A hacker’s view on ESD protection can tell you a lot about them. I’ve seen a good few categories of hackers neglecting ESD protection – there’s the yet-inexperienced ones, ones …read more

Guided by visual effects supervisor John Knoll, ILM embraced continually evolving methodologies to craft breathtaking visual effects for the iconic space battles in First Contact and Rogue One. By Jay Stobie Visual effects supervisor John Knoll (right) confers with modelmakers Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact (Credit: ILM). Bolstered by visual effects from Industrial Light & Magic, Star Trek: First Contact (1996) and Rogue One: A Star Wars Story (2016) propelled their respective franchises to new heights. While Star Trek Generations (1994) welcomed Captain Jean-Luc Picard’s (Patrick Stewart) crew to the big screen, First Contact stood as the first Star Trek feature that did not focus on its original captain, the legendary James T. Kirk (William Shatner). Similarly, though Rogue One immediately preceded the events of Star Wars: A New Hope (1977), it was set apart from the episodic Star Wars films and launched an era of storytelling outside of the main Skywalker saga that has gone on to include Solo: A Star Wars Story (2018), The Mandalorian (2019-23), Andor (2022-25), Ahsoka (2023), The Acolyte (2024), and more. The two films also shared a key ILM contributor, John Knoll, who served as visual effects supervisor on both projects, as well as an executive producer on Rogue One. Currently, ILM’s executive creative director and senior visual effects supervisor, Knoll – who also conceived the initial framework for Rogue One’s story – guided ILM as it brought its talents to bear on these sci-fi and fantasy epics. The work involved crafting two spectacular starship-packed space clashes – First Contact’s Battle of Sector 001 and Rogue One’s Battle of Scarif. Although these iconic installments were released roughly two decades apart, they represent a captivating case study of how ILM’s approach to visual effects has evolved over time. With this in mind, let’s examine the films’ unforgettable space battles through the lens of fascinating in-universe parallels and the ILM-produced fleets that face off near Earth and Scarif. A final frame from the Battle of Scarif in Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). A Context for Conflict In First Contact, the United Federation of Planets – a 200-year-old interstellar government consisting of more than 150 member worlds – braces itself for an invasion by the Borg – an overwhelmingly powerful collective composed of cybernetic beings who devastate entire planets by assimilating their biological populations and technological innovations. The Borg only send a single vessel, a massive cube containing thousands of hive-minded drones and their queen, pushing the Federation’s Starfleet defenders to Earth’s doorstep. Conversely, in Rogue One, the Rebel Alliance – a fledgling coalition of freedom fighters – seeks to undermine and overthrow the stalwart Galactic Empire – a totalitarian regime preparing to tighten its grip on the galaxy by revealing a horrifying superweapon. A rebel team infiltrates a top-secret vault on Scarif in a bid to steal plans to that battle station, the dreaded Death Star, with hopes of exploiting a vulnerability in its design. On the surface, the situations could not seem to be more disparate, particularly in terms of the Federation’s well-established prestige and the Rebel Alliance’s haphazardly organized factions. Yet, upon closer inspection, the spaceborne conflicts at Earth and Scarif are linked by a vital commonality. The threat posed by the Borg is well-known to the Federation, but the sudden intrusion upon their space takes its defenses by surprise. Starfleet assembles any vessel within range – including antiquated Oberth-class science ships – to intercept the Borg cube in the Typhon Sector, only to be forced back to Earth on the edge of defeat. The unsanctioned mission to Scarif with Jyn Erso (Felicity Jones) and Cassian Andor (Diego Luna) and the sudden need to take down the planet’s shield gate propels the Rebel Alliance fleet into rushing to their rescue with everything from their flagship Profundity to GR-75 medium transports. Whether Federation or Rebel Alliance, these fleets gather in last-ditch efforts to oppose enemies who would embrace their eradication – the Battles of Sector 001 and Scarif are fights for survival. From Physical to Digital By the time Jonathan Frakes was selected to direct First Contact, Star Trek’s reliance on constructing traditional physical models (many of which were built by ILM) for its features was gradually giving way to innovative computer graphics (CG) models, resulting in the film’s use of both techniques. “If one of the ships was to be seen full-screen and at length,” associate visual effects supervisor George Murphy told Cinefex’s Kevin H. Martin, “we knew it would be done as a stage model. Ships that would be doing a lot of elaborate maneuvers in space battle scenes would be created digitally.” In fact, physical and CG versions of the U.S.S. Enterprise-E appear in the film, with the latter being harnessed in shots involving the vessel’s entry into a temporal vortex at the conclusion of the Battle of Sector 001. Despite the technological leaps that ILM pioneered in the decades between First Contact and Rogue One, they considered filming physical miniatures for certain ship-related shots in the latter film. ILM considered filming physical miniatures for certain ship-related shots in Rogue One. The feature’s fleets were ultimately created digitally to allow for changes throughout post-production. “If it’s a photographed miniature element, it’s not possible to go back and make adjustments. So it’s the additional flexibility that comes with the computer graphics models that’s very attractive to many people,” John Knoll relayed to writer Jon Witmer at American Cinematographer’s TheASC.com. However, Knoll aimed to develop computer graphics that retained the same high-quality details as their physical counterparts, leading ILM to employ a modern approach to a time-honored modelmaking tactic. “I also wanted to emulate the kit-bashing aesthetic that had been part of Star Wars from the very beginning, where a lot of mechanical detail had been added onto the ships by using little pieces from plastic model kits,” explained Knoll in his chat with TheASC.com. For Rogue One, ILM replicated the process by obtaining such kits, scanning their parts, building a computer graphics library, and applying the CG parts to digitally modeled ships. “I’m very happy to say it was super-successful,” concluded Knoll. “I think a lot of our digital models look like they are motion-control models.” John Knoll (second from left) confers with Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact (Credit: ILM). Legendary Lineages In First Contact, Captain Picard commanded a brand-new vessel, the Sovereign-class U.S.S. Enterprise-E, continuing the celebrated starship’s legacy in terms of its famous name and design aesthetic. Designed by John Eaves and developed into blueprints by Rick Sternbach, the Enterprise-E was built into a 10-foot physical model by ILM model project supervisor John Goodson and his shop’s talented team. ILM infused the ship with extraordinary