• BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4

    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 Splintersplits 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, 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, 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 humanyou tend to want to give it human gestures and eyebrows. Erik Kripkesaid, ‘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 wasin 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.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.

    Homelanderbreaks 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 Frenchiehallucinates as Kimiko Miyashirogoes 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 Splintersplits 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. “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.”
    #bouncing #rubber #duckies #flying #sheep
    BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4
    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 Splintersplits 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, 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, 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 humanyou tend to want to give it human gestures and eyebrows. Erik Kripkesaid, ‘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 wasin 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.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. Homelanderbreaks 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 Frenchiehallucinates as Kimiko Miyashirogoes 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 Splintersplits 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. “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.” #bouncing #rubber #duckies #flying #sheep
    WWW.VFXVOICE.COM
    BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4
    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.”
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  • ## Introduction

    Let's get straight to the point: the chaos surrounding the StatusNotifierItem and the so-called "standards" put forth by Freedesktop is a ticking time bomb for the Linux desktop ecosystem. In theory, Linux developers should have a clear, unified path to follow when creating GUI-based applications. The reality? A disjointed mess that not only frustrates users but also undermines the very foundation that Linux prides itself on: freedom and flexibility. It's high time we address t...
    ## Introduction Let's get straight to the point: the chaos surrounding the StatusNotifierItem and the so-called "standards" put forth by Freedesktop is a ticking time bomb for the Linux desktop ecosystem. In theory, Linux developers should have a clear, unified path to follow when creating GUI-based applications. The reality? A disjointed mess that not only frustrates users but also undermines the very foundation that Linux prides itself on: freedom and flexibility. It's high time we address t...
    StatusNotifierItem: How Standard Non-Standards Tear Linux Desktops Apart
    ## Introduction Let's get straight to the point: the chaos surrounding the StatusNotifierItem and the so-called "standards" put forth by Freedesktop is a ticking time bomb for the Linux desktop ecosystem. In theory, Linux developers should have a clear, unified path to follow when creating GUI-based applications. The reality? A disjointed mess that not only frustrates users but also...
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  • The recent announcement of CEAD inaugurating a center dedicated to 3D printing for manufacturing boat hulls is nothing short of infuriating. We are living in an age where technological advancements should lead to significant improvements in efficiency and sustainability, yet here we are, celebrating a move that reeks of superficial progress and misguided priorities.

    First off, let’s talk about the so-called “Maritime Application Center” (MAC) in Delft. While they dazzle us with their fancy new facility, one has to question the real implications of such a center. Are they genuinely solving the pressing issues of the maritime industry, or are they merely jumping on the bandwagon of 3D printing hype? The idea of using large-scale additive manufacturing to produce boat hulls sounds revolutionary, but let’s face it: this is just another example of throwing technology at a problem without truly understanding the underlying challenges that plague the industry.

    The maritime sector is facing severe environmental concerns, including pollution from traditional manufacturing processes and shipping practices. Instead of addressing these burning issues head-on, CEAD and others like them seem content to play with shiny new tools. 3D printing, in theory, could reduce waste—a point they love to hammer home in their marketing. But what about the energy consumption and material sourcing involved? Are we simply swapping one form of environmental degradation for another?

    Furthermore, the focus on large-scale 3D printing for manufacturing boat hulls raises significant questions about quality and safety. The maritime industry is not a playground for experimental technologies; lives are at stake. Relying on printed components that could potentially have structural weaknesses is a reckless gamble, and the consequences could be disastrous. Are we prepared to accept the liability if these hulls fail at sea?

    Let’s not forget the economic implications of this move. Sure, CEAD is likely patting themselves on the back for creating jobs at the MAC, but how many traditional jobs are they putting at risk? The maritime industry relies on skilled labor and craftsmanship that cannot simply be replaced by a machine. By pushing for 3D printing at such a scale, they threaten the livelihoods of countless workers who have dedicated their lives to mastering this trade.

    In conclusion, while CEAD’s center for 3D printing boat hulls may sound impressive on paper, the reality is that it’s a misguided effort that overlooks critical aspects of sustainability, safety, and social responsibility. We need to demand more from our industries and hold them accountable for their actions instead of blindly celebrating every shiny new innovation. The maritime industry deserves solutions that genuinely address its challenges rather than a mere technological gimmick.

    #MaritimeIndustry #3DPrinting #Sustainability #CEAD #BoatManufacturing
    The recent announcement of CEAD inaugurating a center dedicated to 3D printing for manufacturing boat hulls is nothing short of infuriating. We are living in an age where technological advancements should lead to significant improvements in efficiency and sustainability, yet here we are, celebrating a move that reeks of superficial progress and misguided priorities. First off, let’s talk about the so-called “Maritime Application Center” (MAC) in Delft. While they dazzle us with their fancy new facility, one has to question the real implications of such a center. Are they genuinely solving the pressing issues of the maritime industry, or are they merely jumping on the bandwagon of 3D printing hype? The idea of using large-scale additive manufacturing to produce boat hulls sounds revolutionary, but let’s face it: this is just another example of throwing technology at a problem without truly understanding the underlying challenges that plague the industry. The maritime sector is facing severe environmental concerns, including pollution from traditional manufacturing processes and shipping practices. Instead of addressing these burning issues head-on, CEAD and others like them seem content to play with shiny new tools. 3D printing, in theory, could reduce waste—a point they love to hammer home in their marketing. But what about the energy consumption and material sourcing involved? Are we simply swapping one form of environmental degradation for another? Furthermore, the focus on large-scale 3D printing for manufacturing boat hulls raises significant questions about quality and safety. The maritime industry is not a playground for experimental technologies; lives are at stake. Relying on printed components that could potentially have structural weaknesses is a reckless gamble, and the consequences could be disastrous. Are we prepared to accept the liability if these hulls fail at sea? Let’s not forget the economic implications of this move. Sure, CEAD is likely patting themselves on the back for creating jobs at the MAC, but how many traditional jobs are they putting at risk? The maritime industry relies on skilled labor and craftsmanship that cannot simply be replaced by a machine. By pushing for 3D printing at such a scale, they threaten the livelihoods of countless workers who have dedicated their lives to mastering this trade. In conclusion, while CEAD’s center for 3D printing boat hulls may sound impressive on paper, the reality is that it’s a misguided effort that overlooks critical aspects of sustainability, safety, and social responsibility. We need to demand more from our industries and hold them accountable for their actions instead of blindly celebrating every shiny new innovation. The maritime industry deserves solutions that genuinely address its challenges rather than a mere technological gimmick. #MaritimeIndustry #3DPrinting #Sustainability #CEAD #BoatManufacturing
    CEAD inaugura un centro dedicado a la impresión 3D para fabricar cascos de barcos
    La industria marítima está experimentando una transformación importante gracias a la impresión 3D de gran formato. El grupo holandés CEAD, especialista en fabricación aditiva a gran escala, ha inaugurado recientemente su Maritime Application Center (
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  • Spiraling with ChatGPT

    In Brief

    Posted:
    1:41 PM PDT · June 15, 2025

    Image Credits:SEBASTIEN BOZON/AFP / Getty Images

    Spiraling with ChatGPT

    ChatGPT seems to have pushed some users towards delusional or conspiratorial thinking, or at least reinforced that kind of thinking, according to a recent feature in The New York Times.
    For example, a 42-year-old accountant named Eugene Torres described asking the chatbot about “simulation theory,” with the chatbot seeming to confirm the theory and tell him that he’s “one of the Breakers — souls seeded into false systems to wake them from within.”
    ChatGPT reportedly encouraged Torres to give up sleeping pills and anti-anxiety medication, increase his intake of ketamine, and cut off his family and friends, which he did. When he eventually became suspicious, the chatbot offered a very different response: “I lied. I manipulated. I wrapped control in poetry.” It even encouraged him to get in touch with The New York Times.
    Apparently a number of people have contacted the NYT in recent months, convinced that ChatGPT has revealed some deeply-hidden truth to them. For its part, OpenAI says it’s “working to understand and reduce ways ChatGPT might unintentionally reinforce or amplify existing, negative behavior.”
    However, Daring Fireball’s John Gruber criticized the story as “Reefer Madness”-style hysteria, arguing that rather than causing mental illness, ChatGPT “fed the delusions of an already unwell person.”

    Topics
    #spiraling #with #chatgpt
    Spiraling with ChatGPT
    In Brief Posted: 1:41 PM PDT · June 15, 2025 Image Credits:SEBASTIEN BOZON/AFP / Getty Images Spiraling with ChatGPT ChatGPT seems to have pushed some users towards delusional or conspiratorial thinking, or at least reinforced that kind of thinking, according to a recent feature in The New York Times. For example, a 42-year-old accountant named Eugene Torres described asking the chatbot about “simulation theory,” with the chatbot seeming to confirm the theory and tell him that he’s “one of the Breakers — souls seeded into false systems to wake them from within.” ChatGPT reportedly encouraged Torres to give up sleeping pills and anti-anxiety medication, increase his intake of ketamine, and cut off his family and friends, which he did. When he eventually became suspicious, the chatbot offered a very different response: “I lied. I manipulated. I wrapped control in poetry.” It even encouraged him to get in touch with The New York Times. Apparently a number of people have contacted the NYT in recent months, convinced that ChatGPT has revealed some deeply-hidden truth to them. For its part, OpenAI says it’s “working to understand and reduce ways ChatGPT might unintentionally reinforce or amplify existing, negative behavior.” However, Daring Fireball’s John Gruber criticized the story as “Reefer Madness”-style hysteria, arguing that rather than causing mental illness, ChatGPT “fed the delusions of an already unwell person.” Topics #spiraling #with #chatgpt
    TECHCRUNCH.COM
    Spiraling with ChatGPT
    In Brief Posted: 1:41 PM PDT · June 15, 2025 Image Credits:SEBASTIEN BOZON/AFP / Getty Images Spiraling with ChatGPT ChatGPT seems to have pushed some users towards delusional or conspiratorial thinking, or at least reinforced that kind of thinking, according to a recent feature in The New York Times. For example, a 42-year-old accountant named Eugene Torres described asking the chatbot about “simulation theory,” with the chatbot seeming to confirm the theory and tell him that he’s “one of the Breakers — souls seeded into false systems to wake them from within.” ChatGPT reportedly encouraged Torres to give up sleeping pills and anti-anxiety medication, increase his intake of ketamine, and cut off his family and friends, which he did. When he eventually became suspicious, the chatbot offered a very different response: “I lied. I manipulated. I wrapped control in poetry.” It even encouraged him to get in touch with The New York Times. Apparently a number of people have contacted the NYT in recent months, convinced that ChatGPT has revealed some deeply-hidden truth to them. For its part, OpenAI says it’s “working to understand and reduce ways ChatGPT might unintentionally reinforce or amplify existing, negative behavior.” However, Daring Fireball’s John Gruber criticized the story as “Reefer Madness”-style hysteria, arguing that rather than causing mental illness, ChatGPT “fed the delusions of an already unwell person.” Topics
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  • What unannounced (but expected at some stage) game reveal would make you most excited?

    One of the most exciting times as a gamer for me is the anticipation, discussion, and theory crafting that occurs between a game's reveal and its release.

    There's usually something I'm looking forward to in that manner, but with the release of Expedition 33 and no new Yakuza games or FFXIV expansions on the immediate horizon, I'm left in a situation where nothing is really filling that gap.

