Menu Home News Hardware Gaming Mobile Finance Deals Reviews How To Wccftech Deals The World’s Most Affordable Wi-Fi 7 Router, The TP-Link Archer BE230, Just Got A Whole Lot More Pocket-Friendly On Amazon, With A 26 Percent Discount Bringing The Price Down To Just $89 Omar Sohail • Jun 6, 2025 at 03:37am EDT The majority of Wi-Fi 7 routers continue to be out of reach of most people’s budget, which is expected, as it will take a while before this standard is widely adopted. Fortunately, TP-Link wants these devices to be in every household and office building and has resorted to an aggressive pricing approach to make this possible. Its Archer BE230 is one of the most affordable Wi-Fi 7 routers available at this time, and with Amazon’s latest 26 percent discount, you can become the proud owner of one for just $89. This is the lowest figure that we have seen for the Archer BE230, and it comes loaded with a multitude of technologies designed to amplify your wireless networking experience. With its four antennas, range will be of little to no concern, and this Wi-Fi 7 router is loaded with innovations like Multi-Link Operation (MLO) to increase speeds and reduce latency, along with Multi-RU for enhanced throughput. The Archer BE230 supports dual-band technology and can reach 3.6Gbps of bandwidth, but if you want to adopt a wired connection, you have two 2.5Gbps ports to make this possible. Whether you require the Archer BE230 for your personal use or office space, this Wi-Fi 7 router covers nearly everything. TP-Link has also gone the extra mile and adopted voice commands and an ‘easy to use’ Tether app that is extremely simple to use when setting up your router for the first time. Regarding pricing, the Archer BE230 is currently unmatched, but if you live in a larger area, you would be better off purchasing the higher-end Archer BE550, the company’s more powerful tri-band router that is listed on Amazon for $199.99. Fortunately, you can slash an additional $20 off the price with the included promo code. Get the TP-Link Archer BE230 Wi-Fi 7 router from Amazon - $89 (26 percent off) Get the TP-Link Archer BE550 tri-band Wi-Fi 7 router from Amazon - $199.99 (20 percent off, apply promo code 20BE550 to get an additional $20 off on your purchase) *As a member of the Amazon Associate program, Wccftech may earn a commission from qualifying purchases* Deal of the Day Subscribe to get an everyday digest of the latest technology news in your inbox Follow us on Topics Sections Company Some posts on wccftech.com may contain affiliate links. We are a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com © 2025 WCCF TECH INC. 700 - 401 West Georgia Street, Vancouver, BC, Canada

Last year, China saw a boom in foundation models, the do-everything large language models that underpin the AI revolution. This year, the focus has shifted to AI agents—systems that are less about responding to users’ queries and more about autonomously accomplishing things for them.  There are now a host of Chinese startups building these general-purpose digital tools, which can answer emails, browse the internet to plan vacations, and even design an interactive website. Many of these have emerged in just the last two months, following in the footsteps of Manus—a general AI agent that sparked weeks of social media frenzy for invite codes after its limited-release launch in early March.  These emerging AI agents aren’t large language models themselves. Instead, they’re built on top of them, using a workflow-based structure designed to get things done. A lot of these systems also introduce a different way of interacting with AI. Rather than just chatting back and forth with users, they are optimized for managing and executing multistep tasks—booking flights, managing schedules, conducting research—by using external tools and remembering instructions.  China could take the lead on building these kinds of agents. The country’s tightly integrated app ecosystems, rapid product cycles, and digitally fluent user base could provide a favorable environment for embedding AI into daily life.  For now, its leading AI agent startups are focusing their attention on the global market, because the best Western models don’t operate inside China’s firewalls. But that could change soon: Tech giants like ByteDance and Tencent are preparing their own AI agents that could bake automation directly into their native super-apps, pulling data from their vast ecosystem of programs that dominate many aspects of daily life in the country.  As the race to define what a useful AI agent looks like unfolds, a mix of ambitious startups and entrenched tech giants are now testing how these tools might actually work in practice—and for whom. Set the standard It’s been a whirlwind few months for Manus, which was developed by the Wuhan-based startup Butterfly Effect. The company raised $75 million in a funding round led by the US venture capital firm Benchmark, took the product on an ambitious global roadshow, and hired dozens of new employees.  Even before registration opened to the public in May, Manus had become a reference point for what a broad, consumer‑oriented AI agent should accomplish. Rather than handling narrow chores for businesses, this “general” agent is designed to be able to help with everyday tasks like trip planning, stock comparison, or your kid’s school project.  Unlike previous AI agents, Manus uses a browser-based sandbox that lets users supervise the agent like an intern, watching in real time as it scrolls through web pages, reads articles, or codes actions. It also proactively asks clarifying questions, supports long-term memory that would serve as context for future tasks. "Manus represents a promising product experience for AI agents," says Ang Li, cofounder and CEO of Simular, a startup based in Palo Alto, California, that’s building computer use agents, AI agents that control a virtual computer. “I believe Chinese startups have a huge advantage when it comes to designing consumer products, thanks to cutthroat domestic competition that leads to fast execution and greater attention to product details.” In the case of Manus, the competition is moving fast. Two of the most buzzy follow‑ups, Genspark and Flowith, for example, are already boasting benchmark scores that match or edge past Manus’s.  Genspark, led by former Baidu executives Eric Jing and Kay Zhu, links many small “super agents” through what it calls multi‑component prompting. The agent can switch among several large language models, accepts both images and text, and carries out tasks from making slide decks to placing phone calls. Whereas Manus relies heavily on Browser Use, a popular open-source product that lets agents operate a web browser in a virtual window like a human, Genspark directly integrates with a wide array of tools and APIs. Launched in April, the company says that it already has over 5 million users and over $36 million in yearly revenue. Flowith, the work of a young team that first grabbed public attention in April 2025 at a developer event hosted by the popular social media app Xiaohongshu, takes a different tack. Marketed as an “infinite agent,” it opens on a blank canvas where each question becomes a node on a branching map. Users can backtrack, take new branches, and store results in personal or sharable “knowledge gardens”—a design that feels more like project management software (think Notion) than a typical chat interface. Every inquiry or task builds its own mind-map-like graph, encouraging a more nonlinear and creative interaction with AI. Flowith’s core agent, NEO, runs in the cloud and can perform scheduled tasks like sending emails and compiling files. The founders want the app to be a “knowledge marketbase”, and aims to tap into the social aspect of AI with the aspiration of becoming “the OnlyFans of AI knowledge creators”. What they also share with Manus is the global ambition. Both Genspark and Flowith have stated that their primary focus is the international market. A global address Startups like Manus, Genspark, and Flowith—though founded by Chinese entrepreneurs—could blend seamlessly into the global tech scene and compete effectively abroad. Founders, investors, and analysts that MIT Technology Review has spoken to believe Chinese companies are moving fast, executing well, and quickly coming up with new products.  Money reinforces the pull to launch overseas. Customers there pay more, and there are plenty to go around. “You can price in USD, and with the exchange rate that’s a sevenfold multiplier,” Manus cofounder Xiao Hong quipped on a podcast. “Even if we’re only operating at 10% power because of cultural differences overseas, we’ll still make more than in China.” But creating the same functionality in China is a challenge. Major US AI companies including OpenAI and Anthropic have opted out of mainland China because of geopolitical risks and challenges with regulatory compliance. Their absence initially created a black market as users resorted to VPNs and third-party mirrors to access tools like ChatGPT and Claude. That vacuum has since been filled by a new wave of Chinese chatbots—DeepSeek, Doubao, Kimi—but the appetite for foreign models hasn’t gone away.  Manus, for example, uses Anthropic’s Claude Sonnet—widely considered the top model for agentic tasks. Manus cofounder Zhang Tao has repeatedly praised Claude’s ability to juggle tools, remember contexts, and hold multi‑round conversations—all crucial for turning chatty software into an effective executive assistant. But the company’s use of Sonnet has made its agent functionally unusable inside China without a VPN. If you open Manus from a mainland IP address, you’ll see a notice explaining that the team is “working on integrating Qwen’s model,” a special local version that is built on top of Alibaba’s open-source model.  An engineer overseeing ByteDance’s work on developing an agent, who spoke to MIT Technology Review anonymously to avoid sanction, said that the absence of Claude Sonnet models “limits everything we do in China.” DeepSeek’s open models, he added, still hallucinate too often and lack training on real‑world workflows. Developers we spoke with rank Alibaba’s Qwen series as the best domestic alternative, yet most say that switching to Qwen knocks performance down a notch. Jiaxin Pei, a postdoctoral researcher at Stanford’s Institute for Human‑Centered AI, thinks that gap will close: “Building agentic capabilities in base LLMs has become a key focus for many LLM builders, and once people realize the value of this, it will only be a matter of time." For now, Manus is doubling down on audiences it can already serve. In a written response, the company said its “primary focus is overseas expansion,” noting that new offices in San Francisco, Singapore, and Tokyo have opened in the past month. A super‑app approach Although the concept of AI agents is still relatively new, the consumer-facing AI app market in China is already crowded with major tech players. DeepSeek remains the most widely used, while ByteDance’s Doubao and Moonshot’s Kimi have also become household names. However, most of these apps are still optimized for chat and entertainment rather than task execution. This gap in the local market has pushed China’s big tech firms to roll out their own user-facing agents, though early versions remain uneven in quality and rough around the edges.  ByteDance is testing Coze Space, an AI agent based on its own Doubao model family that lets users toggle between “plan” and “execute” modes, so they can either directly guide the agent’s actions or step back and watch it work autonomously. It connects up to 14 popular apps, including GitHub, Notion, and the company’s own Lark office suite. Early reviews say the tool can feel clunky and has a high failure rate, but it clearly aims to match what Manus offers. Meanwhile, Zhipu AI has released a free agent called AutoGLM Rumination, built on its proprietary ChatGLM models. Shanghai‑based Minimax has launched Minimax Agent. Both products look almost identical to Manus and demo basic tasks such as building a simple website, planning a trip, making a small Flash game, or running quick data analysis. Despite the limited usability of most general AI agents launched within China, big companies have plans to change that. During a May 15 earnings call, Tencent president Liu Zhiping teased an agent that would weave automation directly into China’s most ubiquitous app, WeChat.  Considered the original super-app, WeChat already handles messaging, mobile payments, news, and millions of mini‑programs that act like embedded apps. These programs give Tencent, its developer, access to data from millions of services that pervade everyday life in China, an advantage most competitors can only envy. Historically, China’s consumer internet has splintered into competing walled gardens—share a Taobao link in WeChat and it resolves as plaintext, not a preview card. Unlike the more interoperable Western internet, China’s tech giants have long resisted integration with one another, choosing to wage platform war at the expense of a seamless user experience. But the use of mini‑programs has given WeChat unprecedented reach across services that once resisted interoperability, from gym bookings to grocery orders. An agent able to roam that ecosystem could bypass the integration headaches dogging independent startups. Alibaba, the e-commerce giant behind the Qwen model series, has been a front-runner in China's AI race but has been slower to release consumer-facing products. Even though Qwen was the most downloaded open-source model on Hugging Face in 2024, it didn’t power a dedicated chatbot app until early 2025. In March, Alibaba rebranded its cloud storage and search app Quark into an all-in-one AI search tool. By June, Quark had introduced DeepResearch—a new mode that marks its most agent-like effort to date.  ByteDance and Alibaba did not reply to MIT Technology Review’s request for comments. “Historically, Chinese tech products tend to pursue the all-in-one, super-app approach, and the latest Chinese AI agents reflect just that,” says Li of Simular, who previously worked at Google DeepMind on AI-enabled work automation. “In contrast, AI agents in the US are more focused on serving specific verticals.” Pei, the researcher at Stanford, says that existing tech giants could have a huge advantage in bringing the vision of general AI agents to life—especially those with built-in integration across services. “The customer-facing AI agent market is still very early, with tons of problems like authentication and liability,” he says. “But companies that already operate across a wide range of services have a natural advantage in deploying agents at scale.”

