By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”

Seconde journée du Festival d’Annecy, le lundi 9 juin proposait un programme dense. De nombreux projets très attendus ont été dévoilés. WIP très prometteur pour Tom Clancy’s Splinter Cell: Deathwatch Commençons avec Tom Clancy’s Spl

After hanging up his daggers as Drax the Destroyer and getting got as Glossu Rabban in Dune: Part Two, Dave Bautista is stepping into video games and animation with a new franchise by the name of Cat Assassin. The wrestler-actor and his production company Dogbone Entertainment will bring to life a new idea from Steve Lerner, who wrote 2022’s feline adventure game Stray. This would-be franchise will comprise a stealth-action video game—influenced by titles such as Assassin’s Creed, Splinter Cell, and Sifu—from developer Titan1Studios (Love is a Roguelike, The Events at Unity Farm) and a “neo-noir adult animated series.” Cat Assassin focuses on Hugh, an expert killer “caught between various cartels and power brokers in a dark and twisted city.” Bautista’s part of the enterprise’s “creative vision,” but at the moment, it’s unclear if that also means he’ll lend his voice to Hugh in either animated or video game form. (His current voice work includes the upcoming Army of the Dead animated series and playing himself in WWE games since 2003.) Titan1 has several TV and game projects in the works, so at the moment, there’s no real window on when to expect Cat Assassin. Still, in a statement on Titan1’s website Bautista called teaming with the company “a pleasure … Their ability to build worlds through animation has been so impressive and they’ve created a truly unique world in this game that I can’t wait to share with players.” While the game is seemingly expected for release in October 2027 for PC and several consoles, including the Nintendo Switch 2, Titan1 said more details on the overall franchise’s future is expected “in the coming months.” Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

Geoff Keighley has promised a record-breaking number of publishers at Summer Game Fest this year, so we’ve rounded up what we think we’ll be playing in the coming monthsTech23:00, 05 Jun 2025We're so ready to step into Samus' boots againE3 might be long gone, but Summer Game Fest has replaced it. While Nintendo Switch 2 has just launched, and Sony has held its own State of Play event, tonight’s show is about as unpredictable as you can get. So, naturally, we’re trying to predict what we’ll be seeing.With everyone from PlayStation to SEGA, Xbox and even Nintendo making an appearance, we’re expecting big things from the showcase, which will be packed with titles for 2025 and beyond.‌While some are known quantities, like Borderlands 4, Little Nightmares 3, and the upcoming Bond game from Hitman developer IO Interactive, we’re still expecting plenty of surprises. Here’s everything we’re predicting for Summer Game Fest 2025.‌There are plenty of big namesWith Geoff Keighley’s events in both the Summer and December being key fixtures on the gaming events calendar, he’s able to pull off plenty of surprises. The Game Awards 2023 revealed Monster Hunter Wilds, while the following year showcased the first gameplay of Slay The Spire 2 and Split Fiction, as well as Elden Ring Nightreign and Intergalactic: The Heretic Prophet.As for Summer Game Fest itself, the show last year featured Dragon Ball: Sparking Zero, Kingdom Come: Deliverance II and Warhammer 40,000: Space Marine 2 - all games which were released since then.Article continues belowWe’ve heard rumblings that Capcom’s Pragmata, revealed alongside the PS5 in June 2020, could be shown at the event following an indefinite delay in 2023. It’s just as well, since we have no idea what the game really is yet.We’re also very curious about what Nintendo could show. The Switch 2 is out, but only as of yesterday, so we’d expect a sizzle reel to show what the console is capable of, as well as another look at Donkey Kong Bananza.‌PlayStation is probably easier to predict since the company is launching Hideo Kojima’s Death Stranding 2: On The Beach in just a few short weeks, and Geoff Keighley will likely find some way of getting the man himself on stage.SEGA has plenty to show, too. Sonic Racing CrossWorlds is still due this year, while the company has an ambitious plan to resurrect classic titles starting with Shinobi: Art of Vengeance and leading into Streets of Rage and Crazy Taxi.We tipped a Final Fantasy 7 Remake Part 3 announcement for Sony’s State of Play, but we’re still waiting for more news on Kingdom Hearts 4.‌Pearl Abyss is still aiming to launch Crimson Desert this year (supposedly), but we’re without a release date as yet, while the company is also working on its colourful DokeV which has been MIA for years at this point.While Microsoft is expected to appear, the company has its own showcase just two days later with a big focus on The Outer Worlds 2. As a result, we might just get a sneak peek at this year’s Call of Duty with more to come on Sunday.With Bungie’s Marathon hit by plagiarism accusations, Embark Studios has a great chance to get players onto Arc Raiders as an alternative. Speaking of Bungie, expect a gameplay trailer for Destiny 2: Edge of Fate.‌Elden Ring is coming to Switch 2(Image: FromSoftware, Inc.)Call us crazy, but we want a bunch of Switch 2 news. We want to see From Software’s Duskbloods, get a release date for Elden Ring: Tarnished Edition, and maybe even a Metroid Prime 4 release date from Nintendo itself.Given the history of Monster Hunter on portable consoles, we’ve got everything crossed for the series to come to Switch 2, but coming off of the excellent Wilds, it’s perhaps unlikely.‌Naturally, we’ve always got our fingers crossed that we’ll see Silksong, but rumours have suggested that Team Cherry’s long-awaited Hollow Knight follow-up would be announced at Microsoft’s event if at all.As we said in our State of Play predictions, we’re also expecting to hear more about Resident Evil 9 by the end of this week, in some way, shape, or form.With The Division 2 getting what’s likely its final DLC recently, here’s hoping for The Division 3, which has been rumoured for a while. Or, maybe Ubisoft will finally share something about the Splinter Cell title it has in development.Article continues belowDid we get any correct? Find out with us, with the show kicking off at 10PM BST on Friday night.For the latest breaking news and stories from across the globe from the Daily Star, sign up for our newsletters.‌‌‌

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.”