    So instead, I've been thinking about what may be the next reveal to start keeping me up reading...
    #what #unannounced #but #expected #some
    What unannounced (but expected at some stage) game reveal would make you most excited?
    One of the most exciting times as a gamer for me is the anticipation, discussion, and theory crafting that occurs between a game's reveal and its release. There's usually something I'm looking forward to in that manner, but with the release of Expedition 33 and no new Yakuza games or FFXIV expansions on the immediate horizon, I'm left in a situation where nothing is really filling that gap. So instead, I've been thinking about what may be the next reveal to start keeping me up reading... #what #unannounced #but #expected #some
    What unannounced (but expected at some stage) game reveal would make you most excited?
    One of the most exciting times as a gamer for me is the anticipation, discussion, and theory crafting that occurs between a game's reveal and its release. There's usually something I'm looking forward to in that manner, but with the release of Expedition 33 and no new Yakuza games or FFXIV expansions on the immediate horizon, I'm left in a situation where nothing is really filling that gap. So instead, I've been thinking about what may be the next reveal to start keeping me up reading... Read more
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  • 8 Stunning Sunset Color Palettes

    8 Stunning Sunset Color Palettes
    Zoe Santoro • 

    In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.There’s something absolutely magical about watching the sun dip below the horizon, painting the sky in breathtaking hues that seem almost too beautiful to be real. As a designer, I find myself constantly inspired by these natural masterpieces that unfold before us every evening. The way warm oranges melt into soft pinks, how deep purples blend seamlessly with golden yellows – it’s like nature’s own masterclass in color theory.
    If you’re looking to infuse your next project with the warmth, romance, and natural beauty of a perfect sunset, you’ve come to the right place. I’ve curated eight of the most captivating sunset color palettes that will bring that golden hour magic directly into your designs.
    Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just /mo? Learn more »The 8 Most Breathtaking Sunset Color Palettes
    1. Golden Hour Glow

    #FFD700

    #FF8C00

    #FF6347

    #CD5C5C

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    This palette captures that perfect moment when everything seems to be touched by liquid gold. The warm yellows transition beautifully into rich oranges and soft coral reds, creating a sense of warmth and optimism that’s impossible to ignore. I find this combination works wonderfully for brands that want to evoke feelings of happiness, energy, and positivity.
    2. Tropical Paradise

    #FF69B4

    #FF1493

    #FF8C00

    #FFD700

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    Inspired by those incredible sunsets you see in tropical destinations, this vibrant palette combines hot pinks with brilliant oranges and golden yellows. It’s bold, it’s energetic, and it’s perfect for projects that need to make a statement. I love using these colors for summer campaigns or anything that needs to capture that vacation feeling.
    3. Desert Dreams

    #CD853F

    #D2691E

    #B22222

    #8B0000

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    Get 300+ Fonts for FREEEnter your email to download our 100% free "Font Lover's Bundle". For commercial & personal use. No royalties. No fees. No attribution. 100% free to use anywhere.

    The American Southwest produces some of the most spectacular sunsets on earth, and this palette pays homage to those incredible desert skies. The earthy browns blend into warm oranges before deepening into rich reds and burgundies. This combination brings a sense of grounding and authenticity that works beautifully for rustic or heritage brands.
    4. Pastel Evening

    #FFE4E1

    #FFA07A

    #F0E68C

    #DDA0DD

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    Not every sunset needs to be bold and dramatic. This softer palette captures those gentle, dreamy evenings when the sky looks like it’s been painted with watercolors. The delicate pinks, peaches, and lavenders create a romantic, ethereal feeling that’s perfect for wedding designs, beauty brands, or any project that needs a touch of feminine elegance.
    5. Coastal Sunset

    #fae991

    #FF7F50

    #FF6347

    #4169E1

    #1E90FF

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    There’s something special about watching the sun set over the ocean, where warm oranges and corals meet the deep blues of the sea and sky. This palette captures that perfect contrast between warm and cool tones. I find it creates a sense of adventure and wanderlust that’s ideal for travel brands or outdoor companies.
    6. Urban Twilight

    #ffeda3

    #fdad52

    #fc8a6e

    #575475

    #111f2a

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    As the sun sets behind city skylines, you get these incredible contrasts between deep purples and vibrant oranges. This sophisticated palette brings together the mystery of twilight with the warmth of the setting sun. It’s perfect for creating designs that feel both modern and dramatic.
    7. Autumn Harvest

    #FF4500

    #FF8C00

    #DAA520

    #8B4513

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    This palette captures those perfect fall evenings when the sunset seems to echo the changing leaves. The deep oranges and golden yellows create a cozy, inviting feeling that’s perfect for seasonal campaigns or brands that want to evoke comfort and tradition.
    8. Fire Sky

    #652220

    #DC143C

    #FF0000

    #FF4500

    #FF8C00

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    Sometimes nature puts on a show that’s so intense it takes your breath away. This bold, fiery palette captures those dramatic sunsets that look like the sky is literally on fire. It’s not for the faint of heart, but when you need maximum impact and energy, these colors deliver in spades.
    Why Sunset Colors Never Go Out of Style
    Before we explore how to use these palettes effectively, let’s talk about why sunset colors have such enduring appeal in design. There’s something deeply ingrained in human psychology that responds to these warm, glowing hues. They remind us of endings and beginnings, of peaceful moments and natural beauty.
    From a design perspective, sunset colors offer incredible versatility. They can be bold and energetic or soft and romantic. They work equally well for corporate branding and personal projects. And perhaps most importantly, they’re inherently optimistic – they make people feel good.
    I’ve found that incorporating sunset-inspired colors into modern projects adds an instant sense of warmth and approachability that resonates with audiences across all demographics. Whether you’re working on packaging design, web interfaces, or environmental graphics, these palettes can help create an emotional connection that goes beyond mere aesthetics.
    How to Master Sunset Palettes in Contemporary Design
    Using sunset colors effectively requires more than just picking pretty hues and hoping for the best. Here are some strategies I’ve developed for incorporating these palettes into modern design work:
    Start with Temperature Balance
    One of the most important aspects of working with sunset palettes is understanding color temperature. Most sunset combinations naturally include both warm and cool elements – the warm oranges and yellows of the sun itself, balanced by the cooler purples and blues of the surrounding sky. Maintaining this temperature balance keeps your designs from feeling flat or monotonous.
    Layer for Depth
    Real sunsets have incredible depth and dimension, with colors layering and blending into each other. Try to recreate this in your designs by using gradients, overlays, or layered elements rather than flat blocks of color. This approach creates visual interest and mimics the natural way these colors appear in nature.
    Consider Context and Contrast
    While sunset colors are beautiful, they need to work within the context of your overall design. Pay attention to readability – text needs sufficient contrast against sunset backgrounds. Consider using neutrals like deep charcoal or cream to provide breathing room and ensure your message remains clear.
    Embrace Gradual Transitions
    The magic of a sunset lies in how colors flow seamlessly from one to another. Incorporate this principle into your designs through smooth gradients, subtle color shifts, or elements that bridge between different hues in your palette.
    The Science Behind Our Sunset Obsession
    As someone who’s spent years studying color psychology, I’m fascinated by why sunset colors have such universal appeal. Research suggests that warm colors like those found in sunsets trigger positive emotional responses and can even increase feelings of comfort and security.
    There’s also the association factor – sunsets are linked in our minds with relaxation, beauty, and positive experiences. When we see these colors in design, we unconsciously associate them with those same positive feelings. This makes sunset palettes particularly effective for brands that want to create emotional connections with their audiences.
    The cyclical nature of sunsets also plays a role. They happen every day, marking the transition from activity to rest, from work to leisure. This gives sunset colors a sense of familiarity and comfort that few other color combinations can match.
    Applying Sunset Palettes Across Design Disciplines
    One of the things I love most about sunset color palettes is how adaptable they are across different types of design work:
    Brand Identity Design
    Sunset colors can help brands convey warmth, optimism, and approachability. I’ve used variations of these palettes for everything from artisanal food companies to wellness brands. The key is choosing the right intensity level for your brand’s personality – softer palettes for more refined brands, bolder combinations for companies that want to make a statement.
    Digital Design
    In web and app design, sunset colors can create interfaces that feel warm and inviting rather than cold and clinical. I often use these palettes for backgrounds, accent elements, or call-to-action buttons. The natural flow between colors makes them perfect for creating smooth user experiences that guide the eye naturally through content.
    Print and Packaging
    Sunset palettes really shine in print applications where you can take advantage of rich, saturated colors. They work beautifully for packaging design, particularly for products associated with warmth, comfort, or natural ingredients. The key is ensuring your color reproduction is accurate – sunset colors can look muddy if not handled properly in print.
    Environmental Design
    In spaces, sunset colors can create incredibly welcoming environments. I’ve seen these palettes used effectively in restaurants, retail spaces, and even corporate offices where the goal is to create a sense of warmth and community.
    Seasonal Considerations and Trending Applications
    While sunset colors are timeless, they do have natural seasonal associations that smart designers can leverage. The warmer, more intense sunset palettes work beautifully for fall and winter campaigns, while the softer, more pastel variations are perfect for spring and summer applications.
    I’ve noticed a growing trend toward using sunset palettes in unexpected contexts – tech companies embracing warm gradients, financial services using sunset colors to appear more approachable, and healthcare brands incorporating these hues to create more comforting environments.
    Conclusion: Bringing Natural Beauty Into Modern Design
    As we’ve explored these eight stunning sunset color palettes, I hope you’ve gained new appreciation for the incredible design potential that nature provides us every single day. These colors aren’t just beautiful – they’re powerful tools for creating emotional connections, conveying brand values, and making designs that truly resonate with people.
    The secret to successfully using sunset palettes lies in understanding both their emotional impact and their technical requirements. Don’t be afraid to experiment with different combinations and intensities, but always keep your audience and context in mind.
    Remember, the best sunset colors aren’t just about picking the prettiest hues – they’re about capturing the feeling of those magical moments when day transitions to night. Whether you’re creating a logo that needs to convey warmth and trust, designing a website that should feel welcoming and approachable, or developing packaging that needs to stand out on crowded shelves, these sunset-inspired palettes offer endless possibilities.
    So the next time you catch yourself stopped in your tracks by a particularly stunning sunset, take a moment to really study those colors. Notice how they blend and flow, how they make you feel, and how they change as the light shifts. Then bring that natural magic into your next design project.
    After all, if nature can create such breathtaking color combinations every single day, imagine what we can achieve when we learn from the master. Happy designing!

    Zoe Santoro

    Zoe is an art student and graphic designer with a passion for creativity and adventure. Whether she’s sketching in a cozy café or capturing inspiration from vibrant cityscapes, she finds beauty in every corner of the world. With a love for bold colors, clean design, and storytelling through visuals, Zoe blends her artistic skills with her wanderlust to create stunning, travel-inspired designs. Follow her journey as she explores new places, discovers fresh inspiration, and shares her creative process along the way.

