At some point in the last decade, we’ve all experienced the awkward balancing act: lying in bed, arms raised, tablet swaying dangerously above us as if testing the laws of gravity. Enter the Tablift MaxPro, a flexible, adjustable stand that feels less like a device and more like a personal assistant dedicated solely to your comfort. Instead of juggling positions, it effortlessly holds your tablet steady, allowing you to browse hands-free at the perfect viewing angle, every single time. The MaxPro builds elegantly on an already successful design. Its look is distinctively functional, thoughtfully designed with a charm that’s uniquely purposeful, making its practical brilliance clear from the first use. You get four independently adjustable steel gooseneck legs, each with a protective rubber sleeve and a grip that sticks like it’s clinging to relevance in the age of standing desks. These legs are longer and more robust than before, giving the MaxPro better reach, higher elevation, and stability that feels nearly physics-defying. Designer: Greg Thüne (Primer Studios) Click Here to Buy Now: $38 $65 (42% off). Hurry, only 327/500 left! While the original Tablift exists online as a product success story, the MaxPro gives it a clever upgrade in the form of a 5-angle tilt system. With it, you can fine-tune your screen’s position from upright work mode to full recline binge-watching, no micro-adjustments or pillow origami required. Whether you’re doomscrolling on your phone, flipping through a digital cookbook, or calling your boss in pajama bottoms, the MaxPro keeps everything comfortably in frame. It handles devices up to 12.9 inches wide, and it doesn’t care if you’ve wrapped yours in a tank of a case or left it bare. It’s easy to appreciate how well it slides into everyday life. In the kitchen, it stands tall over flour-dusted countertops without tipping. On the couch, it flexes like it’s been doing yoga with Adriene. In bed, it grants that rare luxury of using your tablet without turning into a human origami swan. For the remote worker with two screens but one desk, it’s the second monitor stand you didn’t know you needed. And yes, for the fitness crowd, it stays eye-level during yoga or floor workouts without requiring a break to reposition. There’s also a joy in how unapologetically tactile it is. Nothing digital about it—just a physical object with physical utility. No apps. No firmware updates. Just unfold, insert your device, set the angle, and you’re off. It collapses down neatly too, its spindly legs folding inward like a retreating Transformer. Toss it into a tote bag or tuck it in a drawer; it doesn’t fight back. The MaxPro comes in three colors this time, because even utilitarian tools deserve a bit of flair. Kickstarter backers can snag one early, with optional add-ons like a screen cleaner and tote bag that feel more like thoughtful gestures than upsells. What the Tablift MaxPro truly excels at is not flashy tech, it’s the seamless convenience and practical comfort it brings to everyday life. In a world drowning in algorithmic solutions and smart-this or AI-that, a physically elegant answer to a common frustration feels strangely refreshing. It doesn’t buzz or glow or send notifications. It just works. And that, somehow, makes it one of the smarter designs on the market. Click Here to Buy Now: $38 $65 (42% off). Hurry, only 327/500 left!The post 13 Years Later, This Is Still The Best iPad Stand Available Today… And It Just Got An Upgrade first appeared on Yanko Design.

Nintendo Switch 2 - Joy-Con 2 (2-Pack) $94 at Walmart See at Walmart See at Target See at Best Buy Joy-Con 2 Left - Light Blue $54 at Walmart See at Walmart See at Target See at Best Buy Right Joy-Con 2 - Light Red $54 at Walmart See at Walmart See at Target See at Best Buy The Nintendo Switch 2 comes with a pair of Joy-Con 2 Controllers, but if you want to race around Mario Kart World's open world alongside three friends, you may want to pick up an extra set of the revamped controllers. Strangely, Joy-Con 2 preorders never opened at most major retailers, but Walmart's online midnight launch event includes Joy-Con 2 pairs as well as individual right and left Joy-Con Controllers. Walmart has also restocked the Joy-Con 2 Charging Grip and Wheel Set for Mario Kart World.Switch 2 Controllers & Joy-Con 2 Gear Restocks:Continue Reading at GameSpot

If you wanted to get a COVID vaccine during pregnancy, to protect yourself and your future baby from the virus, that may soon be difficult to impossible. According to a short video posted on X, U.S. Department of Health and Human Services secretary Robert F. Kennedy, Jr, who is also a noted anti-vaccine activist, said that the COVID-19 vaccine “has been removed” from the list of vaccines recommended in pregnancy, as well as the list of vaccines recommended for healthy children. This announcement sidesteps the usual regulatory process, and it’s not clear exactly what will happen next—but here’s what we know. The announcement may not be entirely validRFK, Jr made the announcement in a video where he stood alongside the NIH director Jay Bhattacharya and FDA commissioner Marty Makary. Notably, nobody from the CDC was present. The FDA approves vaccines, but it’s the CDC that is in charge of recommendations. (It is not clear who the CDC’s acting director actually is, or whether there is one.) Normally, the CDC has an advisory panel called ACIP (the Advisory Committee for Immunization Practices) that reviews scientific evidence to make recommendations for vaccines. They’ll vote on whether a given vaccine should be recommended for everybody in a group of people. Their decisions are then passed to CDC leadership, who make the final call as to whether the vaccine gets officially recommended for that group. Vaccines are not usually added or removed to the recommended list by the CDC without consulting with ACIP, and they definitely aren’t usually added or removed by tweeting a video. Dorit Reiss, a law professor who specializes in vaccine policy, posted on LinkedIn that the announcement may not be legally valid if it’s not immediately followed by supporting documentation. She says: “Under administrative law, to avoid being found arbitrary and capricious, an agency's decision has to meet certain criteria, including explaining the agency's fact finding, a connection between the facts and the decisions, etc. A one minute video on Twitter doesn't quite get you there.” So far, the CDC’s web page on vaccines recommended in pregnancy still says that “A pregnant woman should get vaccinated against whooping cough, flu, COVID-19, and respiratory syncytial virus (RSV).” The adult and child vaccine schedules still include COVID vaccines.Strangely, this move on behalf of the CDC contradicts the one we reported about recently from the FDA. The FDA plans to require extra steps (possibly unethical and/or impractical ones) to approve new COVID vaccines for healthy children and adults. But these steps don’t apply to people who are at high risk for complications of COVID. The FDA’s policy announcement included a list of those high risk health conditions—which includes pregnancy.Why it matters which vaccines are “recommended”Recommending a vaccine doesn’t just mean expressing an opinion; the Affordable Care Act requires that vaccines recommended by ACIP must be covered by most private insurance and Medicaid expansion plans without any cost sharing. That means no deductible and no copay—so these vaccines must be free to you out of pocket if you fall into a group of people for whom they are recommended. The recommended vaccines include all the standard childhood vaccines, plus your seasonal flu shot, and other vaccines that are recommended for adults, for people who are pregnant, and so on. The full schedules are