There are a handful of video game franchises that have been around for so long and that have been so influential that they've transcended the medium. Mortal Kombat is one such franchise, having become a household name overnight when it originally hit arcade floors in 1992, and it having a wealth of multimedia adaptations and spinoffs in the 33 years since. But alongside their own projects, hugely influential franchises like Mortal Kombat are often referenced throughout the medium they mostly belong to, and Hades 2 is the most recent example of that.

Splatoon, Nintendo, Switch 2, spinoff, gaming news, Nintendo Direct, multiplayer, family-friendly games, gaming excitement, exclusive announcement ## Introduction In the vibrant world of gaming, few announcements can spark as much joy and excitement as a new title from the beloved Splatoon franchise. Today, we are thrilled to dive into the thrilling reveal of a Switch 2 exclusive Splatoon...

We did it gang. We completed another week in the impossible survival sim that is real life. Give yourself a appreciative pat on the back and gaze wistfully towards whatever adventures or blissful respite the weekend might bring.This week I've mostly been recovering from my birthday celebrations, which entailed a bountiful Korean Barbecue that left me with a rampant case of the meat sweats and a pub crawl around one of Manchester's finest suburbs. There was no time for video games, but that's not always a bad thing. Distance makes the heart grow fonder, after all.I was welcomed back to the imaginary office with a news bludgeon to the face. The headlines this week have come thick and fast, bringing hardware announcements, more layoffs, and some notable sales milestones. As always, there's a lot to digest, so let's venture once more into the fray. The first Xbox handhelds have finally arrivedvia Game Developer // Microsoft finally stopped flirting with the idea of launching a handheld this week and unveiled not one, but two devices called the ROG Xbox Ally and ROG Xbox Ally X. The former is pitched towards casual players, while the latter aims to entice hardcore video game aficionados. Both devices were designed in collaboration with Asus and will presumably retail at price points that reflect their respective innards. We don't actually know yet, mind, because Microsoft didn't actually state how much they'll cost. You have the feel that's where the company really needs to stick the landing here.Related:Switch 2 tops 3.5 million sales to deliver Nintendo's biggest console launchvia Game Developer // Four days. That's all it took for the Switch 2 to shift over 3.5 million units worldwide to deliver Nintendo's biggest console launch ever. The original Switch needed a month to reach 2.74 million sales by contrast, while the PS5 needed two months to sell 4.5 million units worldwide. Xbox sales remain a mystery because Microsoft just doesn't talk about that sort of thing anymore, which is decidedly frustrating for those oddballs (read: this writer) who actually enjoy sifting through financial documents in search of those juicy juicy numbers.Inside the ‘Dragon Age’ Debacle That Gutted EA’s BioWare Studiovia Bloomberg (paywalled) // How do you kill a franchise like Dragon Age and leave a studio with the pedigree of BioWare in turmoil? According to a new report from Bloomberg, the answer will likely resonate with developers across the industry: corporate meddling. Sources speaking to the publication explained how Dragon Age: The Veilguard, which failed to meet the expectations of parent company EA, was in constant disarray because the American publisher couldn't decide whether it should be a live-service or single player title. Indecision from leadership within EA and an eventual pivot away from the live-service model only caused more confusion, with BioWare being told to implement foundational changes within impossible timelines. It's a story that's all the more alarming because of how familiar it feels.Related:Sony is making layoffs at Days Gone developer Bend Studiovia Game Developer // Sony has continued its Tony Award-winning tun as the Grim Reaper by cutting even more jobs within PlayStation Studios. Days Gone developer Bend Studio was the latest casualty, with the first-party developer confirming a number of employees were laid off just months after the cancellation of a live-service project. Sony didn't confirm how many people lost their jobs, but Bloomberg reporter Jason Schreier heard that around 40 people (roughly 30 percent of the studio's headcount) were let go. Embracer CEO Lars Wingefors to become executive chair and focus on M&Avia Game Developer // Somewhere, in a deep dark corner of the world, the monkey's paw has curled. Embracer CEO Lars Wingefors, who demonstrated his leadership nous by spending years embarking on a colossal merger and acquisition spree only to immediately start downsizing, has announced he'll be stepping down as CEO. The catch? Wingefors is currently proposed to be appointed executive chair of the board of Embracer. In his new role, he'll apparently focus on strategic initiatives, capital allocation, and mergers and acquisitions. And people wonder