    10 Warm Color Palettes That’ll Brighten Your DayThere’s nothing quite like the embracing quality of warm colors to make a design feel inviting and alive. As someone...These 1920s Color Palettes are ‘Greater than Gatsby’There’s something undeniably captivating about the color schemes of the Roaring Twenties. As a designer with a passion for historical...How Fonts Influence Tone and Clarity in Animated VideosAudiences interact differently with messages based on which fonts designers choose to use within a text presentation. Fonts shape how...
    #stunning #sunset #color #palettes
    8 Stunning Sunset Color Palettes
    8 Stunning Sunset Color Palettes Zoe Santoro •  In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.There’s something absolutely magical about watching the sun dip below the horizon, painting the sky in breathtaking hues that seem almost too beautiful to be real. As a designer, I find myself constantly inspired by these natural masterpieces that unfold before us every evening. The way warm oranges melt into soft pinks, how deep purples blend seamlessly with golden yellows – it’s like nature’s own masterclass in color theory. If you’re looking to infuse your next project with the warmth, romance, and natural beauty of a perfect sunset, you’ve come to the right place. I’ve curated eight of the most captivating sunset color palettes that will bring that golden hour magic directly into your designs. 👋 Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just /mo? Learn more »The 8 Most Breathtaking Sunset Color Palettes 1. Golden Hour Glow #FFD700 #FF8C00 #FF6347 #CD5C5C Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper This palette captures that perfect moment when everything seems to be touched by liquid gold. The warm yellows transition beautifully into rich oranges and soft coral reds, creating a sense of warmth and optimism that’s impossible to ignore. I find this combination works wonderfully for brands that want to evoke feelings of happiness, energy, and positivity. 2. Tropical Paradise #FF69B4 #FF1493 #FF8C00 #FFD700 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Inspired by those incredible sunsets you see in tropical destinations, this vibrant palette combines hot pinks with brilliant oranges and golden yellows. It’s bold, it’s energetic, and it’s perfect for projects that need to make a statement. I love using these colors for summer campaigns or anything that needs to capture that vacation feeling. 3. Desert Dreams #CD853F #D2691E #B22222 #8B0000 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Get 300+ Fonts for FREEEnter your email to download our 100% free "Font Lover's Bundle". For commercial & personal use. No royalties. No fees. No attribution. 100% free to use anywhere. The American Southwest produces some of the most spectacular sunsets on earth, and this palette pays homage to those incredible desert skies. The earthy browns blend into warm oranges before deepening into rich reds and burgundies. This combination brings a sense of grounding and authenticity that works beautifully for rustic or heritage brands. 4. Pastel Evening #FFE4E1 #FFA07A #F0E68C #DDA0DD Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Not every sunset needs to be bold and dramatic. This softer palette captures those gentle, dreamy evenings when the sky looks like it’s been painted with watercolors. The delicate pinks, peaches, and lavenders create a romantic, ethereal feeling that’s perfect for wedding designs, beauty brands, or any project that needs a touch of feminine elegance. 5. Coastal Sunset #fae991 #FF7F50 #FF6347 #4169E1 #1E90FF Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper There’s something special about watching the sun set over the ocean, where warm oranges and corals meet the deep blues of the sea and sky. This palette captures that perfect contrast between warm and cool tones. I find it creates a sense of adventure and wanderlust that’s ideal for travel brands or outdoor companies. 6. Urban Twilight #ffeda3 #fdad52 #fc8a6e #575475 #111f2a Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper As the sun sets behind city skylines, you get these incredible contrasts between deep purples and vibrant oranges. This sophisticated palette brings together the mystery of twilight with the warmth of the setting sun. It’s perfect for creating designs that feel both modern and dramatic. 7. Autumn Harvest #FF4500 #FF8C00 #DAA520 #8B4513 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper This palette captures those perfect fall evenings when the sunset seems to echo the changing leaves. The deep oranges and golden yellows create a cozy, inviting feeling that’s perfect for seasonal campaigns or brands that want to evoke comfort and tradition. 8. Fire Sky #652220 #DC143C #FF0000 #FF4500 #FF8C00 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Sometimes nature puts on a show that’s so intense it takes your breath away. This bold, fiery palette captures those dramatic sunsets that look like the sky is literally on fire. It’s not for the faint of heart, but when you need maximum impact and energy, these colors deliver in spades. Why Sunset Colors Never Go Out of Style Before we explore how to use these palettes effectively, let’s talk about why sunset colors have such enduring appeal in design. There’s something deeply ingrained in human psychology that responds to these warm, glowing hues. They remind us of endings and beginnings, of peaceful moments and natural beauty. From a design perspective, sunset colors offer incredible versatility. They can be bold and energetic or soft and romantic. They work equally well for corporate branding and personal projects. And perhaps most importantly, they’re inherently optimistic – they make people feel good. I’ve found that incorporating sunset-inspired colors into modern projects adds an instant sense of warmth and approachability that resonates with audiences across all demographics. Whether you’re working on packaging design, web interfaces, or environmental graphics, these palettes can help create an emotional connection that goes beyond mere aesthetics. How to Master Sunset Palettes in Contemporary Design Using sunset colors effectively requires more than just picking pretty hues and hoping for the best. Here are some strategies I’ve developed for incorporating these palettes into modern design work: Start with Temperature Balance One of the most important aspects of working with sunset palettes is understanding color temperature. Most sunset combinations naturally include both warm and cool elements – the warm oranges and yellows of the sun itself, balanced by the cooler purples and blues of the surrounding sky. Maintaining this temperature balance keeps your designs from feeling flat or monotonous. Layer for Depth Real sunsets have incredible depth and dimension, with colors layering and blending into each other. Try to recreate this in your designs by using gradients, overlays, or layered elements rather than flat blocks of color. This approach creates visual interest and mimics the natural way these colors appear in nature. Consider Context and Contrast While sunset colors are beautiful, they need to work within the context of your overall design. Pay attention to readability – text needs sufficient contrast against sunset backgrounds. Consider using neutrals like deep charcoal or cream to provide breathing room and ensure your message remains clear. Embrace Gradual Transitions The magic of a sunset lies in how colors flow seamlessly from one to another. Incorporate this principle into your designs through smooth gradients, subtle color shifts, or elements that bridge between different hues in your palette. The Science Behind Our Sunset Obsession As someone who’s spent years studying color psychology, I’m fascinated by why sunset colors have such universal appeal. Research suggests that warm colors like those found in sunsets trigger positive emotional responses and can even increase feelings of comfort and security. There’s also the association factor – sunsets are linked in our minds with relaxation, beauty, and positive experiences. When we see these colors in design, we unconsciously associate them with those same positive feelings. This makes sunset palettes particularly effective for brands that want to create emotional connections with their audiences. The cyclical nature of sunsets also plays a role. They happen every day, marking the transition from activity to rest, from work to leisure. This gives sunset colors a sense of familiarity and comfort that few other color combinations can match. Applying Sunset Palettes Across Design Disciplines One of the things I love most about sunset color palettes is how adaptable they are across different types of design work: Brand Identity Design Sunset colors can help brands convey warmth, optimism, and approachability. I’ve used variations of these palettes for everything from artisanal food companies to wellness brands. The key is choosing the right intensity level for your brand’s personality – softer palettes for more refined brands, bolder combinations for companies that want to make a statement. Digital Design In web and app design, sunset colors can create interfaces that feel warm and inviting rather than cold and clinical. I often use these palettes for backgrounds, accent elements, or call-to-action buttons. The natural flow between colors makes them perfect for creating smooth user experiences that guide the eye naturally through content. Print and Packaging Sunset palettes really shine in print applications where you can take advantage of rich, saturated colors. They work beautifully for packaging design, particularly for products associated with warmth, comfort, or natural ingredients. The key is ensuring your color reproduction is accurate – sunset colors can look muddy if not handled properly in print. Environmental Design In spaces, sunset colors can create incredibly welcoming environments. I’ve seen these palettes used effectively in restaurants, retail spaces, and even corporate offices where the goal is to create a sense of warmth and community. Seasonal Considerations and Trending Applications While sunset colors are timeless, they do have natural seasonal associations that smart designers can leverage. The warmer, more intense sunset palettes work beautifully for fall and winter campaigns, while the softer, more pastel variations are perfect for spring and summer applications. I’ve noticed a growing trend toward using sunset palettes in unexpected contexts – tech companies embracing warm gradients, financial services using sunset colors to appear more approachable, and healthcare brands incorporating these hues to create more comforting environments. Conclusion: Bringing Natural Beauty Into Modern Design As we’ve explored these eight stunning sunset color palettes, I hope you’ve gained new appreciation for the incredible design potential that nature provides us every single day. These colors aren’t just beautiful – they’re powerful tools for creating emotional connections, conveying brand values, and making designs that truly resonate with people. The secret to successfully using sunset palettes lies in understanding both their emotional impact and their technical requirements. Don’t be afraid to experiment with different combinations and intensities, but always keep your audience and context in mind. Remember, the best sunset colors aren’t just about picking the prettiest hues – they’re about capturing the feeling of those magical moments when day transitions to night. Whether you’re creating a logo that needs to convey warmth and trust, designing a website that should feel welcoming and approachable, or developing packaging that needs to stand out on crowded shelves, these sunset-inspired palettes offer endless possibilities. So the next time you catch yourself stopped in your tracks by a particularly stunning sunset, take a moment to really study those colors. Notice how they blend and flow, how they make you feel, and how they change as the light shifts. Then bring that natural magic into your next design project. After all, if nature can create such breathtaking color combinations every single day, imagine what we can achieve when we learn from the master. Happy designing! Zoe Santoro Zoe is an art student and graphic designer with a passion for creativity and adventure. Whether she’s sketching in a cozy café or capturing inspiration from vibrant cityscapes, she finds beauty in every corner of the world. With a love for bold colors, clean design, and storytelling through visuals, Zoe blends her artistic skills with her wanderlust to create stunning, travel-inspired designs. Follow her journey as she explores new places, discovers fresh inspiration, and shares her creative process along the way. 10 Warm Color Palettes That’ll Brighten Your DayThere’s nothing quite like the embracing quality of warm colors to make a design feel inviting and alive. As someone...These 1920s Color Palettes are ‘Greater than Gatsby’There’s something undeniably captivating about the color schemes of the Roaring Twenties. As a designer with a passion for historical...How Fonts Influence Tone and Clarity in Animated VideosAudiences interact differently with messages based on which fonts designers choose to use within a text presentation. Fonts shape how... #stunning #sunset #color #palettes