House in Palm Springs | © Sydney Turturro via Unsplash Moving from an apartment to a house is a major life milestone. It usually means more space, more responsibility, and more freedom. But unless you plan it right, it can also come with more stress.  Whether upgrading to accommodate a growing family or simply looking for more room to breathe, here are five essential steps to help you move from an apartment to a house confidently and easily. 1. Start with a Clear Plan and Timeline One of the most common mistakes people make when moving from an apartment to a house is underestimating how long it takes. It’s not just about packing up your belongings; it’s about handling logistics, paperwork, and scheduling around daily life.  As soon as you know your moving date, create a moving checklist.  Outline what needs to be done weekly: notifying your landlord, scheduling the elevator if you’re in a high-rise, collecting packing materials, and booking your moving company. Planning ahead helps you avoid last-minute stress and unexpected costs. If possible, give yourself at least 6–8 weeks. That gives you enough time to declutter, coordinate with service providers, and ensure you’re fully prepared for move-in day. The earlier you start, the smoother everything flows. Hiring professional movers early in the process can also secure your preferred date and provide access to helpful services, such as packing, storage, or specialized transportation. With everything scheduled well in advance, you’ll have the peace of mind needed to focus on your new adventure. 2. Downsize Before You Upsize It may sound counterintuitive, but moving to a bigger space doesn’t mean you should bring everything with you.  Over time, we accumulate furniture, clothes, gadgets, and kitchen tools that serve little purpose. And in a small apartment, many of these items might have been crammed into closets or storage bins and forgotten altogether.  Now’s the perfect time to declutter and lighten the load before the move. Start by walking through your apartment and taking stock of everything. Ask yourself what truly adds value to your life and what’s just taking up space. If you haven’t used something in over a year, it’s probably safe to let it go. You can donate, sell, or recycle items as needed. A good rule of thumb is to be ruthless. A cleaner move means a cleaner start in your new home. By purging the excess, you’ll reduce moving costs and arrive at your new house with a fresh mindset. There’s no sense in transporting items you no longer want or need. Instead, you’ll be able to unpack more quickly and enjoy your new space without clutter. 3. Prepare for a Different Kind of Space Living in a house is very different from apartment life. The layout, square footage, and storage options all change, which means your furniture and lifestyle habits may also need to adapt. That cozy loveseat that fits perfectly in your apartment living room might look dwarfed in a larger house.  Before moving, visit the house if possible and take room measurements.  Consider creating a rough floor plan to determine where each piece of furniture will fit. This not only helps your local movers place items on move-in day, but it also ensures you don’t waste time and energy relocating things that won’t work in the new space. Apps and online tools can help you visualize your layout ahead of time. Beyond furniture, also think about what your new home may need.  Will you have a backyard that needs maintenance? A garage that requires storage shelving? An extra guest room or home office that needs furnishing?  While you don’t have to buy everything at once, it’s smart to budget for future purchases so you can comfortably and intentionally grow into your home. 4. Handle Utilities, Address Changes, and Logistics © Peter Thomas via Unsplash © Mitch via Unsplash Unlike apartments, where utilities may be partially covered or managed by the landlord, houses typically require you to set up and manage everything yourself.  This includes electricity, water, gas, internet, trash collection, and sometimes even lawn care services. Don’t wait until the last minute; contact providers at least a week before your move to schedule installation or transfers. At the same time, update your address with your bank, subscription services, and relevant government agencies. This helps ensure you continue to receive important mail and prevents service disruptions. If you’re moving within the same city, this can be fairly straightforward. If you’re moving to a different region or province, however, make sure you check for local utility providers and regional services. Elevator bookings and parking permits are other key details to address, especially when moving out of an apartment in a busy area.  Confirm all building rules and moving hours in advance, and inform your movers so they can plan accordingly. Clear communication on these details makes the moving day smoother for everyone involved. 5. Rely on a Trusted Moving Partner Perhaps the most important step in this process is choosing the right moving company.  Apartment-to-house moves require experience, careful coordination, and physical effort, especially when dealing with tight stairwells, narrow hallways, or long distances from the apartment to the truck.  A professional moving team can handle the logistics efficiently while protecting your belongings from damage. Instead of doing it all yourself, you can count on us to carry the load literally. We bring the right equipment, vehicles, and muscle, so you don’t have to worry about heavy lifting or unexpected delays. More importantly, we offer peace of mind during an exciting and overwhelming time. A good moving experience sets the tone for your new chapter. Let us help make that transition smooth, stress-free, and even enjoyable. Final Word Moving from an apartment to a house is more than just a physical shift; it’s a lifestyle change. With the right planning, thoughtful decisions, and support from experienced movers, you can make the process simple and even fun. Whether it’s your first home or your dream upgrade, we’re here to guide you every step of the way. Frequently Asked Questions  1. How far in advance should I book a moving company when moving from an apartment to a house? We recommend booking your moving company at least 4–6 weeks in advance, especially during peak moving seasons (spring and summer). This gives you the best chance to secure your preferred date and time while also allowing time for proper planning, packing, and coordination with building management if needed. 2. What’s the best way to downsize before moving into a house? Even though you’re moving to a larger space, it’s wise to declutter before your move. Sort items by category, keep, donate, sell, or discard, and be honest about what you actually use. Unused furniture, duplicate kitchenware, and old clothes often don’t need to make the move. A lighter load means a faster, more affordable, and more organized transition. 3. Will all my apartment furniture fit properly in a house?  Some furniture from a compact apartment may not always feel too small or awkward in a larger home. We recommend measuring key pieces and comparing them with the dimensions of the new space before moving. Our team can help you decide what’s worth moving and even assist with layout planning to ensure everything fits where it should. 4. What should I do about utilities when moving into a house?  Unlike apartment living, homeowners are responsible for setting up all their utilities individually. Be sure to contact providers for electricity, water, internet, gas, and waste collection at least a week before your move. Scheduling ahead ensures your new home is move-in ready, and you won’t experience any service interruptions. 5. Do I need professional movers for a short move from an apartment to a house? Even if you’re moving just a few blocks, a professional moving team makes the process faster, safer, and far less stressful. We handle the heavy lifting, stairs, tight corners, and transportation logistics, so you don’t have to. Our experience ensures that your belongings arrive safely, regardless of the distance. GuidesTips by ArchEyes Team Leave a comment

When we first got confirmation of this week’s State of Play, Sony’s official description provided little to go on. PlayStation’s first-party output is quite slim this year, but some of us expected the company’s biggest game in 2025 - Ghost of Yotei - to make some sort of appearance. Read more

Last year, China saw a boom in foundation models, the do-everything large language models that underpin the AI revolution. This year, the focus has shifted to AI agents—systems that are less about responding to users’ queries and more about autonomously accomplishing things for them.  There are now a host of Chinese startups building these general-purpose digital tools, which can answer emails, browse the internet to plan vacations, and even design an interactive website. Many of these have emerged in just the last two months, following in the footsteps of Manus—a general AI agent that sparked weeks of social media frenzy for invite codes after its limited-release launch in early March.  These emerging AI agents aren’t large language models themselves. Instead, they’re built on top of them, using a workflow-based structure designed to get things done. A lot of these systems also introduce a different way of interacting with AI. Rather than just chatting back and forth with users, they are optimized for managing and executing multistep tasks—booking flights, managing schedules, conducting research—by using external tools and remembering instructions.  China could take the lead on building these kinds of agents. The country’s tightly integrated app ecosystems, rapid product cycles, and digitally fluent user base could provide a favorable environment for embedding AI into daily life.  For now, its leading AI agent startups are focusing their attention on the global market, because the best Western models don’t operate inside China’s firewalls. But that could change soon: Tech giants like ByteDance and Tencent are preparing their own AI agents that could bake automation directly into their native super-apps, pulling data from their vast ecosystem of programs that dominate many aspects of daily life in the country.  