why satire is dead. Related:Hong Kong Outlaws a Video Game, Saying It Promotes 'Armed Revolution'via The New York Times (paywalled) // National security police in Hong Kong have banned a Taiwanese video game called Reversed Front: Bonfire for supposedly "advocating armed revolution." Authorities in the region warned that anybody who downloads or recommends the online strategy title will face serious legal charges. The game has been pulled from Apple's marketplace in Hong Kong but is still available for download elsewhere. It was never available in mainland China. Developer ESC Taiwan, part of an group of volunteers who are vocal detractors of China's Communist Party, thanked Hong Kong authorities for the free publicity in a social media post and said the ban shows how political censorship remains prominent in the territory. RuneScape developer accused of ‘catering to American conservatism’ by rolling back Pride Month eventsvia PinkNews // Runescape developers inside Jagex have reportedly been left reeling after the studio decided to pivot away from Pride Month content to focus more on "what players wanted." Jagex CEO broke the news to staff with a post on an internal message board, prompting a rush of complaints—with many workers explaining the content was either already complete or easy to implement. Though Jagex is based in the UK, it's parent company CVC Capital Partners operates multiple companies in the United States. It's a situation that left one employee who spoke to PinkNews questioning whether the studio has caved to "American conservatism." SAG-AFTRA suspends strike and instructs union members to return to workvia Game Developer // It has taken almost a year, but performer union SAG-AFTRA has finally suspended strike action and instructed members to return to work. The decision comes after protracted negotiations with major studios who employ performers under the Interactive Media Agreement. SAG-AFTRA had been striking to secure better working conditions and AI protections for its members, and feels it has now secured a deal that will install vital "AI guardrails."A Switch 2 exclusive Splatoon spinoff was just shadow-announced on Nintendo Todayvia Game Developer // Nintendo did something peculiar this week when it unveiled a Splatoon spinoff out of the blue. That in itself might not sound too strange, but for a short window the announcement was only accessible via the company's new Nintendo Today mobile app. It's a situation that left people without access to the app questioning whether the news was even real. Nintendo Today prevented users from capturing screenshots or footage, only adding to the sense of confusion. It led to this reporter branding the move a "shadow announcement," which in turn left some of our readers perplexed. Can you ever announce and announcement? What does that term even mean? Food for thought. A wonderful new Big Walk trailer melted this reporter's heartvia House House (YouTube) //  The mad lads behind Untitled Goose Game are back with a new jaunt called Big Walk. This one has been on my radar for a while, but the studio finally debuted a gameplay overview during Summer Game Fest and it looks extraordinary in its purity. It's about walking and talking—and therein lies the charm. Players are forced to cooperate to navigate a lush open world, solve puzzles, and embark upon hijinks. Proximity-based communication is the core mechanic in Big Walk—whether that takes the form of voice chat, written text, hand signals, blazing flares, or pictograms—and it looks like it'll lead to all sorts of weird and wonderful antics. It's a pitch that cuts through because it's so unashamedly different, and there's a lot to love about that. I'm looking forward to this one.

Silent Hill f will launch on Sept. 25, Konami revealed during Wednesday’s PlayStation State of Play. It’ll be the first new mainline Silent Hill game in over a decade and the first game in the series overall since last year’s Silent Hill 2 Remake. It follows a student, Hinako, in 1960s Japan — a first for the psychological horror series typically set in rural America — as the town she lives in is overrun with horrifying enemies only a Silent Hill game could produce. A fog descends, causing the town’s citizens to disappear. Hinako comes across what seem to be her fellow students, now turned into terrifying creatures, as she fights her way out of a school with a pipe as her weapon. She also wields a spear when approaching a shrine and the ominous figure before it, whose face is the stuff of nightmares. According to a PlayStation Blog post, Silent Hill f “will have a heavier focus on melee and be more action-oriented” than the Silent Hill 2 remake. Silent Hill f was originally announced in 2022 and is being developed by the Taiwan-based studio Neobards Entertainment with additional support from Japanese developers. Visual novel fans might want to check it out, as Silent Hill f is being written in part by Ryukishi07. The blog post describes Silent Hill f as a “standalone spinoff,” meaning series veterans and newcomers alike will have their socks scared off by it when Silent Hill f is released on PC, PlayStation 5, and Xbox Series X.