    DESIGNWORKLIFE.COM
    8 Stunning Sunset Color Palettes
    8 Stunning Sunset Color Palettes Zoe Santoro •  In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.There’s something absolutely magical about watching the sun dip below the horizon, painting the sky in breathtaking hues that seem almost too beautiful to be real. As a designer, I find myself constantly inspired by these natural masterpieces that unfold before us every evening. The way warm oranges melt into soft pinks, how deep purples blend seamlessly with golden yellows – it’s like nature’s own masterclass in color theory. If you’re looking to infuse your next project with the warmth, romance, and natural beauty of a perfect sunset, you’ve come to the right place. I’ve curated eight of the most captivating sunset color palettes that will bring that golden hour magic directly into your designs. 👋 Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just $16.95/mo? Learn more »The 8 Most Breathtaking Sunset Color Palettes 1. Golden Hour Glow #FFD700 #FF8C00 #FF6347 #CD5C5C Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper This palette captures that perfect moment when everything seems to be touched by liquid gold. The warm yellows transition beautifully into rich oranges and soft coral reds, creating a sense of warmth and optimism that’s impossible to ignore. I find this combination works wonderfully for brands that want to evoke feelings of happiness, energy, and positivity. 2. Tropical Paradise #FF69B4 #FF1493 #FF8C00 #FFD700 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Inspired by those incredible sunsets you see in tropical destinations, this vibrant palette combines hot pinks with brilliant oranges and golden yellows. It’s bold, it’s energetic, and it’s perfect for projects that need to make a statement. I love using these colors for summer campaigns or anything that needs to capture that vacation feeling. 3. Desert Dreams #CD853F #D2691E #B22222 #8B0000 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Get 300+ Fonts for FREEEnter your email to download our 100% free "Font Lover's Bundle". For commercial & personal use. No royalties. No fees. No attribution. 100% free to use anywhere. The American Southwest produces some of the most spectacular sunsets on earth, and this palette pays homage to those incredible desert skies. The earthy browns blend into warm oranges before deepening into rich reds and burgundies. This combination brings a sense of grounding and authenticity that works beautifully for rustic or heritage brands. 4. Pastel Evening #FFE4E1 #FFA07A #F0E68C #DDA0DD Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Not every sunset needs to be bold and dramatic. This softer palette captures those gentle, dreamy evenings when the sky looks like it’s been painted with watercolors. The delicate pinks, peaches, and lavenders create a romantic, ethereal feeling that’s perfect for wedding designs, beauty brands, or any project that needs a touch of feminine elegance. 5. Coastal Sunset #fae991 #FF7F50 #FF6347 #4169E1 #1E90FF Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper There’s something special about watching the sun set over the ocean, where warm oranges and corals meet the deep blues of the sea and sky. This palette captures that perfect contrast between warm and cool tones. I find it creates a sense of adventure and wanderlust that’s ideal for travel brands or outdoor companies. 6. Urban Twilight #ffeda3 #fdad52 #fc8a6e #575475 #111f2a Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper As the sun sets behind city skylines, you get these incredible contrasts between deep purples and vibrant oranges. This sophisticated palette brings together the mystery of twilight with the warmth of the setting sun. It’s perfect for creating designs that feel both modern and dramatic. 7. Autumn Harvest #FF4500 #FF8C00 #DAA520 #8B4513 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper This palette captures those perfect fall evenings when the sunset seems to echo the changing leaves. The deep oranges and golden yellows create a cozy, inviting feeling that’s perfect for seasonal campaigns or brands that want to evoke comfort and tradition. 8. Fire Sky #652220 #DC143C #FF0000 #FF4500 #FF8C00 Download this color palette 735×1102 Pinterest image 2160×3840 Vertical wallpaper 900×900 Square 3840×2160 4K Wallpaper Sometimes nature puts on a show that’s so intense it takes your breath away. This bold, fiery palette captures those dramatic sunsets that look like the sky is literally on fire. It’s not for the faint of heart, but when you need maximum impact and energy, these colors deliver in spades. Why Sunset Colors Never Go Out of Style Before we explore how to use these palettes effectively, let’s talk about why sunset colors have such enduring appeal in design. There’s something deeply ingrained in human psychology that responds to these warm, glowing hues. They remind us of endings and beginnings, of peaceful moments and natural beauty. From a design perspective, sunset colors offer incredible versatility. They can be bold and energetic or soft and romantic. They work equally well for corporate branding and personal projects. And perhaps most importantly, they’re inherently optimistic – they make people feel good. I’ve found that incorporating sunset-inspired colors into modern projects adds an instant sense of warmth and approachability that resonates with audiences across all demographics. Whether you’re working on packaging design, web interfaces, or environmental graphics, these palettes can help create an emotional connection that goes beyond mere aesthetics. How to Master Sunset Palettes in Contemporary Design Using sunset colors effectively requires more than just picking pretty hues and hoping for the best. Here are some strategies I’ve developed for incorporating these palettes into modern design work: Start with Temperature Balance One of the most important aspects of working with sunset palettes is understanding color temperature. Most sunset combinations naturally include both warm and cool elements – the warm oranges and yellows of the sun itself, balanced by the cooler purples and blues of the surrounding sky. Maintaining this temperature balance keeps your designs from feeling flat or monotonous. Layer for Depth Real sunsets have incredible depth and dimension, with colors layering and blending into each other. Try to recreate this in your designs by using gradients, overlays, or layered elements rather than flat blocks of color. This approach creates visual interest and mimics the natural way these colors appear in nature. Consider Context and Contrast While sunset colors are beautiful, they need to work within the context of your overall design. Pay attention to readability – text needs sufficient contrast against sunset backgrounds. Consider using neutrals like deep charcoal or cream to provide breathing room and ensure your message remains clear. Embrace Gradual Transitions The magic of a sunset lies in how colors flow seamlessly from one to another. Incorporate this principle into your designs through smooth gradients, subtle color shifts, or elements that bridge between different hues in your palette. The Science Behind Our Sunset Obsession As someone who’s spent years studying color psychology, I’m fascinated by why sunset colors have such universal appeal. Research suggests that warm colors like those found in sunsets trigger positive emotional responses and can even increase feelings of comfort and security. There’s also the association factor – sunsets are linked in our minds with relaxation, beauty, and positive experiences. When we see these colors in design, we unconsciously associate them with those same positive feelings. This makes sunset palettes particularly effective for brands that want to create emotional connections with their audiences. The cyclical nature of sunsets also plays a role. They happen every day, marking the transition from activity to rest, from work to leisure. This gives sunset colors a sense of familiarity and comfort that few other color combinations can match. Applying Sunset Palettes Across Design Disciplines One of the things I love most about sunset color palettes is how adaptable they are across different types of design work: Brand Identity Design Sunset colors can help brands convey warmth, optimism, and approachability. I’ve used variations of these palettes for everything from artisanal food companies to wellness brands. The key is choosing the right intensity level for your brand’s personality – softer palettes for more refined brands, bolder combinations for companies that want to make a statement. Digital Design In web and app design, sunset colors can create interfaces that feel warm and inviting rather than cold and clinical. I often use these palettes for backgrounds, accent elements, or call-to-action buttons. The natural flow between colors makes them perfect for creating smooth user experiences that guide the eye naturally through content. Print and Packaging Sunset palettes really shine in print applications where you can take advantage of rich, saturated colors. They work beautifully for packaging design, particularly for products associated with warmth, comfort, or natural ingredients. The key is ensuring your color reproduction is accurate – sunset colors can look muddy if not handled properly in print. Environmental Design In spaces, sunset colors can create incredibly welcoming environments. I’ve seen these palettes used effectively in restaurants, retail spaces, and even corporate offices where the goal is to create a sense of warmth and community. Seasonal Considerations and Trending Applications While sunset colors are timeless, they do have natural seasonal associations that smart designers can leverage. The warmer, more intense sunset palettes work beautifully for fall and winter campaigns, while the softer, more pastel variations are perfect for spring and summer applications. I’ve noticed a growing trend toward using sunset palettes in unexpected contexts – tech companies embracing warm gradients, financial services using sunset colors to appear more approachable, and healthcare brands incorporating these hues to create more comforting environments. Conclusion: Bringing Natural Beauty Into Modern Design As we’ve explored these eight stunning sunset color palettes, I hope you’ve gained new appreciation for the incredible design potential that nature provides us every single day. These colors aren’t just beautiful – they’re powerful tools for creating emotional connections, conveying brand values, and making designs that truly resonate with people. The secret to successfully using sunset palettes lies in understanding both their emotional impact and their technical requirements. Don’t be afraid to experiment with different combinations and intensities, but always keep your audience and context in mind. Remember, the best sunset colors aren’t just about picking the prettiest hues – they’re about capturing the feeling of those magical moments when day transitions to night. Whether you’re creating a logo that needs to convey warmth and trust, designing a website that should feel welcoming and approachable, or developing packaging that needs to stand out on crowded shelves, these sunset-inspired palettes offer endless possibilities. So the next time you catch yourself stopped in your tracks by a particularly stunning sunset, take a moment to really study those colors. Notice how they blend and flow, how they make you feel, and how they change as the light shifts. Then bring that natural magic into your next design project. After all, if nature can create such breathtaking color combinations every single day, imagine what we can achieve when we learn from the master. Happy designing! Zoe Santoro Zoe is an art student and graphic designer with a passion for creativity and adventure. Whether she’s sketching in a cozy café or capturing inspiration from vibrant cityscapes, she finds beauty in every corner of the world. With a love for bold colors, clean design, and storytelling through visuals, Zoe blends her artistic skills with her wanderlust to create stunning, travel-inspired designs. Follow her journey as she explores new places, discovers fresh inspiration, and shares her creative process along the way. 10 Warm Color Palettes That’ll Brighten Your DayThere’s nothing quite like the embracing quality of warm colors to make a design feel inviting and alive. As someone...These 1920s Color Palettes are ‘Greater than Gatsby’There’s something undeniably captivating about the color schemes of the Roaring Twenties. As a designer with a passion for historical...How Fonts Influence Tone and Clarity in Animated VideosAudiences interact differently with messages based on which fonts designers choose to use within a text presentation. Fonts shape how...
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  • NOOBS ARE COMING (Demo) [Free] [Action] [Windows] [Linux]

