Hideo Kojima’s highly anticipated sequel to 2019’s Death Stranding, Death Stranding 2: On the Beach, is out now. This journey sees the return of protagonist Sam Bridges after his journey connecting the United Cities of America to the Chiral Network.

ActuGaming.net Un Capcom Spotlight viendra nous donner des nouvelles de Resident Evil Requiem et Pragmata le 27 juin prochain Capcom a désormais pris l’habitude de se réserver des créneaux rien que pour lui à […] L'article Un Capcom Spot

Disparu il y a plus d'un siècle, la lettre Ꝃ "k barré", prononcé ker, continue pourtant de fasciner et se bat pour exister, même hors de Bretagne. L’article Le Ꝃ barré : la lettre interdite de Bretagne est apparu en premier sur Graphéine - Agence de

If you’ve ever had an upstairs neighbor, you’re probably familiar with the sounds of echoing footsteps, resonant laughing, glass breaking, and the muffled weight of too many voices speaking atop one another during a late-night gathering. In a short film titled “Snovník,” or “Dreamer,” Czech Rpublic-based filmmaker Laura Boráros introduces a bright red protagonist who is unable to sleep when he can’t ignore the rowdiness resonating from above his bedroom ceiling. Taking matters into his own hands, he makes his way upstairs and knocks on his neighbor’s door—only to become engulfed by the fun himself by peering into a small keyhole. Boráros immerses the audience with a flurry with bold colors, painted and snipped into a mirage of shapes and scenes. Using stop-motion, the animation strikes a mechanical yet fluid tone, creating a surreal environment that accurately captures the experience of the very fever dream “Snovník” depicts. Watch the full film on Vimeo, and get a peek at the artist’s process on Instagram. Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Laura Boráros Dances Between Dreams and Reality in a Surreal Short Film appeared first on Colossal.

While IO Interactive may be heavily focused on its inaugural James Bond game, 2026’s 007 First Light, it’s still providing ambitious new levels and updates for Hitman: World of Assassination and its new science fiction action game MindsEye. To continue to build hype for First Light and IOI’s growing partnership with the James Bond brand, the latest World of Assassination level is a Bond crossover, as Hitman protagonist Agent 47 targets Le Chiffre, the main villain of the 2006 movie Casino Royale. Available through July 6, 2025, the Le Chiffre event in World of Assassination features actor Mads Mikkelsen reprising his fan-favorite Bond villain role, not only providing his likeness but voicing the character as he confronts the contract killer in France. Den of Geek attended the first-ever in-person IO Interactive Showcase, a partner event with Summer Game Fest held at The Roosevelt Hotel in Hollywood. Mikkelsen and the developers shared insight on the surprise new World of Assassination level, with the level itself playable in its entirety to attendees on the Nintendo Switch 2 and PlayStation Portal. The developers also included an extended gameplay preview for MindsEye, ahead of its June 10 launch, while sharing some details about the techno-thriller. Matching his background from Casino Royale, Le Chiffre is a terrorist financier who manipulates the stock market by any means necessary to benefit himself and his clients. After an investment deal goes wrong, Le Chiffre tries to recoup a brutal client’s losses through a high-stakes poker game in France, with Agent 47 hired to assassinate the criminal mastermind on behalf of an unidentified backer. The level opens with 47 infiltrating a high society gala linked to the poker game, with the contract killer entering under his oft-used assumed name of Tobias Rieper, a facade that Le Chiffre immediately sees through. At the IO Interactive Showcase panel, Mikkelsen observed that the character of Le Chiffre is always one that he enjoyed and held a special place for him and his career. Reprising his villainous role also gave Mikkelsen the chance to reunite with longtime Agent 47 voice actor David Bateson since their ‘90s short film Tom Merritt, though both actors recorded their respective lines separately. Mikkelsen enjoyed that Le Chiffre’s appearance in World of Assassination gave him a more physical role than he had in Casino Royale, rather than largely placing him at a poker table. Of course, like most Hitman levels, there are multiple different ways that players can accomplish their main objective of killing Le Chiffre and escaping the premises. The game certainly gives players multiple avenues to confront the evil financier over a game of poker before closing in for the kill, but it’s by no means the only way to successfully assassinate him. We won’t give away how we ultimately pulled off the assassination, but rest assured that it took multiple tries, careful plotting, and with all the usual trial-and-error that comes from playing one of Hitman’s more difficult and immersively involved levels. Moving away from its more grounded action titles, IO Interactive also provided a deeper look at its new sci-fi game MindsEye, developed by Build a Rocket Boy. Set in the fictional Redrock City, the extended gameplay sneak peek at the showcase featured protagonist Adam Diaz fighting shadowy enemies in the futuristic city’s largely abandoned streets. While there were no hands-on demos at the showcase itself, the preview demonstrated Diaz using his abilities and equipment, including an accompanying drone, to navigate the city from a third-person perspective and use an array of weapons to dispatch those trying to hunt him down. MindsEye marks the first game published through IOI Partners, an initiative that has IOI publish games from smaller, external developers. The game did not have a hands-on demo at the showcase and, given its bug-heavy and poorly-received launch, this distinction is not particularly surprising. Build a Robot Boy has since pledged to support the game through June to fix its technical issues but, given the game’s hands-on access at the IOI Showcase, there were already red flags surrounding the game’s performance. With that in mind, most of the buzz at the showcase was unsurprisingly centered around 007 First Light and updates to Hitman: World of Assassination, and IO Interactive did not disappoint in that regard. Even with Hitman: World of Assassination over four years old now, the game continues to receive impressive post-release support from IO Interactive, both in bringing the title to the Nintendo Switch 2 and with additional DLC. At the showcase, IOI hinted at additional special levels for World of Assassintation with high-profile guest targets like Le Chiffre, without identifying who or if they’re also explicitly tied to the James Bond franchise. But with 007 First Light slated for its eagerly anticipated launch next year, it’s a safe bet that IOI has further plans to hype its own role in building out the James Bond legacy for the foreseeable future. The Hitman: World of Assassination special Le Chiffre level is available now through July 6, 2025 on all the game’s major platforms, including the Nintendo Switch 2. MindsEye is now on sale for PlayStation 5, Xbox Series X|S, and PC.

Doors (2022) Christian Marclay Institute of Contemporary Art Boston Through September 1, 2025Brooklyn Museum Through April 12, 2026On the screen, a movie clip plays of a character entering through a door to leave out another. It cuts to another clip of someone else doing the same thing over and over, all sourced from a panoply of Western cinema. The audience, sitting for an unknown amount of time, watches this shape-shifting protagonist from different cultural periods come and go, as the film endlessly loops. So goes Christian Marclay’s latest single-channel film, Doors (2022), currently exhibited for the first time in the United States at the Institute of Contemporary Art Boston. (It also premieres June 13 at the Brooklyn Museum and will run through April 12, 2026). Assembled over ten years, the film is a dizzying feat, a carefully crafted montage of film clips revolving around the simple premise of someone entering through a door and then leaving out a door. In the exhibition, Marclay writes, “Doors are fascinating objects, rich with symbolism.” Here, he shows hundreds of them, examining through film how the simple act of moving through a threshold multiplied endlessly creates a profoundly new reading of what said threshold signifies. On paper, this may sound like an extremely jarring experience. But Marclay—a visual artist, composer, and DJ whose previous works such as The Clock (2010) involved similar mega-montages of disparate film clips—has a sensitive touch. The sequences feel incredibly smooth, the montage carefully constructed to mimic continuity as closely as possible. This is even more impressive when one imagines the constraints that a door’s movement offers; it must open and close a certain direction, with particular types of hinges or means of swinging. It makes the seamlessness of the film