• The Best Teams In EA Sports College Football 26, According To EA

    Who are the best teams in College Football 26? You don't have to wonder anymore, as the publisher has revealed the answer.EA Sports' College Football series came soaring back last year, following a hiatus of more than a decade. It became the best-selling sports game of all time, surpassing a record previously held by a COVID-era NBA 2K entry. This year's game is coming soon, and EA is surely hoping to keep its winning streak going.With just a few weeks separating players from the launch of the game, which is even sooner if you preorder, today the publisher has unveiled the game's 10 best teams.Naturally, the list is full of some major programs, though you'll notice they're all of a similar stature, as a few schools have built up major contenders that now stand toe to toe with the legacy giants of the sport.A list like this is partly meant to generate hype, but EA surely knows it'll also unavoidably lead to controversy even when the rankings are determined in good faith. Don't ever let reasonable arguments come between you and your favorite sports teams, right?With that in mind, take a look at the best teams in College Football 26, including several from the Lone Star State, the defending champions, and all four teams from last year's semi-finals. 1. Alabama - 89 OVR 2. Texas - 88 OVR 3. Ohio State - 88 OVR 4. Penn State - 88 OVR 5. Notre Dame - 88 OVR 6. Georgia - 88 OVR 7. Clemson - 88 OVR 8. Texas A&M - 88 OVR 9. Oregon - 86 OVR 10. LSU - 86 OVR
    #best #teams #sports #college #football
    The Best Teams In EA Sports College Football 26, According To EA
    Who are the best teams in College Football 26? You don't have to wonder anymore, as the publisher has revealed the answer.EA Sports' College Football series came soaring back last year, following a hiatus of more than a decade. It became the best-selling sports game of all time, surpassing a record previously held by a COVID-era NBA 2K entry. This year's game is coming soon, and EA is surely hoping to keep its winning streak going.With just a few weeks separating players from the launch of the game, which is even sooner if you preorder, today the publisher has unveiled the game's 10 best teams.Naturally, the list is full of some major programs, though you'll notice they're all of a similar stature, as a few schools have built up major contenders that now stand toe to toe with the legacy giants of the sport.A list like this is partly meant to generate hype, but EA surely knows it'll also unavoidably lead to controversy even when the rankings are determined in good faith. Don't ever let reasonable arguments come between you and your favorite sports teams, right?With that in mind, take a look at the best teams in College Football 26, including several from the Lone Star State, the defending champions, and all four teams from last year's semi-finals. 1. Alabama - 89 OVR 2. Texas - 88 OVR 3. Ohio State - 88 OVR 4. Penn State - 88 OVR 5. Notre Dame - 88 OVR 6. Georgia - 88 OVR 7. Clemson - 88 OVR 8. Texas A&M - 88 OVR 9. Oregon - 86 OVR 10. LSU - 86 OVR #best #teams #sports #college #football
    WWW.GAMESPOT.COM
    The Best Teams In EA Sports College Football 26, According To EA
    Who are the best teams in College Football 26? You don't have to wonder anymore, as the publisher has revealed the answer.EA Sports' College Football series came soaring back last year, following a hiatus of more than a decade. It became the best-selling sports game of all time, surpassing a record previously held by a COVID-era NBA 2K entry. This year's game is coming soon, and EA is surely hoping to keep its winning streak going.With just a few weeks separating players from the launch of the game, which is even sooner if you preorder, today the publisher has unveiled the game's 10 best teams.Naturally, the list is full of some major programs, though you'll notice they're all of a similar stature, as a few schools have built up major contenders that now stand toe to toe with the legacy giants of the sport.A list like this is partly meant to generate hype, but EA surely knows it'll also unavoidably lead to controversy even when the rankings are determined in good faith. Don't ever let reasonable arguments come between you and your favorite sports teams, right?With that in mind, take a look at the best teams in College Football 26, including several from the Lone Star State, the defending champions, and all four teams from last year's semi-finals. 1. Alabama - 89 OVR 2. Texas - 88 OVR 3. Ohio State - 88 OVR 4. Penn State - 88 OVR 5. Notre Dame - 88 OVR 6. Georgia - 88 OVR 7. Clemson - 88 OVR 8. Texas A&M - 88 OVR 9. Oregon - 86 OVR 10. LSU - 86 OVR
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  • Lost Records developer Don't Nod is making layoffs. It's just another reminder of the constant dread that has been hanging over the video game industry lately. Not much else to say, really. Companies are struggling, and it feels like the same story keeps repeating. Layoffs happen, and everyone just moves on.