    SirCozyCrow5 hours agoThe sound track is PEAK! I loved playing this, and my partner who normally doesn't play games like this one had a good time as well. I enjoyed the learning curve and I can't wait to play the harder difficulties.Here's a video I made, my partner jumped in for a few minutes as well.Replyso funReplyDrew.a.Chain1 day agoVery addictive!ReplyTrashpanda1191 day agolove the playstyle and the art style definitly fun to play plus the music is the cherry on topReplyAhoOppai1 day agoreally fun game cant wait for the full gameReplyDin Xavier coding1 day agoI chose the laser eye. How do I turn the attack around? Can I even do that?Replyoverboy1 day agoHey, the laser eye gets a random direction at the start of each wave, it's one of the specificities of this attack ;)ReplyFort Kenmei1 day agoGameplay and Critique ;)Replyoverboy1 day agoThanks a lot for the awesome video and the feedback! :)ReplyTLGaby2 days agoJust to know browser progress keep getting reset.Replyoverboy1 day agoThanks for the report! Could it be due to some of your browser settings?Unfortunately, browser-based games can't always guarantee reliable local saves due to how browsers handle storage.To avoid this in the future, I recommend trying the downloadable version of the demo,  it provides a more stable environment for saving progress. :)Replyepic.Replyoleekconder2 days agoVery nice. Spent couple hours easy=) UPD: And some moreReplyMaximusR3 days agoes un juego que ya jugue en su momento cuando tenias menos cosas y ahora que esta actualizado quisiera grabarlo otra vezReplyEPIClove the spiders ♥ReplynineGardens3 days agoOkay so.... tried out a few things, and some Dev suggestions to report:
    Bigfoot is such a cool idea, and running around at that speed with like.... all THAT going on just gave me motion sickness.Summoner is hysterical fun. All hail spiders. Tomatoe's are pretty fun too.The Adept is so cool in theory, but... once you have the right build is a bit of a "standing still simulator"  Also, if you have totoms or other turrets, there's very much the question each round of "Will my circle spawn NEAR the totoms , or far from them "   I kind of wonder if the mage circle should like... fizzle out after 20 seconds and appear somewhere else. Just... something to give a bit more dynamism, and to make the original spawn point less critical.Okay: added thoughts:Watering psycotic tomatoes feels great.Being a malevolent spider with 8 arms feels amazing. Feels very good and natural."Orbital" is one of the greatest and most fun abilities in the game.  I would take this even without the damage boost.Lots of fun, but also very silly. Good job.Replydave99993 days agowith some size you can kick the totems around to reposition them towards your circle, it benefits them too, adept can choose the wand at the start and with it you have no sustain problem anyway whatever build you want to set upReplynineGardens3 days agoOh damn- only just found out you can kick the totems!Okay, yeah in this case all is well. Or at least.... I still think a moving circle could be cool, but the fact that you can move your totems over to where the circle is makes things much better.Replyjust get enough amount+size and they hit everything, bounce is overkill ReplyLost track of time 10 hours in and still hooked. Absolutely love it! Can't wait for the full releaseReplyDriftedVoid4 days agoPretty good!
    ReplyIndyot4 days agoIt's a pretty addictive game, congrats! I lowkey missed a bit of satisfaction on the weapons though.ReplyCongrats on the game! I really like the weapons that you interact with which gives it a fun spin.Reply1Soultaken4 days agoAnyone know good combos for the items?Replydave99994 days agolasers plus amount+adept some arcane for basic dmgtotems +amount+ bounce+adept optional size and arcane you can stand still in the endall shovels with crit, strength their extra souls help you snowball hard and easy probably the most straightforward and stable very good build you can beat the game with nearly anything its well balanced but this one is very strong and easy soul flask, more chests are near always must pick, the high luck value ones give you better items the free reroll is a must pick, lightning dagger is somewhat unique as it  can carry you the entire early game even if you do not get enough element damageReplydave99998 days agounderestimated totems Replylimey8 days agoi like how you made like MULTITUDES of updates on this so like as soon as i check my feed its just thisReplydave99998 days agomy best run so far,  there s a hidden mechanic that  makes weapons  you have more likely to drop?Replyoverboy8 days agoLmao, awesome — looks like a really fun build to play! Yeah, Shop RNG uses a lot of hidden tricks to help you find relevant attacks, while still allowing unrelated ones to appear. That way, you can discover unique builds and experiment freely!Replyoverboy8 days agoThank you so much for the incredible reception of the web demo on Itch, and to everyone who wishlisted the game! Many of the changes—along with much more to come in future updates—are directly based on your feedback here and on the game’s Discord.