here. If you’ve gotten a COVID shot, a flu shot, a tetanus shot, a shingles shot—the shot’s inclusion on this list is why you were able to (probably) get it for free.So taking a vaccine off the recommended list means that it could be prohibitively expensive. GoodRX, which keeps tabs on pharmacy prices, reports that COVID shots may cost $200 or more out of pocket, plus any applicable administration fee that the provider might charge.Taking a vaccine off the recommended list may also mean it won’t be covered by the Vaccines for Children program, which provides free vaccines to children who don’t have coverage for them through health insurance.Whether or not the vaccine actually gets taken off the list, the recent HHS announcement has another impact: The American College of Obstetricians and Gynecologists said in a statement that “Following this announcement, we are worried about our patients in the future, who may be less likely to choose vaccination during pregnancy despite the clear and definitive evidence demonstrating its benefit.” The ACOG statement also pointed out a few ways in which removing the vaccines from the recommended list is not “common sense and good science,” as the HHS announcement claimed. ACOG writes: “As ob-gyns who treat patients every day, we have seen firsthand how dangerous COVID infection can be during pregnancy and for newborns who depend on maternal antibodies from the vaccine for protection. We also understand that despite the change in recommendations from HHS, the science has not changed. It is very clear that COVID infection during pregnancy can be catastrophic and lead to major disability, and it can cause devastating consequences for families.”

Nvidia's RTX Remix is a remarkable tool that allows game modders to bring state-of-the-art path traced visuals to classic PC games. We've seen Portal RTX from Nvidia already, along with the development of a full-on remaster of Half-Life 2 - but I was excited to see a community of modders take on 2004's Painkiller, enhanced now to become Painkiller RTX. It's still a work-in-progress project as of version 0.1.6, but what I've seen so far is still highly impressive - and if you have the means, I recommend checking it out. The whole reason RTX Remix works with the original Painkiller is due to its custom rendering technology, known as the PainEngine. This 2004 release from People Can Fly Studios was built around Direct X 8.1, which gave it stellar visuals at the time, including bloom effects – specular lighting with limited bump mapping and full framebuffer distortion effects. Those visuals dazzled top-end GPU owners of the time, but like a great number of PC releases from that era, it had a DX7 fallback which culled the fancier shading effects and could even run on GPUs like the original GeForce. RTX Remix uses the fixed function DX7 path and replaces the core rendering with the path tracer - and that is how I have been playing the game these last few days, taking in the sights and sounds of Painkiller with a new lick of paint. It's an upgrade that has made me appreciate it all the more now in 2025 as it is quite a special game that history has mostly forgotten. To fully enjoy the modders' work on the path-traced upgrade to Painkiller, we highly recommend this video.Watch on YouTube Painkiller is primarily a singleplayer first-person shooter that bucked the trends of the time period. After Half-Life and Halo: Combat Evolved, many first person shooters trended towards a more grounded and storytelling-based design. The classic FPS franchises like Quake or Unreal had gone on to become wholly focused on multiplayer, or else transitioned to the storytelling route - like Doom 3, for example. Painkiller took all of those 'modern' trappings and threw them in the garbage. A narrative only exists in a loose sense with pre-rendered video that bookends the game’s chapters, acting only as a flimsy excuse to send the player to visually distinct levels that have no thematic linking beyond pointing you towards enemies that you should dispatch with a variety of weapons. The basic gameplay sounds familiar if you ever played Doom Eternal or Doom 2016. It is simple on paper, but thanks to the enemy and level variety and the brilliant weaponry, it does not get tiring. The game enhanced its traditional FPS gameplay with an extensive use of Havok physics – where a great deal of the game’s environmental objects could be broken up into tiny pieces with rigid body movement on all the little fragments, or environmental objects could be manipulated with ragdoll or rope physics. Sometimes it is there for purely visual entertainment but other times it has a gameplay purpose with destructible objects often containing valuable resources or being useful as a physics weapon against the game's enemies. So, what's the score with Painkiller RTX? Well, the original's baked lighting featured hardly any moving lights and no real-time perspective-correct shadows - so all of that is added as part and parcel of the path-traced visuals. The RTX renderer also takes advantage of ray-traced fog volumes, showing shadows in the fog in the areas where light is obscured. Another aspect you might notice is that the game’s various pickups have been now made to be light-emissive. In the original game, emissives textures are used to keep things full bright even in darkness, but they themselves emit no light. Since the path tracer fully supports emissive lighting from any arbitrary surface, they all now cast light, making them stand out even more in the environment. To see this content please enable targeting cookies. The original game extensively used physics objects, which tended to lead to a clash in lighting and shading for any moving objects, which were incongruous then with the static baked lighting. Turn on the path tracer and these moving objects are grounded into the environment with shadows of their own, while receiving and casting light themselves. Boss battles are transformed as those enemies are also fully grounded in the surrounding environments, perfectly integrated into the path-traced visuals - and even if the titanic enemies are off-screen, their shadows are not. The main difference in many scenes is just down to the new lighting - it's more physicalised now as dynamic objects are properly integrated, no longer floating or glowing strangely. One reason for this is due to lighting resolution. The original lighting was limited by trying to fit in 256MB of VRAM, competing for space with the game’s high resolution textures. Painkiller RTX's lighting and shadowing is achieved at a per-pixel level in the path tracer, which by necessity means that you tend to see more nuance, along with more bounce lighting as it is no longer erased away by bilinear filtering on chunky light map textures. Alongside more dynamism and detail, there are a few new effects too. Lit fog is heavily used now in many levels - perhaps at its best in the asylum level where the moonlight and rain are now illuminated, giving the level more ambience than it had before. There is also some occasional usage of glass lighting effects like the stain glass windows in the game now filtering light through them properly, colouring the light on the ground in the pattern of the individual mosaic patterns found on their surface. Half-Life 2 RTX - built on RTX Remix - recently received a demo release. It's the flagship project for the technology, but modders have delivered path traced versions of many modern games.Watch on YouTube New textures and materials interact with the path tracer in ways that transform the game. For some objects, I believe the modders used Quixel megascan assets to give the materials parallax along with a high resolution that is artistically similar to the original game. A stoney ground in the graveyard now actually looks stoney, thanks to a different texture: a rocky material with craggy bits and crevices that obscure light and cast micro shadows, for example. Ceramic tiles on the floor now show varying levels of depth and cracks that pick up a very dull level of reflectivity from the moon-lit sky. Some textures are also updated by running them through generative tools which interpret dark areas of the baked textures as recesses and lighter areas as raised edges and assigns them a heightmap. This automated process works quite well for textures whose baked features are easily interpreted, but for textures that had a lot of noise added into them to simulate detail, the automated process can be less successful. That is the main issue I would say with the RTX version so far: some of these automated textures have a few too many bumps in them, making them appear unnatural. But that is just the heightmap data as the added in material values to give the textures sheen tend to look universally impressive. The original game barely has any reflectivity, and now a number of select surfaces show reflections in full effect, like the marble floors at the end of the game's second level. For the most part though, the remix of textures from this mod is subtle, with many textures still being as diffuse as found in the original game: rocky and dirty areas in particular look much the same as before, just with more accurately rendered shadows and bounce lighting - but without the plasticy sheen you might typically find in a seventh generation game. Whether maxed on an RTX 5090 or running on optimised settings on an RTX 4060, the current work-in-progress version of Painkiller RTX can certainly challenge hardware. | Image credit: Digital Foundry Make no mistake though: path tracing doesn't come cheap and to play this game at decent frame-rates, you either need to invest in high performance hardware or else accept some compromises to settings. Being a user mod that's still in development, I imagine this could improve in later versions but at the moment, Painkiller RTX maxed out is very heavy - even heavier than Portal RTX. So if you want to play it on a lower-end GPU, I recommend my optimised settings for Portal RTX, which basically amounts to turning down the amount of possible light bounces to save on performance and skimping a bit in other areas. Even with that, an RTX 4060 was really struggling to run the game well. With frame generation on and DLSS set to 1080p balanced with the transformer model, 80fps to 90fps was the best I could achieve in the general combat zones, with the heaviest stages dipping into the 70s - and even into the 60s with frame generation. The mod is still work-in-progress, but even now, Painkiller RTX is still a lot of fun and it can look stunning if your hardware is up to it. But even if you can't run it, I do hope this piece and its accompanying video pique your interest in checking out Painkiller in some form. Even without the path-traced upgrade, this is a classic first-person shooter that's often overlooked and more than holds its own against some of the period's better known games.

When George R.R. Martin crafted the world of Westeros back in the 90s, he probably didn’t think his words would go on to spawn graphic novels, TV shows, action figures, video games, and more. Moreover, I doubt the author expected his works to be adapted into a mobile-friendly action-RPG built to prioritize predatory microtransactions over the rich lore he’d spent decades perfecting. Yet in 2025, we have Game of Thrones: Kingsroad, a visually striking open-world exploration game that looks compelling in motion, but hones in more on menus and currency than fantasy adventure. And, as you push deeper into its sizable campaign to uncover a plethora of in-game currencies and progress-halting hurdles, the neo-medieval jaunt starts to feel more like a lesson in asset management than a thoughtful RPG. Kingsroad takes place during season four of the HBO TV series, putting you in the fur-lined boots of a northern-born bastard of House Tyre. With your father sickly and your inheritance caught up in the strict succession rules of the realm, the only hope for the safety of your people is to borrow, beg, and steal your way into the hearts of the lords and ladies of Westeros. Naturally, things aren’t as simple as just asking, and you’ll have to go round the houses (literally) to solve land disputes, find missing soldiers, and knock together the heads of vassal-house warriors on your way to earning your flowers. Alongside a cavalcade of curious NPCs, there are also White Walkers, mythical beasts, and traitorous Boltons to butt heads with. Thankfully, Westeros’ misfortune makes for an enticing landing pad for you to start from. PlayBefore you dive into the cobbled streets and open roads of Westeros, though, you’ll first need to pick a combat archetype to play as: a brutish Sellsword, a skilful Knight, or a nimble Assassin. Fuelled by my love of Brienne of Tarth and Dungeons & Dragons’ Barbarian class, I opted for the axe-wielding Sellsword, whose heavy strikes can easily wind gaggles of enemy forces. Indecisive? Good news: Kingsroad does allow you to switch between archetypes at any time, and your inventory is shared across your three possible characters, so you can boost your alts with your main’s hard-earned loot. That said, I was disappointed to find that once you finalise a character, you can’t delete them and start that class over, or change their name, a feature that bit me in the butt when testing how unsightly I could make my Knight. With your combat destiny chosen, Kingsroad’s decently impressive character creator lets you use a mixture of face-contorting sliders and colour-pickers to specialise your plucky hero. It doesn’t have the depth of something like Dragon’s Dogma 2 (although that’s an admittedly high bar), but I am glad I was able to bestow my characters with an identity that felt personal to me – which is to say moody, and tastefully adorned with smudgy eyeliner and edgy facial scars. You'll explore an impressively recreated map of Westeros.“Kingsroad wastes no time teaching you the basics of its combat and platforming with a tight but comprehensive tutorial, which takes you beyond the wall and back again. That’s where you’ll meet the first of many familiar faces for any fans of the show, as Jon Snow and Samwell Tarley do a decent job of filling in the narrative gaps for those in need of a season four recap. While the digital renditions of these well-known characters aren’t the most flattering, their conversations felt thoughtfully written and helped to establish my lowborn place within the setting. Soon enough, though, Kingsroad lets go of your hand and allows you to roam free across the countryside, providing a choice of campaign quests and side missions to follow, as well as plenty of points of interest to chase on your map. The open world of Kingsroad gave me the freedom to explore this (mostly) faithfully reimagined Westeros, and I enjoyed riding across snowy plateaus and uncovering the secrets of curious stone architecture nestled on the horizon. But the initial exhilaration of high fantasy galavanting wore off quickly as the edges of developer Netmarble’s fantasy panopticon started to show. For every delicate snowflake at Castle Black or butterfly dancing in Winterfell, there were plenty more low-poly fruit trees, bouncy grass patches, and possessed weapons to pick at the sheen. I admire the sheer scale of the open world Kingsroad is offering, but it’s lacking the visual consistency to make it realistic and immersive. As I soon noticed those cracks in the facade, Kingsroad started to feel like a game full of pulled punches, despite how promising it seemed at a distance.This lack of polish extends to your movement on both foot and horseback – ice skating would be the most fitting comparison. When exploring the frosty reaches of the North, this sensation is strangely fitting. However, it became wholly frustrating when it persisted while charting the sunny coastal areas near Highgarden, especially when attempting to complete the occasional platforming puzzles dotted around the icon-covered map. Typically, I was only one slip away from falling down an unscalable hillside, or worse, into a camp of fierce opponents with no way out. Up close, the animations also err on the eerie side in cutscenes. My character would often deliver a wide-eyed death stare, and I couldn't take them seriously as they’d burn holes in the townsfolk’s skulls as they explained their heart wrenching tragedies.Memorable characters surface as uncanny valley clones of themselves.“Speaking of the citizens of Westeros, their heads and eyes wobble around like strange marionettes during conversations, which dampens the atmosphere considerably. It’s a shame, because their dialogue does a great job of affirming the grim, corrupt cloud that hangs over the continent as winter approaches. I felt particularly bad laughing when an old lady thanked me for saving her daughter from being eaten by Ramsay Bolton’s dogs. Unfortunately, the most egregious offenders are often Kingsroad’s recreations of characters from the show. Memorable players, like Nymeria Sand and Varys, surface as uncanny valley clones of their likenesses. I’ll be seeing yassifed Cersei in my nightmares for many moons to come…Beyond exploration, the bulk of your time in Kingsroad is split between investing in complex resource management systems at your homestead and completing multi-stage quests and battles out in the world. As such, you can find a plethora of challenges that boost both of these areas, like dungeon crawls, bandit camps, occupied villages, and giant mythical beasts, all of which reward you handsomely for spilling blood by the gallon. How efficiently you blend your time between these two aspects is integral to maintaining a solid pace within the grind-heavy progression system – alas, a lack of technical balance makes succeeding in this endeavour profoundly painful.Game of Thrones: Kingsroad Gameplay ScreenshotsThe trouble begins with the combat, which is a total mixed bag. While your actions feel pleasantly grounded, and rugged blows always arrive with flashy particle-heavy animations, the process begins to feel overfamiliar fast. Despite the solid variety of moves available – light, heavy, and special attacks, as well as decent dodge and parry options – inaccurate hit boxes consistently hampered my attempts at strategy. Occasionally, I would need to use my head a little and skulk around an area to remove edge threats, though those tactical moments arrived few and far between. It says something unflattering that Kingsroad feels almost identical at 60 hours as it did at 20. You can specialise and upgrade your moveset in combat with traits and skill trees, too, but they do little to impact how the combat feels in motion. Kingsroad gives the impression of having useful Traits by putting options like learning to parry and crafting arrows up at the top of the trees, but as you work your way down, many of the lower options offer small percentage-based improvements to defense and attack that barely make a dent. So as your sparkly slashes lose their lustre, you’re often left cycling through the same few enemies and combos until the battle is won. It seems as though the architecture of a solid combat system is there, but much like the rest of Kingsroad, it’s all facade with no foundation. What hampers the fun most are the frequent and appropriately-named Momentum roadblocks.“Still, what hampers the fun of Kingsroad most of all are the frequently appearing and appropriately-named Momentum roadblocks. Similar to Destiny’s Gear Score, Kingsroad tallies up the quality of all your equipment, accessories, and skills into one neat number called your Momentum Score. These pesky little digits are the cruel gatekeepers of story content, forcing you to scour the map for dull side objectives that can juice the numbers and shuffle you towards the next episode. While I’m more than happy to invest in grind-heavy games like World of Warcraft Classic and no stranger to mobile-minded progress gating, the Momentum system in Kingsroad is a particularly brutish arbiter that doesn’t allow you to get crafty or punch above your weight by taking on more challenging enemies. Instead, imposing forces appear with a skull icon over their head, their damage and health ratings untouchably high. But as soon as you inch over the Momentum line, the fight shifts dramatically in your favour. This black and white process neutralises any sense of gamesmanship, and frequently forced me into hours of toil to get back to the story I was, for the most part, enjoying. Sarah's favourite fantasy jauntsSee AllWhen you’re ready to take some time out from the combat, you can invest more in the slower-paced aspects of Kingsroad, namely the tedious Estate Management side game. As the last remaining heir to Lord Tyre, his homestead, Renan’s Rest, becomes your project. As is to be expected, helping this dilapidated village flourish rewards you with the tools necessary to beef up your arsenal, and gives you a place to spend all those resources you’ve been hoarding by completing missions – though the process of cleaning up this town is about as much fun as cleaning your actual room.While the jeweller and the forge are convenient additions that allow you to craft wearable items, the most valuable activity is embarking on gacha-based Artefact Expeditions. You’ll spend resources to hire workers and send them into the wild to find more resources, as well as historical items called Relics you can then leverage to further bolster your Momentum. Similar to other gacha game systems, you’re guaranteed a high-quality item after a set amount of runs, but a standard expedition takes eight actual hours to complete, which is a frustrating turnaround when not every run guarantees a good haul. That is, unless you’re willing to pay real money to speed things up. The Story Continues - Live Service UpdatesPlayWhile it took me roughly 60 hours to complete the story missions that were available at Game of Thrones: Kingsroad’s 1.0 launch (in part thanks to the benefit of the Ultimate Founder’s Pack code we were provided for this review), once you finish up, it doesn’t really “end” and you can seek out the plethora of side quests and repeatable combat challenges across the map. While there isn’t an official roadmap for what’s on the horizon, Netmarble announced during its 1.0 release Dev Note that the team will continue to add content and make technical improvements as time goes on. Alongside the Battle Pass, there are also timed Events that offer additional goalposts and ask you to complete a series of challenges to earn further rewards. Continued support is always good, and here’s hoping things like the floaty movement and inconsistent animations might eventually get the polish they need, but I’m skeptical that much can be done to fix Kingsroad’s biggest issues without a complete rework of its economy and progression. For example, the new quests that were already added post-launch should’ve been enticing, but instead they pushed the finish line absurdly far out of sight – by my rough estimate, I would need to play more than twice what I already have just to reach the Momentum Score required to take them on (without spending any money), and that’s despite the fact that this new content seems to follow the exact same loop of mission types already used across the rest of the campaign. Thanks, but I’m good.That brings us to the elephant