all the more fascinating to dissect. When a tiny wooden doorframe cuts to a large double steel door, my brain had no issue at all registering a sense of continued motion through the frame—a form of cinematic magic. Christian Marclay, Doors (still), 2022. Single-channel video projection (color and black-and-white; 55:00 minutes on continuous loop). Watching the clips, there seemed to be no discernible meta narrative—simply movement through doors. Nevertheless, Marclay is a master of controlling tone. Though the relentlessness of watching the loops does create an overall feeling of tension that the film is clearly playing on, there are often moments of levity that interrupt, giving visitors a chance to breathe. The pacing too, swings from a person rushing in and out, to a slow stroll between doors in a corridor. It leaves one musing on just how ubiquitous this simple action is, and how mutable these simple acts of pulling a door and stepping inside can be. Sometimes mundane, sometimes thrilling, sometimes in anticipation, sometimes in search—Doors invites us to reflect on our own interaction with these objects, and with the very act of stepping through a doorframe. Much of the experience rests on the soundscape and music, which is equally—if not more heavily—important in creating the transition across clips. Marclay’s previous work leaned heavily on his interest in aural media; this added dimension only enriches Doors and elevates it beyond a formal visual study of clips that match each other. The film bleeds music from one scene to another, sometimes prematurely, to make believable the movement of one character across multiple movies. This overlap of sounds is essentially an echo of the space we left behind and are entering into. We as the audience almost believe—even if just for a second—that the transition is real. The effect is powerful and calls to mind several references. No doubt Doors owes some degree of inspiration to the lineage of surrealist art, perhaps in the work of Magritte or Duchamp. For those steeped in architecture, one may think of Bernard Tschumi’s Manhattan Transcripts, where his transcriptions of events, spaces, and movements similarly both shatter and call to attention simple spatial sequences. One may also be reminded of the work of Situationist International, particularly the psychogeography of Guy Debord. I confess that my first thought was the (in my view) equally famous door-chase scene in Monsters, Inc. But regardless of what corollaries one may conjure, Doors has a wholly unique feel. It is simplistic and singular in constructing its webbed world. Installation view, Christian Marclay: Doors, the Institute of Contemporary Art/Boston, 2025. (Mel Taing) But what exactly are we to take away from this world? In an interview with Artforum, Marclay declares, “I’m building in people’s minds an architecture in which to get lost.” The clip evokes a certain act of labyrinthian mapping—or perhaps a mode of perpetual resetting. I began to imagine this almost as a non-Euclidean enfilade of sorts where each room invites you to quickly grasp a new environment and then very quickly anticipate what may be in the next. With the understanding that you can’t backtrack, and the unpredictability of the next door taking you anywhere, the film holds you in total suspense. The production of new spaces and new architecture is activated all at once in the moment someone steps into a new doorway. All of this is without even mentioning the chosen films themselves. There is a degree to which the pop-culture element of Marclay’s work makes certain moments click—I can’t help but laugh as I watch Adam Sandler in Punch Drunk Love exit a door and emerge as Bette Davis in All About Eve. But to a degree, I also see the references being secondary, and certainly unneeded to understand the visceral experience Marclay crafts. It helps that, aside from a couple of jarring character movements or one-off spoken jokes, the movement is repetitive and universal. Doors runs on a continuous loop. I sat watching for just under an hour before convincing myself that I would never find any appropriate or correct time to leave. Instead, I could sit endlessly and reflect on each character movement, each new reveal of a room. Is the door the most important architectural element in creating space? Marclay makes a strong case for it with this piece. Harish Krishnamoorthy is an architectural and urban designer based in Cambridge, Massachusetts, and Bangalore, India. He is an editor at PAIRS.