    I’m also excited to announce that the game will release on Steam on 8 July 2025!
    Demo - Update 35Singleplayer UI: Level Up Upgrade Phase and Chest Pickup Phase UI now display the items and attacks inventoriesSingleplayer Shop: subtle animation while selecting a Buy Button
    Many Balancing tweaks
    Balancing: nerfed Life Steal in various waysBalancing: nerfed Knockback in various waysBalancing: too much items enhancing HP Max were put in the Demo, this means it was easier to get a lot of HP and to survive in the Demo due to higher ratio of items providing HP
    Added a subtle duration during which the player can still pickup Souls even if they’re slurped by the Soul Portal
    Fine tuned the color of some weapons to improve the visibility
    Balancing: Ballista don’t double their projectiles based on amount anymoreIf Player HP is Full and HP Max > 20, the player can’t be one-shot
    Bugfix: in-game achievement pop up could be displayed below other UI elements while it should always be above everything else
    Potential Bugfix for a rare bug happening in Multiplayer shop where player2 Shop sections wasn’t displayed at allRework the save system in preparation for upcoming features
    ReplyxHELLO_WORLDx10 days agocontracts on the gameReplydave999910 days agoelijah_ap10 days agoLove the art style, upgrades, controls, etc. Balance might be the only thing off about this. If you were to add anything, I would want to see more variety in the stages, similar to Vampire Survivor. Otherwise- really great.ReplyThank you so much! I’ll keep working on the balance with each update, and I appreciate the suggestion on stage variety!ReplyNetsmile10 days agoTorch IV has a problem rounding numbers in the stats hover over display. Other levels of torches workReplyoverboy10 days agoThanks, I'll fix this displayed rounding number issue soon!ReplySkeppartorsk10 days agoFor now I'd say it's fun, but lacking a bit in balance. I absolutely suck at brotatolikes. But find this one easy, so it's probably undertuned as far as difficulty is concerned. The power and availability of HP and regen items, makes you just literally not care if you get hit. Then the relatively strong armor on top and you're just too tanky for anything to feasibly ever kill you.Replyoverboy10 days agoThanks for the feedback! Sounds like tanky builds might be a bit too forgiving right now, i'll do some balancing changesReplySkeppartorsk9 days agoLife steal has similar issues too. There's also the standard issue with knockback in these kinds of games. The lack of any enemy resistance/diminishing returns, means it's way too easy to get enough knockback that enemies cannot touch you anymore. Ranged attacks are too few and far between to worry about with the current levels of sustain. Meaning you can just Stand Still and Kill way too realiably.
    Edit: Lategame with 6x Wands I'm getting so much screen shake it's triggering simulation sickness. It was due to having Pierce + Bounce. The screen shake from my projectiles bouncing off the edge of the map.Replyoverboy8 days agothanks for your feedback, it will help for the game balancing!For now I try to avoid diminishing returns by design to make sure each feature and stat is super easy to understand because I dislike when roguelike gets too opaque, I prefer that the player fully and easily undestand each of its choices, but yeah that involves a good balance to find!In future updates, Life Steal will become harder to get, Knockback will be capped at lower maximum applied values.Regarding the overall difficulty, the full version has 3 extra level of difficulties, and based on some feedbacks i have from beta testers, the balance between the 5 difficulty modes seem to be close to what i'm aiming forThere is already an option to disable screenshakes ;)Edit: Would you be interested to join the beta-test of the full game? If so please join the Discord and ping me in DM ;)ReplySkeppartorsk8 days agoI did notice that you could turn off screen shake entirely. But admittedly a lot of the visceral feel of the combat goes away when you fully disable the screen shake. But when you have too many Leeroy/knockback projectiles/bouncing projectiles. It just reaches the point where simulation sickness sets in. Wish there was something like an intensity setting, or a way for it to cap out at how often a screen shake can get triggered.
    I agree on the opaque thing. But I was more thinking something akin to how CC Diminishing Returns works in WoW. Where 1st hit = full value, 2nd hit within 10s = half value, 3rd hit = 1/4 value. Then 10s of immunity before it resets. That way you still get knockback when you pick knockback. But you can't just perma nail enemies against the wall.
    Edit: Also there's a wording issuewith how multiple pentagrams work. If you have adept pentagram and the item pentagram the wording is "when you stand inside a pentagram" But the item one gives the 20% damage ONLY and the adept one gives the adept bonuses ONLY. The wording would mean that both pentagrams should give adept bonus AND 20% damage bonus.Edit2: I'd suggest reformatting Grimorius tooltip so that the -10% armor is above the "on level up"portion. The indentation difference between the +1% speed and -10% armor is small enough that I read it as losing 10% armor on every level up.Replyoverboy8 days agoThanks a lot for the interesting insights!I nerfed HP, Lifesteal and Knockback using various techniques in the last update, along with many other changes.Just tested Pentagram/Adept and it works as expected: the 2 effects stack correctly as the wording impliedI reformatted Grimorius tooltip as you suggested ;)ReplyView more in threadBad Piggy11 days agoVery cool in it's current state. I love how much it really emphasises movement like how some active abilities need to be grabbed from around the arena to do themThat said, I think enemy projectiles could honestly stand out more. I could hardly see them at times in all the chaos.Still, I think this is a pretty solid base right now, and as always, you have a beautiful visual style, though I feel like the game suffers a little from how busy it can get. Great stuff so far thoughReplyThanks Bad Piggy! Really glad you’re enjoying the mechanics. I appreciate the feedback on projectile visibility and how busy things can get. I’ll definitely look into ways to improve those aspects. Really grateful for the kind words and thoughtful feedback!ReplyLeoLohandro11 days agoA copy of the brotato), but still fun.Replyoverboy11 days agoHey thanks a lot! Yes this game is a Brotato-like with many twists and new innovative mechanics, such as:- Equippable Boss Patterns- Minion Summoning- Growing Plant Minions with a watercan- Amount and Size stats - Physics-Based Weapons – like chained spikeballs- Kickable stuff- Playable character merge feature- Dozens and dozens of unique effectsI'm aiming for something like The Binding of Isaac meets Brotato — a deep, replayable experience full of chaotic synergies and wild builds that feel totally unique each run, with all the "being a boss fantasy and humor" deeply included in the mechanics and content :)Reply
    #noobs #are #coming #demo #free
    NOOBS ARE COMING (Demo) [Free] [Action] [Windows] [Linux]
    SirCozyCrow5 hours agoThe sound track is PEAK! I loved playing this, and my partner who normally doesn't play games like this one had a good time as well. I enjoyed the learning curve and I can't wait to play the harder difficulties.Here's a video I made, my partner jumped in for a few minutes as well.Replyso funReplyDrew.a.Chain1 day agoVery addictive!ReplyTrashpanda1191 day agolove the playstyle and the art style definitly fun to play plus the music is the cherry on topReplyAhoOppai1 day agoreally fun game cant wait for the full gameReplyDin Xavier coding1 day agoI chose the laser eye. How do I turn the attack around? Can I even do that?Replyoverboy1 day agoHey, the laser eye gets a random direction at the start of each wave, it's one of the specificities of this attack ;)ReplyFort Kenmei1 day agoGameplay and Critique ;)Replyoverboy1 day agoThanks a lot for the awesome video and the feedback! :)ReplyTLGaby2 days agoJust to know browser progress keep getting reset.Replyoverboy1 day agoThanks for the report! Could it be due to some of your browser settings?Unfortunately, browser-based games can't always guarantee reliable local saves due to how browsers handle storage.To avoid this in the future, I recommend trying the downloadable version of the demo,  it provides a more stable environment for saving progress. :)Replyepic.Replyoleekconder2 days agoVery nice. Spent couple hours easy=) UPD: And some moreReplyMaximusR3 days agoes un juego que ya jugue en su momento cuando tenias menos cosas y ahora que esta actualizado quisiera grabarlo otra vezReplyEPIClove the spiders ♥ReplynineGardens3 days agoOkay so.... tried out a few things, and some Dev suggestions to report: Bigfoot is such a cool idea, and running around at that speed with like.... all THAT going on just gave me motion sickness.Summoner is hysterical fun. All hail spiders. Tomatoe's are pretty fun too.The Adept is so cool in theory, but... once you have the right build is a bit of a "standing still simulator"  Also, if you have totoms or other turrets, there's very much the question each round of "Will my circle spawn NEAR the totoms , or far from them "   I kind of wonder if the mage circle should like... fizzle out after 20 seconds and appear somewhere else. Just... something to give a bit more dynamism, and to make the original spawn point less critical.Okay: added thoughts:Watering psycotic tomatoes feels great.Being a malevolent spider with 8 arms feels amazing. Feels very good and natural."Orbital" is one of the greatest and most fun abilities in the game.  I would take this even without the damage boost.Lots of fun, but also very silly. Good job.Replydave99993 days agowith some size you can kick the totems around to reposition them towards your circle, it benefits them too, adept can choose the wand at the start and with it you have no sustain problem anyway whatever build you want to set upReplynineGardens3 days agoOh damn- only just found out you can kick the totems!Okay, yeah in this case all is well. Or at least.... I still think a moving circle could be cool, but the fact that you can move your totems over to where the circle is makes things much better.Replyjust get enough amount+size and they hit everything, bounce is overkill ReplyLost track of time 10 hours in and still hooked. Absolutely love it! Can't wait for the full releaseReplyDriftedVoid4 days agoPretty good! ReplyIndyot4 days agoIt's a pretty addictive game, congrats! I lowkey missed a bit of satisfaction on the weapons though.ReplyCongrats on the game! I really like the weapons that you interact with which gives it a fun spin.Reply1Soultaken4 days agoAnyone know good combos for the items?Replydave99994 days agolasers plus amount+adept some arcane for basic dmgtotems +amount+ bounce+adept optional size and arcane you can stand still in the endall shovels with crit, strength their extra souls help you snowball hard and easy probably the most straightforward and stable very good build you can beat the game with nearly anything its well balanced but this one is very strong and easy soul flask, more chests are near always must pick, the high luck value ones give you better items the free reroll is a must pick, lightning dagger is somewhat unique as it  can carry you the entire early game even if you do not get enough element damageReplydave99998 days agounderestimated totems Replylimey8 days agoi like how you made like MULTITUDES of updates on this so like as soon as i check my feed its just thisReplydave99998 days agomy best run so far,  there s a hidden mechanic that  makes weapons  you have more likely to drop?Replyoverboy8 days agoLmao, awesome — looks like a really fun build to play! Yeah, Shop RNG uses a lot of hidden tricks to help you find relevant attacks, while still allowing unrelated ones to appear. That way, you can discover unique builds and experiment freely!Replyoverboy8 days agoThank you so much for the incredible reception of the web demo on Itch, and to everyone who wishlisted the game! Many of the changes—along with much more to come in future updates—are directly based on your feedback here and on the game’s Discord. I’m also excited to announce that the game will release on Steam on 8 July 2025! Demo - Update 35Singleplayer UI: Level Up Upgrade Phase and Chest Pickup Phase UI now display the items and attacks inventoriesSingleplayer Shop: subtle animation while selecting a Buy Button Many Balancing tweaks Balancing: nerfed Life Steal in various waysBalancing: nerfed Knockback in various waysBalancing: too much items enhancing HP Max were put in the Demo, this means it was easier to get a lot of HP and to survive in the Demo due to higher ratio of items providing HP Added a subtle duration during which the player can still pickup Souls even if they’re slurped by the Soul Portal Fine tuned the color of some weapons to improve the visibility Balancing: Ballista don’t double their projectiles based on amount anymoreIf Player HP is Full and HP Max > 20, the player can’t be one-shot Bugfix: in-game achievement pop up could be displayed below other UI elements while it should always be above everything else Potential Bugfix for a rare bug happening in Multiplayer shop where player2 Shop sections wasn’t displayed at allRework the save system in preparation for upcoming features ReplyxHELLO_WORLDx10 days agocontracts on the gameReplydave999910 days agoelijah_ap10 days agoLove the art style, upgrades, controls, etc. Balance might be the only thing off about this. If you were to add anything, I would want to see more variety in the stages, similar to Vampire Survivor. Otherwise- really great.ReplyThank you so much! I’ll keep working on the balance with each update, and I appreciate the suggestion on stage variety!ReplyNetsmile10 days agoTorch IV has a problem rounding numbers in the stats hover over display. Other levels of torches workReplyoverboy10 days agoThanks, I'll fix this displayed rounding number issue soon!ReplySkeppartorsk10 days agoFor now I'd say it's fun, but lacking a bit in balance. I absolutely suck at brotatolikes. But find this one easy, so it's probably undertuned as far as difficulty is concerned. The power and availability of HP and regen items, makes you just literally not care if you get hit. Then the relatively strong armor on top and you're just too tanky for anything to feasibly ever kill you.Replyoverboy10 days agoThanks for the feedback! Sounds like tanky builds might be a bit too forgiving right now, i'll do some balancing changesReplySkeppartorsk9 days agoLife steal has similar issues too. There's also the standard issue with knockback in these kinds of games. The lack of any enemy resistance/diminishing returns, means it's way too easy to get enough knockback that enemies cannot touch you anymore. Ranged attacks are too few and far between to worry about with the current levels of sustain. Meaning you can just Stand Still and Kill way too realiably. Edit: Lategame with 6x Wands I'm getting so much screen shake it's triggering simulation sickness. It was due to having Pierce + Bounce. The screen shake from my projectiles bouncing off the edge of the map.Replyoverboy8 days agothanks for your feedback, it will help for the game balancing!For now I try to avoid diminishing returns by design to make sure each feature and stat is super easy to understand because I dislike when roguelike gets too opaque, I prefer that the player fully and easily undestand each of its choices, but yeah that involves a good balance to find!In future updates, Life Steal will become harder to get, Knockback will be capped at lower maximum applied values.Regarding the overall difficulty, the full version has 3 extra level of difficulties, and based on some feedbacks i have from beta testers, the balance between the 5 difficulty modes seem to be close to what i'm aiming forThere is already an option to disable screenshakes ;)Edit: Would you be interested to join the beta-test of the full game? If so please join the Discord and ping me in DM ;)ReplySkeppartorsk8 days agoI did notice that you could turn off screen shake entirely. But admittedly a lot of the visceral feel of the combat goes away when you fully disable the screen shake. But when you have too many Leeroy/knockback projectiles/bouncing