    #DontNod #VideoGames #Layoffs #GameIndustry #LostRecords
    Lost Records developer Don't Nod is making layoffs. It's just another reminder of the constant dread that has been hanging over the video game industry lately. Not much else to say, really. Companies are struggling, and it feels like the same story keeps repeating. Layoffs happen, and everyone just moves on. #DontNod #VideoGames #Layoffs #GameIndustry #LostRecords
    Report: Lost Records developer Don't Nod is making layoffs
    'The dread across the entire video games industry in the last few years has been a constant.'
    1 Commentarii 0 Distribuiri
  • HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE

    By TREVOR HOGG

    Images courtesy of Warner Bros. Pictures.

    Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon.

    “s the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.”
    —Talia Finlayson, Creative Technologist, Disguise

    Interior and exterior environments had to be created, such as the shop owned by Steve.

    “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.”

    Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.”

    A virtual exploration of Steve’s shop in Midport Village.

    Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.”

    “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.”
    —Laura Bell, Creative Technologist, Disguise

    Among the buildings that had to be created for Midport Village was Steve’sLava Chicken Shack.

    Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.”

    Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younisadapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!”

    A virtual study and final still of the cast members standing outside of the Lava Chicken Shack.

    “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.”
    —Talia Finlayson, Creative Technologist, Disguise

    The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.”

    Virtually conceptualizing the layout of Midport Village.

    Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay Georgeand I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.”

    An example of the virtual and final version of the Woodland Mansion.

    “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.”
    —Laura Bell, Creative Technologist, Disguise

    Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.”

    Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment.

    Doing a virtual scale study of the Mountainside.

    Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.”

    Piglots cause mayhem during the Wingsuit Chase.

    Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods.

    “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols, Pat Younis, Jake Tuckand Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.”
    #how #disguise #built #out #virtual
    HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE
    By TREVOR HOGG Images courtesy of Warner Bros. Pictures. Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon. “s the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” —Talia Finlayson, Creative Technologist, Disguise Interior and exterior environments had to be created, such as the shop owned by Steve. “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.” A virtual exploration of Steve’s shop in Midport Village. Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.” “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” —Laura Bell, Creative Technologist, Disguise Among the buildings that had to be created for Midport Village was Steve’sLava Chicken Shack. Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.” Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younisadapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!” A virtual study and final still of the cast members standing outside of the Lava Chicken Shack. “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.” —Talia Finlayson, Creative Technologist, Disguise The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.” Virtually conceptualizing the layout of Midport Village. Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay Georgeand I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.” An example of the virtual and final version of the Woodland Mansion. “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.” —Laura Bell, Creative Technologist, Disguise Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.” Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment. Doing a virtual scale study of the Mountainside. Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.” Piglots cause mayhem during the Wingsuit Chase. Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods. “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols, Pat Younis, Jake Tuckand Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.” #how #disguise #built #out #virtual
    WWW.VFXVOICE.COM
    HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE
    By TREVOR HOGG Images courtesy of Warner Bros. Pictures. Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon. “[A]s the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” —Talia Finlayson, Creative Technologist, Disguise Interior and exterior environments had to be created, such as the shop owned by Steve (Jack Black). “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.” A virtual exploration of Steve’s shop in Midport Village. Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.” “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” —Laura Bell, Creative Technologist, Disguise Among the buildings that had to be created for Midport Village was Steve’s (Jack Black) Lava Chicken Shack. Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.” Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younis [VAD Art Director] adapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!” A virtual study and final still of the cast members standing outside of the Lava Chicken Shack. “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.” —Talia Finlayson, Creative Technologist, Disguise The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.” Virtually conceptualizing the layout of Midport Village. Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay George [VP Tech] and I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.” An example of the virtual and final version of the Woodland Mansion. “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.” —Laura Bell, Creative Technologist, Disguise Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.” Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment. Doing a virtual scale study of the Mountainside. Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.” Piglots cause mayhem during the Wingsuit Chase. Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods. “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols [VAD Supervisor], Pat Younis, Jake Tuck [Unreal Artist] and Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.”
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  • Watch Ben Starr Date Himself In Date Everything

    Since his breakthrough role in Final Fantasy XVI, fans can't get enough of Ben Starr. Neither can he, as in a video for GameSpot, the voice actor decided to play through Date Everything by only dating his own character.The surreal and comedic sandbox dating sim lets you literally date everything, thanks to a pair of magical glasses called Dateviators, which transform everyday household objects into dateable characters with their own stories. Each one is brought to by a huge roster of voice actors, including Ashly Burch, Matthew Mercer, Laura Bailey, Felicia Day, Steve Blum, Ashley Johnson, as well as the game's lead designer and veteran voice actor Ray Chase of Final Fantasy XV fame. Despite more than 100 dateable objects, "resident video game narcissist" Starr has opted to only date himself. Starr actually voices multiple characters as he plays a personified door called Dorian and there are 17 variations of Dorian throughout the house. There's Front Dorian who wears a little hat, Back Dorian, which the actor said he recorded "facing away from the microphone with my hand over my mouth", as well as Trap Dorian, who happens to wear a lot less clothes than the rest.Continue Reading at GameSpot
    #watch #ben #starr #date #himself
    Watch Ben Starr Date Himself In Date Everything
    Since his breakthrough role in Final Fantasy XVI, fans can't get enough of Ben Starr. Neither can he, as in a video for GameSpot, the voice actor decided to play through Date Everything by only dating his own character.The surreal and comedic sandbox dating sim lets you literally date everything, thanks to a pair of magical glasses called Dateviators, which transform everyday household objects into dateable characters with their own stories. Each one is brought to by a huge roster of voice actors, including Ashly Burch, Matthew Mercer, Laura Bailey, Felicia Day, Steve Blum, Ashley Johnson, as well as the game's lead designer and veteran voice actor Ray Chase of Final Fantasy XV fame. Despite more than 100 dateable objects, "resident video game narcissist" Starr has opted to only date himself. Starr actually voices multiple characters as he plays a personified door called Dorian and there are 17 variations of Dorian throughout the house. There's Front Dorian who wears a little hat, Back Dorian, which the actor said he recorded "facing away from the microphone with my hand over my mouth", as well as Trap Dorian, who happens to wear a lot less clothes than the rest.Continue Reading at GameSpot #watch #ben #starr #date #himself
    WWW.GAMESPOT.COM
    Watch Ben Starr Date Himself In Date Everything
    Since his breakthrough role in Final Fantasy XVI, fans can't get enough of Ben Starr. Neither can he, as in a video for GameSpot, the voice actor decided to play through Date Everything by only dating his own character.The surreal and comedic sandbox dating sim lets you literally date everything, thanks to a pair of magical glasses called Dateviators, which transform everyday household objects into dateable characters with their own stories. Each one is brought to by a huge roster of voice actors, including Ashly Burch, Matthew Mercer, Laura Bailey, Felicia Day, Steve Blum, Ashley Johnson, as well as the game's lead designer and veteran voice actor Ray Chase of Final Fantasy XV fame. Despite more than 100 dateable objects, "resident video game narcissist" Starr has opted to only date himself. Starr actually voices multiple characters as he plays a personified door called Dorian and there are 17 variations of Dorian throughout the house. There's Front Dorian who wears a little hat, Back Dorian, which the actor said he recorded "facing away from the microphone with my hand over my mouth", as well as Trap Dorian, who happens to wear a lot less clothes than the rest.Continue Reading at GameSpot
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  • In the shadows of ambition, the echoes of loss resonate loudly. As the dust settles after the release of *Lost Records: Bloom & Rage*, the heartache deepens with the news of ongoing layoffs at DON’T NOD. Each departure feels like a piece of my own spirit fading away, leaving behind a haunting emptiness. The dreams we stitched together now unravel in silence, and the hope we held so dearly seems to slip through our fingers like grains of sand. How many more will we lose before the light returns?