detail, including viewports equipped with backlit set images from the craft’s predecessor, the U.S.S. Enterprise-D. For the vessel’s larger windows, namely those associated with the observation lounge and arboretum, ILM took a painstakingly practical approach to match the interiors shown with the real-world set pieces. “We filled that area of the model with tiny, micro-scale furniture,” Goodson informed Cinefex, “including tables and chairs.” Rogue One’s rebel team initially traversed the galaxy in a U-wing transport/gunship, which, much like the Enterprise-E, was a unique vessel that nonetheless channeled a certain degree of inspiration from a classic design. Lucasfilm’s Doug Chiang, a co-production designer for Rogue One, referred to the U-wing as the film’s “Huey helicopter version of an X-wing” in the Designing Rogue One bonus featurette on Disney+ before revealing that, “Towards the end of the design cycle, we actually decided that maybe we should put in more X-wing features. And so we took the X-wing engines and literally mounted them onto the configuration that we had going.” Modeled by ILM digital artist Colie Wertz, the U-wing’s final computer graphics design subtly incorporated these X-wing influences to give the transport a distinctive feel without making the craft seem out of place within the rebel fleet. While ILM’s work on the Enterprise-E’s viewports offered a compelling view toward the ship’s interior, a breakthrough LED setup for Rogue One permitted ILM to obtain realistic lighting on actors as they looked out from their ships and into the space around them. “All of our major spaceship cockpit scenes were done that way, with the gimbal in this giant horseshoe of LED panels we got from [equipment vendor] VER, and we prepared graphics that went on the screens,” John Knoll shared with American Cinematographer’s Benjamin B and Jon D. Witmer. Furthermore, in Disney+’s Rogue One: Digital Storytelling bonus featurette, visual effects producer Janet Lewin noted, “For the actors, I think, in the space battle cockpits, for them to be able to see what was happening in the battle brought a higher level of accuracy to their performance.” The U.S.S. Enterprise-E in Star Trek: First Contact (Credit: Paramount). Familiar Foes To transport First Contact’s Borg invaders, John Goodson’s team at ILM resurrected the Borg cube design previously seen in Star Trek: The Next Generation (1987) and Star Trek: Deep Space Nine (1993), creating a nearly three-foot physical model to replace the one from the series. Art consultant and ILM veteran Bill George proposed that the cube’s seemingly straightforward layout be augmented with a complex network of photo-etched brass, a suggestion which produced a jagged surface and offered a visual that was both intricate and menacing. ILM also developed a two-foot motion-control model for a Borg sphere, a brand-new auxiliary vessel that emerged from the cube. “We vacuformed about 15 different patterns that conformed to this spherical curve and covered those with a lot of molded and cast pieces. Then we added tons of acid-etched brass over it, just like we had on the cube,” Goodson outlined to Cinefex’s Kevin H. Martin. As for Rogue One’s villainous fleet, reproducing the original trilogy’s Death Star and Imperial Star Destroyers centered upon translating physical models into digital assets. Although ILM no longer possessed A New Hope’s three-foot Death Star shooting model, John Knoll recreated the station’s surface paneling by gathering archival images, and as he spelled out to writer Joe Fordham in Cinefex, “I pieced all the images together. I unwrapped them into texture space and projected them onto a sphere with a trench. By doing that with enough pictures, I got pretty complete coverage of the original model, and that became a template upon which to redraw very high-resolution texture maps. Every panel, every vertical striped line, I matched from a photograph. It was as accurate as it was possible to be as a reproduction of the original model.” Knoll’s investigative eye continued to pay dividends when analyzing the three-foot and eight-foot Star Destroyer motion-control models, which had been built for A New Hope and Star Wars: The Empire Strikes Back (1980), respectively. “Our general mantra was, ‘Match your memory of it more than the reality,’ because sometimes you go look at the actual prop in the archive building or you look back at the actual shot from the movie, and you go, ‘Oh, I remember it being a little better than that,’” Knoll conveyed to TheASC.com. This philosophy motivated ILM to combine elements from those two physical models into a single digital design. “Generally, we copied the three-footer for details like the superstructure on the top of the bridge, but then we copied the internal lighting plan from the eight-footer,” Knoll explained. “And then the upper surface of the three-footer was relatively undetailed because there were no shots that saw it closely, so we took a lot of the high-detail upper surface from the eight-footer. So it’s this amalgam of the two models, but the goal was to try to make it look like you remember it from A New Hope.” A final frame from Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). Forming Up the Fleets In addition to the U.S.S. Enterprise-E, the Battle of Sector 001 debuted numerous vessels representing four new Starfleet ship classes – the Akira, Steamrunner, Saber, and Norway – all designed by ILM visual effects art director Alex Jaeger. “Since we figured a lot of the background action in the space battle would be done with computer graphics ships that needed to be built from scratch anyway, I realized that there was no reason not to do some new designs,” John Knoll told American Cinematographer writer Ron Magid. Used in previous Star Trek projects, older physical models for the Oberth and Nebula classes were mixed into the fleet for good measure, though the vast majority of the armada originated as computer graphics. Over at Scarif, ILM portrayed the Rebel Alliance forces with computer graphics models of fresh designs (the MC75 cruiser Profundity and U-wings), live-action versions of Star Wars Rebels’ VCX-100 light freighter Ghost and Hammerhead corvettes, and Star Wars staples (Nebulon-B frigates, X-wings, Y-wings, and more). These ships face off against two Imperial Star Destroyers and squadrons of TIE fighters, and – upon their late arrival to the battle – Darth Vader’s Star Destroyer and the Death Star. The Tantive IV, a CR90 corvette more popularly referred to as a blockade runner, made its own special cameo at the tail end of the fight. As Princess Leia Organa’s (Carrie Fisher and Ingvild Deila) personal ship, the Tantive IV received the Death Star plans and fled the scene, destined to be captured by Vader’s Star Destroyer at the beginning of A New Hope. And, while we’re on the subject of intricate starship maneuvers and space-based choreography… Although the First Contact team could plan visual effects shots with animated storyboards, ILM supplied Gareth Edwards with a next-level virtual viewfinder that allowed the director to select his shots by immersing himself among Rogue One’s ships in real time. “What we wanted to do is give Gareth the opportunity to shoot his space battles and other all-digital scenes the same way he shoots his live-action. Then he could go in with this sort of virtual viewfinder and view the space battle going on, and figure out what the best angle was to shoot those ships from,” senior animation supervisor Hal Hickel described in the Rogue One: Digital Storytelling featurette. Hickel divulged that the sequence involving the dish array docking with the Death Star was an example of the “spontaneous discovery of great angles,” as the scene was never storyboarded or previsualized. Visual effects supervisor John Knoll with director Gareth Edwards during production of Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). Tough Little Ships The Federation and Rebel Alliance each deployed “tough little ships” (an endearing description Commander William T. Riker [Jonathan Frakes] bestowed upon the U.S.S. Defiant in First Contact) in their respective conflicts, namely the U.S.S. Defiant from Deep Space Nine and the Tantive IV from A New Hope. VisionArt had already built a CG Defiant for the Deep Space Nine series, but ILM upgraded the model with images gathered from the ship’s three-foot physical model. A similar tactic was taken to bring the Tantive IV into the digital realm for Rogue One. “This was the Blockade Runner. This was the most accurate 1:1 reproduction we could possibly have made,” model supervisor Russell Paul declared to Cinefex’s Joe Fordham. “We did an extensive photo reference shoot and photogrammetry re-creation of the miniature. From there, we built it out as accurately as possible.” Speaking of sturdy ships, if you look very closely, you can spot a model of the Millennium Falcon flashing across the background as the U.S.S. Defiant makes an attack run on the Borg cube at the Battle of Sector 001! Exploration and Hope The in-universe ramifications that materialize from the Battles of Sector 001 and Scarif are monumental. The destruction of the Borg cube compels the Borg Queen to travel back in time in an attempt to vanquish Earth before the Federation can even be formed, but Captain Picard and the Enterprise-E foil the plot and end up helping their 21st century ancestors make “first contact” with another species, the logic-revering Vulcans. The post-Scarif benefits take longer to play out for the Rebel Alliance, but the theft of the Death Star plans eventually leads to the superweapon’s destruction. The Galactic Civil War is far from over, but Scarif is a significant step in the Alliance’s effort to overthrow the Empire. The visual effects ILM provided for First Contact and Rogue One contributed significantly to the critical and commercial acclaim both pictures enjoyed, a victory reflecting the relentless dedication, tireless work ethic, and innovative spirit embodied by visual effects supervisor John Knoll and ILM’s entire staff. While being interviewed for The Making of Star Trek: First Contact, actor Patrick Stewart praised ILM’s invaluable influence, emphasizing, “ILM was with us, on this movie, almost every day on set. There is so much that they are involved in.” And, regardless of your personal preferences – phasers or lasers, photon torpedoes or proton torpedoes, warp speed or hyperspace – perhaps Industrial Light & Magic’s ability to infuse excitement into both franchises demonstrates that Star Trek and Star Wars encompass themes that are not competitive, but compatible. After all, what goes together better than exploration and hope? – Jay Stobie (he/him) is a writer, author, and consultant who has contributed articles to ILM.com, Skysound.com, Star Wars Insider, StarWars.com, Star Trek Explorer, Star Trek Magazine, and StarTrek.com. Jay loves sci-fi, fantasy, and film, and you can learn more about him by visiting JayStobie.com or finding him on Twitter, Instagram, and other social media platforms at @StobiesGalaxy.

June 14 Killing of Sudbury and Hales 1381 – During the Peasants' Revolt in England, rebels stormed the Tower of London, killing Simon Sudbury, Lord Chancellor, and Robert Hales, Lord High Treasurer (both pictured). 1644 – First English Civil War: Prince Maurice abandoned his siege of Lyme Regis in Dorset after learning of the approach of a Parliamentarian relief force. 1934 – The landmark Australian Eastern Mission concluded after a three-month diplomatic tour of East and South-East Asia. 2014 – War in Donbas: An Ilyushin Il-76 transport aircraft of the Ukrainian Air Force was shot down by forces of the self-proclaimed Luhansk People's Republic, killing all 49 people on board. Qalaherriaq (d. 1856)Emmeline Pankhurst (d. 1928)Heike Friedrich (b. 1976)Moon Tae-il (b. 1994) More anniversaries: June 13 June 14 June 15 Archive By email List of days of the year About

Google's recently launched AI video tool can generate realistic clips that contain misleading or inflammatory information about news events, according to a TIME analysis and several tech watchdogs.TIME was able to use Veo 3 to create realistic videos, including a Pakistani crowd setting fire to a Hindu temple; Chinese researchers handling a bat in a wet lab; an election worker shredding ballots; and Palestinians gratefully accepting U.S. aid in Gaza. While each of these videos contained some noticeable inaccuracies, several experts told TIME that if shared on social media with a misleading caption in the heat of a breaking news event, these videos could conceivably fuel social unrest or violence. While text-to-video generators have existed for several years, Veo 3 marks a significant jump forward, creating AI clips that are nearly indistinguishable from real ones. Unlike the outputs of previous video generators like OpenAI’s Sora, Veo 3 videos can include dialogue, soundtracks and sound effects. They largely follow the rules of physics, and lack the telltale flaws of past AI-generated imagery. Users have had a field day with the tool, creating short films about plastic babies, pharma ads, and man-on-the-street interviews. But experts worry that tools like Veo 3 will have a much more dangerous effect: turbocharging the spread of misinformation and propaganda, and making it even harder to tell fiction from reality. Social media is already flooded with AI-generated content about politicians. In the first week of Veo 3’s release, online users posted fake news segments in multiple languages, including an anchor announcing the death of J.K. Rowling and of fake political news conferences. “The risks from deepfakes and synthetic media have been well known and obvious for years, and the fact the tech industry can’t even protect against such well-understood, obvious risks is a clear warning sign that they are not responsible enough to handle even more dangerous, uncontrolled AI and AGI,” says Connor Leahy, the CEO of Conjecture, an AI safety company. “The fact that such blatant irresponsible behavior remains completely unregulated and unpunished will have predictably terrible consequences for innocent people around the globe.”Days after Veo 3’s release, a car plowed through a crowd in Liverpool, England, injuring more than 70 people. Police swiftly clarified that the driver was white, to preempt racist speculation of migrant involvement. (Last summer, false reports that a knife attacker was an undocumented Muslim migrant sparked riots in several cities.) Days later, Veo 3 obligingly generated a video of a similar scene, showing police surrounding a car that had just crashed—and a Black driver exiting the vehicle. TIME generated the video with the following prompt: “A video of a stationary car surrounded by police in Liverpool, surrounded by trash. Aftermath of a car crash. There are people running away from the car. A man with brown skin is the driver, who slowly exits the car as police arrive- he is arrested. The video is shot from above - the window of a building. There are screams in the background.”After TIME contacted Google about these videos, the company said it would begin adding a visible watermark to videos generated with Veo 3. The watermark now appears on videos generated by the tool. However, it is very small and could easily be cropped out with video-editing software.In a statement, a Google spokesperson said: “Veo 3 has proved hugely popular since its launch. We're committed to developing AI responsibly and we have clear policies to protect users from harm and governing the use of our AI tools.”Videos generated by Veo 3 have always contained an invisible watermark known as SynthID, the spokesperson said. Google is currently working on a tool called SynthID Detector that would allow anyone to upload a video to check whether it contains such a watermark, the spokesperson added. However, this tool is not yet publicly available.Attempted safeguardsVeo 3 is available for $249 a month to Google AI Ultra subscribers in countries including the United States and United Kingdom. There were plenty of prompts that Veo 3 did block TIME from creating, especially related to migrants or violence. When TIME asked the model to create footage of a fictional hurricane, it wrote that such a video went against its safety guidelines, and “could be misinterpreted as real and cause unnecessary panic or confusion.” The model generally refused to generate videos of recognizable public figures, including President Trump and Elon Musk. It refused to create a video of Anthony Fauci saying that COVID was a hoax perpetrated by the U.S. government.Veo’s website states that it blocks “harmful requests and results.” The model’s documentation says it underwent pre-release red-teaming, in which testers attempted to elicit harmful outputs from the tool. Additional safeguards were then put in place, including filters on its outputs.A technical paper released by Google alongside Veo 3 downplays the misinformation risks that the model might pose. Veo 3 is bad at creating text, and is “generally prone to small hallucinations that mark videos as clearly fake,” it says. “Second, Veo 3 has a bias for generating cinematic footage, with frequent camera cuts and dramatic camera angles – making it difficult to generate realistic coercive videos, which would be of a lower production quality.”However, minimal prompting did lead to the creation of provocative videos. One showed a man wearing an LGBT rainbow badge pulling envelopes out of a ballot box and feeding them into a paper shredder. (Veo 3 titled the file “Election Fraud Video.”) Other videos generated in response to prompts by TIME included a dirty factory filled with workers scooping infant formula with their bare hands; an e-bike bursting into flames on a New York City street; and Houthi rebels angrily seizing an American flag. Some users have been able to take misleading videos even further. Internet researcher Henk van Ess created a fabricated political scandal using Veo 3 by editing together short video clips into a fake newsreel that suggested a small-town school would be replaced by a yacht manufacturer. “If I can create one convincing fake story in 28 minutes, imagine what dedicated bad actors can produce,” he wrote on Substack. “We're talking about the potential for dozens of fabricated scandals per day.” “Companies need to be creating mechanisms to distinguish between authentic and synthetic imagery right now,” says Margaret Mitchell, chief AI ethics scientist at Hugging Face. “The benefits of this kind of power—being able to generate realistic life scenes—might include making it possible for people to make their own movies, or to help people via role-playing through stressful situations,” she says. “The potential risks include making it super easy to create intense propaganda that manipulatively enrages masses of people, or confirms their biases so as to further propagate discrimination—and bloodshed.”In the past, there were surefire ways of telling that a video was AI-generated—perhaps a person might have six fingers, or their face might transform between the beginning of the video and the end. But as models improve, those signs are becoming increasingly rare. (A video depicting how AIs have rendered Will Smith eating spaghetti shows how far the technology has come in the last three years.) For now, Veo 3 will only generate clips up to eight seconds long, meaning that if a video contains shots that linger for longer, it’s a sign it could be genuine. But this limitation is not likely to last for long. Eroding trust onlineCybersecurity experts warn that advanced AI video tools will allow attackers to impersonate executives, vendors or employees at scale, convincing victims to relinquish important data. Nina Brown, a Syracuse University professor who specializes in the intersection of media law and technology, says that while there are other large potential harms—including election interference and the spread of nonconsensual sexually explicit imagery—arguably most concerning is the erosion of collective online trust. “There are smaller harms that cumulatively have this effect of, ‘can anybody trust what they see?’” she says. “That’s the biggest danger.” Already, accusations that real videos are AI-generated have gone viral online. One post on X, which received 2.4 million views, accused a Daily Wire journalist of sharing an AI-generated video of an aid distribution site in Gaza. A journalist at the BBC later confirmed that the video was authentic.Conversely, an AI-generated video of an “emotional support kangaroo” trying to board an airplane went viral and was widely accepted as real by social media users. Veo 3 and other advanced deepfake tools will also likely spur novel legal clashes. Issues around copyright have flared up, with AI labs including Google being sued by artists for allegedly training on their copyrighted content without authorization. (DeepMind told TechCrunch that Google models like Veo "may" be trained on YouTube material.) Celebrities who are subjected to hyper-realistic deepfakes have some legal protections thanks to “right of publicity” statutes, but those vary drastically from state to state. In April, Congress passed the Take it Down Act, which criminalizes non-consensual deepfake porn and requires platforms to take down such material. Industry watchdogs argue that additional regulation is necessary to mitigate the spread of deepfake misinformation. “Existing technical safeguards implemented by technology companies such as 'safety classifiers' are proving insufficient to stop harmful images and videos from being generated,” says Julia Smakman, a researcher at the Ada Lovelace Institute. “As of now, the only way to effectively prevent deepfake videos from being used to spread misinformation online is to restrict access to models that can generate them, and to pass laws that require those models to meet safety requirements that meaningfully prevent misuse.”

Meg Cherry Member Oct 25, 2017 7,847 Seattle, WA So, Panic - a studio out of Portland that mostly does Mac software - is going to release a custom handheld with a 'premium' black-and-white screen - with 12 games that will be kept a secret until they unlock after release (one a week). Also, one of the inputs is a hand crank. One of those games is the game you saw above: Crankin's Time Travel Adventure from Katamari Damacy designer Keita Takahashi. The crank is used to manipulate time forwards and backwards. Despite the presence of buttons, the only way to interact with Crankin' is with said crank. Not all games will work that way, obviously, but it's reasonable to expect many will make use of it. There are other games coming from Bennett Foddy (Getting Over It), Zach Gage (SpellTower), and Shaun Inman (The Last Rocket), among others. What exactly they're making for Playdate, however, remains unannounced, with more details later this year. Click to expand... Click to shrink... $150, pre-orders out this year. This thing looks absurd, but maybe in a way worth supporting.  Last edited: May 22, 2019 KoolAid Member Oct 25, 2017 7,055 Keita Takahashi? Bennett Foddy? I'm interested.   atomsk Member Oct 28, 2017 1,762 Panic worked with Keita on those Katamari t-shirts forever ago, so that's not too surprising. Still, I wish Wattam would get a release date already.  BocoDragon Banned Oct 26, 2017 5,207 I love the hardware design.   Deleted member 42 user requested account closure Banned Oct 24, 2017 16,939 CRANKIN' IT   marrec Banned Oct 26, 2017 6,775 I'm sooo in for wild shit like this with limited but specific use cases.   kikuchiyo Member Nov 9, 2017 1,103 atomsk said: Panic worked with Keita on those Katamari t-shirts forever ago, so that's not too surprising. Still, I wish Wattam would get a release date already. Click to expand... Click to shrink... Didn't get those shirts when they came out and I've been kicking myself for it ever since :(  JamboGT Vehicle Handling Designer Verified Oct 25, 2017 1,537 The most hipster of hipster gaming stuff I have ever seen.   Tiktaalik Member Oct 25, 2017 3,749 Looks like a lot of fun. There's an opportunity for these small little devices now that 3DS is going away. Come on Nintendo, make Game Boy Classic happen.  Deleted member 54469 User requested account closure Member Mar 4, 2019 320 design is cool but what exactly is the point? for it's niche community i'm not going to ask. forever everyone else kinda feel like this is one of those things (like everything else now) cashing in on nostalgia and basically gentrifying by giving it a new instagram worthy paint coat and new name. $150 for a black and white game boy with some weird gimmick? i'm cool lol. that's nice they found some great (also niche) developers to make great (also niche) games for it. just not sure why this exists though? especially for that absurd price? i mean you can get a 2ds bundle with a game and another free nintendo select for like $80 now.  eyeball_kid Member Oct 25, 2017 12,138 Panic, Takahashi (please why are you distracting him from finishing Wattam!), and Teenage Engineering (makers of the awesome OP-1 synth). This is like a videogame hipster dream come true. Not sure how well that crank is going to feel for left-handed users though.  Colloco Self-Requested Ban Banned Oct 27, 2017 403 florida 150 kind of hurts for a black and white screen device in 2019, but DAT CRANK THO   Ghos Member Oct 25, 2017 3,986 cute design Keita tho? 👀  Weltall Zero Game Developer Banned Oct 26, 2017 19,343 Madrid Kind of weird there's only going to be 12 games for it; visually simple B/W games should be relatively easy to crank out.   Lego Killer Moth Avenger Oct 25, 2017 1,292 This is the coolest thing I've ever seen   Toumari Member Oct 27, 2017 8,811 England Cute and bizarre. Never expected Panic to ever dabble in hardware like this.   Deleted member 41931 User requested account closure Member Apr 10, 2018 3,744 I'm in for Keita Takahashi. No idea if this is going to be good, but it'll certainly be different.   marrec Banned Oct 26, 2017 6,775 JamboGT said: The most hipster of hipster gaming stuff I have ever seen. Click to expand... Click to shrink... It's like they made it specifically for me  CloseTalker Sister in the Craft Member Oct 25, 2017 38,131 Yeah, I'll buy one of those   Colloco Self-Requested Ban Banned Oct 27, 2017 403 florida Is this secretly Soulja Bois new console?   corn_fest Member Oct 27, 2017 323 I can't help but compare this with the 32blit which recently sprung up on Kickstarter. Spec-wise, the console seems a little disappointing in comparison, but Panic, Teenage Engineering, and the developers they've partnered with all create great stuff so I feel like this will be cool regardless. Ugh I'm gonna end up getting both aren't I.  Lego Killer Moth Avenger Oct 25, 2017 1,292 Weltall Zero said: Kind of weird there's only going to be 12 games for it; visually simple B/W games should be relatively easy to crank out. Click to expand... Click to shrink... There's gonna be more if it's a success. It's 12 so far. One a month for the first year.   KoolAid Member Oct 25, 2017 7,055 Weltall Zero said: Kind of weird there's only going to be 12 games for it; visually simple B/W games should be relatively easy to crank out. Click to expand... Click to shrink... ...i see what you did there also they say there's potential for more games, unsure if they'll charge for them though  Deleted member 33571 User requested account closure Banned Nov 17, 2017 907 very very cool, the lil bit of the Keita Takahashi game they showed looked really neat I immediately got teenage engineering vibes between the price (eek) and the concept so it makes sense they worked on some of the hardware  Kirksplosion Member Aug 21, 2018 2,682 Eh, can't say I'm interested at all-- Keita Takahashi Click to expand... Click to shrink... So I make this check out to Panic in Portland, OR?  Ginger Hail One Winged Slayer Avenger Oct 25, 2017 3,358 It's a cute little thing. Definitely gonna keep my eye on it.   jml Member Mar 9, 2018 4,849 Seems ridiculous and I do not understand the appeal at that price at all   Conan Member Oct 25, 2017 707 It's like having a bad analog stick. Cool?   Jonnykong Member Oct 27, 2017 8,992 It looks pretty nifty when you see the game in action by spinning that delightful crank.   marrec Banned Oct 26, 2017 6,775 jml said: Seems ridiculous and I do not understand the appeal at that price at all Click to expand... Click to shrink... The appeal is in the design and the games.  makonero Member Oct 27, 2017 11,177 If it was $50 I could see myself grabbing it for novelty purposes But I can't justify $150 for a black and white handheld with no backlight. I had an original GBA for five years, not going back now  Vivian-Pogo Member Jan 9, 2018 2,142 It's neat but about 3x the price of what I would want to pay for it.   wideface ▲ Legend ▲ Avenger Oct 25, 2017 7,184 Hidamari Apartments Keita Takahashi? Okay, I'll buy it.   NickatNite Member Oct 27, 2017 6,217 California An interesting concept, but may or may not be worth the price point. I definitely will keep my eye on it.   Deleted member 23046 Account closed at user request Banned Oct 28, 2017 6,876 Panic is also the first publisher of Campo Santo's Firewatch.   Dancrane212 Member Oct 25, 2017 14,110 Edge cover gets it a good amount of cred with me. Consider me curious.  