As the race to define what a useful AI agent looks like unfolds, a mix of ambitious startups and entrenched tech giants are now testing how these tools might actually work in practice—and for whom. Set the standard It’s been a whirlwind few months for Manus, which was developed by the Wuhan-based startup Butterfly Effect. The company raised $75 million in a funding round led by the US venture capital firm Benchmark, took the product on an ambitious global roadshow, and hired dozens of new employees.  Even before registration opened to the public in May, Manus had become a reference point for what a broad, consumer‑oriented AI agent should accomplish. Rather than handling narrow chores for businesses, this “general” agent is designed to be able to help with everyday tasks like trip planning, stock comparison, or your kid’s school project.  Unlike previous AI agents, Manus uses a browser-based sandbox that lets users supervise the agent like an intern, watching in real time as it scrolls through web pages, reads articles, or codes actions. It also proactively asks clarifying questions, supports long-term memory that would serve as context for future tasks. "Manus represents a promising product experience for AI agents," says Ang Li, cofounder and CEO of Simular, a startup based in Palo Alto, California, that’s building computer use agents, AI agents that control a virtual computer. “I believe Chinese startups have a huge advantage when it comes to designing consumer products, thanks to cutthroat domestic competition that leads to fast execution and greater attention to product details.” In the case of Manus, the competition is moving fast. Two of the most buzzy follow‑ups, Genspark and Flowith, for example, are already boasting benchmark scores that match or edge past Manus’s.  Genspark, led by former Baidu executives Eric Jing and Kay Zhu, links many small “super agents” through what it calls multi‑component prompting. The agent can switch among several large language models, accepts both images and text, and carries out tasks from making slide decks to placing phone calls. Whereas Manus relies heavily on Browser Use, a popular open-source product that lets agents operate a web browser in a virtual window like a human, Genspark directly integrates with a wide array of tools and APIs. Launched in April, the company says that it already has over 5 million users and over $36 million in yearly revenue. Flowith, the work of a young team that first grabbed public attention in April 2025 at a developer event hosted by the popular social media app Xiaohongshu, takes a different tack. Marketed as an “infinite agent,” it opens on a blank canvas where each question becomes a node on a branching map. Users can backtrack, take new branches, and store results in personal or sharable “knowledge gardens”—a design that feels more like project management software (think Notion) than a typical chat interface. Every inquiry or task builds its own mind-map-like graph, encouraging a more nonlinear and creative interaction with AI. Flowith’s core agent, NEO, runs in the cloud and can perform scheduled tasks like sending emails and compiling files. The founders want the app to be a “knowledge marketbase”, and aims to tap into the social aspect of AI with the aspiration of becoming “the OnlyFans of AI knowledge creators”. What they also share with Manus is the global ambition. Both Genspark and Flowith have stated that their primary focus is the international market. A global address Startups like Manus, Genspark, and Flowith—though founded by Chinese entrepreneurs—could blend seamlessly into the global tech scene and compete effectively abroad. Founders, investors, and analysts that MIT Technology Review has spoken to believe Chinese companies are moving fast, executing well, and quickly coming up with new products.  Money reinforces the pull to launch overseas. Customers there pay more, and there are plenty to go around. “You can price in USD, and with the exchange rate that’s a sevenfold multiplier,” Manus cofounder Xiao Hong quipped on a podcast. “Even if we’re only operating at 10% power because of cultural differences overseas, we’ll still make more than in China.” But creating the same functionality in China is a challenge. Major US AI companies including OpenAI and Anthropic have opted out of mainland China because of geopolitical risks and challenges with regulatory compliance. Their absence initially created a black market as users resorted to VPNs and third-party mirrors to access tools like ChatGPT and Claude. That vacuum has since been filled by a new wave of Chinese chatbots—DeepSeek, Doubao, Kimi—but the appetite for foreign models hasn’t gone away.  Manus, for example, uses Anthropic’s Claude Sonnet—widely considered the top model for agentic tasks. Manus cofounder Zhang Tao has repeatedly praised Claude’s ability to juggle tools, remember contexts, and hold multi‑round conversations—all crucial for turning chatty software into an effective executive assistant. But the company’s use of Sonnet has made its agent functionally unusable inside China without a VPN. If you open Manus from a mainland IP address, you’ll see a notice explaining that the team is “working on integrating Qwen’s model,” a special local version that is built on top of Alibaba’s open-source model.  An engineer overseeing ByteDance’s work on developing an agent, who spoke to MIT Technology Review anonymously to avoid sanction, said that the absence of Claude Sonnet models “limits everything we do in China.” DeepSeek’s open models, he added, still hallucinate too often and lack training on real‑world workflows. Developers we spoke with rank Alibaba’s Qwen series as the best domestic alternative, yet most say that switching to Qwen knocks performance down a notch. Jiaxin Pei, a postdoctoral researcher at Stanford’s Institute for Human‑Centered AI, thinks that gap will close: “Building agentic capabilities in base LLMs has become a key focus for many LLM builders, and once people realize the value of this, it will only be a matter of time." For now, Manus is doubling down on audiences it can already serve. In a written response, the company said its “primary focus is overseas expansion,” noting that new offices in San Francisco, Singapore, and Tokyo have opened in the past month. A super‑app approach Although the concept of AI agents is still relatively new, the consumer-facing AI app market in China is already crowded with major tech players. DeepSeek remains the most widely used, while ByteDance’s Doubao and Moonshot’s Kimi have also become household names. However, most of these apps are still optimized for chat and entertainment rather than task execution. This gap in the local market has pushed China’s big tech firms to roll out their own user-facing agents, though early versions remain uneven in quality and rough around the edges.  ByteDance is testing Coze Space, an AI agent based on its own Doubao model family that lets users toggle between “plan” and “execute” modes, so they can either directly guide the agent’s actions or step back and watch it work autonomously. It connects up to 14 popular apps, including GitHub, Notion, and the company’s own Lark office suite. Early reviews say the tool can feel clunky and has a high failure rate, but it clearly aims to match what Manus offers. Meanwhile, Zhipu AI has released a free agent called AutoGLM Rumination, built on its proprietary ChatGLM models. Shanghai‑based Minimax has launched Minimax Agent. Both products look almost identical to Manus and demo basic tasks such as building a simple website, planning a trip, making a small Flash game, or running quick data analysis. Despite the limited usability of most general AI agents launched within China, big companies have plans to change that. During a May 15 earnings call, Tencent president Liu Zhiping teased an agent that would weave automation directly into China’s most ubiquitous app, WeChat.  Considered the original super-app, WeChat already handles messaging, mobile payments, news, and millions of mini‑programs that act like embedded apps. These programs give Tencent, its developer, access to data from millions of services that pervade everyday life in China, an advantage most competitors can only envy. Historically, China’s consumer internet has splintered into competing walled gardens—share a Taobao link in WeChat and it resolves as plaintext, not a preview card. Unlike the more interoperable Western internet, China’s tech giants have long resisted integration with one another, choosing to wage platform war at the expense of a seamless user experience. But the use of mini‑programs has given WeChat unprecedented reach across services that once resisted interoperability, from gym bookings to grocery orders. An agent able to roam that ecosystem could bypass the integration headaches dogging independent startups. Alibaba, the e-commerce giant behind the Qwen model series, has been a front-runner in China's AI race but has been slower to release consumer-facing products. Even though Qwen was the most downloaded open-source model on Hugging Face in 2024, it didn’t power a dedicated chatbot app until early 2025. In March, Alibaba rebranded its cloud storage and search app Quark into an all-in-one AI search tool. By June, Quark had introduced DeepResearch—a new mode that marks its most agent-like effort to date.  ByteDance and Alibaba did not reply to MIT Technology Review’s request for comments. “Historically, Chinese tech products tend to pursue the all-in-one, super-app approach, and the latest Chinese AI agents reflect just that,” says Li of Simular, who previously worked at Google DeepMind on AI-enabled work automation. “In contrast, AI agents in the US are more focused on serving specific verticals.” Pei, the researcher at Stanford, says that existing tech giants could have a huge advantage in bringing the vision of general AI agents to life—especially those with built-in integration across services. “The customer-facing AI agent market is still very early, with tons of problems like authentication and liability,” he says. “But companies that already operate across a wide range of services have a natural advantage in deploying agents at scale.”