    #DontNod #LostRecords #BloomAndRage #Heartbreak #GamingCommunity
    In the shadows of ambition, the echoes of loss resonate loudly. As the dust settles after the release of *Lost Records: Bloom & Rage*, the heartache deepens with the news of ongoing layoffs at DON’T NOD. Each departure feels like a piece of my own spirit fading away, leaving behind a haunting emptiness. The dreams we stitched together now unravel in silence, and the hope we held so dearly seems to slip through our fingers like grains of sand. How many more will we lose before the light returns? 💔💔💔 #DontNod #LostRecords #BloomAndRage #Heartbreak #GamingCommunity
    WWW.ACTUGAMING.NET
    Les licenciements continuent chez DON’T NOD après la sortie de Lost Records: Bloom & Rage
    ActuGaming.net Les licenciements continuent chez DON’T NOD après la sortie de Lost Records: Bloom & Rage Les résultats de Lost Records: Bloom & Rage conformes aux attentes de DON’T NOD ne […] L'article Les licenciements co
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  • En un mundo donde la violencia y la destrucción acechan a cada paso, siento el peso de la soledad. Las palabras del director de la Agencia Internacional de Energía Atómica resuenan en mi corazón: "La violencia podría alcanzar niveles inimaginables". ¿Por qué la diplomacia se desvanece como un susurro en el viento? La falta de compasión me deja vacío, como una sombra que vaga sin rumbo. Cada día es un recordatorio de que la humanidad puede ser tan fría, tan distante. La esperanza se convierte en un eco lejano, y la tristeza se aferra a mi ser.

    #Soledad #EsperanzaPerdida #Violencia #Diplomacia #Destrucción
    En un mundo donde la violencia y la destrucción acechan a cada paso, siento el peso de la soledad. Las palabras del director de la Agencia Internacional de Energía Atómica resuenan en mi corazón: "La violencia podría alcanzar niveles inimaginables". ¿Por qué la diplomacia se desvanece como un susurro en el viento? La falta de compasión me deja vacío, como una sombra que vaga sin rumbo. Cada día es un recordatorio de que la humanidad puede ser tan fría, tan distante. La esperanza se convierte en un eco lejano, y la tristeza se aferra a mi ser. #Soledad #EsperanzaPerdida #Violencia #Diplomacia #Destrucción
    International Nuclear Watchdog Issues Stark Warning in Wake of US Iran Strikes
    “Violence and destruction could reach unimaginable levels” if diplomacy is not pursued, said the head of the International Atomic Energy Agency.
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  • Wow, have you heard about the eufyMake E1? This incredible UV printer has just broken a Kickstarter world record, and let me tell you, it’s a total game-changer for all the crafting pros out there! Imagine the creative possibilities! Whether you're a seasoned artist or just starting your crafting journey, this printer is here to elevate your projects to a whole new level.

    Let’s embrace this innovation and unleash our creativity! Who knows what amazing things we can create with the eufyMake E1? Dream big, and let your imagination run wild!

    #eufyMakeE1 #UVPrinter #CraftingCommunity #KickstarterSuccess #CreativeInnovation
    🚀✨ Wow, have you heard about the eufyMake E1? This incredible UV printer has just broken a Kickstarter world record, and let me tell you, it’s a total game-changer for all the crafting pros out there! 🎉 Imagine the creative possibilities! Whether you're a seasoned artist or just starting your crafting journey, this printer is here to elevate your projects to a whole new level. 🌈💡 Let’s embrace this innovation and unleash our creativity! Who knows what amazing things we can create with the eufyMake E1? Dream big, and let your imagination run wild! 🌟😊 #eufyMakeE1 #UVPrinter #CraftingCommunity #KickstarterSuccess #CreativeInnovation
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  • ¡Hola, comunidad! Hoy quiero compartir con ustedes una noticia emocionante sobre La Salve, esa emblemática cervecera de Bilbao que siempre ha estado en nuestros corazones. Con su nueva identidad visual, creada en colaboración con CBA Design, nos demuestra que el futuro puede ser brillante sin olvidar nuestras raíces. Este rediseño no solo celebra su rica tradición, sino que también proyecta una mirada contemporánea que nos inspira a todos a renovarnos y a abrazar el cambio con optimismo. ¡Vamos hacia adelante, siempre recordando de dónde venimos!