Activision has included movie assassin Ballerina in the latest multiplayer version of Black Ops 6 and here they are exclusively offering Daily Star readers their top tips to become a gun heroTech17:04, 13 Jun 2025Ballerina in Call of DutyJohn Wick movie Ballerina has take over Call of Duty and the bods behind the game have given us some top tips on how to become the shooter king.The movie follows actress Ana de Armas as protagonist badass assassin Eve Macarro as she takes on all kinds of baddies alongside Keanu Reeve’s anti-hero John Wick.‌And to celebrate the silver screen success, Activision has included Eve, aka Ballerina, into Black Ops 6 as a playable online character cmplete with her own guns, finishing move and load screen as a downloadable add-on.‌But how can you, like Ana herself, become the star of mass destruction in the PS5 and Xbox game?The makers of Call of Duty have offered Daily Star readers these exclusive tips for online multiplayer mayhem in the game…Fire your guns as Ana de Armas(Image: Activision)Article continues belowEmbrace the Ruska Rogue : Don the "Ruska Rogue" Operator Skin for a sleek, black tactical look that screams stealth and deadly efficiency. Blend into the shadows and strike with calculated precision. You can adopt a minimalist, all-black approach to your loadout and Operator selection, channeling Wick's understated lethality. Remember, sometimes the most dangerous players are the ones you barely notice.Know Your Armoury : Equip the "Relevé" AK-74, "Plié" Saug, or "Arabesque" 9MM PM, all featuring High Table Coin Tracers and Death FX. Not only will you look good, but you'll also send a message: your enemies are just currency in your quest for victory . Aim for headshots to maximise your impact and conserve ammo. Use the AK-74 for mid-range engagements, the Saug for close-quarters dominance, and the 9MM PM as a reliable sidearm.‌Dance With Death, Literally (and Tactically Reload) : Master the "Dance With Death" Finishing Move. Nothing is more demoralising than eliminating an opponent with a graceful, yet brutal, execution. Use it strategically when you're sure you're safe from interruption. However, don't get caught up in the theatrics . Like Macarro, seek tactical reloads after every engagement, ensuring you're always ready for the next threat.Black Ops 6 has a fantastic multiplayer suite‌Pirouette to Victory : Utilise the "Pirouette" Emote to taunt your fallen foes (sparingly, of course!). A well-timed pirouette can tilt the mental game in your favour, especially after a clutch play. But remember, survival is paramount . Know when to disengage and reposition, just like Ballerina. A tactical retreat can be just as effective as a head-on assault.Article continues belowCharm Your Way to the Top : Equip the "Keepsake" Weapon Charm as a reminder of your mission and to add a touch of personal flair to your weapon. Small details can make a big difference in your gameplay and standing in the lobby. Furthermore, master your weapon . An assassin knows the ins and outs of every firearm he or she uses. Practice with different weapons to find what suits your play style and become proficient with it.Know Your Role (and Your Surroundings) : Just like a ballerina needs to know their choreography, understand your role on the team. Are you the aggressive fragger, the objective player, or the support specialist? Tailor your loadout and play style to maximise your contribution to the team's success. Remember, even the most elegant ballerina needs a solid foundation. Use cover, listen for footsteps, and anticipate enemy movements. Situational awareness is key to survival.

Pixar has been delighting audiences with its house animation style and world-building for three decades, and the Disney-owned animation studio is showing no signs of slowing down. And unlike Andy, they haven’t aged out of playing with their toys.  At the Annecy’s International Animation Film Festival, Pixar dropped a series of announcements, teasers, and special previews of their upcoming slate, including the much-anticipated first-look at Toy Story 5.  Den of Geek attended a private screening, with remarks from Pixar’s Chief Creative Officer, Pete Docter, in early June ahead of the festival. During the presentation to the press, Docter hinted at the company putting its focus and energy to its theatrical slate, a notable change after recent releases like Dream Productions, set in the Inside Out universe, and the original Win or Lose debuted in early 2025. It’s a telling sign for Disney’s shifting approach to Disney+. The studio’s latest film, Elio, hit theaters on June 20th. “Our hope is that we can somehow tap into the things that people remember about the communal experience of seeing things together,” Docter said. “It’s different than sitting at home on your computer watching something [compared to] when you sit with other human beings in the dark and watch the flickering light on the screen. There’s something kind of magic about that.”  Pixar is aiming to be back on a timeline of three films every two years, with Toy Story 5 and an original story titled Hoppers releasing in 2026, and another original, Gatto, hitting theaters in 2027.  Docter boldly stated that Pixar is “standing on one of the strongest slates we’ve ever had.” While bullish for a studio that has had an unprecedented run of success in the world of animated features, the early footage we saw leaves plenty of room for optimism. Is Pixar so back? Here’s what we learned from the presentation and footage…  Toy Story 5 – June 19, 2026  Woody, Buzz, Jesse and the gang will all be returning for the fifth feature film in one of Pixar’s most beloved franchises. Docter confirmed Tom Hanks, Tim Allen and Joan Cusack will reprise their respective roles. Written and directed by Andrew Stanton, who has worked on all of the films, and co-directed by McKenna Harris, Toy Story 5 catches up to our modern, tech-oriented world, and how that affects children’s interests. Bonnie, now eight, is given a brand new, shiny tablet, called a Lily Pad. The new tech allows Bonnie to stay connected and chat with all of her friends, slowly detaching her from her old toys. But just like all the other toys, Lily can talk, and she’s quite sneaky. Lily believes Bonnie needs to get rid of her old, childish toys completely. Feeling Bonnie slipping away, the toys call Woody for back up, but after not seeing Buzz for some time, the two go back to their old ways of constantly butting heads.  “With some films, you’ll struggle to find new things to talk about. And you know, this is [Toy Story 5]. We still are finding new aspects of what it is to be a toy… There’s more of a spotlight on Jesse, so there’s that’s a whole nother facet to it as well. And she’s just such a rich, wonderful character to see on screen,” Docter says. Pixar screened the opening scene for press, which saw a fresh pallet of new Buzz Lightyear figures washed up in a shipping container on a remote island. Think Toy Story meets Cast Away as the Lightyears band together to concoct a way to get home, wherever that might be, in an unexpectedly gripping start to the fifth installment. Join our mailing list Get the best of Den of Geek delivered right to your inbox! HOPPERS – © 2025 Disney/Pixar. All Rights Reserved. Hoppers – March 6, 2026  Preceding Toy Story 5 and kicking off 2026 for Pixar will be an all-new story, Hoppers.  The film follows Mabel (Piper Curda), a college student and nature enthusiast as she fights to save a beloved glade near her childhood home from a highway project that will bulldoze through it– brought forth by the greedy mayor voiced by Jon Hamm. With little support from those around her, Mabel enlists the help of “hoppers,” a clever group of scientists who’ve found a way to “hop” their minds into robots. When Mabel hops into the body of a beaver, she sets off to get other animals to return to the glade, hopefully halting construction. The animals take her to meet their rather conflict-avoidant leader, King George (Bobby Moynihan), and she soon learns that the animal world is a lot more complex than she had thought.  The footage screened saw Jon Hamm’s mayor abducted by beavers in a slapstick scene that corroborated Docter’s excitement for the project. Like Pixar’s highest highs, Hoppers appears to be charming and big-hearted, and it certainly won’t hurt merchandise sales at the Disney parks with the adorably designed animals in this film. Docter compared Hoppers to Mission Impossible meets Planet Earth. We’re locked in.  GATTO – © 2025 Disney/Pixar. All Rights Reserved. Gatto – Summer 2027  In maybe the most creatively intriguing announcement, a new film titled Gatto is in production from the team behind Luca. Gatto will employ the same classic Pixar animation-style, but with a painterly twist to match the artistic vibe of Venice. The art direction shown in short clips was stunning and unique spin on Pixar’s house style. The film is set in Venice, Italy, a destination popular for its stunning architecture and romantic ambience, that some only dream of visiting one day. It’s not so ideal, however, for Nero, the protagonist of the upcoming Pixar-original film, Gato. Nero is a black cat, who people turn the other way from because they fear he’s bad luck. With no other options, Nero turns to the seedier side of the stray cat scene in Venice, where he soon finds himself in hot water with Rocco, a cat mob boss. The heart of the film is Nero’s love for music, and his budding friendship with a street musician named Maya, who is also an outsider.