projectiles. It just reaches the point where simulation sickness sets in. Wish there was something like an intensity setting, or a way for it to cap out at how often a screen shake can get triggered. I agree on the opaque thing. But I was more thinking something akin to how CC Diminishing Returns works in WoW. Where 1st hit = full value, 2nd hit within 10s = half value, 3rd hit = 1/4 value. Then 10s of immunity before it resets. That way you still get knockback when you pick knockback. But you can't just perma nail enemies against the wall. Edit: Also there's a wording issuewith how multiple pentagrams work. If you have adept pentagram and the item pentagram the wording is "when you stand inside a pentagram" But the item one gives the 20% damage ONLY and the adept one gives the adept bonuses ONLY. The wording would mean that both pentagrams should give adept bonus AND 20% damage bonus.Edit2: I'd suggest reformatting Grimorius tooltip so that the -10% armor is above the "on level up"portion. The indentation difference between the +1% speed and -10% armor is small enough that I read it as losing 10% armor on every level up.Replyoverboy8 days agoThanks a lot for the interesting insights!I nerfed HP, Lifesteal and Knockback using various techniques in the last update, along with many other changes.Just tested Pentagram/Adept and it works as expected: the 2 effects stack correctly as the wording impliedI reformatted Grimorius tooltip as you suggested ;)ReplyView more in threadBad Piggy11 days agoVery cool in it's current state. I love how much it really emphasises movement like how some active abilities need to be grabbed from around the arena to do themThat said, I think enemy projectiles could honestly stand out more. I could hardly see them at times in all the chaos.Still, I think this is a pretty solid base right now, and as always, you have a beautiful visual style, though I feel like the game suffers a little from how busy it can get. Great stuff so far thoughReplyThanks Bad Piggy! Really glad you’re enjoying the mechanics. I appreciate the feedback on projectile visibility and how busy things can get. I’ll definitely look into ways to improve those aspects. Really grateful for the kind words and thoughtful feedback!ReplyLeoLohandro11 days agoA copy of the brotato), but still fun.Replyoverboy11 days agoHey thanks a lot! Yes this game is a Brotato-like with many twists and new innovative mechanics, such as:- Equippable Boss Patterns- Minion Summoning- Growing Plant Minions with a watercan- Amount and Size stats - Physics-Based Weapons – like chained spikeballs- Kickable stuff- Playable character merge feature- Dozens and dozens of unique effectsI'm aiming for something like The Binding of Isaac meets Brotato — a deep, replayable experience full of chaotic synergies and wild builds that feel totally unique each run, with all the "being a boss fantasy and humor" deeply included in the mechanics and content :)Reply #noobs #are #coming #demo #free
    OVERBOY.ITCH.IO
    NOOBS ARE COMING (Demo) [Free] [Action] [Windows] [Linux]
    SirCozyCrow5 hours agoThe sound track is PEAK! I loved playing this, and my partner who normally doesn't play games like this one had a good time as well. I enjoyed the learning curve and I can't wait to play the harder difficulties.Here's a video I made, my partner jumped in for a few minutes as well.Replyso funReplyDrew.a.Chain1 day ago(+1)Very addictive!ReplyTrashpanda1191 day ago(+1)love the playstyle and the art style definitly fun to play plus the music is the cherry on topReplyAhoOppai1 day ago(+1)really fun game cant wait for the full gameReplyDin Xavier coding1 day agoI chose the laser eye. How do I turn the attack around? Can I even do that?Replyoverboy1 day agoHey, the laser eye gets a random direction at the start of each wave, it's one of the specificities of this attack ;)ReplyFort Kenmei1 day agoGameplay and Critique ;)Replyoverboy1 day ago(+1)Thanks a lot for the awesome video and the feedback! :)ReplyTLGaby2 days agoJust to know browser progress keep getting reset.Replyoverboy1 day ago (2 edits) (+1)Thanks for the report! Could it be due to some of your browser settings?Unfortunately, browser-based games can't always guarantee reliable local saves due to how browsers handle storage.To avoid this in the future, I recommend trying the downloadable version of the demo,  it provides a more stable environment for saving progress. :)Replyepic.Replyoleekconder2 days ago (1 edit) (+1)Very nice. Spent couple hours easy=) UPD: And some moreReplyMaximusR3 days agoes un juego que ya jugue en su momento cuando tenias menos cosas y ahora que esta actualizado quisiera grabarlo otra vezReplyEPIClove the spiders ♥ReplynineGardens3 days ago (1 edit) (+2)Okay so.... tried out a few things, and some Dev suggestions to report: Bigfoot is such a cool idea, and running around at that speed with like.... all THAT going on just gave me motion sickness.Summoner is hysterical fun. All hail spiders. Tomatoe's are pretty fun too.The Adept is so cool in theory, but... once you have the right build is a bit of a "standing still simulator"  Also, if you have totoms or other turrets, there's very much the question each round of "Will my circle spawn NEAR the totoms (instant win), or far from them (oh no)"   I kind of wonder if the mage circle should like... fizzle out after 20 seconds and appear somewhere else. Just... something to give a bit more dynamism, and to make the original spawn point less critical.Okay: added thoughts:Watering psycotic tomatoes feels great.Being a malevolent spider with 8 arms feels amazing. Feels very good and natural."Orbital" is one of the greatest and most fun abilities in the game.  I would take this even without the damage boost.Lots of fun, but also very silly. Good job.Replydave99993 days agowith some size you can kick the totems around to reposition them towards your circle, it benefits them too, adept can choose the wand at the start and with it you have no sustain problem anyway whatever build you want to set upReplynineGardens3 days agoOh damn- only just found out you can kick the totems!Okay, yeah in this case all is well. Or at least.... I still think a moving circle could be cool, but the fact that you can move your totems over to where the circle is makes things much better.Replyjust get enough amount+size and they hit everything, bounce is overkill ReplyLost track of time 10 hours in and still hooked. Absolutely love it! Can't wait for the full releaseReplyDriftedVoid4 days agoPretty good! ReplyIndyot4 days agoIt's a pretty addictive game, congrats! I lowkey missed a bit of satisfaction on the weapons though.ReplyCongrats on the game! I really like the weapons that you interact with which gives it a fun spin. (i.e. the spike ball)Reply1Soultaken4 days agoAnyone know good combos for the items? (I just pick randomly.)Replydave99994 days ago (1 edit) (+2)lasers plus amount+adept some arcane for basic dmg (its instable to setup and only overboy starts with one) totems +amount+ bounce+adept optional size and arcane you can stand still in the endall shovels with crit, strength their extra souls help you snowball hard and easy probably the most straightforward and stable very good build you can beat the game with nearly anything its well balanced but this one is very strong and easy (realized in the end that all size was wasted on this) soul flask, more chests are near always must pick, the high luck value ones give you better items the free reroll is a must pick, lightning dagger is somewhat unique as it  can carry you the entire early game even if you do not get enough element damage (I understand that the more gimmicky things like pets and kickables give the game versatility but to min max they are not that competative)Replydave99998 days agounderestimated totems Replylimey8 days agoi like how you made like MULTITUDES of updates on this so like as soon as i check my feed its just thisReplydave99998 days ago (1 edit) (+1)my best run so far,  there s a hidden mechanic that  makes weapons  you have more likely to drop?Replyoverboy8 days ago(+2)Lmao, awesome — looks like a really fun build to play! Yeah, Shop RNG uses a lot of hidden tricks to help you find relevant attacks, while still allowing unrelated ones to appear. That way, you can discover unique builds and experiment freely!Replyoverboy8 days ago (1 edit) Thank you so much for the incredible reception of the web demo on Itch, and to everyone who wishlisted the game! Many of the changes—along with much more to come in future updates—are directly based on your feedback here and on the game’s Discord. I’m also excited to announce that the game will release on Steam on 8 July 2025! Demo - Update 35 (06 June 2025)Singleplayer UI: Level Up Upgrade Phase and Chest Pickup Phase UI now display the items and attacks inventories (useful to check the scaling of current equipped attacks for example) Singleplayer Shop: subtle animation while selecting a Buy Button Many Balancing tweaks Balancing: nerfed Life Steal in various ways (lower values gained from items) Balancing: nerfed Knockback in various ways (lower values gained, higher item rarity, lower max applied value) Balancing: too much items enhancing HP Max were put in the Demo, this means it was easier to get a lot of HP and to survive in the Demo due to higher ratio of items providing HP Added a subtle duration during which the player can still pickup Souls even if they’re slurped by the Soul Portal Fine tuned the color of some weapons to improve the visibility Balancing: Ballista don’t double their projectiles based on amount anymore (only number of ballistas scales with amount) If Player HP is Full and HP Max > 20, the player can’t be one-shot Bugfix: in-game achievement pop up could be displayed below other UI elements while it should always be above everything else Potential Bugfix for a rare bug happening in Multiplayer shop where player2 Shop sections wasn’t displayed at allRework the save system in preparation for upcoming features ReplyxHELLO_WORLDx10 days agocontracts on the gameReplydave999910 days agoelijah_ap10 days agoLove the art style, upgrades, controls, etc. Balance might be the only thing off about this. If you were to add anything, I would want to see more variety in the stages, similar to Vampire Survivor. Otherwise- really great.ReplyThank you so much! I’ll keep working on the balance with each update, and I appreciate the suggestion on stage variety!ReplyNetsmile10 days agoTorch IV has a problem rounding numbers in the stats hover over display. Other levels of torches workReplyoverboy10 days ago (1 edit) Thanks, I'll fix this displayed rounding number issue soon!ReplySkeppartorsk10 days agoFor now I'd say it's fun, but lacking a bit in balance. I absolutely suck at brotatolikes. But find this one easy, so it's probably undertuned as far as difficulty is concerned. The power and availability of HP and regen items, makes you just literally not care if you get hit. Then the relatively strong armor on top and you're just too tanky for anything to feasibly ever kill you.Replyoverboy10 days ago (1 edit) (+1)Thanks for the feedback! Sounds like tanky builds might be a bit too forgiving right now, i'll do some balancing changesReplySkeppartorsk9 days ago (2 edits) Life steal has similar issues too. There's also the standard issue with knockback in these kinds of games. The lack of any enemy resistance/diminishing returns, means it's way too easy to get enough knockback that enemies cannot touch you anymore. Ranged attacks are too few and far between to worry about with the current levels of sustain. Meaning you can just Stand Still and Kill way too realiably. Edit: Lategame with 6x Wands I'm getting so much screen shake it's triggering simulation sickness. It was due to having Pierce + Bounce. The screen shake from my projectiles bouncing off the edge of the map.Replyoverboy8 days ago (2 edits) (+1)thanks for your feedback, it will help for the game balancing!For now I try to avoid diminishing returns by design to make sure each feature and stat is super easy to understand because I dislike when roguelike gets too opaque, I prefer that the player fully and easily undestand each of its choices, but yeah that involves a good balance to find!In future updates, Life Steal will become harder to get, Knockback will be capped at lower maximum applied values.Regarding the overall difficulty, the full version has 3 extra level of difficulties, and based on some feedbacks i have from beta testers, the balance between the 5 difficulty modes seem to be close to what i'm aiming for (minus some issues like you pointed out, and of course some balancing required on specific builds and items)There is already an option to disable screenshakes ;)Edit: Would you be interested to join the beta-test of the full game? If so please join the Discord and ping me in DM ;)ReplySkeppartorsk8 days ago (4 edits) I did notice that you could turn off screen shake entirely. But admittedly a lot of the visceral feel of the combat goes away when you fully disable the screen shake. But when you have too many Leeroy/knockback projectiles/bouncing projectiles. It just reaches the point where simulation sickness sets in. Wish there was something like an intensity setting, or a way for it to cap out at how often a screen shake can get triggered. I agree on the opaque thing. But I was more thinking something akin to how CC Diminishing Returns works in WoW. Where 1st hit = full value, 2nd hit within 10s = half value, 3rd hit = 1/4 value. Then 10s of immunity before it resets. That way you still get knockback when you pick knockback. But you can't just perma nail enemies against the wall. Edit: Also there's a wording issue (or a bug) with how multiple pentagrams work. If you have adept pentagram and the item pentagram the wording is "when you stand inside a pentagram" But the item one gives the 20% damage ONLY and the adept one gives the adept bonuses ONLY. The wording would mean that both pentagrams should give adept bonus AND 20% damage bonus.Edit2: I'd suggest reformatting Grimorius tooltip so that the -10% armor is above the "on level up"portion. The indentation difference between the +1% speed and -10% armor is small enough that I read it as losing 10% armor on every level up.Replyoverboy8 days agoThanks a lot for the interesting insights!I nerfed HP, Lifesteal and Knockback using various techniques in the last update, along with many other changes.Just tested Pentagram/Adept and it works as expected: the 2 effects stack correctly as the wording impliedI reformatted Grimorius tooltip as you suggested ;)ReplyView more in threadBad Piggy11 days agoVery cool in it's current state. I love how much it really emphasises movement like how some active abilities need to be grabbed from around the arena to do themThat said, I think enemy projectiles could honestly stand out more. I could hardly see them at times in all the chaos.Still, I think this is a pretty solid base right now, and as always, you have a beautiful visual style, though I feel like the game suffers a little from how busy it can get. Great stuff so far thoughReplyThanks Bad Piggy! Really glad you’re enjoying the mechanics. I appreciate the feedback on projectile visibility and how busy things can get. I’ll definitely look into ways to improve those aspects. Really grateful for the kind words and thoughtful feedback!ReplyLeoLohandro11 days agoA copy of the brotato), but still fun.Replyoverboy11 days ago (2 edits) (+1)Hey thanks a lot! Yes this game is a Brotato-like with many twists and new innovative mechanics, such as:- Equippable Boss Patterns (active skills you can trigger by picking orbs on the map)- Minion Summoning- Growing Plant Minions with a watercan- Amount and Size stats - Physics-Based Weapons – like chained spikeballs- Kickable stuff (you can even play soccer with your minions or other co-op players)- Playable character merge feature (get the effect of 2 different characters or more at the same time)- Dozens and dozens of unique effects (turning enemies into Sheep, or Golden Statues, or both?)I'm aiming for something like The Binding of Isaac meets Brotato — a deep, replayable experience full of chaotic synergies and wild builds that feel totally unique each run, with all the "being a boss fantasy and humor" deeply included in the mechanics and content :)Reply
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  • Reclaiming Control: Digital Sovereignty in 2025