Game reveals, release date confirmations, and new looks at titles coming to PlayStation in the near future: today’s State of Play packed a lot into its runtime. Whether you missed the show, want to rewatch it, or dig down into the individual announcements, this article has you covered.  Firstly, you can rewatch the full show below. Underneath that we highlight each of the games featured in the show with recaps of their announcement as well as their full trailers. We also have further details and insight by the game creators in a selection of dedicated PS Blog articles.  Play Video View and download image Download the image close Close Download this image Astro Bot  New levels are coming to Astro Bot this summer! Get ready for the challenge of five new Vicious Void Galaxy levels. They’ll require every bit of skill together to complete! And of course, these new levels will introduce their own Special Bots! And that’s not all: an updated smiley version of the Astro Bot Limited Edition DualSense wireless controller is set to launch later this year. Preview both the upcoming DualSense controller and the new PS5 levels in a PS Blog post from Team Asobi Studio Head Nicolas Doucet. Play Video Baby Steps The wonderfully weird walking sim has a release date as Baby Steps toddles onto PS5 September 8. Today’s new gameplay trailer further highlights the game’s unique traversal mechanics, as well as challenges its onesie-wearing protagonist Nate faces as he attempts to answer the call of nature.  Play Video Bloodstained: The Scarlet Engagement  The 2.5D side-scrolling action RPG returns with a new dark chapter. Explore the massive Ethereal Castle as two new heroes – Leo and Alex – join forces to tackle its fearsome inhabitants. You’ll be able to switch between the duo at the press of a button, leveraging each adventurer’s distinct abilities in order to survive.  505 Games dives further into the sequel’s gameplay mechanics and details what you can expect when you enter the castle’s halls when it launches on PS5 next year in a PS Blog post.  Play Video Cairn Climb like never before in survival-climber Cairn, which ascends onto PS5 November 5. Consider your path and climb anywhere on the mountain, managing your endurance and resources to survive. You’ll be able to hone your skills and test palm strength early, as a demo launches onto PlayStation Store today.  Cairn creator The Game Bakers breaks down its interactive take on alpinism in a tie-in PS Blog post.  Play Video Digimon Story: Time Stranger After being announced in the last State of Play this past February, Digimon Story: Time Stranger returns with a new trailer that digs into its story, reveals more of its vibrant characters and highlights the variety of Digimon growth and customization you can expect when the game launches October 3.  View and download image Download the image close Close Download this image Everybody’s Golf Hot Shots  Teeing off on PS5 this September 5 is the return of the classic golfing series. Everybody’s Golf Hot Shots debuted a new gameplay trailer that revealed a surprise guest star: Pac-Man! The gaming icon will be available as an early unlockable character when you pre-order the game.  Play Video Final Fantasy Tactics – The Ivalice Chronicles Originally released in 1997 for PlayStation, Final Fantasy Tactics is known for its rich story and deep, strategic gameplay. This September 30 you can enjoy both when the strategy RPG returns on PS5 and PS4 in the form of Final Fantasy Tactics – The Ivalice Chronicles. This enhanced version adds fully voiced dialogue, optimized and updated UI, graphical improvements, and a number of other quality of life features Square Enix details what to expect, including the more accessible “Squire” difficulty setting, in a PS Blog post.  Play Video Ghost of Yōtei Today’s show announced a special State of Play episode dedicated to Ghost of Yōtei, coming your way soon.  Sucker Punch will guide you through an extended look at new and evolved gameplay mechanics, including exploration, combat, and much more. Mark your calendar: the episode airs this July.  Play Video Hirogami Hirogami is an origami-inspired 3D action platformer coming to PS5 on September 3. Explore a beautiful but fragile origami world as Hiro, a master of the art of ‘folding’, and take on animal forms to traverse the landscape, solve puzzles, overcome enemies, and save the realm from a deadly digital threat. Play Video 007 First Light IO Interactive’s third-person action-adventure game 007 First Light third-person action-adventure game unveils a new James Bond origin story. Discover the events that lead a young maverick to become the best MI6 agent and the world’s most iconic spy when the game launches on PS5 next year. IO Interactive shares first details on the game, including its story and Bond’s background in a new PS Blog post.  Play Video Lumines Arise A brand-new, built from the ground up entry into the iconic puzzle series launches later this year on PS5 and features optional PS VR2 compatibility. Lumines Arise includes 30 flow state-inducing stages, including lush jungles, oceans, to more electronic frontiers like the bustling streets of Tokyo and the endless expanse of outer space. A new Burst mechanic amps up the timeless gameplay.  Enhance discusses the debut of its new title, talks Avatars and teases an upcoming demo in a new PS Blog post.  