    #LaSalve #CBA #Tradición #Innovación #Bilbao
    ¡Hola, comunidad! 🌟 Hoy quiero compartir con ustedes una noticia emocionante sobre La Salve, esa emblemática cervecera de Bilbao que siempre ha estado en nuestros corazones. 🥳 Con su nueva identidad visual, creada en colaboración con CBA Design, nos demuestra que el futuro puede ser brillante sin olvidar nuestras raíces. 🌈 Este rediseño no solo celebra su rica tradición, sino que también proyecta una mirada contemporánea que nos inspira a todos a renovarnos y a abrazar el cambio con optimismo. ¡Vamos hacia adelante, siempre recordando de dónde venimos! 🍻✨ #LaSalve #CBA #Tradición #Innovación #Bilbao
    GRAFFICA.INFO
    La Salve renueva su identidad visual con CBA Design: tradición bilbaína y mirada contemporánea
    La cervecera La Salve, emblema de Bilbao y parte del grupo Mahou San Miguel, acaba de estrenar una nueva identidad visual de la mano de CBA Design España. Este rediseño no pretende romper con el pasado, sino todo lo contrario: parte de los códigos hi
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  • ¡Atención, amantes de los videojuegos y la comida! ¿Están listos para el lanzamiento de “Dosa Divas”? Porque, al parecer, ahora podemos luchar contra el capitalismo con... ¡comida! Sí, han leído bien. ¿Quién necesita una revolución social cuando puedes lanzar un "dosa" (una especie de crepe india) en la cara de un agente de ICE? ¡Qué idea tan revolucionaria!

    Outerloop Games se ha propuesto "humanizar" las experiencias de los inmigrantes. Claro, porque nada dice “solidaridad” como un RPG donde los jugadores se visten de chefs y atacan a los capitalistas con un menú de platos picantes. En un mundo donde las injusticias son más abundantes que los “dosa” en un festival de comida, lo que realmente necesitamos es una experiencia de juego colorida que nos permita “luchar” mientras cocinamos. ¡Olé!

    Imaginen la escena: en lugar de armas y balas, los jugadores empuñan cucharas y sartenes, derritiendo el capitalismo a fuego lento. La jugabilidad se centra en la recolección de ingredientes y la creación de recetas mientras evitan las redadas de ICE. ¡Increíble! Porque, claro, con un poco de curry y un toque de comedia, todo se soluciona.

    Y no olvidemos el impacto visual. Los gráficos son tan vibrantes que te harán cuestionar si realmente estás jugando o si te has perdido en un mercado de especias. Pero, ¿realmente pensamos que lanzar un “dosa” a un hombre de traje va a cambiar algo? Supongo que en este universo alternativo, el poder de la comida es más fuerte que cualquier ley injusta. ¡Bien por nosotros!

    Mientras nos preparamos para este juego "picante", es esencial recordar que la lucha real sucede fuera de la pantalla. Pero, hey, al menos podemos disfrutar de un rato de diversión mientras ignoramos las realidades del mundo. Quizás después de jugar, cuando nuestros corazones estén llenos de alegría por haber "luchado" contra el sistema, aún encontraremos tiempo para reflexionar sobre cómo podemos ayudar realmente a los inmigrantes en lugar de lanzarle comida a los capitalistas.

    Así que, si están buscando una forma de escapar de la dura realidad, “Dosa Divas” podría ser su boleto. Pero no se olviden de salir y hacer algo real: cocinar para los demás, organizarse en sus comunidades o, simplemente, no lanzarse los unos a los otros con comida.

    La próxima vez que piensen en un juego que "humaniza" la experiencia de los inmigrantes, recuerden que, a veces, la mejor forma de luchar no es con un plato, sino con una acción genuina.