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.”

Sam Fisher has been away for too long (Ubisoft) Activity on Ubisoft’s social media channels points to a potential Splinter Cell announcement, but is it connected to the remake? It’s been four years since Ubisoft announced it was working on a remake of the first Tom Clancy’s Splinter Cell, and we’ve heard nothing substantial about it since. Aside from some early concept art, a report last year claimed that, despite fan fears, the project hadn’t been cancelled and that it could launch at some point in 2026. Despite years of silence from Ubisoft, it seems they might finally be gearing up to make an announcement regarding the franchise. Either that, or someone on the social media team is feeling particularly torturous towards its fans. In an X post on Friday, May 30, the official Ubisoft account shared a head shot of series protagonist Sam Fisher, with eye emojis and ‘#SplinterCell’ in the caption. Weirdly, the screenshot itself is from the sequel to Tom Clancy’s Splinter Cell, titled Pandora Tomorrow, which was released in 2004 on PlayStation 2, Xbox, GameCube, and PC. While many fans are hoping this is a tease for news about the remake at Summer Game Fest on Friday, June 6, or at the Xbox showcase two days later, there’s a chance it could be connected to something else entirely. On Saturday, May 31, Netflix is holding its annual Tudum event where it shares trailers and announcements about its upcoming release slate. You might have forgotten about it entirely, but Netflix is developing an animated TV series based on Splinter Cell, called Splinter Cell: Deathwatch, which is slated to be released in late 2025. More Trending There’s a chance Ubisoft is teasing an announcement regarding the latter, but that doesn’t mean we won’t see an update about the remake at some point soon. In fact, it makes sense to line up the animated series with the launch of a remake, but that depends on whether Ubisoft is feeling logical. One potential ding against the chances of an update at Summer Game Fest is the fact Ubisoft hasn’t been listed among the event’s partners so far. This in turn suggests the company is planning its own Ubisoft Forward presentation again, like it did in June last year, but there hasn’t been an official announcement yet. The last mainline instalment in the series was 2013’s Splinter Cell: Blacklist, which continued the series’ action-orientated shift, following Splinter Cell: Conviction. Ubisoft was working on a VR spin-off, but that was was cancelled in 2022. Could we get an actual trailer soon? (Ubisoft) Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter. To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy

Since announcing in late 2021 that it was working on a full-blown ground-up remake of the original Splinter Cell using the Snowdrop Engine (on which the The Division series is also made), Ubisoft has kept awfully quiet about the game, though it seems as though that might change soon. Ubisoft itself seems to be teasing an announcement related to Splinter Cell at some point in the near future. Taking to Twitter, Ubisoft recently tweeted a picture of Sam Fisher, protagonist of the stealth espionage series, simply accompanying it with the #SplinterCell hashtag. With Summer Game Fest coming up on June 6, you can’t help but wonder if an announcement is not too far away. Meanwhile, prominent leaker Tom Henderson claims he has heard good things about the remake and how it is coming along. Taking to Twitter in the wake of Ubisoft’s aforementioned tweet, Henderson wrote that the remake “looks genuinely impressive.” Hopefully, that means the game is at a stage in production where Ubisoft is finally ready to show it off. Of course, for now, nothing is confirmed, so treat any rumours with the appropriate skepticism. Stay tuned, and we’ll keep you updated in the coming days and weeks.

After letting slip that the company was working on a new Rayman title, Ubisoft is now teasing something Splinter Cell-related, just days before Summer Game Fest kicks off.The company uploaded a cryptic post on X (formerly Twitter) on Friday with an image of what appears to be Sam Fisher, the beloved main character from the stealth action-adventure franchise. Using eye and mouth emojis, the social account typed “#SplinterCell” with no further context.Naturally, the mysterious post sent Splinter Cell fans into a tizzy; X users began commenting on it with excitement and hesitation, pleading with Ubisoft not to disappoint and/or tease them. Polygon has contacted Ubisoft for comment and will update this story with any further information we receive.While Ubisoft has been relatively quiet about its Splinter Cell plans, a recent job listing for the franchise was posted to the company’s career board.According to the job listing, Ubisoft is hiring a level design director who will “cultivate a vision for the game’s unique stealth-centric missions, breaking down the high-level direction of the game into compelling, tense and well-realized gameplay experiences.”The job listing details other responsibilities for the level design director, such as “[crafting] and demonstrating examples of interesting and fun gameplay setups that feel uniquely Splinter Cell.”Image: PolygonUbisoft last teased its Splinter Cell Remake project in December 2021, uploading a video about the perpetually upcoming game on YouTube. The video’s narrator detailed the history of the stealth franchise and explained that some of the devs responsible for the original game, now a part of Ubisoft Toronto, are returning to create a remake of the 2002 title.In September 2022, a job listing for a scriptwriter popped up, with a description explaining that Ubisoft intends for Splinter Cell Remake’s story to be updated “for a modern-day audience.““Using the first Splinter Cell game as our foundation, we are rewriting and updating the story for a modern-day audience,” the now-deleted post read at the time. “We want to keep the spirit and themes of the original game while exploring our characters and the world to make them more authentic and believable.Fans may be treated to more details regarding Ubisoft’s plans for Sam Fisher at Summer Game Fest, which kicks off Friday, June 6 at 2 p.m. PT / 5 p.m. ET / 9 p.m. GMT.Until then, keep the hope alive, Splinter Cell fans.See More: