet, even around lunchtime. Also, the scenic views of the graveyard really help put one’s life choices into perspective.Mine increasingly revolve around the consumption of movie-inspired foods. Somehow that’s become a central part of my remit here at ScreenCrush. When a major Hollywood blockbuster teams with a fast food restaurant I must eat all of it, document the experience, and then schedule a checkup with my gastroenterologist at my earliest convenience.Mother's Day - HTTYD IMAGEBurger Kingloading...This is not my first experience with How to Train Your Dragon food. Just last week I visited Universal’s Epic Universe theme park, where there’s an entire land inspired by the franchise. Its themed restaurants sell mead, assorted meats that might appear in a Viking’s diet, plus a few that might not — like a bread cone filled with macaroni and cheese and several different proteins. (I don’t recall Gerard Butler chowing down on a mac and cheese bread cone while scolding his dragon-loving son, but those things were surprisingly tasty anyway, so I’ll allow it.)As for Burger King’s Dragon menu, they’ve got a “dragon flame-grilled” Whopper with a special bun, spicy mozzarella fries, plus a new drink and a sundae. (The horned Dragon Burger King crowns are also a nice touch.) Eating all that food and then taking a ride on old Toothless sounds like a great way to learn how to puke on your dragon. But let’s do it anyway and see what happens.I Ate Everything on Burger King’s ‘How to Train Your Dragon’ MenuIn honor of the live-action How to Train Your Dragon movie, Burger King now has an entire menu of “fiery” items. I ate all of them.READ MORE: A Brief History of Movie Tie-In FoodI Ate Everything on Burger King’s ‘Addams Family’ MenuIn honor of the five year old Addams Family animated movie, Burger King now has an entire menu of creepy, kooky items. Here’s what they are, and how they taste.Categories: Longform, Movie News