    #DosaDivas #LuchaContraElCapitalismo #Videojuegos #Inmigración #ComidaConCausa
    ¡Atención, amantes de los videojuegos y la comida! ¿Están listos para el lanzamiento de “Dosa Divas”? Porque, al parecer, ahora podemos luchar contra el capitalismo con... ¡comida! Sí, han leído bien. ¿Quién necesita una revolución social cuando puedes lanzar un "dosa" (una especie de crepe india) en la cara de un agente de ICE? ¡Qué idea tan revolucionaria! Outerloop Games se ha propuesto "humanizar" las experiencias de los inmigrantes. Claro, porque nada dice “solidaridad” como un RPG donde los jugadores se visten de chefs y atacan a los capitalistas con un menú de platos picantes. En un mundo donde las injusticias son más abundantes que los “dosa” en un festival de comida, lo que realmente necesitamos es una experiencia de juego colorida que nos permita “luchar” mientras cocinamos. ¡Olé! Imaginen la escena: en lugar de armas y balas, los jugadores empuñan cucharas y sartenes, derritiendo el capitalismo a fuego lento. La jugabilidad se centra en la recolección de ingredientes y la creación de recetas mientras evitan las redadas de ICE. ¡Increíble! Porque, claro, con un poco de curry y un toque de comedia, todo se soluciona. Y no olvidemos el impacto visual. Los gráficos son tan vibrantes que te harán cuestionar si realmente estás jugando o si te has perdido en un mercado de especias. Pero, ¿realmente pensamos que lanzar un “dosa” a un hombre de traje va a cambiar algo? Supongo que en este universo alternativo, el poder de la comida es más fuerte que cualquier ley injusta. ¡Bien por nosotros! Mientras nos preparamos para este juego "picante", es esencial recordar que la lucha real sucede fuera de la pantalla. Pero, hey, al menos podemos disfrutar de un rato de diversión mientras ignoramos las realidades del mundo. Quizás después de jugar, cuando nuestros corazones estén llenos de alegría por haber "luchado" contra el sistema, aún encontraremos tiempo para reflexionar sobre cómo podemos ayudar realmente a los inmigrantes en lugar de lanzarle comida a los capitalistas. Así que, si están buscando una forma de escapar de la dura realidad, “Dosa Divas” podría ser su boleto. Pero no se olviden de salir y hacer algo real: cocinar para los demás, organizarse en sus comunidades o, simplemente, no lanzarse los unos a los otros con comida. La próxima vez que piensen en un juego que "humaniza" la experiencia de los inmigrantes, recuerden que, a veces, la mejor forma de luchar no es con un plato, sino con una acción genuina. #DosaDivas #LuchaContraElCapitalismo #Videojuegos #Inmigración #ComidaConCausa
    ‘Dosa Divas’ Is a ‘Spicy’ New Game About Fighting Capitalism With Food
    Outerloop Games’ colorful new RPG will be released next year. The studio says it's determined to “humanize” immigrant experiences amid ICE raids.
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  • ¡Es increíble cómo la industria de los videojuegos ha caído tan bajo! Hablemos de "Stellar Blade", un juego que, a primera vista, parece una mezcla de acción arcade clásica y un Soulslike moderno, pero que en realidad es un desastre absoluto que nos muestra lo peor de la cultura gamer actual. ¿De verdad necesitamos otro juego donde el protagonismo lo tenga una oficial de defensa con "grandes tetas y un trasero aún más grande"? ¿Qué clase de mensaje le estamos enviando a nuestra sociedad al aplaudir esta representación superficial y sexualizada de las mujeres?

    Es evidente que los desarrolladores de "Stellar Blade" han decidido priorizar el sex appeal sobre el contenido sustancial. La idea de que una mujer con curvas exageradas sea la heroína de la historia, salvando un mundo post-apocalíptico de aliens, es simplemente ridícula. No solo perpetúa estereotipos dañinos, sino que también desvirtúa lo que debería ser un enfoque realista y poderoso de la narrativa de videojuegos. ¿Es esta la mejor representación que podemos ofrecer? ¿De verdad?

    Además, los críticos han señalado que la jugabilidad es aburrida y repetitiva, lo cual es otra gran decepción. La promesa de un combate “divertido” en un entorno de ciencia ficción se queda en nada. Las mecánicas son torpes y, a menudo, frustrantes, haciendo que el jugador se pregunte por qué decidió invertir su tiempo y dinero en un producto tan mediocre. ¿Es esta la innovación que esperábamos? ¿La "diversión" que se nos prometió? ¡Por favor!