    Sovereignty has mattered since the invention of the nation state—defined by borders, laws, and taxes that apply within and without. While many have tried to define it, the core idea remains: nations or jurisdictions seek to stay in control, usually to the benefit of those within their borders.
    Digital sovereignty is a relatively new concept, also difficult to define but straightforward to understand. Data and applications don’t understand borders unless they are specified in policy terms, as coded into the infrastructure.
    The World Wide Web had no such restrictions at its inception. Communitarian groups such as the Electronic Frontier Foundation, service providers and hyperscalers, non-profits and businesses all embraced a model that suggested data would look after itself.
    But data won’t look after itself, for several reasons. First, data is massively out of control. We generate more of it all the time, and for at least two or three decades, most organizations haven’t fully understood their data assets. This creates inefficiency and risk—not least, widespread vulnerability to cyberattack.
    Risk is probability times impact—and right now, the probabilities have shot up. Invasions, tariffs, political tensions, and more have brought new urgency. This time last year, the idea of switching off another country’s IT systems was not on the radar. Now we’re seeing it happen—including the U.S. government blocking access to services overseas.
    Digital sovereignty isn’t just a European concern, though it is often framed as such. In South America for example, I am told that sovereignty is leading conversations with hyperscalers; in African countries, it is being stipulated in supplier agreements. Many jurisdictions are watching, assessing, and reviewing their stance on digital sovereignty.
    As the adage goes: a crisis is a problem with no time left to solve it. Digital sovereignty was a problem in waiting—but now it’s urgent. It’s gone from being an abstract ‘right to sovereignty’ to becoming a clear and present issue, in government thinking, corporate risk and how we architect and operate our computer systems.
    What does the digital sovereignty landscape look like today?
    Much has changed since this time last year. Unknowns remain, but much of what was unclear this time last year is now starting to solidify. Terminology is clearer – for example talking about classification and localisation rather than generic concepts.
    We’re seeing a shift from theory to practice. Governments and organizations are putting policies in place that simply didn’t exist before. For example, some countries are seeing “in-country” as a primary goal, whereas othersare adopting a risk-based approach based on trusted locales.
    We’re also seeing a shift in risk priorities. From a risk standpoint, the classic triad of confidentiality, integrity, and availability are at the heart of the digital sovereignty conversation. Historically, the focus has been much more on confidentiality, driven by concerns about the US Cloud Act: essentially, can foreign governments see my data?
    This year however, availability is rising in prominence, due to geopolitics and very real concerns about data accessibility in third countries. Integrity is being talked about less from a sovereignty perspective, but is no less important as a cybercrime target—ransomware and fraud being two clear and present risks.
    Thinking more broadly, digital sovereignty is not just about data, or even intellectual property, but also the brain drain. Countries don’t want all their brightest young technologists leaving university only to end up in California or some other, more attractive country. They want to keep talent at home and innovate locally, to the benefit of their own GDP.
    How Are Cloud Providers Responding?
    Hyperscalers are playing catch-up, still looking for ways to satisfy the letter of the law whilst ignoringits spirit. It’s not enough for Microsoft or AWS to say they will do everything they can to protect a jurisdiction’s data, if they are already legally obliged to do the opposite. Legislation, in this case US legislation, calls the shots—and we all know just how fragile this is right now.
    We see hyperscaler progress where they offer technology to be locally managed by a third party, rather than themselves. For example, Google’s partnership with Thales, or Microsoft with Orange, both in France. However, these are point solutions, not part of a general standard. Meanwhile, AWS’ recent announcement about creating a local entity doesn’t solve for the problem of US over-reach, which remains a core issue.
    Non-hyperscaler providers and software vendors have an increasingly significant play: Oracle and HPE offer solutions that can be deployed and managed locally for example; Broadcom/VMware and Red Hat provide technologies that locally situated, private cloud providers can host. Digital sovereignty is thus a catalyst for a redistribution of “cloud spend” across a broader pool of players.
    What Can Enterprise Organizations Do About It?
    First, see digital sovereignty as a core element of data and application strategy. For a nation, sovereignty means having solid borders, control over IP, GDP, and so on. That’s the goal for corporations as well—control, self-determination, and resilience.
    If sovereignty isn’t seen as an element of strategy, it gets pushed down into the implementation layer, leading to inefficient architectures and duplicated effort. Far better to decide up front what data, applications and processes need to be treated as sovereign, and defining an architecture to support that.
    This sets the scene for making informed provisioning decisions. Your organization may have made some big bets on key vendors or hyperscalers, but multi-platform thinking increasingly dominates: multiple public and private cloud providers, with integrated operations and management. Sovereign cloud becomes one element of a well-structured multi-platform architecture.
    It is not cost-neutral to deliver on sovereignty, but the overall business value should be tangible. A sovereignty initiative should bring clear advantages, not just for itself, but through the benefits that come with better control, visibility, and efficiency.
    Knowing where your data is, understanding which data matters, managing it efficiently so you’re not duplicating or fragmenting it across systems—these are valuable outcomes. In addition, ignoring these questions can lead to non-compliance or be outright illegal. Even if we don’t use terms like ‘sovereignty’, organizations need a handle on their information estate.
    Organizations shouldn’t be thinking everything cloud-based needs to be sovereign, but should be building strategies and policies based on data classification, prioritization and risk. Build that picture and you can solve for the highest-priority items first—the data with the strongest classification and greatest risk. That process alone takes care of 80–90% of the problem space, avoiding making sovereignty another problem whilst solving nothing.
    Where to start? Look after your own organization first
    Sovereignty and systems thinking go hand in hand: it’s all about scope. In enterprise architecture or business design, the biggest mistake is boiling the ocean—trying to solve everything at once.
    Instead, focus on your own sovereignty. Worry about your own organization, your own jurisdiction. Know where your own borders are. Understand who your customers are, and what their requirements are. For example, if you’re a manufacturer selling into specific countries—what do those countries require? Solve for that, not for everything else. Don’t try to plan for every possible future scenario.
    Focus on what you have, what you’re responsible for, and what you need to address right now. Classify and prioritise your data assets based on real-world risk. Do that, and you’re already more than halfway toward solving digital sovereignty—with all the efficiency, control, and compliance benefits that come with it.
    Digital sovereignty isn’t just regulatory, but strategic. Organizations that act now can reduce risk, improve operational clarity, and prepare for a future based on trust, compliance, and resilience.
    The post Reclaiming Control: Digital Sovereignty in 2025 appeared first on Gigaom.
    #reclaiming #control #digital #sovereignty
    Reclaiming Control: Digital Sovereignty in 2025
    Sovereignty has mattered since the invention of the nation state—defined by borders, laws, and taxes that apply within and without. While many have tried to define it, the core idea remains: nations or jurisdictions seek to stay in control, usually to the benefit of those within their borders. Digital sovereignty is a relatively new concept, also difficult to define but straightforward to understand. Data and applications don’t understand borders unless they are specified in policy terms, as coded into the infrastructure. The World Wide Web had no such restrictions at its inception. Communitarian groups such as the Electronic Frontier Foundation, service providers and hyperscalers, non-profits and businesses all embraced a model that suggested data would look after itself. But data won’t look after itself, for several reasons. First, data is massively out of control. We generate more of it all the time, and for at least two or three decades, most organizations haven’t fully understood their data assets. This creates inefficiency and risk—not least, widespread vulnerability to cyberattack. Risk is probability times impact—and right now, the probabilities have shot up. Invasions, tariffs, political tensions, and more have brought new urgency. This time last year, the idea of switching off another country’s IT systems was not on the radar. Now we’re seeing it happen—including the U.S. government blocking access to services overseas. Digital sovereignty isn’t just a European concern, though it is often framed as such. In South America for example, I am told that sovereignty is leading conversations with hyperscalers; in African countries, it is being stipulated in supplier agreements. Many jurisdictions are watching, assessing, and reviewing their stance on digital sovereignty. As the adage goes: a crisis is a problem with no time left to solve it. Digital sovereignty was a problem in waiting—but now it’s urgent. It’s gone from being an abstract ‘right to sovereignty’ to becoming a clear and present issue, in government thinking, corporate risk and how we architect and operate our computer systems. What does the digital sovereignty landscape look like today? Much has changed since this time last year. Unknowns remain, but much of what was unclear this time last year is now starting to solidify. Terminology is clearer – for example talking about classification and localisation rather than generic concepts. We’re seeing a shift from theory to practice. Governments and organizations are putting policies in place that simply didn’t exist before. For example, some countries are seeing “in-country” as a primary goal, whereas othersare adopting a risk-based approach based on trusted locales. We’re also seeing a shift in risk priorities. From a risk standpoint, the classic triad of confidentiality, integrity, and availability are at the heart of the digital sovereignty conversation. Historically, the focus has been much more on confidentiality, driven by concerns about the US Cloud Act: essentially, can foreign governments see my data? This year however, availability is rising in prominence, due to geopolitics and very real concerns about data accessibility in third countries. Integrity is being talked about less from a sovereignty perspective, but is no less important as a cybercrime target—ransomware and fraud being two clear and present risks. Thinking more broadly, digital sovereignty is not just about data, or even intellectual property, but also the brain drain. Countries don’t want all their brightest young technologists leaving university only to end up in California or some other, more attractive country. They want to keep talent at home and innovate locally, to the benefit of their own GDP. How Are Cloud Providers Responding? Hyperscalers are playing catch-up, still looking for ways to satisfy the letter of the law whilst ignoringits spirit. It’s not enough for Microsoft or AWS to say they will do everything they can to protect a jurisdiction’s data, if they are already legally obliged to do the opposite. Legislation, in this case US legislation, calls the shots—and we all know just how fragile this is right now. We see hyperscaler progress where they offer technology to be locally managed by a third party, rather than themselves. For example, Google’s partnership with Thales, or Microsoft with Orange, both in France. However, these are point solutions, not part of a general standard. Meanwhile, AWS’ recent announcement about creating a local entity doesn’t solve for the problem of US over-reach, which remains a core issue. Non-hyperscaler providers and software vendors have an increasingly significant play: Oracle and HPE offer solutions that can be deployed and managed locally for example; Broadcom/VMware and Red Hat provide technologies that locally situated, private cloud providers can host. Digital sovereignty is thus a catalyst for a redistribution of “cloud spend” across a broader pool of players. What Can Enterprise Organizations Do About It? First, see digital sovereignty as a core element of data and application strategy. For a nation, sovereignty means having solid borders, control over IP, GDP, and so on. That’s the goal for corporations as well—control, self-determination, and resilience. If sovereignty isn’t seen as an element of strategy, it gets pushed down into the implementation layer, leading to inefficient architectures and duplicated effort. Far better to decide up front what data, applications and processes need to be treated as sovereign, and defining an architecture to support that. This sets the scene for making informed provisioning decisions. Your organization may have made some big bets on key vendors or hyperscalers, but multi-platform thinking increasingly dominates: multiple public and private cloud providers, with integrated operations and management. Sovereign cloud becomes one element of a well-structured multi-platform architecture. It is not cost-neutral to deliver on sovereignty, but the overall business value should be tangible. A sovereignty initiative should bring clear advantages, not just for itself, but through the benefits that come with better control, visibility, and efficiency. Knowing where your data is, understanding which data matters, managing it efficiently so you’re not duplicating or fragmenting it across systems—these are valuable outcomes. In addition, ignoring these questions can lead to non-compliance or be outright illegal. Even if we don’t use terms like ‘sovereignty’, organizations need a handle on their information estate. Organizations shouldn’t be thinking everything cloud-based needs to be sovereign, but should be building strategies and policies based on data classification, prioritization and risk. Build that picture and you can solve for the highest-priority items first—the data with the strongest classification and greatest risk. That process alone takes care of 80–90% of the problem space, avoiding making sovereignty another problem whilst solving nothing. Where to start? Look after your own organization first Sovereignty and systems thinking go hand in hand: it’s all about scope. In enterprise architecture or business design, the biggest mistake is boiling the ocean—trying to solve everything at once. Instead, focus on your own sovereignty. Worry about your own organization, your own jurisdiction. Know where your own borders are. Understand who your customers are, and what their requirements are. For example, if you’re a manufacturer selling into specific countries—what do those countries require? Solve for that, not for everything else. Don’t try to plan for every possible future scenario. Focus on what you have, what you’re responsible for, and what you need to address right now. Classify and prioritise your data assets based on real-world risk. Do that, and you’re already more than halfway toward solving digital sovereignty—with all the efficiency, control, and compliance benefits that come with it. Digital sovereignty isn’t just regulatory, but strategic. Organizations that act now can reduce risk, improve operational clarity, and prepare for a future based on trust, compliance, and resilience. The post Reclaiming Control: Digital Sovereignty in 2025 appeared first on Gigaom. #reclaiming #control #digital #sovereignty
    GIGAOM.COM
    Reclaiming Control: Digital Sovereignty in 2025
    Sovereignty has mattered since the invention of the nation state—defined by borders, laws, and taxes that apply within and without. While many have tried to define it, the core idea remains: nations or jurisdictions seek to stay in control, usually to the benefit of those within their borders. Digital sovereignty is a relatively new concept, also difficult to define but straightforward to understand. Data and applications don’t understand borders unless they are specified in policy terms, as coded into the infrastructure. The World Wide Web had no such restrictions at its inception. Communitarian groups such as the Electronic Frontier Foundation, service providers and hyperscalers, non-profits and businesses all embraced a model that suggested data would look after itself. But data won’t look after itself, for several reasons. First, data is massively out of control. We generate more of it all the time, and for at least two or three decades (according to historical surveys I’ve run), most organizations haven’t fully understood their data assets. This creates inefficiency and risk—not least, widespread vulnerability to cyberattack. Risk is probability times impact—and right now, the probabilities have shot up. Invasions, tariffs, political tensions, and more have brought new urgency. This time last year, the idea of switching off another country’s IT systems was not on the radar. Now we’re seeing it happen—including the U.S. government blocking access to services overseas. Digital sovereignty isn’t just a European concern, though it is often framed as such. In South America for example, I am told that sovereignty is leading conversations with hyperscalers; in African countries, it is being stipulated in supplier agreements. Many jurisdictions are watching, assessing, and reviewing their stance on digital sovereignty. As the adage goes: a crisis is a problem with no time left to solve it. Digital sovereignty was a problem in waiting—but now it’s urgent. It’s gone from being an abstract ‘right to sovereignty’ to becoming a clear and present issue, in government thinking, corporate risk and how we architect and operate our computer systems. What does the digital sovereignty landscape look like today? Much has changed since this time last year. Unknowns remain, but much of what was unclear this time last year is now starting to solidify. Terminology is clearer – for example talking about classification and localisation rather than generic concepts. We’re seeing a shift from theory to practice. Governments and organizations are putting policies in place that simply didn’t exist before. For example, some countries are seeing “in-country” as a primary goal, whereas others (the UK included) are adopting a risk-based approach based on trusted locales. We’re also seeing a shift in risk priorities. From a risk standpoint, the classic triad of confidentiality, integrity, and availability are at the heart of the digital sovereignty conversation. Historically, the focus has been much more on confidentiality, driven by concerns about the US Cloud Act: essentially, can foreign governments see my data? This year however, availability is rising in prominence, due to geopolitics and very real concerns about data accessibility in third countries. Integrity is being talked about less from a sovereignty perspective, but is no less important as a cybercrime target—ransomware and fraud being two clear and present risks. Thinking more broadly, digital sovereignty is not just about data, or even intellectual property, but also the brain drain. Countries don’t want all their brightest young technologists leaving university only to end up in California or some other, more attractive country. They want to keep talent at home and innovate locally, to the benefit of their own GDP. How Are Cloud Providers Responding? Hyperscalers are playing catch-up, still looking for ways to satisfy the letter of the law whilst ignoring (in the French sense) its spirit. It’s not enough for Microsoft or AWS to say they will do everything they can to protect a jurisdiction’s data, if they are already legally obliged to do the opposite. Legislation, in this case US legislation, calls the shots—and we all know just how fragile this is right now. We see hyperscaler progress where they offer technology to be locally managed by a third party, rather than themselves. For example, Google’s partnership with Thales, or Microsoft with Orange, both in France (Microsoft has similar in Germany). However, these are point solutions, not part of a general standard. Meanwhile, AWS’ recent announcement about creating a local entity doesn’t solve for the problem of US over-reach, which remains a core issue. Non-hyperscaler providers and software vendors have an increasingly significant play: Oracle and HPE offer solutions that can be deployed and managed locally for example; Broadcom/VMware and Red Hat provide technologies that locally situated, private cloud providers can host. Digital sovereignty is thus a catalyst for a redistribution of “cloud spend” across a broader pool of players. What Can Enterprise Organizations Do About It? First, see digital sovereignty as a core element of data and application strategy. For a nation, sovereignty means having solid borders, control over IP, GDP, and so on. That’s the goal for corporations as well—control, self-determination, and resilience. If sovereignty isn’t seen as an element of strategy, it gets pushed down into the implementation layer, leading to inefficient architectures and duplicated effort. Far better to decide up front what data, applications and processes need to be treated as sovereign, and defining an architecture to support that. This sets the scene for making informed provisioning decisions. Your organization may have made some big bets on key vendors or hyperscalers, but multi-platform thinking increasingly dominates: multiple public and private cloud providers, with integrated operations and management. Sovereign cloud becomes one element of a well-structured multi-platform architecture. It is not cost-neutral to deliver on sovereignty, but the overall business value should be tangible. A sovereignty initiative should bring clear advantages, not just for itself, but through the benefits that come with better control, visibility, and efficiency. Knowing where your data is, understanding which data matters, managing it efficiently so you’re not duplicating or fragmenting it across systems—these are valuable outcomes. In addition, ignoring these questions can lead to non-compliance or be outright illegal. Even if we don’t use terms like ‘sovereignty’, organizations need a handle on their information estate. Organizations shouldn’t be thinking everything cloud-based needs to be sovereign, but should be building strategies and policies based on data classification, prioritization and risk. Build that picture and you can solve for the highest-priority items first—the data with the strongest classification and greatest risk. That process alone takes care of 80–90% of the problem space, avoiding making sovereignty another problem whilst solving nothing. Where to start? Look after your own organization first Sovereignty and systems thinking go hand in hand: it’s all about scope. In enterprise architecture or business design, the biggest mistake is boiling the ocean—trying to solve everything at once. Instead, focus on your own sovereignty. Worry about your own organization, your own jurisdiction. Know where your own borders are. Understand who your customers are, and what their requirements are. For example, if you’re a manufacturer selling into specific countries—what do those countries require? Solve for that, not for everything else. Don’t try to plan for every possible future scenario. Focus on what you have, what you’re responsible for, and what you need to address right now. Classify and prioritise your data assets based on real-world risk. Do that, and you’re already more than halfway toward solving digital sovereignty—with all the efficiency, control, and compliance benefits that come with it. Digital sovereignty isn’t just regulatory, but strategic. Organizations that act now can reduce risk, improve operational clarity, and prepare for a future based on trust, compliance, and resilience. The post Reclaiming Control: Digital Sovereignty in 2025 appeared first on Gigaom.
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