Last year, China saw a boom in foundation models, the do-everything large language models that underpin the AI revolution. This year, the focus has shifted to AI agents—systems that are less about responding to users’ queries and more about autonomously accomplishing things for them.  There are now a host of Chinese startups building these general-purpose digital tools, which can answer emails, browse the internet to plan vacations, and even design an interactive website. Many of these have emerged in just the last two months, following in the footsteps of Manus—a general AI agent that sparked weeks of social media frenzy for invite codes after its limited-release launch in early March.  These emerging AI agents aren’t large language models themselves. Instead, they’re built on top of them, using a workflow-based structure designed to get things done. A lot of these systems also introduce a different way of interacting with AI. Rather than just chatting back and forth with users, they are optimized for managing and executing multistep tasks—booking flights, managing schedules, conducting research—by using external tools and remembering instructions.  China could take the lead on building these kinds of agents. The country’s tightly integrated app ecosystems, rapid product cycles, and digitally fluent user base could provide a favorable environment for embedding AI into daily life.  For now, its leading AI agent startups are focusing their attention on the global market, because the best Western models don’t operate inside China’s firewalls. But that could change soon: Tech giants like ByteDance and Tencent are preparing their own AI agents that could bake automation directly into their native super-apps, pulling data from their vast ecosystem of programs that dominate many aspects of daily life in the country.  As the race to define what a useful AI agent looks like unfolds, a mix of ambitious startups and entrenched tech giants are now testing how these tools might actually work in practice—and for whom. Set the standard It’s been a whirlwind few months for Manus, which was developed by the Wuhan-based startup Butterfly Effect. The company raised $75 million in a funding round led by the US venture capital firm Benchmark, took the product on an ambitious global roadshow, and hired dozens of new employees.  Even before registration opened to the public in May, Manus had become a reference point for what a broad, consumer‑oriented AI agent should accomplish. Rather than handling narrow chores for businesses, this “general” agent is designed to be able to help with everyday tasks like trip planning, stock comparison, or your kid’s school project.  Unlike previous AI agents, Manus uses a browser-based sandbox that lets users supervise the agent like an intern, watching in real time as it scrolls through web pages, reads articles, or codes actions. It also proactively asks clarifying questions, supports long-term memory that would serve as context for future tasks. “Manus represents a promising product experience for AI agents,” says Ang Li, cofounder and CEO of Simular, a startup based in Palo Alto, California, that’s building computer use agents, AI agents that control a virtual computer. “I believe Chinese startups have a huge advantage when it comes to designing consumer products, thanks to cutthroat domestic competition that leads to fast execution and greater attention to product details.” In the case of Manus, the competition is moving fast. Two of the most buzzy follow‑ups, Genspark and Flowith, for example, are already boasting benchmark scores that match or edge past Manus’s.  Genspark, led by former Baidu executives Eric Jing and Kay Zhu, links many small “super agents” through what it calls multi‑component prompting. The agent can switch among several large language models, accepts both images and text, and carries out tasks from making slide decks to placing phone calls. Whereas Manus relies heavily on Browser Use, a popular open-source product that lets agents operate a web browser in a virtual window like a human, Genspark directly integrates with a wide array of tools and APIs. Launched in April, the company says that it already has over 5 million users and over $36 million in yearly revenue. Flowith, the work of a young team that first grabbed public attention in April 2025 at a developer event hosted by the popular social media app Xiaohongshu, takes a different tack. Marketed as an “infinite agent,” it opens on a blank canvas where each question becomes a node on a branching map. Users can backtrack, take new branches, and store results in personal or sharable “knowledge gardens”—a design that feels more like project management software (think Notion) than a typical chat interface. Every inquiry or task builds its own mind-map-like graph, encouraging a more nonlinear and creative interaction with AI. Flowith’s core agent, NEO, runs in the cloud and can perform scheduled tasks like sending emails and compiling files. The founders want the app to be a “knowledge marketbase”, and aims to tap into the social aspect of AI with the aspiration of becoming “the OnlyFans of AI knowledge creators”. What they also share with Manus is the global ambition. Both Genspark and Flowith have stated that their primary focus is the international market. A global address Startups like Manus, Genspark, and Flowith—though founded by Chinese entrepreneurs—could blend seamlessly into the global tech scene and compete effectively abroad. Founders, investors, and analysts that MIT Technology Review has spoken to believe Chinese companies are moving fast, executing well, and quickly coming up with new products.  Money reinforces the pull to launch overseas. Customers there pay more, and there are plenty to go around. “You can price in USD, and with the exchange rate that’s a sevenfold multiplier,” Manus cofounder Xiao Hong quipped on a podcast. “Even if we’re only operating at 10% power because of cultural differences overseas, we’ll still make more than in China.” But creating the same functionality in China is a challenge. Major US AI companies including OpenAI and Anthropic have opted out of mainland China because of geopolitical risks and challenges with regulatory compliance. Their absence initially created a black market as users resorted to VPNs and third-party mirrors to access tools like ChatGPT and Claude. That vacuum has since been filled by a new wave of Chinese chatbots—DeepSeek, Doubao, Kimi—but the appetite for foreign models hasn’t gone away.  Manus, for example, uses Anthropic’s Claude Sonnet—widely considered the top model for agentic tasks. Manus cofounder Zhang Tao has repeatedly praised Claude’s ability to juggle tools, remember contexts, and hold multi‑round conversations—all crucial for turning chatty software into an effective executive assistant. But the company’s use of Sonnet has made its agent functionally unusable inside China without a VPN. If you open Manus from a mainland IP address, you’ll see a notice explaining that the team is “working on integrating Qwen’s model,” a special local version that is built on top of Alibaba’s open-source model.  An engineer overseeing ByteDance’s work on developing an agent, who spoke to MIT Technology Review anonymously to avoid sanction, said that the absence of Claude Sonnet models “limits everything we do in China.” DeepSeek’s open models, he added, still hallucinate too often and lack training on real‑world workflows. Developers we spoke with rank Alibaba’s Qwen series as the best domestic alternative, yet most say that switching to Qwen knocks performance down a notch. Jiaxin Pei, a postdoctoral researcher at Stanford’s Institute for Human‑Centered AI, thinks that gap will close: “Building agentic capabilities in base LLMs has become a key focus for many LLM builders, and once people realize the value of this, it will only be a matter of time.” For now, Manus is doubling down on audiences it can already serve. In a written response, the company said its “primary focus is overseas expansion,” noting that new offices in San Francisco, Singapore, and Tokyo have opened in the past month. A super‑app approach Although the concept of AI agents is still relatively new, the consumer-facing AI app market in China is already crowded with major tech players. DeepSeek remains the most widely used, while ByteDance’s Doubao and Moonshot’s Kimi have also become household names. However, most of these apps are still optimized for chat and entertainment rather than task execution. This gap in the local market has pushed China’s big tech firms to roll out their own user-facing agents, though early versions remain uneven in quality and rough around the edges.  ByteDance is testing Coze Space, an AI agent based on its own Doubao model family that lets users toggle between “plan” and “execute” modes, so they can either directly guide the agent’s actions or step back and watch it work autonomously. It connects up to 14 popular apps, including GitHub, Notion, and the company’s own Lark office suite. Early reviews say the tool can feel clunky and has a high failure rate, but it clearly aims to match what Manus offers. Meanwhile, Zhipu AI has released a free agent called AutoGLM Rumination, built on its proprietary ChatGLM models. Shanghai‑based Minimax has launched Minimax Agent. Both products look almost identical to Manus and demo basic tasks such as building a simple website, planning a trip, making a small Flash game, or running quick data analysis. Despite the limited usability of most general AI agents launched within China, big companies have plans to change that. During a May 15 earnings call, Tencent president Liu Zhiping teased an agent that would weave automation directly into China’s most ubiquitous app, WeChat.  Considered the original super-app, WeChat already handles messaging, mobile payments, news, and millions of mini‑programs that act like embedded apps. These programs give Tencent, its developer, access to data from millions of services that pervade everyday life in China, an advantage most competitors can only envy. Historically, China’s consumer internet has splintered into competing walled gardens—share a Taobao link in WeChat and it resolves as plaintext, not a preview card. Unlike the more interoperable Western internet, China’s tech giants have long resisted integration with one another, choosing to wage platform war at the expense of a seamless user experience. But the use of mini‑programs has given WeChat unprecedented reach across services that once resisted interoperability, from gym bookings to grocery orders. An agent able to roam that ecosystem could bypass the integration headaches dogging independent startups. Alibaba, the e-commerce giant behind the Qwen model series, has been a front-runner in China’s AI race but has been slower to release consumer-facing products. Even though Qwen was the most downloaded open-source model on Hugging Face in 2024, it didn’t power a dedicated chatbot app until early 2025. In March, Alibaba rebranded its cloud storage and search app Quark into an all-in-one AI search tool. By June, Quark had introduced DeepResearch—a new mode that marks its most agent-like effort to date.  ByteDance and Alibaba did not reply to MIT Technology Review’s request for comments. “Historically, Chinese tech products tend to pursue the all-in-one, super-app approach, and the latest Chinese AI agents reflect just that,” says Li of Simular, who previously worked at Google DeepMind on AI-enabled work automation. “In contrast, AI agents in the US are more focused on serving specific verticals.” Pei, the researcher at Stanford, says that existing tech giants could have a huge advantage in bringing the vision of general AI agents to life—especially those with built-in integration across services. “The customer-facing AI agent market is still very early, with tons of problems like authentication and liability,” he says. “But companies that already operate across a wide range of services have a natural advantage in deploying agents at scale.”