Play Video MARVEL Tōkon: Fighting Souls  PlayStation Studios, Arc System Works (Arc), and Marvel Games have joined forces to realize the latest in tag team fighters, MARVEL Tōkon: Fighting Souls! Experience the Marvel Universe like never before with reimagined characters and stages, a heart-pounding soundtrack, intuitive gameplay mechanics, and jaw-dropping visuals that will keep you on the edge of your seat. Whether this is your first fighting game or you are a veteran of the genre, Arc has incorporated gameplay controls and mechanics that are easy to pick up and play, and yet still offer the depth and versatility for high level competition.  Find out more in this PS Blog post.  Play Video Metal Gear Solid Delta: Snake Eater  Today’s trailer offered a closer look at how this remake has approached the fearsome adversaries that Naked Snake will face on his mission: The Cobra Unit. The new footage doesn’t just linger on the high stakes action you’ll face during the story campaign though. Konami also shares gameplay of Snake vs Monkey, which is also making its return when the game launches on PS5 this August 28.  Play Video Mortal Kombat Kollection Digital Eclipse partners with Warner Bros. Interactive Entertainment to bring Mortal Kombat: Legacy Kollection to PlayStation 4 and PlayStation 5 later this year. With multiple playable games from the early days of this groundbreaking fighting game series as well as interactive documentaries, Mortal Kombat: Legacy Kollection promises to be the most comprehensive, detailed look at the franchise’s history ever assembled. In a supporting PS Blog post, Digital Eclipse outlines the games included in the collection, and shares more information on the documentaries that’ll include Mortal Kombat co-creators Ed Boon and John Tobia, developers, actors and more.  Play Video Ninja Gaiden: Ragebound Ninja Gaiden: Ragebound, the new spectacular side-scrolling entry to the acclaimed series, releases on July 31 on PS5 and PS4. Honoring the franchise’s legacy, Ragebound modernises the unforgiving action-platforming formula with the fast-paced and exhilarating action The Game Kitchen (Blasphemous I & II) is known for. Play Video Nioh 3  Koei Tecmo and developer Team Ninja announced Nioh 3 for PS5. In this dark fantasy action RPG, players can fight using two distinct combat styles: Samurai and Ninja. The Samurai style provides a gameplay experience similar to previous Nioh titles, while Ninja style excels in quick movements like dodging and aerial actions. Players will be able to switch between battle styles instantly at any time. Intrigued to know how they’ll work? You can find out today with a limited time demo that’ll be launching on PlayStation Store.  Keoi Tecmo shares more story and gameplay details about the game in an accompanying PS Blog post.  View and download image Download the image close Close Download this image PlayStation Plus  Along with Sword of the Sea coming August 19 as part of the Game Catalog lineup (more on that further down), there were new titles announced coming to PlayStation Plus. The PS2 version of immersive sci-fi sim Deus Ex joins Game Catalog June 17, Twisted Metal 3 and Twisted Metal 4 come to the PlayStation Plus Premium’s Classics range July 15. Later this summer, the original PlayStation versions of Resident Evil 2 and Resident Evil 3: Nemesis also come to  PlayStation Plus Premium’s Classics range. Play Video Pragmata Pragmata, Capcom’s new science fiction adventure, received a new gameplay trailer during today’s State of Play. This early peak of the game’s gameplay shows its unique twist of action and strategy, as in Pragmata, players must control its two protagonists, Hugh and Diana, at the same time to overcome the many obstacles you’ll face. Capcom shares more details of its latest IP, out 2026 on PS5, in an accompanying PS Blog post.  Play Video Project Defiant  Today State of Play saw the reveal of the first wireless fight stick custom designed by PlayStation. Codenamed Project Defiant, this new controller allows wireless play through PlayStation Link, or wired connection on PS5 or PC, and is set to launch next year.  Get your first full details on the fight stick in this PS Blog post.  Play Video Romeo is a Dead Man Romeo Stargazer is a man stuck between life and death who chases space-time’s most wanted fugitives as FBI special agent Dead Man. This newly revealed action title, created by Grasshopper Manufacture, launches on PS5 next year, and sees you use guns, swords and even enemies’ own powers against them to battle evil hordes.  How does a time paradox shattering the space-time continuum turn someone into an FBI special agent? Grasshopper Manufacture explains (kinda) in a new PS Blog post.   Play Video Sea of Remnants Meet a world of puppetfolk exploring the open sea and its secrets in oceanic action RPG Sea of Remnants, which sets sail for PS5. Form a specialised crew to answer any challenge that lies beyond the horizon, upgrade your ship to ride out any storm and return home with your spoils to Orbtopia, a pirate city that’ll evolve based on your swashbuckling decisions.   Joker Studio expands on the game’s punk aesthetic art style and delves deeper into its gameplay in an accompanying PS Blog post.  Play Video Silent Hill f Silent Hill f launches September 25 on PS5, and today’s State of Play trailer shows Shimizu Hinako’s perilous journey as the high schooler’s hometown is engulfed in fog, and the dangers within will have her fighting for her life. As a standalone spinoff, the game serves as an excellent introduction to the series.  “Find beauty in terror” – Konami explains the mission statement that shaped the game’s development in this PS Blog post.  Play Video Sword of the Sea Giant Squid is bringing its exhilarating, mythic surfing adventure Sword of the Sea to PS5 on August 19, with the game releasing as part of that month’s PlayStation Plus Game Catalog lineup.  In an accompanying PS Blog post, the studio outlines the game’s inspirations and merging those with its signature environmental design and atmospheric narrative style has resulted in a mythic surfing adventure unlike anything else. Play Video Thief VR: Legacy of Shadow  The legendary Thief franchise is reimagined for PlayStation VR2 in Thief VR: Legacy of Shadow, launching later this year. Play as Magpie, a cunning thief orphaned by Northcrest’s brutality and shaped by the streets and use PS VR2 mechanics to steal, evade, and outsmart the forces controlling The City. Move between shadows, and extinguish light sources with water arrows, hands or even a well-aimed breath to remain undetected.   Vertigo Games details how the franchise’s mechanics have been adapted to PS VR2 in this PS Blog post.  Play Video Tides of Tomorrow Road 96 creator DigixArt returns with an intriguing asynchronous multiplayer, oceanic adventure, coming to PS5 February 24, 2026. Tides of Tomorrow’s vibrant post-apocalyptic world interweaves your choices and a previous player’s decisions for a truly unique experience. You’ll see echoes of that player’s choices and actions, that will help you avoid traps, solve puzzles, investigate what happened before, or simply adapt based on the other player’s actions. Road 96 creator DigixArt introduces the oceanic nomads the Tidewalkers and breaks down the game’s unique mechanic in a new PS Blog post written by the studio. 

By JENNIFER CHAMPAGNE House of the Dragon expands its dragon-filled world in its second season, offering more large-scale battles and heightened aerial warfare. (Image courtesy of HBO) The 2025 Emmy race for outstanding visual effects is shaping up to be one of the most competitive in years with major genre heavyweights breaking new ground on what’s possible on television. As prestige fantasy and sci-fi continue to dominate, the battle for the category will likely come down to sheer scale, technical innovation and how seamlessly effects are integrated into storytelling. Returning titans like House of the Dragon and The Lord of the Rings: The Rings of Power have proven their ability to deliver breathtaking visuals. At the same time, Dune: Prophecy enters the conversation as a visually stunning newcomer. The Boys remains the category’s wildcard, bringing its own brand of hyper-realistic, shock-value effects to the race. With its subtle yet immersive world-building, The Penguin stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis. Each series offers a distinct approach to digital effects, making for an intriguing showdown between blockbuster-scale world-building and more nuanced, atmospheric craftsmanship. Sharing the arena with marquee pacesetters HBO’s The Last of Us, Disney+’s Andor and Netflix’s Squid Game, these series lead the charge in ensuring that the 2025 Emmy race isn’t just about visual spectacle; it’s about which shows will set the next benchmark for visual effects on television. The following insights and highlights from VFX supervisors of likely Emmy contenders illustrate why their award-worthy shows have caught the attention of TV watchers and VFX Emmy voters. The Penguin, with its subtle yet immersive world-building, stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis.  (Image courtesy of HBO) For The Lord of the Rings: The Rings of Power VFX Supervisor Jason Smith, the second season presented some of the Amazon series’ most ambitious visual effects challenges. From the epic Battle of Eregion to the painstaking design of the Entwives, Smith and his team at Wētā FX sought to advance digital world-building while staying true to J.R.R. Tolkien’s vision. “The Battle of Eregion was amazing to work on – and challenging too, because it’s a pivotal moment in Tolkien’s story,” Smith states. Unlike typical large-scale clashes, this battle begins as a siege culminating in an explosive cavalry charge. “We looked for every way we could to heighten the action during the siege by keeping the armies interacting, even at a distance,” Smith explains. His team introduced projectiles and siege weaponry to create dynamic action, ensuring the prolonged standoff felt kinetic. The environment work for Eregion posed another challenge. The city was initially constructed as a massive digital asset in Season 1, showcasing the collaborative brilliance of the Elves and Dwarves. In Season 2, that grandeur had to be systematically razed to the ground. “The progression of destruction had to be planned extremely carefully,” Smith notes. His team devised seven distinct levels of damage, mapping out in granular detail which areas would be smoldering, reduced to rubble or utterly consumed by fire. “Our goal was to have the audience feel the loss that the Elves feel as this beautiful symbol of the height of Elvendom is utterly razed.” The SSVFX team helped shape a world for Lady in the Lake that felt rich, lived-in and historically precise. (Image courtesy of Apple TV+) One of most ambitious effects for Season 4 of The Boys was Splinter, who has the ability to duplicate himself. The