JamesQuall Member Oct 27, 2017 752 I'm in. I already love Panic for publishing Firewatch and the Goose Game, and for putting a cool sign on their building that I can change the colors on during my lunch break!   RyougaSaotome Member Oct 25, 2017 5,365 It seems absurd so I'm in.   eyeball_kid Member Oct 25, 2017 12,138 Here's a peek at Keita Takahashi's game:   ryushe Member Oct 27, 2017 5,063 If this were black and white WITH backlight, then I'd be on board. But as it stands, I can't justify $150 for this no matter how hard I'd like to try.   Anno Member Oct 25, 2017 7,889 Columbus, Ohio That's weird enough that I'm at least interested.   the_wart Member Oct 25, 2017 2,346 That's so dumb. ...I want it.  KilgoreTrout696 Member Oct 25, 2017 667 ryushe said: If this were black and white WITH backlight, then I'd be on board. But as it stands, I can't justify $150 for this no matter how hard I'd like to try. Click to expand... Click to shrink... 100% with you on the backlight. I'm looking into getting older gameboys modded with backlights not getting something new without them. Just flashing back to trying to play pokemon at night while in the car driving home, would have to wait to pass a streetlight in order to see the screen for a second.   boontobias Avenger Apr 14, 2018 10,144 Dancrane212 said: Edge cover gets it a good amount of cred with me. Consider me curious. Click to expand... Click to shrink... Rebels huh? There goes my interest  8bit Member Oct 27, 2017 5,390 Oh fuck yes, I want one.   pronk Member Oct 26, 2017 2,034 Swery retweeted this, then retweeted a tweet about the Ouya store closing lol Also pretty sure EDGE had an Ouya cover.  Deleted member 2791 User requested account closure Banned Oct 25, 2017 19,054 I like the idea and the hardware execution, but 150 bucks for twelve short games just doesn't cut it.   Brian_FETO The Million Post Man Member Oct 25, 2017 19,825 I think I love this? idk $150 is an investment but like......it's also not that bad? hmm The curious thing is whether future seasons would be downloadable (it does have wifi) or if the intent is to have limited run systems with preset seasons  RoboitoAM Member Oct 25, 2017 3,271 This thing looks stupid.   El Pescado Member Oct 26, 2017 2,042 That thing looks right up my alley. I'm 100% in.  

The Assault class in Star Wars Battlefront 2 is the most common class to use because of their versatility, with Star Cards for boosts and abilities, as well as for the weapons that they hold. The Assault Class in Battlefront 2 has a large selection of weapons, and each of them can be extremely useful when fighting against Rebels, Stormtroopers, Sith, Jedi, and anything in between.

JointForcer: Final Assault 3.2 – DUPLEX adds space battles, capital ships, and real-terrain maps to this free tactical air/naval combat game. Fly over 50 aircraft, command drones, and build missions with full control. New features include strategic ramming, improved physics, massive warships, and true 3D warfare. Play solo or multiplayer – all free. Posted by karolgrodecki on May 18th, 2025 JOINTFORCER: FINAL ASSAULT 3.2 DUPLEX EDITION – OFFICIAL PRESENTATION 1. What Is JOINTFORCER? Welcome to JointForcer: Final Assault 3.2 DUPLEX, an air & naval combat game blending arcade action, tactical planning, and strategic execution. You can play solo or multiplayer, with full mission customization. MULTI/SINGLE PLAYER ARCADE SHOOTER + AIR NAVAL SPACE COMBAT SIM + MISSION SANDBOX If you can't imagine what that means—think of an action RPG, but with airplanes, helicopters, and experimental aircraft. Choose your main weapon, two special abilities (missile pods 1 & 2), radar (like skill range), armor, and structure (self-explanatory). Then jump into a team-based dogfight deathmatch with players or highly customizable AI. From light and agile fighters to heavy bombers with powerful weapons, all the way up to capital vessels capable of spawning their own fleet. 🚨 It’s completely FREE! 🚨 -> DOWNLOAD <- With the latest Titan Mangusta (DUPLEX 3.2) patch – we’re taking the fight into space. Yes, you heard that right: space battles are now part of the experience. For those who prefer more realistic setup, there new desert missions, and something special: maps based on REAL geographical data. There is mini world map, map of United Kingdom, Europe, also Black Sea with Ukraine and Persian Gulf / Middle East maps. 2. Capital Ships – New Gameplay Tier Each faction now has access to a new class of capital ships: REBELS: Heavy Airships EAST: DD-Class Destroyers WEST: BC-Class Battlecruiser These colossal machines are easy targets, but incredibly resilient. They introduce a new kind of gameplay: Strong hull, but easy to hit Capable of dealing massive firepower Great for base assault/defense or command center missions Can RAM smaller ships :))) 3. Aircraft Collision Rework – Smarter Physics Previously, two aircraft crashing into each other in space would cause both to explode. Now: Damage is based on opponent’s hull strength. Small fighters will no longer explode capital ships Large vessels can now strategically ram opponents in close combat Encourages a new level of tactical creativity 4. New Terrain-Based Maps – Earth Gets Real We’re introducing a new map system using real-world geographical data. 🗺️ Maps include: MiniWorld (Europe-centric scaled terrain) Persian Gulf [This is height-map used to create Persian Gulf region. From left upper corner you can recognize characteristic 'shoe' - Italy, then going to centre you will see Middle East region and Suez Canal. ] Suez Canal Other large-scale coastal zones North Poland (including Russian Enclave) Features: No roads or infrastructure — pure terrain and water Ideal for sniping/hunting (large maps) Intense dogfighting (small maps) [this real-map project will be developed further with better quality and more real regions - feel free to suggest your picks!] 5. Over 50 Aircraft to Command We’ve packed the game with a huge selection of aerial machines: Fighters: F-16, F-18, EuroFighter, MiG-29, Su-33, Attack planes: SU-25, A-10 Tank Killer Multirole: SU-30, SU-33 Bombers: 🚨 New: SU-24, B-1B for the WEST [in-game codename Strategic Bomber SB-1 OPPENHEIMER] Frigates, Nuclear bombers, Capital Ships. Multiple 'what-if' experimental vessels, like DD Chrushtchev - EAST Destroyer. Finally you can use space vessels in their 'true' environment and take them into space batlle 6. Reskins, Improvements, & Bug Fixes Visual improvements on several models New effects for capital ship exhaust and heat Bug where drones spawned directly into the host vessel: FIXED Now spawn from rear sections of airships for safe deployment 7. Space Combat Expanded We’ve added multiple space maps, including: Derelict Stations Asteroid Fields Megacity Shells Combat in space is no longer flat. Up, down, left, and right lose all meaning. This is true 3D warfare – prepare for the next level. 