The wait is almost over – Nintendo’s Switch 2 officially ships starting today, and the gaming community is electrified with anticipation. With its announcement sending shockwaves through the industry, the Switch 2 promises upgraded hardware, enhanced graphics, and a fresh wave of exclusive titles that have fans and newcomers alike counting down the hours. Social media and gaming forums are buzzing with unboxing plans, early impressions from pre-release units, and speculation about which features will define this next generation of hybrid gameplay. As any veteran Switch owner knows, the right accessories can dramatically enhance the gaming experience, and the Switch 2 is no exception. Whether it’s for extended play sessions at home, on-the-go protection, or boosting multiplayer fun, accessories are the unsung heroes that maximize the console’s potential. From ergonomic thumb grips and bumper cases to game-cartridge-holders, a well-equipped setup can make all the difference – and JSAUX seems to have everything sorted. Designer: JSAUX 1. JSAUX Carrying Case for Nintendo Switch 2 No one wants to risk their brand-new Switch 2 rattling around in a flimsy pouch. JSAUX’s Carrying Case ditches the generic for a custom-molded fit, wrapping your console in thick, dual-layer EVA hard-shell that shrugs off drops and shields against everyday scuffs. The plush microfiber lining is a small luxury, keeping your screen pristine even after you inevitably toss the case into a crowded backpack. There’s room for everything you actually need: 15 game card slots, a mesh pocket for cables and earbuds, and enough space for your Switch 2 with its own protective case attached. JSAUX nails the details with a smooth dual zipper, a Velcro strap to keep your console locked in place, and an adjustable stand that turns any table into a mobile gaming station. Whether you’re heading out for a weekend or just want to keep your gear tidy at home, the comfortable handle and detachable shoulder strap make carrying a breeze. It’s protection, organization, and a flex of practicality, without the bulk. Why We Recommend It This is the Switch 2 case for real-world gamers – the ones who actually take their console outside, swap cartridges in weird places, and need gear that isn’t just stylish, but built for chaos. The customizable storage and soft-but-tough protection mean your Switch 2 and accessories survive every bump, drop, or accidental coffee spill. It’s the kind of case that lets you focus on the game, not what’s happening to your hardware. Click Here to Buy Now: $14.39 $21.99 (34% off, use coupon code “JSSWITCH2”). This code can be stacked with existing product deals or discounts. Hurry, deal ends in 48-hours! 2. JSAUX 3-Pack Tempered Glass Screen Protector for Nintendo Switch 2 You know the moment you peel the plastic off a brand-new console? That pristine look deserves to last. JSAUX’s Tempered Glass Screen Protector for Switch 2 nails that first-day shine with edge-to-edge coverage, engineered specifically for Nintendo’s 2025 flagship. The guide frame makes installation foolproof – seriously, it’s almost impossible to misalign or trap bubbles, even if you’re all thumbs and shaky from launch-day excitement. Once on, the 99% transparency keeps every pixel crisp and colors vibrant, so Breath of the Wild 2 or Mario Kart pop just like on day one. Built from dual-tempered 9H glass, it shrugs off scratches, rogue keys, and the random chaos of backpack travel. The 0.3mm thickness is as subtle as it gets – no loss of touch accuracy, no weird drag. And thanks to a nano-oleophobic coating, smudges wipe away quickly, so you’re never gaming through a fingerprint haze. Whether you’re marathon grinding or passing the Switch to a pizza-fingered friend, this protector is ready for real-world gaming. Why We Recommend It Forget triple-checking your bag for sharp objects – this JSAUX screen protector means your Switch 2 just isn’t precious anymore, it’s practical. Installation is stress-free, the display stays flawless, and your frantic touchscreen mashing never feels laggy. For anyone tired of treating their console like fine china, this is the protection that lets you just play. Click Here to Buy Now: $5.59 $9.99 (44% off, use coupon code “JSSWITCH2”). This code can be stacked with existing product deals or discounts. Hurry, deal ends in 48 hours! 3. JSAUX Protective Case Compatible with Nintendo Switch 2 Skip the bulky bricks—this JSAUX Protective Carry Case is precision-engineered for the Switch 2 and the Switch 2 only. You get a snug, movement-free fit that feels purpose-built because it is, and it won’t work with any extra shells or cases. The hard PC exterior shrugs off scratches, dust, and splashes, holding up under café tables and cross-country flights alike. Inside, soft silicone strips keep your Switch 2 floating safely, while the clever raised sections mean your joysticks never take the brunt of an accidental bump. Traveling light? The detachable wrist strap is a small convenience that makes a big difference, and the slim profile means this case slides into any backpack or shoulder bag without hogging space. Built-in game card slots are a thoughtful touch – no more loose cartridges rattling around or getting lost in the depths of your bag. It’s the kind of accessory that makes daily Switch 2 use seamless, keeping your console clean, protected, and always ready to play. Why We Recommend It No-nonsense protection, zero wasted space. This case is for people who toss their Switch 2 into a bag and actually live life. The fit is tight, the shell is tough, and the joystick protection is smarter than most cases twice the price. Game card slots mean your library travels with you, not in a Ziploc. It’s the everyday armor you don’t have to think about, but you’ll notice the moment you need it. Click Here to Buy Now: $13.59 $25.99 (47% off, use coupon code “JSSWITCH2”). This code can be stacked with existing product deals or discounts. Hurry, deal ends in 48-hours! 4. JSAUX Thumb Grips for Nintendo Switch 2 If you’ve ever wished for a thumbstick upgrade on the Switch 2, these JSAUX Thumb Grips are as close as it gets to pro-level control, without needing a soldering iron or a warranty-voiding moment. Designed specifically for the Nintendo Switch 2, they snap on with a reassuring snugness and stay put through frantic boss fights or marathon Splatoon sessions. Three sizes (1, 2, and 3) are included in the kit, so you can fine-tune each stick for your hand size and play style – no more settling for “one size fits all” discomfort. Function isn’t sacrificed for comfort, either. The soft-touch finish and sculpted ergonomic shape actually take the edge off finger fatigue, so you can grind through RPGs or rack up wins in fighters without your thumb locking up. Each cap height serves a purpose: short for fast, twitchy moves in action games, tall for accuracy and steady aim in shooters, original size to simply boost grip. Mix and match to build your own hybrid layout. Why We Recommend It Who knew a 10-second upgrade could totally shift your game? These JSAUX Thumb Grips for Switch 2 let you dial in comfort and precision, whether you’re craving snap reflexes in Smash or pixel-perfect aim in Splatoon. No slipping, no awkward fit, no thumb fatigue after hours – just that satisfying soft grip and a custom feel that actually matches your play style. For anyone tired of stock sticks, this is the tweak you’ll wish you’d made sooner. Click Here to Buy Now: $6.39 $12.99 (50% off, use coupon code “JSSWITCH2”). This code can be stacked with existing product deals or discounts. Hurry, deal ends in 48-hours! 5. JSAUX Dockable Case for Nintendo Switch 2 The JSAUX Protective Case for Nintendo Switch 2 is engineered for gamers who want real protection without sacrificing style or convenience. Its split design means you can effortlessly detach the JoyCons without wrestling with stubborn plastic, and the ultra-thin 1mm PC back shell slides right into the official dock – no need to remove the case every time you charge or play on the big screen. The U-shaped cutout perfectly frames the Switch 2’s built-in kickstand, so you can go from handheld to tabletop mode in seconds, without ever fumbling or forcing a fit. Hybrid construction is the secret sauce here. The JoyCon covers fuse a transparent, scratch-resistant PC front with a soft-touch TPU back, letting the Switch 2’s design shine while adding grip and comfort for marathon sessions. Every port and button stays fully accessible thanks to precise cutouts, and popping the covers on or off is a breeze. No more risking cracked clips or flaky plastic – just smooth, reliable protection dialed in for everyday use. Why We Recommend It Forget clunky cases that ruin the Switch’s sleek vibe or force you to undock every time you want to play on your TV. JSAUX nails the essentials: dock-friendly fit, proper grip, zero interference with the kickstand, and a clear finish that doesn’t hide your console’s good looks. It’s protection that respects the Switch 2’s design – no bulk, no hassle, just smart, seamless defense you barely notice until you need it. Click Here to Buy Now: $12.99 $19.99 (35% off, use coupon code “JSSWITCH2”). This code can be stacked with existing product deals or discounts. Hurry, deal ends in 48-hours!The post Don’t Unbox Your Nintendo Switch 2 Without These Gaming Accessories first appeared on Yanko Design.

By OLIVER WEBB Images courtesy of Peter Hjorth and Zentropa, except where noted. Peter Hjorth. (Photo courtesy of Danish Film Institute) When Peter Hjorth first started out, visual effects were virtually non-existent in the Danish film industry. “We had one guy at the lab who did work on the Oxberry [rostrum animation camera], and I worked at a video production company,” Hjorth states. “I trained as a videotape editor, then it went into online. When the first digital tools arrived, I joined one of the hot post places where they got the first digital VTRs. All my first years of experience were with commercial clients and music videos and making the transition from analogue to digital in video post-production. I did a little bit of work for friends of mine where we actually did it at the lab. I’m old enough to have done stuff with the optical printer and waiting for weeks to get it right. There were some very early start-ups in Copenhagen doing files to film, and I started working with them.” Hjorth’s first feature film came in 1998 with Thomas Vinterberg’s Festen, where he served as camera operator and digital consultant. Festen also marked Hjorth’s first foray into the Dogme 95 movement. “We shot on MiniDV, and I was attached to the whole project. I shot the second camera and then was asked if I could do some advanced work in visual effects for commercials. I was then asked by Lars von Trier to help out on Dancer in the Dark when he was starting.” Working on Dancer in the Dark marked the beginning of Hjorth’s frequent collaborations with Lars von Trier. “That was sort of a two-fold thing because we had 100 DV cameras that needed some kind of infrastructure to work, and my television background was good for that. We also needed some visual effects work to get rid of some cameras. If you put 100 cameras in the same set, you’re going to get into a visual effects situation. So, I did that and worked on the editing. At that time, people were a little bit afraid of Lars, but I’m up for anything. We had a great time, especially during the editing and post-production.” Hjorth was pleased with his collaboration with director Tarik Saleh on the U.S. film The Contractor (2022), on which he served as Production Visual Effects Supervisor. (Image courtesy of Paramount Pictures) “There’s a special thing about Denmark, which is that we tend to all stick together… It’s not competitive in this way because people will get the jobs they get. Everybody realizes we have to work together, and what really matters is that we put something on screen that gives the audience a good experience.” —Peter Hjorth, Visual Effects Supervisor Initially, production experimented with a wall of cameras, where Hjorth did a test compositing that into an image. Von Trier found it interesting, but felt it wasn’t right for Dancer in the Dark. He later came back to Hjorth with Dogville and explained that he wanted to implement the multi-camera technique for this project. “Lars didn’t want linear perspective, instead he wanted something more like visual arts, fine arts, a notion of perspective, even cubism maybe,” Hjorth adds. “At that point in between those two projects, I did the first big Vinterberg film, It’s All About Love.” Hjorth worked as Visual Effects Supervisor for the film. “We did lots of precise visual effects, matched lenses, matched camera heights, everything by the book. Then I went into this totally crazy project for Lars and really developed a close understanding of what Lars wanted. We’ve done eight feature films and a TV series together. The last one was the third season of The Kingdom. I also did his last feature film, The House That Jack Built. I was Production Visual Effects Supervisor on all the stuff in-between, such as Antichrist and Melancholia.” Hjorth explains that he was very lucky to be in the right place at the right time. “Working on those projects has given me a network all over Europe with good people. We had some decent budgets, and people were thrilled to work on Lars’ films. I’ve made some excellent friends and good connections. If you wanted VFX for a movie in the early 2000s you hired someone from a post house for a specific scene. The notion of a production visual effects supervisor was not very common in Denmark, and the role has since developed. I find that my contribution is now mostly in pre-production. With post-production, I usually take a step back and leave it to the vendors to get right, but I’m happy I’ve been able to assist when the need arose.”  Throughout his career, Hjorth has worked across the board as camera operator, colorist and editor. “I did some camera work on the side for music videos, and so on,” he explains. “When I speak to the DP and the gaffers, I know the language. I wouldn’t say I did great work as a cinematographer, but I know the language, the equipment and the limitations. Actually, my first job before even going into post-production was as an electrician. I used to work on really old, heavy movie lights back in the day, so I also know a little bit about departments on set and how it works. That has made it a little bit easier for me to be on set because as a visual effects supervisor, it can be a super scary experience. If you feel like a tourist, it’s just horrible. I, of course, worked on the Dogme 95 films, where we worked closely with the actors, and I’m not afraid to have a conversation with an actor. No matter how good the VFX is, if the actors don’t believe a scene they are in, it doesn’t work. So, I’ve been lucky to do a bit of everything, and I feel blessed that things turned out the way that they did.” Starting out in Dogme 95 also proved to be a huge learning curve when it came to film language and understanding how to work within a set of specific rules and guidelines. The movement was founded by Lars von Trier and Thomas Vinterberg, who created the Dogme 95 Manifesto. The Manifesto consisted of 10 rules, which included: camera must be handheld, shooting must be done on location and special lighting isn’t allowed. “It’s a good background to have,” Hjorth states. “We’ve had rules for all of the films I’ve made with Lars, even on projects such as Melancholia.” Setting rules hasn’t been limited to Danish cinema and extends beyond that. “We made kind of a set of rules for the films I’ve made with Ali Abbasi, and that’s always made things easier,” Hjorth says. “He first called me when he was in film school. He was doing some early tests and was audacious enough to ask me for a VFX shot. It was hard to understand what he was saying, but then he talked about a scene with a guy coming out of a cake and he kills his brother, slicing his throat with a knife, and he wanted to see that in close-up. I appreciate younger directors calling and asking me to work with them, and it has really paid off.” Hjorth was the Visual Effects Supervisor for several episodes of the 1994-2022 TV series The Kingdom and The Kingdom: Exodus. Hjorth has worked on eight feature films and a TV series with director Lars von Trier. (Photo: Peter Hjorth) Hjorth with director Lars von Trier, left, on the set of The Kingdom: Exodus. (Photo: Peter Hjorth) Hjorth was Visual Effects Supervisor on The House That Jack Built, directed by Lars von Trier. (Photo: Christian Geisnæs) Peter Hjorth was recognized for his work as European Visual Effects Supervisor for the Swedish-Danish feature and Cannes winner Border, directed by Ali Abbasi. (Image courtesy of Meta Film Stockholm) Hjorth was Production Visual Effects Supervisor on Lamb (2021), directed by Valdimar Jóhannsson. (Image courtesy of Go To Sheep and A24) Hjorth with Simone Grau Roney, Production Designer on The House That Jack Built (2018), directed by Lars von Trier. Choosing a favorite visual effect shot from his career, however, is a difficult task for Hjorth, though he’s particularly proud of the work achieved on Dogville. “Nobody noticed how messed up it was,” he explains. “Toward the end of the movie, you can see the masks, and you can see that we didn’t bother to match the grain between layers and all that. We did the first test on Flame, and when we went to layer 99, it just stopped working. We ended up doing it with combustion software, which was crummy, but it worked, and we got the shots done. I think we went to 170 layers on the opening shot. It was a learning experience for everybody involved, and I still work with some of those same people, most recently on the Netflix series I did this spring.” Hjorth worked as Visual Effects Supervisor on Holy Spider, directed by Ali Abbasi. (Photo: Nadim Carlsen. Image courtesy of Profile Pictures)   Hjorth served as Visual Effects Supervisor on Antichrist (2009), directed by Lars von Trier. Hjorth believes that there’s been an immense upgrade in professionalism in Denmark in the years since he’s worked in the business. “The beginning was much less industrial. The directors that I have worked with tend to work with me multiple times. A lot of the stuff I say in the first meeting is really defining for how that [job] is going to go. I’ve been so lucky to work on films that I actually think made a difference. It has mostly been art house films with limited budgets and resources. When we work together with the same producer or director a few times, sometimes they come back and say, ‘We’d like to have a creature or some special thing.’ It’s an evolving process.” Hjorth worked as Visual Effects Supervisor on the Lars von Trier-directed Melancholia (2011), and was also credited for his astrophotography of auroras for the film. (Image courtesy Magnolia Pictures) Hjorth was Visual Effects Supervisor on Dogville (2003), directed by Lars von Trier. Hjorth worked with director Lars von Trier to develop the Automavision technique, which was credited with the cinematography for The Boss of It All (2006). A computer algorithm randomly changes the camera’s tilt, pan, focal length and/or positioning as well as the sound recording without being actively operated by the cinematographer. Hjorth works closely with stunts, special effects makeup, animal wranglers and other specialists. “I know the craft and what they need from me. They know more about what’s going to be effective on screen, so I just leave them to it and make sure they have what they need. Same thing with animals and visual effects, makeup and stuff like that, physical things. You know I have a bit of a reputation for trying to get as many pieces of the puzzle as possible with a camera. Some production VFX people get quotes from, say, three different vendors, and then they pick all the cheapest bids for each sequence or shot, and that’s how they get down in budget. I tried to avoid that. I’d rather actually sit down with the director and say for example, ‘We should have some breathing space here.’” When it comes to the future of visual effects in Denmark, Hjorth takes an optimistic view. “I think this trend that we have more production supervisors is basically going to continue in the way that even if you have very little work, you hire someone from the get-go and you make sure that’s a balance in ambition and resources. There’s a special thing about Denmark, which is that we tend to all stick together, even people who are not in the same line of work. We have lots of experience sharing. There are no limits to who you can call and ask questions. It’s not competitive in this way because people will get the jobs they get. Everybody realizes we have to work together, and what really matters is that we put something on screen that gives the audience a good experience.”