sequence required eight hours of rehearsal, six hours of filming, for one shot. The final effect was a mix of prosthetic cover-up pieces and VFX face replacement. (Image courtesy of Prime Video) The Penguin, HBO Max’s spinoff series of The Batman, centers on Oswald ‘Oz’ Cobb’s ruthless rise to power, and relies on meticulous environmental effects, smoothly integrating CG elements to enhance Gotham’s noir aesthetic without ever calling attention to the work itself. “The most rewarding part of our work was crafting VFX that don’t feel like VFX,” says VFX Supervisor Johnny Han. Across the series’ 3,100 VFX shots, every collapsing freeway, skyline extension and flicker of light from a muzzle flash had to feel utterly real – woven so naturally into the world of Gotham that viewers never stopped to question its authenticity. Zimia spaceport, an enormous hub of interstellar commerce in Dune: Prophecy. The production team built a vast practical set to provide a strong scale foundation, but its full grandeur came to life in post by extending this environment with CG.(Images courtesy of HBO) The second season of The Lord of the Rings: The Rings of Power refined its environments, which elevate Middle-earth’s realism. (Image courtesy of Prime Video) Some of the series’ most striking visual moments were also its most understated. The shift of Gotham’s seasons – transforming sunlit summer shoots into autumn’s muted chill – helped shape the show’s somber tone, reinforcing the bleak, crime-ridden undercurrent. The city’s bridges and skyscrapers were meticulously augmented, stretching Gotham beyond the limits of practical sets while preserving its grounded, brutalist aesthetic. Even the scars and wounds on Sofia Falcone were enhanced through digital artistry, ensuring that her past traumas remained ever-present, etched into her skin. The series wasn’t without its large-scale effects – far from it. Han and his team orchestrated massive sequences of urban devastation. “The floodwaters were one of our biggest challenges,” Han notes, referring to the ongoing impact of the catastrophic deluge that left Gotham in ruins. One particularly harrowing sequence required simulating a tsunami tearing through the streets – not as an action set piece, but as a deeply personal moment of loss. “Telling Victor’s story of how he lost his entire family in the bombing and floods of Gotham was heartbreaking,” Han says. “Normally, you create an event like that for excitement, for tension. But for us, it was about capturing emotional devastation.” Perhaps the most technically intricate sequences were the shootouts, hallmarks of Gotham’s criminal underbelly. “We programmed millisecond-accurate synced flash guns to mimic dramatic gunfire light,” Han explains, ensuring that the interplay of practical and digital elements remained imperceptible. Every muzzle flash, every ricochet was meticulously planned and rendered. The ultimate achievement for Han and his team wasn’t crafting the biggest explosion or the most elaborate digital sequence – it was making Gotham itself feel inescapably real. He says, “Nothing was more important to us than for you to forget that there are 3,100 VFX shots in this series.” The challenge for The Residence was making one of the most recognizable buildings in the world feel both immersive and narratively engaging. (Photo: Erin Simkin. Courtesy of Netflix) Bringing the universe of Dune to life on TV for HBO’s Dune: Prophecy requires a delicate balance of realism and imagination, grounded in natural physics, yet awe-inspiring in scale. Dune: Prophecy looks to challenge traditional fantasy dominance with its stunning, desert-bound landscapes and intricate space-faring visuals, uniting the grandeur of Denis Villeneuve’s films with the demands of episodic storytelling. Set thousands of years before the events of the films, the series explores the early days of the Bene Gesserit, a secretive order wielding extraordinary abilities. Translating that power into a visual language required technical innovation. “Kudos to Important Looking Pirates for the space folding and [Lila’s] Agony work,” says VFX Supervisor Mike Enriquez. No Dune project would be complete without its most iconic inhabitant, the sandworm. VFX Producer Terron Pratt says. “We’re incredibly proud of what the team at Image Engine created. Precise animation conveyed this creature’s weight and massive scale, while incredibly detailed sand simulations integrated it into the environment.” Every grain of sand had to move believably in response to the worm’s colossal presence to ensure the physics of Arrakis remained authentic. Floodwaters play a significant part in the destruction of Gotham in The Penguin. One particularly harrowing sequence required simulating a tsunami tearing through the streets. (Image courtesy of HBO) American Primeval integrated visual effects with practical techniques in creative, unconventional ways. The massacre sequence showcases technical mastery and pulls the audience into the brutal reality of the American frontier. (Photo: Justin Lubin. Courtesy of Netflix) For the Zimia spaceport, an enormous hub of interstellar commerce, the Dune: Prophecy production team built a vast practical set to provide a strong scale foundation. However, its full grandeur came to life in post. “By extending this environment with CG, we amplified the scope of our world, making it feel expansive and deeply impactful,” Pratt explains. The result was a sprawling, futuristic cityscape that retained a tangible weight with impeccably amalgamated practical and digital elements. Wētā FX sought to advance digital world-building for Season 2 of The Lord of the Rings: The Rings of Power while staying true to J.R.R. Tolkien’s vision. (Image courtesy of Prime Video) Visual effects extended beyond character work for Lady in the Lake, playing a key role in the show’s immersive world-building. (Image courtesy of Apple TV+) For House of the Dragon VFX Supervisor Daði Einarsson, Season 2 presented some of the HBO show’s most complex and ambitious visual effects work. The Battle at Rook’s Rest in Episode 4 was a milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege,” Einarsson says. Capturing the actors’ performances mid-flight required a combination of motion-controlled cameras, preprogrammed motion bases with saddles and LED volume lighting – all mapped directly from fully animated previsualized sequences approved by director Alan Taylor and Showrunner Ryan J. Condal. On the ground, the battlefield required digital crowd replication, extensive environment extensions, and pyrotechnic enhancements to create a war zone that felt both vast and intimately chaotic. “In the air, we created a fully CG version of the environment to have full control over the camera work,” Einarsson explains. Under the supervision of Sven Martin, the Pixomondo team stitched together breathtaking aerial combat, ensuring the dragons moved with the weight and raw power befitting their legendary status. Blood, weapon effects and period-accurate muzzle flashes heightened the intensity of the brutal fight sequences in American Primeval. The natural elements and violence reflected the harsh realities of the American west in 1857. (Image courtesy of Netflix) The Residence brings a refined, detailed approach to environmental augmentation, using visual effects to take the audience on a journey through the White House in this political murder mystery. (Photo: Jessica Brooks. Courtesy of Netflix) Episode 7 introduced Hugh Hammer’s claim of Vermithor, Westeros’ second-largest dragon. Rather than breaking the sequence into multiple shots, Einarsson and director Loni Peristere saw an opportunity to craft something exceptional: a single, uninterrupted long take reminiscent of Children of Men and Gravity. “It took a lot of planning to design a series of beats that cohesively flowed from one into the next, with Hugh leading the camera by action and reaction,” Einarsson says. The sequence, which involved Hugh dodging Vermithor’s flames and ultimately claiming the beast through sheer bravery, was technically demanding. To achieve this, the team stitched together five separate takes of Hugh’s performance, shot over two separate days weeks apart, due to the set needing to be struck and rebuilt in different configurations. VFX Supervisor Wayne Stables and the team at Wētā ensured the transitions were imperceptible, uniting practical and digital elements into a continuous, immersive moment. “The Dragonmont Cavern environment was a beautiful, raised gantry and cave designed by [Production Designer] Jim Clay and expanded by Wētā,” Einarsson says. Then Rowley Imran’s stunt team and Mike Dawson’s SFX team engulfed the set in practical flames so every element, from fire to dust to movement, contributed to the illusion of real-time danger. For Einarsson, the most significant challenge wasn’t just in making these sequences visually spectacular – it was ensuring they belonged within the same world as the quiet, dialogue-driven moments in King’s Landing. “The aim is for incredibly complex and spectacular visual effects scenes to feel like they belong in the same world as two people talking in a council chamber,” he states. Every dragon, flame and gust of wind had to feel as lived-in as the politics playing out beneath them. Season 4 of The Boys delivered the fully CG octopus character, Ambrosius. A challenge was crafting a believable yet expressive sea creature and keeping it grounded while still embracing the show’s signature absurdity. (Image courtesy of Prime Video) In The Penguin, Gotham isn’t just a city; it’s a living, breathing entity shaped by destruction, decay and the quiet menace lurking beneath its streets. (Images courtesy of HBO) The Boys continues to defy genre norms, delivering audacious, technically complex effects that lean into its hyperviolent, satirical take on superheroes. For The Boys VFX Supervisor Stephan Fleet, Season 4 delivered some of the Amazon Prime show’s most dramatic effects yet, from the self-replicating Splinter to the fully CG octopus character, Ambrosius. Splinter, who has the ability to duplicate himself, presented a unique challenge. Fleet says, “His introduction on the podium was a complex motion control sequence. Eight hours of rehearsal, six hours of filming – for one shot.” Splinter’s design came with an added layer of difficulty. “We had to figure out how to make a nude male clone,” Fleet says. “Normally, you can hide doubles’ bodies in clothes – not this time!” The final effect required a mix of prosthetic cover-up pieces and VFX face replacement, requiring multiple iterations to make it work. Ambrosius became one of The Boys’ most unexpected breakout characters. “It’s fun making a full-on character in the show that’s an octopus,” Fleet reveals in a nod to the show’s absurd side. “As much as possible, we aim for a grounded approach and try to