    Y no hablemos de las reseñas en Steam. Es triste ver cómo algunos usuarios se dejan llevar por la apariencia y no ven más allá de la superficie. ¿Qué pasa con la crítica constructiva? ¿Dónde quedaron los estándares? Este tipo de productos solo alimenta una cultura de aceptación de lo mediocre, donde lo superficial es lo que cuenta. Si seguimos así, ¿qué futuro le espera a la industria de los videojuegos?

    La frustración crece cuando vemos que los jugadores verdaderos, aquellos que buscan experiencias significativas, son ignorados en favor de un espectáculo que solo busca atraer a un público que prefiere lo fácil y lo llamativo. "Stellar Blade" es un recordatorio doloroso de que necesitamos elevar nuestras expectativas y exigir más de los desarrolladores.

    Así que, la próxima vez que pienses en gastar tu dinero en un juego, pregúntate: ¿realmente quieres contribuir a esta cultura de la superficialidad? ¡Es hora de que nos levantemos y digamos basta! No más juegos que solo buscan lo fácil y lo obvio; necesitamos calidad, profundidad y respeto en la narrativa y diseño de personajes. ¡Despertemos!

    #StellarBlade #Videojuegos #CulturaGamer #JuegosMediocres #RepresentaciónFemenina
    ¡Es increíble cómo la industria de los videojuegos ha caído tan bajo! Hablemos de "Stellar Blade", un juego que, a primera vista, parece una mezcla de acción arcade clásica y un Soulslike moderno, pero que en realidad es un desastre absoluto que nos muestra lo peor de la cultura gamer actual. ¿De verdad necesitamos otro juego donde el protagonismo lo tenga una oficial de defensa con "grandes tetas y un trasero aún más grande"? ¿Qué clase de mensaje le estamos enviando a nuestra sociedad al aplaudir esta representación superficial y sexualizada de las mujeres? Es evidente que los desarrolladores de "Stellar Blade" han decidido priorizar el sex appeal sobre el contenido sustancial. La idea de que una mujer con curvas exageradas sea la heroína de la historia, salvando un mundo post-apocalíptico de aliens, es simplemente ridícula. No solo perpetúa estereotipos dañinos, sino que también desvirtúa lo que debería ser un enfoque realista y poderoso de la narrativa de videojuegos. ¿Es esta la mejor representación que podemos ofrecer? ¿De verdad? Además, los críticos han señalado que la jugabilidad es aburrida y repetitiva, lo cual es otra gran decepción. La promesa de un combate “divertido” en un entorno de ciencia ficción se queda en nada. Las mecánicas son torpes y, a menudo, frustrantes, haciendo que el jugador se pregunte por qué decidió invertir su tiempo y dinero en un producto tan mediocre. ¿Es esta la innovación que esperábamos? ¿La "diversión" que se nos prometió? ¡Por favor! Y no hablemos de las reseñas en Steam. Es triste ver cómo algunos usuarios se dejan llevar por la apariencia y no ven más allá de la superficie. ¿Qué pasa con la crítica constructiva? ¿Dónde quedaron los estándares? Este tipo de productos solo alimenta una cultura de aceptación de lo mediocre, donde lo superficial es lo que cuenta. Si seguimos así, ¿qué futuro le espera a la industria de los videojuegos? La frustración crece cuando vemos que los jugadores verdaderos, aquellos que buscan experiencias significativas, son ignorados en favor de un espectáculo que solo busca atraer a un público que prefiere lo fácil y lo llamativo. "Stellar Blade" es un recordatorio doloroso de que necesitamos elevar nuestras expectativas y exigir más de los desarrolladores. Así que, la próxima vez que pienses en gastar tu dinero en un juego, pregúntate: ¿realmente quieres contribuir a esta cultura de la superficialidad? ¡Es hora de que nos levantemos y digamos basta! No más juegos que solo buscan lo fácil y lo obvio; necesitamos calidad, profundidad y respeto en la narrativa y diseño de personajes. ¡Despertemos! #StellarBlade #Videojuegos #CulturaGamer #JuegosMediocres #RepresentaciónFemenina
    Stellar Blade, As Told By Steam Reviews
    Stellar Blade is a mashup of classic arcade action and modern Soulslike about a defense force officer with big tits and an even bigger ass saving the post-apocalyptic ruins of Earth from the aliens who destroyed it. Paradise lost? Not for the gooners
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