5 June, 2025 In this series, Clare Dowdy speaks with design studios that are 30+ years old, to find out some of the secrets behind their longevity. Michael Johnson set up his London-based brand consultancy Johnson Banks in 1992. From Duolingo to Pink Floyd, Cancer Research UK to the Royal Astronomical Society, the studio works with “people who want to do big things.” He sat down with Clare Dowdy to discuss what he’s learned over the past 33 years. Michael Johnson How did Johnson Banks come about? My 20s were very turbulent: eight jobs in eight years, a lot of different countries, different cities, learning on the job. My last job – at Smith & Milton – was relatively settled, I was kind of running a corporate design department. I had a client there, Tom Banks. After I left, he also left his role at Legal & General with the projects I had been working on, and we used that as a basis for the company. That was 1992, the back end of a recession. For a couple of years, everything was fine. Then we started having “creative differences.” And the pressures of running a tiny design company are substantial. So we parted ways in 1995, but I kept the name. Johnson Banks’ symbol for the V&A’s William Morris show At that time, we weren’t really in the branding world. For a decade, we were very distracted by getting on the graphic design map, trying to win D&AD awards, doing lovely stamp projects. And then we started to get some cultural projects: the V&A and the British Council. I started to think, OK, now we’re beginning to show what we can do. When and why did you start thinking seriously about your strategy offering? When we started to get into the branding arena, I knew we were underpowered in terms of the strategic thinking. I may have thought that I could do it, but it takes a bit to persuade clients when you’re 35, with hair almost down to your knees. If you’re up against important-looking people who can field a few grey hairs, you’re going to lose that pitch. So we partnered with strategic companies like management consultancy Circus, and followed that model for much of the 2000s. That led to the Shelter rebrand, and a few other quite big branding projects followed. Johnson Banks’ visual identity for Shelter Eventually we realised that we could do the strategy ourselves. I had sometimes been a little frustrated by the work that my strategic partners – naming no names – were doing. It sounds a bit mean, but sometimes I would get this 90-page PowerPoint document from them, and I’d put it on my designers’ desks, and their faces would go blank. I think that 20 years ago, there was still a bit of the idea that you’ve paid £100,000, so here’s your huge document. We slowly realised that if we were in control of the process, and were involved all the way through, then that jump out of the verbal brand to the visual brand could be much better managed. How did you rethink your strategy offer? The penny dropped in the mid-2000s when we worked with Save The Children. At the time, and I don’t think they’d mind me saying this, Save The Children were a bit of a basket case. They were associated with WI fairs and cake baking, and they had a royal as their patron – they were nothing like what they are now. I realised we needed to work out what they stood for before we did any design. I did this huge chart, and stuck it on a wall at the client’s office. And I said, it strikes me that there are strategic choices that you have got to make as a comms team about where you want to take the Save the Children brand. Johnson Banks’ poster for Save the Children That was an incredibly productive meeting, and also it helped us realise that before we got anywhere near the design, we needed to sort this out. I know that sounds like really basic stuff now. I didn’t trust my instinct for a decade or so, but in that Save the Children meeting, a light bulb went on for me. Once you’d worked out how to do strategy in-house why didn’t you scale up? A lot of companies would have done that. That’s how companies grow, and can end up quite quickly at 60 people. We have nearly always been around six to eight people. Because I could bridge that gap between the verbal and the visual, it meant we didn’t need to add people. And I’ve discovered over the last 25 years, that with a really good account director, Katherine Heaton, and me, and a design team, there is a heck of a lot that we can do. So we stayed small and partnered with filmmakers, animators, cultural specialists. Post-pandemic, a lot of people have adopted that hub and spoke model – we did it 20 years ago. Probably twice a year we’ll lose a pitch because of our scale. But conversely, with some clients you can sell in the fact that they’ll always deal with Michael Johnson. They’re not going to be handed down the chain, because there is no chain. Johnson Banks’ logos for Jodrell Bank Alongside this direct contact with you, what’s your main selling point? It seems to be that we think pretty hard about stuff. We almost never jump into design. A lot of thought goes into what we do, sometimes way too much. Sometimes our projects are incredibly difficult, gargantuan, intertwined and really hard to unpick. That’s a slightly poisoned chalice, because then people go, gosh, well, if they could unpick that, then they could unpick our Gordian knot. For example, we’re working on a major London university brand at the moment that has over 60,000 staff and students, 11 faculties, and hundreds of centres and institutes and departments, and we’re trying to navigate a way through. How did you work out what you wanted to specialise in? Sometimes you can get sucked into something that you just don’t want to be doing. By the end of the 1990s, Johnson Banks had got a reputation for doing annual reports. Part of me quite liked doing them because there was an interplay between words and pictures. And we were getting senior level access to clients, which makes you feel a bit better, because you’re having an interface with chief executives. But then I was thinking, hang on, we’re in danger of getting stuck here, because of course, they’re cyclical. And the death of the annual report – and the death of print – was coming over the horizon, with the internet. Johnson Banks’ Annual Report for Polygram (1995) Since then, my interests have changed. I do not have any interest any more in doing awful blue chips or terrible fintechs. I want to apply all the comms and the branding that I’ve learned to people who could really use it – not-for-profit, culture, education, philanthropy. You know, doing good. How did you build up this not-for-profit work? You lean into the referrals you’ll inevitably get within silos where you want to be referred. I learned this from Mary Lewis of Lewis Moberly. We were pretty close in the 1990s and she always said that referral business is the best business. Over 85% of our clients are not-for-profit – most design companies have a 20-80 split between non-profits and commercial clients. I never liked that ratio, what you might cruelly call ‘the Robin Hood principle’ – we are going to steal from our luxury car account and give to the charity. We did do a bit of that for a while. We did an airline in 2009/10 at the same time we were doing charities. I would justify that with the Robin Hood principle, but I just felt more and more uncomfortable with that. Johnson Banks’ campaign visuals for Cancer Research UK As our percentages went up and up in not-for-profit, eventually I said, look, we should just tell people this is who we are, and this is what we do. It was obvious anyway, so let’s be explicit about it. A few people said we were crazy, that we’d never get any work. But the reverse has been the case. We’re on our sixth environmental project. If you say this is what we want to do, and this is what we will do for you, then I think, funnily enough, clients find that very helpful. How did you build up to bigger projects? Let’s take education. We’ve done three or four really interesting campaigns for universities and now we’re in the position where we can do university rebrands, and have won a top 10 global university. But it has taken 15 years of education work to get to that point. I may not have thought that it would take quite so long to persuade people that we could do their identity. But education is a very conservative sector, and moves slowly, like museums and galleries. If you’re small, you can afford for a sector to move slowly, whereas bigger agencies need a pipeline. I’ve watched dozens of companies get to this critical point where they’ve grown and grown and then they’ve just fallen off the cliff because they’ve been feeding the monster. To help with that, agencies often add a new business person. No-one ever talks about this, but a new business person costs around £50,000. The rule of thumb, in my world at least, is that you have to take that salary and triple it with turnover to pay that salary. So you need £150,000 worth of projects to pay for the new business person before you’ve made a penny. So to make a profit, the new business person has to bring in over £200,000 of work. And if this person can do it, which is not guaranteed, then the company has to scale. It’s so easy to get caught on a treadmill. What else has helped you stay in business so long? We’ve always led with the thought behind the idea, not the way it looked. Because I was always much more interested in the idea behind something, I think that has helped us not get sucked into the visual, to use the type face du jour, the colour that everyone else is using. And it’s understandable, because graphic designers want to do stuff that their peers really like. But paradoxically the trick, in my opinion, is to try and zag away from the trends. Create a new trend yourself. Johnson Banks’ globe symbol for the COP 26 climate conference Design disciplines in this article Industries in this article Brands in this article What to read next Neville Brody on clients, education, and his unexpected OBE Graphic Design 30 Jan, 2025

Sangral Powered by Friendship™ Member Feb 17, 2022 8,649 From one of the biggest and most dedicated HDR analysis channels out there. Thought that's a big enough topic on its own, because of the analysis, for a separate thread. View: https://www.youtube.com/watch?v=N637VB4FYxg 450 nits maximum peak brightness (personal comparison, Switch OLED without any HDR has 340 nits, an LG C2 TV in HDR has 800 nits, Steam Deck OLED screen has 1000 nits, Samsung Galaxy S24 Ultra 2600 nits.) Games like Zelda Breath of the Wild have raised blacks even in Docked HDR gameplay with a raised black level floor and the game looking washed out HDR docked can be good if games are optimized for it like Cyberpunk, which he refers to being exactly like on PS5 and PC, HDR wise or Fast Fusion as one of the rare games that actually have a good black level floor in HDR   Last edited: 39 minutes ago blueredandgold Member Oct 25, 2017 8,739 Could you please translate for those of us who haven't been able to watch or digest after we saw this posted in the other thread please?   gabdeg Member Oct 26, 2017 7,420 🐝 Sadly what I expected since the moment we learned it was edge-lit LCD. Would've at least expected nigher peak nits though.   Kouriozan Member Oct 25, 2017 25,072 A shame, because Switch 2 is like the first time I'll see HDR, as my old TV isn't compatible :/   Paper Cheese Member Oct 9, 2019 558 I've got to assume this is the sort of thing that most of us hi-fi tech illiterate lot won't notice until they bring out a better screen model in a few years.   Fortinbras Member Oct 27, 2017 2,073 Well that sucks but it's Nintendo...did anyone expect anything different? I'm only going to use it docked so hopefully they can fix the HDR via update.  Universal Acclaim Member Oct 5, 2024 2,482 Not surprised, but not a big issue for me personally.   Antony Member Oct 25, 2017 4,054 Ahhh the obligatory Nintendo Crap Display (Before You Buy a Whole New Model to Get a Decent One) it's positively tradition at this point   Friendly Bear Member Jan 11, 2019 4,162 I Don’t Care Where (Just Far) Even with an edge lit LCD, I was expecting brighter highlights. A lot of the preview event coverage made it sound like the screen was insanely bright, and that's clearly not the case.   NoSpin Member Nov 1, 2017 83 As so often with gaming, I am relieved to have this person to tell me the thing I am enjoying looking at is bad actually. :)   Mivey Member Oct 25, 2017 20,753 Paper Cheese said: I've got to assume this is the sort of thing that most of us hi-fi tech illiterate lot won't notice until they bring out a better screen model in a few years. Click to expand... Click to shrink... the raised blacks on dark content is pretty clear if you play in any kind of darker environment, if you have any kind of OLED screen to compare. Case in point, if you own a Switch 1 OLED, you'll notice the stark differences for certain kinds of content right away. OTOH, if you have been using a launch Switch 1 and never had any issues with how it looks, you'll be fine. Just make sure to stay away from OLED screen, lest you gain the ability to see the differences.   Decarb Member Oct 27, 2017 9,280 HDR on edge-lit LCD is kind of a scam anyway. Kouriozan said: A shame, because Switch 2 is like the first time I'll see HDR, as my old TV isn't compatible :/ Click to expand... Click to shrink... If you have a phone made in last couple of years you've probably seen HDR.   horkrux Member Oct 27, 2017 6,531 Well, kinda expected, so I'm not too bothered by it. Not like you can change it.   Maximo Member Oct 25, 2017 11,041 Nintendo saving that sweet sweet OLED for a refresh.   Buddy Member Oct 25, 2017 1,773 Germany I have mine in my hands right now.... don't know about HDR stuff too much but Mario Kart looks gorgeous on it.   DieH@rd Member Oct 26, 2017 12,083 Decarb said: HDR on edge-lit LCD is kind of a scam anyway. Click to expand... Click to shrink... ^ this.   cw_sasuke Member Oct 27, 2017 30,321 Most of this stuff was clear from the Preview Events, at least DF talked about it. Didn't seem to bother a majority of people playing though. Was pretty much set when it wasn't going to be OLED.  John Frost Member Oct 27, 2017 9,658 Canada Well, that's disappointing..   Milk Prophet of Truth Avenger Oct 25, 2017 4,301 NoSpin said: As so often with gaming, I am relieved to have this person to tell me the thing I am enjoying looking at is bad actually. :) Click to expand... Click to shrink... It's not a personal attack on you. Pointing out objective shortcomings about the technology is a good thing for consumers.   345 Member Oct 30, 2017 10,410 it's about as good as i was expecting. HDR on an LCD basically means "we're actually going to tune content for the screen's color gamut", and it does the job on that level. mario kart does look punchier and more vibrant than it would in SDR while obviously not offering the same contrast as an OLED. dunno who this guy is but if he's really "very disappointed" i'm not sure he knows very much about screens. i'm sure it's just ragebait  JimNastics Member Jan 11, 2018 1,607 345 said: 'm sure it's just ragebait Click to expand... Click to shrink... No way!! :D You could tell just from the thumbnail.  Aleh Member Oct 27, 2017 20,238 "crap display" is a huge exaggeration. Everyone who has actually seen it in person says it looks really good, HDR isn't everything, however disappointing that is.   cw_sasuke Member Oct 27, 2017 30,321 Milk said: It's not a personal attack on you. Pointing out objective shortcomings about the technology is a good thing for consumers. Click to expand... Click to shrink... Seems to be on par what you would get with an LCD. The OG Switch 1 has a bad LCD Screen, the OG Steam Deck has an even worse.....this video is making it seem like Switch 2 Screen is as bad as these screens or even worse. When it seems to be quite solid for an LCD, but in certain areas it can compete with an OLED.  Alex840 Member Oct 31, 2017 5,373 And yet most of the games media doing previews have been like "oh I can barely tell the difference compared to the OLED". Am really sad they took a step back with this, how much more could an OLED screen have cost them?  Universal Acclaim Member Oct 5, 2024 2,482 SDR low brightness in a dark room then   Dranakin Member Oct 27, 2017 2,999 Ooof. Although, I will admit, I probably can't tell between good and bad sceens. I mean, I have the Ayaneo Pocket DMG and everyone says it's an amazing screen. It looks normal to me? Alex840 said: Am really sad they took a step back with this, how much more could an OLED screen have cost them? Click to expand... Click to shrink... An OLED 120hz? The Odin 2 Portal has one (smaller size and without VRR), but I don't have a sense of the component cost.  Kabuki Waq Member Oct 26, 2017 6,034 The screen is a pretty big downgrade from oled but a huge upgrade from the OG. I really miss the perfect blacks. MKW is gorgeous but would have looked so much better on an oled screen  Harmen Member Aug 30, 2023 1,462 The HDR and lifted black should not come as a surprise. But the video doesn't really analyze why it would be below average for an LCD screen? Colours? Pixel response time? For example the original Switch 1 LCD look reaaally bad to me these days, but my Steam Deck LCD screen (similar resolution) looks good to me outside of raised blacks in dark scenes (which I do get used to).   nogoodnamesleft Member Oct 25, 2017 8,605 Yep. I fucking knew it. Knew it was going to be trash. LCD is trash as a standard (yes miniled included with its trash ass pixel response time) Will wait for oled version.  cw_sasuke Member Oct 27, 2017 30,321 Aleh said: "crap display" is a huge exaggeration. Everyone who has actually seen it in person says it looks really good, HDR isn't everything, however disappointing that is. Click to expand... Click to shrink... Focus of the whole channel is HDR. Dude is likely just used to comparing HDR content on very expensive OLED Screens. So HDR bad = everything trash for him. Something that won't be the case for 99% of users out there. Its the single voter issue again, disregarding everything else because of one focus point and expecting every one to feel the same way about it.  Serif Member Oct 31, 2024 410 Alex840 said: Am really sad they took a step back with this, how much more could an OLED screen have cost them? Click to expand... Click to shrink... An OLED 1080p HDR VRR 120 Hz screen does not sound like it would be cost-effective. It makes sense to establish baseline specs like 120 Hz support for developers to target and upgrade to OLED in the future instead of trying to add 120 Hz support later on.  fourfourfun Member Oct 27, 2017 9,149 England Aleh said: "crap display" is a huge exaggeration. Everyone who has actually seen it in person says it looks really good, HDR isn't everything, however disappointing that is. Click to expand... Click to shrink... If you're an enthusiast display platform, you're going to be benchmarking against the absolute best. So comparatively it could not be as good. Obviously it doesn't take into account what the entire platform delivers as a whole and the price it was trying to hit. It's a rather zoomed in look at just one thing.  RailWays One Winged Slayer Avenger Oct 25, 2017 18,449 Still sounds like an upgrade from the launch Switch LCD, though those nits are pretty low   Koklusz Member Oct 27, 2017 3,971 blueredandgold said: Could you please translate for those of us who haven't been able to watch or digest after we saw this posted in the other thread please? Click to expand... Click to shrink... The screen is bad, and the native HDR implementation in the games he tested is shoddy.   NoSpin Member Nov 1, 2017 83 Milk said: It's not a personal attack on you. Pointing out objective shortcomings about the technology is a good thing for consumers. Click to expand... Click to shrink... I didn't see it as a personal attack, I just imagined him reviewing the Game Boy Pocket or the OG DS screes and how disappointed he would have been, whilst we were all busy enjoying video games.  Wasp Member Oct 29, 2017 351 It's a shame they couldn't release an OLED SKU at launch. I would have happily paid an extra $100 for an OLED model and I'm sure many are the same. I know I'll be keeping my box in pristine condition to get maximum value when I trade the console in for a Switch 2 OLED in hopefully a few years.  Last edited: 51 minutes ago pswii60 Member Oct 27, 2017 28,932 The Milky Way This means that for handheld purposes, Switch 2 is actually a downgrade on Switch 1 OLED, for any games that aren't taking advantage of the additional power/resolution. So basically, you might want to hold on to your Switch 1 OLED for all your pixel art indies, and any games not getting a patch/upgrade.  Shadow One Winged Slayer Member Oct 28, 2017 4,837 Kinda what I expected. Being LCD with HDR especially on portable device at that is never a good combo. I'll just play on my OLED TV when I want to get the full experience, which again, is what I expected. I hope it's a bit usable outside at least. I was hoping closer to 600 nits for that alone, as the Deck OLED is JUST usable on a sunny day. But you can't have everything I guess.  UnderJollyRoger Member Jun 16, 2023 648 Germany The screen is also my biggest concern of the unit. The og switch has an absolutely atrocious screen and LCDs just dont cut it anymore for me. The low nits will make it again pretty difficult to properly play outside. I am commuting a lot and sitting on a train with a bit of sun outside was already too much for the og switch. Here is hoping that an OLED variant will come earlier this time.  Milk Prophet of Truth Avenger Oct 25, 2017 4,301 NoSpin said: I didn't see it as a personal attack, I just imagined him reviewing the Game Boy Pocket or the OG DS screes and how disappointed he would have been, whilst we were all busy enjoying video games. Click to expand... Click to shrink... You're implying being critical means you're not also enjoying the video games. I'm critical of tons of my favorite games. I'm still having a fun time with the games 🤷  HandsomeCharles Member Oct 26, 2017 4,717 Disappointing to hear, but as someone who thinks his OG switch's screen is fine, I'm sure it won't really bother me.   OP OP Sangral Powered by Friendship™ Member Feb 17, 2022 8,649 blueredandgold said: Could you please translate for those of us who haven't been able to watch or digest after we saw this posted in the other thread please? Click to expand... Click to shrink... I'm trying to add some bullet points to the OT.  Ghost Slayer Member Oct 30, 2017 1,433 is it like PS Portal LCD screen? Because I think the Portal LCD screen is really good   Decarb Member Oct 27, 2017 9,280 pswii60 said: This means that for handheld purposes, Switch 2 is actually a downgrade on Switch 1 OLED, for any games that aren't taking advantage of the additional power/resolution. So basically, you might want to hold on to your Switch 1 OLED for all your pixel art indies, and any games not getting a patch/upgrade. Click to expand... Click to shrink... Oh I don't think there's any doubt from pure IQ perspective its a downgrade from Switch 1 OLED. Even without HDR support at max brightness that screen pops like nothing else.   Maximo Member Oct 25, 2017 11,041 NoSpin said: I didn't see it as a personal attack, I just imagined him reviewing the Game Boy Pocket or the OG DS screes and how disappointed he would have been, whilst we were all busy enjoying video games. Click to expand... Click to shrink... This is a silly comparison since he's not reviewing a screen from 1996 when it first came out, screen technology has exploded since the first iPhone, seems like a needless jab.  Melhadf Member Dec 25, 2017 2,528 My understanding is that 400nits is the minimum for HDR. So it's technically HDR, but usually dismissed by purists as not "real HDR" such as this vid with his HDR10 testing (1000nits standard). So it's a definite improvement over SDR content, but Nintendo then used an LCD instead of OLED so it most likely looks worse than the OLED switch. Feels like Nintendo is using minimum HDR as a crutch to cheap out on the screen and people are saying it's not "TRUE HDR" even though it's completely within spec.  vegtro Member Oct 25, 2017 808 Aleh said: "crap display" is a huge exaggeration. Everyone who has actually seen it in person says it looks really good, HDR isn't everything, however disappointing that is. Click to expand... Click to shrink... When I first booted the Switch 2, I wanted to believe the screen will be ok from the news. Nope, the screen pretty much is pretty bad compared to OLED.   Alvis Saw the truth behind the copied door Member Oct 25, 2017 12,148 EU A bit of a shame, meh NoSpin said: As so often with gaming, I am relieved to have this person to tell me the thing I am enjoying looking at is bad actually. :) Click to expand... Click to shrink... Yes indeed, this dude is set on a mission to personally ruin your experience, and he's now crying in a corner knowing that he failed.   fourfourfun Member Oct 27, 2017 9,149 England Shadow said: But you can't have everything I guess. Click to expand... Click to shrink... I think that's the thing, they went for resolution and VRR as a priority. I'm sure I also read on here a while ago that it also centres around the availability of appropriate screens. OLED only became viable after a certain point.  Pargon Member Oct 27, 2017 14,110 I thought I had appropriately-low expectations, but I was thinking it would be a 600 nit 1800:1 panel. Not 450 nits and 900:1. The only thing "HDR" about it is probably that content will be authored to make use of a wider color gamut.