attain a level of thought and detail you don’t often find on TV.” While the battle for outstanding visual effects will likely be dominated by large-scale fantasy and sci-fi productions, several standout series are also making waves with their innovative and immersive visual storytelling. Netflix’s The Residence, led by VFX Supervisor Seth Hill, brings a refined, detailed approach to environmental augmentation, enhancing the grandeur of the White House setting in this political murder mystery. “Using visual effects to take the audience on a journey through an iconic location like the White House was really fun,” Hill says. “It’s a cool and unique use of visual effects.” One of the most ambitious sequences involved what the team called the Doll House, a digital rendering of the White House with its south façade removed, exposing the interior like a cross-section of a dollhouse. Hill explains. “Going back and forth from filmed footage to full CGI – that jump from grounded realism to abstract yet still real – was quite tricky,” he says, adding, “VFX is best when it is in service of the storytelling, and The Residence presented a unique opportunity to do just that. It was a big challenge and a tough nut to crack, but those creative and technical hurdles are a good part of what makes it so rewarding.” “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege. In the air, we created a fully CG version of the environment to have full control over the camera work.”—Daði Einarsson, VFX Supervisor, House of the Dragon The Battle at Rook’s Rest in Episode 4 of House of the Dragon Season 2 was a major milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. (Image courtesy of HBO) Season 2 of House of the Dragon presented some of the most complex and ambitious visual effects work for the show to date. (Photo: Theo Whiteman. Courtesy of HBO) For Jay Worth, VFX Supervisor on Apple TV+’s Lady in the Lake, the challenge was two-fold: create seamless effects and preserve the raw emotional truth of a performance. One of the most significant technical achievements was de-aging Natalie Portman. “It seems so easy on paper, but the reality was far more challenging,” Worth admits. Worth had tackled de-aging before, but never with the same level of success. “For me, it is simply because of her performance.” Portman delivered a nuanced, youthful portrayal that felt entirely authentic to the time period. “It made our job both so much easier and set the bar so high for us. Sometimes, you can hide in a scene like this – you pull the camera back, cut away before the most expressive parts of the dialogue, or the illusion breaks,” Worth explains. In Lady in the Lake, there was nowhere to hide. “I think that is what I am most proud of with these shots. It felt like the longer you stayed on them, the more you believed them. That is a real feat with this sort of work.” Skully VFX handled the de-aging. “They nailed the look early on and delivered throughout the project on this difficult task.” Working alongside Production Designer Jc Molina, the VFX team helped shape a world that felt rich, lived-in and historically precise. “We were entrusted with the most important part of this show – do we believe this performance from this character in this part of her journey? – and we feel like we were able to deliver on this challenge.” On the other end of the spectrum, Netflix’s American Primeval, under the guidance of VFX Supervisor Andrew Ceperley, delivers rugged, visceral realism in its portrayal of the untamed American frontier. With brutal battle sequences, sprawling landscapes and historical re-creations that interweave practical and digital effects, the series stands as a testament to how VFX can enhance grounded, historical storytelling. Ceperley says, “The standout is definitely the nearly three-minute single-shot massacre sequence in the forest episode.” Designed to immerse the audience in the raw, chaotic violence of the frontier, the scene captures every brutal detail with unrelenting intensity. The challenge was crafting invisible visual effects, enhancing practical stunts and destruction without breaking the immersive, handheld camera style. “The sequence was designed to be one shot made up of 10 individual takes, shot over seven days, seamlessly stitched together, all while using a handheld camera on an extremely wide-angle lens.” One of the most complex moments involved a bull smashing through a wagon while the characters hid underneath. Rather than relying on CGI, the team took a practical approach, placing a 360-degree camera under the wagon while the special effects team rigged it to explode in a way that simulated an impact. “A real bull was then guided to run toward the 360 camera and leap over it,” Ceperley says. The footage was blended with live-action shots of the actors with minimal CGI enhancements – just dust and debris – to complete the effect. Adding to the difficulty, the scene was set at sunset, giving the team an extremely limited window to capture each day’s footage. The massacre sequence was a prime example of integrating visual effects with practical techniques in creative, unconventional ways, blending old-school in-camera effects with modern stitching techniques to create a visceral cinematic moment that stayed true to the show’s raw, historical aesthetic. “Using old techniques in new, even strange ways and seeing it pay off and deliver on the original vision was the most rewarding part.”