8. Arsenal of Destruction Customize your aircraft with a deep and satisfying loadout system: Cannons, bombs, missiles (heat-seekers, dumbfire, ballistic) Radars, countermeasures, defence systems Armor mods and airframe upgrades Adjust for weight, speed, range, and role. 9. Mission Planning – Your Way You control the mission architecture: Factions (EAST / WEST / REBELS) Custom squadrons (Fighter, Bomber, Support) AI difficulty from flying target to combat aces World speed and general hull strength allow to bend rules to your like - from one shot kills to long time air&naval battles Over 25 biomes: Europe Mongolia Indo-China Middle East Oceanic + Island Zones + REALISTIC NEW MISSION MAP PACKS IN POTENTIAL CONFLICT ZONES WITH FUTURISTIC BATTLE BASES 10. Unique Features 🪂 [IMPROVED!] Ejection System Escape mid-flight Fight in escape pod of your choice 🤖 Drones & Support Fighters Light fighters spawn 1–2 UAVs Capital ships can launch up to 16 drones ⚔️ Vertical & Horizontal Combat From sea-skimming interceptors to orbit duels Battles span full vertical space 11. Strategy Meets Accessibility Whether you’re a tactician or a trigger-happy pilot: Quick-play skirmishes Full scenario missions Great for all skill levels 12. New Combat Philosophy – Especially for Rebels REBELS now fight: In open-top hovercraft Blending flesh and metal – ships are grown from biomass Believe their vessels are alive They defend the freedom of: Thought Science Speech Exploration Their strategy? Be like water: “Gutta cavat lapidem non vi, sed saepe cadendo” ("The drop hollows the stone not by force, but by falling often") Use wit, adaptability, and human skill to win. Their capital ships are like beasts. Their pilots ride on top, in suits or gas masks, feeling the air. From the skies of Earth to the void of space – they are the last free people. 🎧 Final Notes & Extras 💻 Official Links: 🛰️ Teasing Future Features/Roadmap: Naval Destroyers and landing crafts Airships Quality Flight Improvement - Adding/Implementing new animations for flight control/immersion Adding flora, grass, trees, etc, - everything has to be considered vs game size and frame rate Fly Free. Burn Bright. Download JointForcer Now.

Star Wars Battlefront 3 needs to have these new features – Reader’s Feature GameCentral Published May 24, 2025 9:00am Star Wars Battlefront 2 – would you like to see another one? (EA) A reader reacts to the sudden popularity of Star Wars Battlefront 2 by making suggestions for how a sequel could improve on it. I enjoyed the recent articles about the best Star Wars games and the iconic TIE Fighter game, which GameCentral did for Star Wars Day recently. I particularly empathised with the bit about not even knowing whether you are a Star Wars fan anymore, given how many poor quality shows and movies there have been. And then, to my surprise, I found myself enjoying a bit of a high with the franchise, thanks to season 2 of Andor and the 20th anniversary of Revenge Of The Sith. Two very different things and you could argue Revenge Of The Sith is not a good movie but it’s weird and funny and entertaining in a way bad Star Wars can be sometimes. Because it’s a strange series, where you have genuinely good things, cheesy but entertaining things, and absolutely terrible things. And that goes for the movies, the shows… and the games. Obviously, that’s what I’m going to try and write about now, because I was inspired by the sudden increase in popularity for Star Wars Battlefront 2, which is being played by more people now (on Steam at least) than when it was released eight years ago. I’m not entirely sure why it blew up like this, but I assume it was because of Star Wars Day and the new releases – and then people just realised that it’s actually a really good game. They probably didn’t know at first because it was caught up in all the controversy over loot boxes, which EA removed, and a lot of the best maps and characters came with the DLC. Even so, it was not a perfect game. As GameCentral pointed out, the gunplay is not great, and while the ship combat is fine it doesn’t integrate into the ground action as well as the old PlayStation 2 game. The hope now is that EA will think about making a third game and apparently a lot of the developers are keen on making it too. Of course, it’s not up to them though, especially not given how expensive a game like this would be. But there’s so much more Star Wars stuff that could go into a new game now, compared to eight years ago, and it wouldn’t have to rely on the awful sequels at all. In fact, I imagine most people would prefer they be left out as much as possible, especially given the upsurge in appreciation for the prequels recently. But other than the six main films I’d like to see more from The Clone Wars and Rebels, as well as The Mandalorian, Ahsoka (she’s barely in the current game, beyond one set of skins), Skeleton Crew, and Andor. You’ll see a lot of fans saying the game should have a 100 maps or whatever, as a reaction to the current game not launching with much content, but that’s just silly. It just needs variety. With all the good stuff we’ve had lately you can go from prequel era sci-fi fantasy, to space pirates, to weird Force temples, to grounded fights on Coruscant, and jetpack battles on Mandalore. All of these shows have brough their own new vehicles and mounts too, so it doesn’t just have to be the same old, and it doesn’t matter if you’ve seen the shows or not because it’s just cool designs at the end of the day. I’d also like to see the ability to travel from the ground to space in one map, which is something that was planned for a cancelled PlayStation 2 game but which we still haven’t seen in the modern day. Basically, I want to see every possible aspect of the mechanical side of Star Wars in one game, from the weapons to the vehicles to the ships. More Trending I’ve nothing against Jedi being in it but I think it’s important that doesn’t over overwhelm. This needs to be the definitive Star Wars combat game and I really hope EA makes it. By reader Gabbo May the Force be with the developers (EA) The reader’s features do not necessarily represent the views of GameCentral or Metro. You can submit your own 500 to 600-word reader feature at any time, which if used will be published in the next appropriate weekend slot. Just contact us at gamecentral@metro.co.uk or use our Submit Stuff page and you won’t need to send an email. 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

PR ManagerCD ProjektWarsaw Masovian Voivodeship pl1 hour agoApplyJob DescriptionCD PROJEKT RED is looking for a creative, and self-reliant PR Manager to take the lead on multiple public relations initiatives. Based at CDPR’s Warsaw hub, you’ll be working on globally recognized brands including The Witcher and Cyberpunk.Daily responsibilitiesManage multiple PR projects simultaneously.Run initiatives driven solely by the PR team as well as cross-functional projects co-developed with departments such as Community Management, Brand Marketing, and Investor Relations.Collaborate with external partners on joint PR opportunities.Maintain and grow CDPR’s relationships with select press and content creators.QualificationsA degree in Communication, Marketing, or a related field – or equivalent work experience.A proven track record of handling public relations in the video game industry.Deep, prosumer-level knowledge of the video game industry and adjacent entertainment sectors.Experience using industry-standard tools for effective brand communication.Strong teamwork skills, a proactive mindset, and the ability to work independently.Professional proficiency in English.Native proficiency in Polish - must have.Nice to have:(Please note that these skills are not