in the room. Almost every activity in Kingsroad can be expedited with the use of cold hard cash, which translates to Iron Bank Marks in-game. Of course, you can pay to complete an aforementioned expedition early, or buy higher-rarity expedition wagons by the dozen that don’t take time to complete. Stuck behind a Momentum block? Just purchase Gold to speedrun your jewellery maker’s upgrades and smelt higher-rated necklaces and rings to jolt your score. Typically, you can only fast travel by making your way to a special signpost first, and there’s a copper fee for each warp – but you can fast travel from anywhere for free if you pay for the premium option. Behind nearly every aggravating system in Kingsroad is a far more user-friendly one, but only if you’re willing to cough up the dough. It seems intent to toe the line between being intentionally frustrating and passably functional, subtly egging you on to pay up rather than sit through the repetitive, time-consuming activities necessary to proceed. While it’s to be expected that there will be premium aspects in a free-to-play game available on mobile devices (in addition to Steam), the overwhelming flood of paid subscriptions, resource packs, and confounding currencies feels like a heartbreaking affront to Game of Thrones fans, like myself, who have been begging for a fully-fledged Westeros RPG similar to this. Across the 60 hours I’ve played so far, I’ve felt guilty for slashing down innocent defectors and filled with joy for feeding the starving smallfolk. It's clear Netmarble wants you to feel like you’re making a difference in this world, but it’s also just as keen to remind you that you can make a difference quicker if you’re willing to enter your credit card details first. It’s sad to see so much effort put into the underlying concept of a Game of Thrones adventure like this only for it to be tarnished by microtransactions and the repetitive gameplay loops that enable them.

In early 2004, after defeating Krona, the Justice League and the Avengers said their goodbyes as each team returned to their proper universe. It was the last time that Marvel and DC would cross paths in any official capacity for decades. Well, unless you count the roundabout way of having them duke it out with Fortnite skins. In terms of comics, the two industry giants would keep separate, especially once Marvel was scooped up by Disney. After 21 years, the two worlds will collide once again. In September, Marvel is releasing Deadpool/Batman, written by Zeb Wells with art by Greg Capullo (including backup stories featuring talent like Kevin Smith, Chip Zdarsky, Adam Kubert, and more). Then in November, DC is doing Batman/Deadpool, written by Grant Morrison with art by Dan Mora. On top of that, this is apparently only the beginning, as there will be Marvel/DC crossovers happening on an annual basis. That does bring into question some choice narration from Doctor Manhattan in 2017’s Doomsday Clock. In the DC Universe/Watchmen event, the omnipotent, blue-donged god noted that in 2030 there would be an event known as “The Secret Crisis,” which would involve Superman fighting Thor across the universe and the heroic sacrifice of one unnamed green behemoth. A hopeful joke or something more? Regardless of what the future brings, starting things off with dual meetings between the Dark Knight and the Merc with a Mouth is a brilliant choice. They could have had Superman team up with Spider-Man all over again or something just as on the nose, but this is fresh and has tons of potential. Here are some reasons why. Deadpool Missed Out The first crossover between the companies was 1976’s Superman vs. The Amazing Spider-Man. While there had been a few other attempts in the ‘70s and ‘80s, it wasn’t until the mid-’90s that they went absolutely ham with it. Over a six-year stretch starting in 1994, there were fifteen different team-ups and cross-company battles. This includes the memorable and oh-so-dated Marvel vs. DC event and its dip into Amalgam, the merged reality where Dark Claw (Wolverine/Batman) and his sidekick Sparrow (Jubilee/Robin) fight Hyena (Sabretooth/Joker). Meanwhile, though Deadpool was introduced in 1990, he wasn’t really cared about among comic fans until the 1997 solo run by Joe Kelly and Ed McGuinness. By the time Deadpool really picked up steam in popularity (Deadpool actually won a fight based on reader votes against Daredevil in 1999’s Contest of Champions II), the DC alliance was on its way out. The poor guy didn’t even get to be in Amalgam. They merged Deathstroke the Terminator with Daredevil instead. Centering this Batman story on a mainstream hero who wasn’t mainstream enough back in the ‘90s only adds a new coat of paint onto this novelty. The Previous Batman and Deadpool Crossover Then again, this wouldn’t exactly be the first time Batman and Deadpool have crossed paths. In an unofficial way, they have met. Sort of. As mentioned, the Kelly/McGuinness run of Deadpool was iconic and character-defining. That same creative team worked on Superman/Batman Annual #1 back in 2006. In a modern retelling of the pre-Crisis storyline where Bruce and Clark discovered each other’s secret identities on a cruise, the two had to deal with both Deathstroke and Deathstroke’s heroic Earth-3 doppelganger. Outside of the blue and orange color scheme, Earth-3 Deathstroke was Deadpool in as many ways as they could legally get away with. This included constantly getting interrupted with extreme violence whenever he was about to say his actual name. Still, even being in a separate company never stopped Deadpool from razzing on Batman. In his movies alone, he’s made fun of how dark the DC Universe is, crapped on the ending of Batman v Superman: Dawn of Justice, and joked about how Wolverine’s mask is like Batman’s with actual neck mobility. Speaking of… The Writers Understand the Assignment Zeb Wells might not be the most popular comic writer right now due to reasons involving Ms. Marvel’s death and… Paul. Still, he was one of the writers of Deadpool & Wolverine. People seemed to like that one. The guy knows a thing or two about putting Deadpool with a gruff, brooding superhero with reluctant father issues. This one will probably have less mutual bludgeoning… er, at least I hope it will. Join our mailing list Get the best of Den of Geek delivered right to your inbox! On the other side of things, we have Grant Morrison. Morrison is no stranger to the X-Men corner of Marvel, but he’s strangely never touched Deadpool before. Considering how much Morrison loves playing with the fourth wall and the boundaries between reality and fiction (Animal Man, Flex Mentallo, Seven Soldiers: Zatanna), it’s a real surprise that they never got to write for Marvel’s most self-aware antihero. Letting Deadpool Loose in Gotham On paper, the idea of having Deadpool specifically mixing things up with Harley Quinn might have made for a more fitting crossover. Unfortunately, DC kind of beat that into the ground with their “we can rip off your guy more blatantly than you can rip off ours” creation Red Tool, a regular in Harley’s comics. Regardless, having Deadpool mix it up with the worst of Gotham has legs. If anything, the very idea of Deadpool antagonizing the Joker is enough to sell issues. We could see him make Bane look nearly useless by recovering from a broken spine in seconds. We could find out what happens when Wade huffs fear gas. He could brutalize a confused Penguin for what happened to Victor in the HBO Max season finale. An official Deadpool vs. Deathstroke showdown is on the table. The possibilities are endless! As for Batman, he could… um… He… could fight… huh. Is T-Ray still a thing? Deadpool/Batman #1 will be released on September 17, 2025. Batman/Deadpool #1 is set to arrive in November.

Macworld At a glance Pros Creepy setting and storyline Enjoyable and varied combat system Runs on M1 or later Cons Shooter action might require a game controller No support for Intel Macs Annoying auto-save system Our Verdict The auto-save system can be irksome, but Control is a great action game with an atmospheric inter-dimensional setting and an enjoyable combination of shoot-‘em-up action and psychic super powers. Price When Reviewed This value will show the geolocated pricing text for product undefined Best Pricing Today We all know that most A-List games are never released on the Mac at all, and even if there is a Mac version then it will often take many months to arrive, long after the release of the PC version. However, there aren’t many games that take quite as long to reach the Mac as Control, which was first released back in 2019. It’s definitely better late than never, though, especially as Control really is one of a kind – a super-powered shoot-‘em-up action game with some seriously weird X-Files vibes. And, hopefully, the developers at Remedy Games will now think about bringing some of their other weirdly wonderful games to the Mac as well, such as the acclaimed Alan Wake series. The X-Files comparisons are inevitable, as the game opens with Jesse Faden arriving at the headquarters of the Federal Bureau Of Control, a government agency that investigates paranormal Altered World Events – known as AWEs. Jesse’s younger brother vanished during an AWE, and since then she has been guided by a mysterious voice in her head that leads her to the headquarters of the FBC. Known as the Oldest House, the FBC office is strangely silent when Jesse arrives, with only a mysterious – and rather creepy – janitor to give her directions to the office of the FBC’s Director. This opening section acts as a tutorial that gives you some time to get the hang of the main controls, but also provides background to the story as Jesse conducts a helpful dialogue with her inner voice as she wanders the halls of the FBC. When she finds the Director’s office it turns out that he is already dead, having apparently killed himself, with his hand gun lying on the floor beside him. This is no ordinary gun though. Known as the Service Weapon, it proceeds to whisper instructions to Jesse, effectively recruiting her into the FBC and assigning missions that she must complete. Jesse’s first mission reveals that the Oldest House is somehow linked to another dimension, where she encounters some shambling alien figures and gets her first taste of combat. It turns out that the Service Weapon has some other tricks up its sleeve too, as it can magically reload whenever Jesse gets low on ammo. That comes in handy as I’ve never been very good at shoot-‘em-up games, and most of my shots miss by miles. However, Jesse also discovers that she has some magic powers of her own, beginning with a kind of psychokinetic punch that allows her to knock back enemies that get too close. This helps to make up for my lousy shooting skills, as I find that I can let the creepy creatures get quite close and then knock them down before pumping bullets into them at close range. Foundry Jesse can further enhance her psychokinetic powers as the game progresses, learning how to hurl objects at enemies, and also upgrading the Service Weapon and other weapons that she finds along the way. The game does have some rough edges – most notably an irritating auto-save feature that only saves the game at specific points. This means that getting killed by a particularly tough enemy often forces you to go back and replay the previous section a few times, retracing your steps through the Oldest House repeatedly as you try yet again to defeat that enemy. That’s one of the few annoying features, though, and the game’s combination of shooter action and psychic powers ensures that the combat is fun and varied, even for someone with my limited shooting skills. The way that the action keeps switching locations between the FBC and the astral plane also keeps things interesting as you try to unravel the mysteries of the Oldest House. Foundry The age of the game also means that you don’t need a powerful Mac to run it properly. The notes on the App Store say that Control requires an M1 processor or later running Sonoma (although there’s no support for Intel Macs, unfortunately). I played the game on a MacBook Pro with an M2 Pro and was able to get a playable 34 frames per second when running at 2560×1440 resolution with Medium graphics settings, so you should be able to get decent performance even with an M1 if you don’t mind lowering the resolution and graphics settings a little. It’s a shame, though, that there’s no demo version available so that you can check it out first. And, yet again, the Mac version of Control is only available on the Mac App Store, so people who already own the PC version on Epic or Steam will have to buy the Mac version separately. Remedy did tell us that they were hoping to make the Mac version available on Steam at some point, but weren’t able to provide a definite release date at the time of this review. Control is a little more expensive than we expected for a game that is a few years old, costing $39.99/£34.99 on the Mac App Store. But that is similar to the price of the PC version, and this Ultimate Edition includes two expansion packs with additional missions and stories for you to uncover. Should you buy Control? The emphasis on shoot-‘em-up action may not appeal to everyone, but the additional psychic powers that Jesse can learn during the game does help to keep things varied and interesting. And, of course, the conspiracies and mysteries of the Federal Bureau Of Control will appeal to fans of the X-Files as well, making it a good option for anyone who enjoys challenging and atmospheric action games. Want to play some games on the Mac? We’ve tried out loads and our favorites can be found here: Best Games for Mac: A-list Mac games to play.

screen time Google Is Burying the Web Alive 5:00 A.M. saved Save this article to read it later. Find this story in your account’s ‘Saved for Later’ section. Photo-Illustration: Intelligencer By now, there’s a good chance you’ve encountered Google’s AI Overviews, possibly thousands of times. Appearing as blurbs at the top of search results, they attempt to settle your queries before you scroll — to offer answers, or relevant information, gleaned from websites that you no longer need to click on. The feature was officially rolled out at Google’s developer conference last year and had been in testing for quite some time before that; on the occasion of this year’s conference, the company characterized it as “one of the most successful launches in Search in the past decade,” a strangely narrow claim that is almost certainly true: Google put AI summaries on top of everything else, for everyone, as if to say, “Before you use our main product, see if this works instead.” This year’s conference included another change to search, this one more profound but less aggressively deployed. “AI Mode,” which has similarly been in beta testing for a while, will appear as an option for all users. It’s not like AI Overviews; that is, it’s not an extra module taking up space on a familiar search-results page but rather a complete replacement for conventional search. It’s Google’s “most powerful AI search, with more advanced reasoning and multimodality, and the ability to go deeper through follow-up questions and helpful links to the web,” the company says, “breaking down your question into subtopics and issuing a multitude of queries simultaneously on your behalf.” It’s available to everyone. It’s a lot like using AI-first chatbots that have search functions, like those from OpenAI, Anthropic, and Perplexity, and Google says it’s destined for greater things than a small tab. “As we get feedback, we’ll graduate many features and capabilities from AI Mode right into the core Search experience,” the company says. I’ve been testing AI Mode for a few months now, and in some ways it’s less radical than it sounds and (at first) feels. It resembles the initial demos of AI search tools, including those by Google, meaning it responds to many questions with clean, ad-free answers. Sometimes it answers in extended plain language, but it also makes a lot of lists and pulls in familiar little gridded modules — especially when you ask about things you can buy — resulting in a product that, despite its chatty interface, feels an awful lot like … search. Again, now you can try it yourself, and your mileage may vary; it hasn’t drawn me away from Google proper for a lot of thoughtless rote tasks, but it’s competitive with ChatGPT for the expanding range of searchish tasks you might attempt with a chatbot. From the very first use, however, AI Mode crystallized something about Google’s priorities and in particular its relationship to the web from which the company has drawn, and returned, many hundreds of billions of dollars of value. AI Overviews demoted links, quite literally pushing content from the web down on the page, and summarizing its contents for digestion without clicking: Photo-Illustration: Intelligencer; Screenshot: Google Meanwhile, AI Mode all but buries them, not just summarizing their content for reading within Google’s product but inviting you to explore and expand on those summaries by asking more questions, rather than clicking out. In many cases, links are retained merely to provide backup and sourcing, included as footnotes and appendices rather than destinations: Photo-Illustration: Intelligencer; Screenshot: Google This is typical with AI search tools and all but inevitable now that such things are possible. In terms of automation, this means companies like OpenAI and Google are mechanizing some of the “work” that goes into using tools like Google search, removing, when possible, the step where users leave their platforms and reducing, in theory, the time and effort it takes to navigate to somewhere else when necessary. In even broader terms — contra Google’s effort to brand this as “going beyond information to intelligence” — this is an example of how LLMs offer different ways to interact with much of the same information: summarization rather than retrieval, regeneration rather than fact-finding, and vibe-y reconstruction over deterministic reproduction. This is interesting to think about and often compelling to use but leaves unresolved one of the first questions posed by chatbots-as-search: Where will they get all the data they need to continue to work well? When Microsoft and Google showed off their first neo-search mockups in 2023, which are pretty close to today’s AI mode, it revealed a dilemma: Search engines still provide the de facto gateway to the broader web, and have a deeply codependent relationship with the people and companies whose content they crawl, index, and rank; a Google that instantly but sometimes unreliably summarizes the websites to which it used to send people would destroy that relationship, and probably a lot of websites, including the ones on which its models were trained. And, well, yep! Now, both AI Overviews and AI Mode, when they aren’t occasionally hallucinating, produce relatively clean answers that benefit in contrast to increasingly degraded regular search results on Google, which are full of hyperoptimized and duplicative spamlike content designed first and foremost with the demands of Google’s ranking algorithms and advertising in mind. AI Mode feels one step further removed from that ecosystem and once again looks good in contrast, a placid textual escape from Google’s own mountain of links that look like ads and ads that look like links (of course, Google is already working on ads for both Overviews and AI Mode). In its drive to embrace AI, Google is further concealing the raw material that fuels it, demoting links as it continues to ingest them for abstraction. Google may still retain plenty of attention to monetize and perhaps keep even more of it for itself, now that it doesn’t need to send people elsewhere; in the process, however, it really is starving the web that supplies it with data on which to train and Two years later, Google has become more explicit about the extent to which it’s moving on from the “you provide us results to rank, and we send you visitors to monetize” bargain, with the head of search telling The Verge, “I think the search results page was a construct.” Which is true, as far as it goes, but also a remarkable thing to hear from a company that’s communicated carefully and voluminously to website operators about small updates to its search algorithms for years. I don’t doubt that Google has been thinking about this stuff for a while and that there are people at the company who deem it strategically irrelevant or at least of secondary importance to winning the AI race — the fate of the web might not sound terribly important when your bosses are talking nonstop about cashing out its accumulated data and expertise for AGI. I also don’t want to be precious about the web as it actually exists in 2025, nor do I suggest that websites working with or near companies like Meta and Google should have expected anything but temporary, incidental alignment with their businesses. If I had to guess, the future of Google search looks more like AI Overviews than AI mode — a jumble of widgets and modules including and united by AI-generated content, rather than a clean break — if only for purposes of sustaining Google’s multi-hundred-billion-dollar advertising business. But I also don’t want to assume Google knows exactly how this stuff will play out for Google, much less what it will actually mean for millions of websites, and their visitors, if Google stops sending as many people beyond its results pages. Google’s push into productizing generative AI is substantially fear-driven, faith-based, and informed by the actions of competitors that are far less invested in and dependent on the vast collection of behaviors — websites full of content authentic and inauthentic, volunteer and commercial, social and antisocial, archival and up-to-date — that make up what’s left of the web and have far less to lose. Maybe, in a few years, a fresh economy will grow around the new behaviors produced by searchlike AI tools; perhaps companies like OpenAI and Google will sign a bunch more licensing deals; conceivably, this style of search automation simply collapses the marketplace supported by search, leveraging training based on years of scraped data to do more with less. In any case, the signals from Google — despite its unconvincing suggestions to the contrary — are clear: It’ll do anything to win the AI race. If that means burying the web, then so be it. Sign Up for the Intelligencer Newsletter Daily news about the politics, business, and technology shaping our world. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. By submitting your email, you agree to our Terms and Privacy Notice and to receive email correspondence from us. Tags: Google Is Burying the Web Alive

Worms are decomposers. Many survive by breaking down dead things — dead bacteria, dead plants, dead animals, dead anything. So, they must be accustomed to the stench of death. Not so, a new study suggests — not when the dead organism is another worm.Published in Current Biology, the study states that C. elegans roundworms react adversely to the smell of a deceased counterpart. Not only does this smell invoke a behavioral response of corpse avoidance, but it also invokes a physiological response of increased short-term fertility and decreased long-term fitness and lifespan.“Caenorhabditis elegans prefers to avoid dead conspecifics,” or deceased members of the same species, the authors state in the study, with the worms reacting to death with a range of “aversion” and “survival” responses. Taken together, the results reveal a new signaling mechanism that’s available to worms and possibly other organisms, too, as a means of detecting and responding to death.Read More: These Fruit Flies Aged Faster After Seeing DeathWorms Signal and Detect DeathC. elegans roundworms aren’t the only small organisms that respond to the dead. Ants and bees dispose of the deceased from their colonies, for instance, while fruit flies avoid corpses (and shun flies that have seen corpses themselves). Death-exposed fruit flies even experience faster aging after seeing a deceased counterpart, and have shorter lifespans than those that have had no encounters with death. That these animals respond so strongly to the dead is widely documented. So, when the authors of the new study noticed C. elegans worms wriggle away from corpses, they saw the response as a chance to dig deeper into death signaling and detection. Indeed, while many species’ reactions to death are mediated mainly by sight, that certainly wasn’t the case for wiggling roundworms, which have no eyes and no sense of vision. “We felt this was quite a unique opportunity to start diving into what is happening mechanistically that enables C. elegans to detect a dead conscript,” said Matthias Truttmann, a senior study author and a physiologist at the University of Michigan, according to a press release.To determine how C. elegans worms detect the dead, Truttman and his team exposed the worms to conspecific corpses and to fluids taken from the deteriorating cells of those corpses. The worms responded to both with avoidance, moving away regardless of their age and sex, suggesting that the corpses and fluids carried similar signatures of death. These death cues also resulted in short-term increases in fertility, long-term decreases in fitness (represented by a reduced thrashing rate), and long-term decreases in lifespan. But what were those death cues, exactly, and how did the worms pick up on them?Sounding a Sensory AlarmTo figure out what those cues could be, the study authors recorded the activity in the worms’ sensory neurons as they encountered the corpses and fluids. The recordings revealed that AWB and ASH, two neurons that are responsible for making sense of olfactory stimuli, were activated when the corpses and fluids were present, indicating that the worms were smelling the signature of death.“The neurons we identified are well known to be involved in behavioral responses to a variety of environmental cues,” Truttmann said in the release. According to the study authors, the metabolites AMP and histidine were probably responsible for the signal of death that the C. elegans worms recognized. Though these metabolites are typically contained in living cells, they are released when living cells die and deteriorate — in this case, triggering the behavioral and physiological responses in C. elegans. “They also detect a couple of intracellular metabolites that are not typically found in the environment. If they are around, it indicates that a cell has died, popped open, and that something has gone wrong,” Truttmann said in the release.It is possible that cellular metabolites serve as a signal of death in other organisms, too, Truttmann said, as the release of metabolites from dying and disintegrating cells in one tissue can cause changes in other tissues in humans, for instance. Whether this signal sounds the alarm in other organisms is still uncertain. While further research is required to understand the role of cellular metabolites in detecting death across species, for now, it’s clear that death is a sensitive subject, even for worms like C. elegans.Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:Current Biology. Sam Walters is a journalist covering archaeology, paleontology, ecology, and evolution for Discover, along with an assortment of other topics. Before joining the Discover team as an assistant editor in 2022, Sam studied journalism at Northwestern University in Evanston, Illinois.

Some collaborations are unexpected in the best way. “Satellites”, a new exhibition conceived by Danish filmmaker Nicolas Winding Refn and celebrated Japanese game designer Hideo Kojima – is one of them. Presented by Prada with support from Fondazione Prada, the show landed at Prada Aoyama Tokyo with a simple but lofty goal: exploring how two creatives, from opposite sides of the world in different industries, overcome language barriers to connect over time, space, and shared imagination. When you arrive on the fifth floor of the Herzog & de Meuron–designed Prada Aoyama building, you’re not stepping into a typical gallery. Instead, you enter a meticulously staged, mid-century one-bedroom apartment, complete with a couch, bed, lamp, and rotary telephone – each seemingly pulled from another era, eerily lifelike and strangely timeless all at once. The space feels more like a movie set than an exhibition, setting the tone for what unfolds next. The exhibition is divided into two parts. In the first, Refn and Kojima appear on six retro-futuristic televisions reminiscent of small spaceships with exposed circuit boards, wires, and glowing components. Inside these sculptural screens, the two creatives engage in a slow, contemplative dialogue – one speaking in English, the other in Japanese. Their conversation drifts through themes like friendship, collaboration, technology, creativity, identity, and even mortality. The effect is intimate and reflective, inviting visitors to linger, listen, and interpret at their own pace. The second part of the installation unfolds in a nearby dressing room, where a cassette player sits surrounded by stacks of tapes. Each tape contains a remix of Refn and Kojima’s conversation, blending sound bites, cinematic scores, and alternate versions of their dialogue translated into various languages using AI. Visitors are encouraged to sift through the tapes, piecing together their own version of the exchange. At its core, “Satellites” is an exploration of connection between people, mediums, and realities. As the worlds of film and video gamess continue to converge, they hint at a future shared digital dimension – one that reimagines how we create, communicate, and experience together. It’s a poetic look at how creativity and technology might ultimately bring us closer, no matter how far apart we begin. Nicolas Winding Refn and Hideo Kojima \\\ Photo: Daisuke Takeda “Satellites” is on view until August 25, 2025 at Prada Aoyama Tokyo every day from 11am – 8pm. For more information, visit prada.com. Photography by Yasuhiro Takagi courtesy of Prada.