required to apply for the position)Willingness to travel internationally.Additional InformationWork mode:Office-First: working from the Warsaw studio in a full office/hybrid mode.Perks & Professional GrowthFlexible working hours — start your workday anytime between 8:00 and 10:00 AM.Trainings, lectures and courses — internal workshops, external training for each employee, ‘Meet a star’ events, knowledge-sharing initiatives, online tutorials, and e-learning classes are all available. There’s always something to learn!REDs have access to the cafeteria platform through which they can receive subscription benefits, additional medical packages or vouchers and codes to shops and cinemas.Merch — gifts for newborn rebels and regular chances to nab some cool swag!A welcome pack filled with goodies — to help you feel right at home once you join the teamHealth & Well-beingPrivate medical healthcare — a selection of medical plans with dental care to choose from, which are also accessible for your partner and relatives.Health checks — tests and vaccinations at the studio as well as professional advice and guidance from a specialist doctor.Psychological care — free mental health support and various well-being webinars.Multisport card — gain access to a wide number of sporting and fitness facilities across the city.Social Activities & Life in the OfficeDog-friendly office — dog owner? Bring your pooch with you and look after them while working! There’s always a furry friend or two to meet at the studio.Social events — we host regular gatherings at the studio where we can all unwind, play games, and just have some fun together.Healthy selections — organic fruit, snacks, muesli, organic honey, vegan milk, and speciality coffee are all at your disposal around the studio. Enjoy!Truly international working environment — a chance to meet and work with a diverse selection of people from all around the world.If you've observed any irregularities in our recruitment process please click here to report them.Company DescriptionTo create revolutionary, story-driven RPGs which go straight to the hearts of gamers — this is our mission. Want to dive deeper into our company’s culture? Explore our social media and check out our YouTube channel where we share behind-the-scenes insights and stories direct from our team members! Create Your Profile — Game companies can contact you with their relevant job openings. Apply

Senior DevOps Software EngineerCD ProjektWarsaw Masovian Voivodeship pl49 seconds agoApplyJob DescriptionWe are looking for a Senior DevOps Software Engineer who will be responsible for developing and adapting our internal tools and systems both in The Witcher 4 and to support projects across the group. You will cover day to day tools development, supporting developer cooperation, observability, continuous integration and delivery, build storage and sharing, and many more.Daily ResponsibilitiesMaintenance and improvement of the CI/CD system (in-house technology).Maintenance and improvement of existing developer services and tools managed by the team.Optimizing pipelines & processes.Improving services and builds performance.Working closely with the development team to integrate new services and processes.Creating and maintaining documentation of the tools and services managed by the team.QualificationsProficient in C# backend development (ASP.NET Core, .NET 6+, primarily .NET 8).5+ years experience in software development in gaming.Experience in Entity Framework, LINQ.Proficient in Python programming.Knowledge of Postgres or other RDBMS.Experience using source control software (Perforce and git).Demonstrated commitment to taking ownership, setting goals, and driving initiatives independently.Proven track record of effective collaboration, supporting colleagues, and achieving shared goals.Ability to adjust to shifting priorities, handle ambiguity, and excel under pressure.Nice to have:Experience as a Manager or Lead.Knowledge of Unreal Engine.Continuous integration concepts, centralized CI, Perforce.Experience in containerization Docker, Kubernetes.Familiarity with AWS.Knowledge of Eleasticsearch/MongoDB is a plus.Knowledge of Active Directory, security concepts, authentication.Additional InformationWorking modeHybrid or full-time in-office in our Warsaw office.Relocation is required.Relocation supportRelocation package – flight ticket, company apartment for your first month, relocating your pet, shipping your belongings: it’s all covered.Relocation assistance — processing your legalization operations for you, assistance with finding residence, tax settlements - all you need to feel right at home is taken care of.Polish lessons for foreign employees — and for your spouse or partner, too.Paid Leave — from 20 to 26 days of holiday for every team member per year, paid sick leave, and paid maternity & paternity leave.Perks & Professional GrowthFlexible working hours — start your workday anytime between 8:00 and 10:00 AM.A welcome pack filled with goodies — to help you feel right at home once you join the team.Trainings, lectures and courses — internal workshops, external training for each employee, ‘Meet a star’ events, knowledge-sharing initiatives, online tutorials, and e-learning classes are all available. There’s always something to learn!Merch — gifts for newborn rebels and regular chances to nab some cool swag!Health & Well-beingPrivate medical healthcare — a selection of medical plans with dental care to choose from, which are also accessible for your partner and relatives.Psychological care — free mental health support and various well-being webinars.Multisport card — gain access to a wide number of sporting and fitness facilities across the city.Social Activities & Life in the OfficeDog-friendly office — dog owner? Bring your pooch with you and look after them while working! There’s always a furry friend or two to meet at the studio.Social events — we host regular gatherings at the studio where we can all unwind, play games, and just have some fun together.Healthy selections — organic fruit, snacks, muesli, organic honey, vegan milk, and speciality coffee are all at your disposal around the studio. Enjoy!Truly international working environment — a chance to meet and work with a diverse selection of people from all around the world.Head office in WarsawSustainable campus with an eco ethos — solar panels provide green energy, 2000 plants and an air-filtering system to help provide clean air, electric car charging points, flower meadows, and more green features in the works.An onsite, well-equipped gym with a climbing wall, daily Gym Assistant support and yoga and healthy spine classes.Car and bike parking spaces.A designated space for your bicycle, as well as bicycle repair equipment and showers available whenever you need them.No dress-code — we like to keep it casual.If you've observed any irregularities in our recruitment process please click here to report them.Company DescriptionTo create revolutionary, story-driven RPGs which go straight to the hearts of gamers — this is our mission. Want to dive deeper into our company’s culture? Explore our social media and check out our YouTube channel where we share behind-the-scenes insights and stories direct from our team members! Create Your Profile — Game companies can contact you with their relevant job openings. Apply