Regression vs Classification in Machine Learning — Why Most Beginners Get This Wrong | M004 0 like May 15, 2025 Share this post Author(s): Mehul Ligade Originally published on Towards AI. Regression vs Classification in Machine Learning — Why Most Beginners Get This Wrong | M004 If you’re learning Machine Learning and think supervised learning is straightforward, think again. The moment you start building your first model, you face a decision that most tutorials barely explain: should this be a regression problem or a classification problem? The difference might seem obvious — until you mess up a project by predicting categories with a regression model or trying to force numeric output into classification buckets.In this article, I will break it all down from the ground up. Not just the textbook definitions, but the thinking process behind choosing the right type of model. You will learn what these terms really mean, how to spot the difference in the wild, and how I personally approach this choice in real-world projects.And as always, no recycled fluff; only experience, insight, and lessons that actually stick. Now let’s dive in. 📘 Contents Why This Article Exists The Real Question Behind Regression and Classification What Regression Actually Means in ML A Real-Life Example of Regression What Classification Means and How It Works A Real-Life Example of Classification How to Choose Between Them (with a Decision Guide) Evaluation Metrics You Must Know What I Learned the Hard Way Final Thoughts: Don’t Just Choose Models. Understand Problems. 🔴 Why This Article Exists I am writing this because I got it wrong. More than once. When I first started with supervised learning, I picked models like they were tools in a toolbox. Linear regression for numbers. Logistic regression for yes or no. That was it. End of story. But then I hit edge cases — datasets that looked like classification but acted like regression. Projects where I used the wrong loss function and got results that were mathematically correct but practically useless. It became clear to me that the distinction between regression and classification is not just about output format. It is about understanding your problem at a deeper level. So this article is what I wish someone had handed me back then. — 🔴 The Real Question Behind Regression and Classification Before we define anything, ask yourself this: What is the nature of the thing I am trying to predict?Am I trying to predict a quantity? Something with measurable distance between values — like price, age, or temperature?Or am I trying to predict a class? A distinct label, category, or group — like cat or dog, spam or not spam, fraud or genuine?That is the fundamental fork in the road. Regression problems deal with continuous outcomes. You are estimating values on a number line. Classification problems deal with discrete outcomes. You are assigning input data into one of several predefined buckets. And every model, loss function, and evaluation metric flows from this initial choice. — 🔴 What Regression Actually Means in ML Regression is not about graphs or slopes or lines. It is about approximation. When you use regression, you are asking the model to learn a function that maps input variables to a continuous output — like predicting house price from square footage or predicting someone’s weight based on age and height. But here’s what matters: there is no “correct” label in a strict sense. There is just closeness. Accuracy in regression is about how far off you are from the actual value. That’s why regression models minimize error — not classification mistakes. Think about this: if you predict a house price as ₹88,00,000 when it’s actually ₹90,00,000, you are off by 2 lakhs. That’s the loss. That’s what we care about. You are not trying to get an exact number every time. You are trying to get close and consistently close. — 🔴 A Real-Life Example of Regression In one of my early projects, I built a system to predict healthcare insurance costs. The dataset included factors like age, BMI, gender, smoking status, and location. The goal was to estimate the cost of a person’s annual premium. There were no categories. Just numbers — actual premium amounts from previous customers. This is a textbook regression problem. The output is continuous. The distance between ₹24,000 and ₹26,000 is meaningful. A difference of ₹2,000 is better than a difference of ₹20,000. My models tried to minimize the error between predicted cost and actual cost. I used RMSE (root mean squared error) as my main metric. And even though the numbers were not perfect, they got close enough to be valuable for real decision-making. That is regression. Learning to estimate: not classify. — 🔴 What Classification Means and How It Works Classification is different. Here, you are predicting categories. You are not interested in the value of the output — only which group it falls into.This is the kind of learning used in problems like spam detection, loan approval, sentiment analysis, medical diagnosis, and image recognition. In classification, you are not measuring how close your prediction is — you are measuring whether it is correct or not. There is no halfway. If you predict that a transaction is “not fraud” and it is actually “fraud,” that is not a 40 percent error — it is a full-blown misclassification. The cost of being wrong can vary, but the format is binary: right or wrong. Classification models often work by estimating probabilities. For example, a logistic regression model might say, “This email has a 92 percent chance of being spam.” But in the end, it must make a call — spam or not. The key is to get the categories right. — 🔴 How to Choose Between Them (with a Decision Guide) Now here’s the golden question: how do you decide if your problem is regression or classification? Ask yourself: Are you trying to predict a value that falls on a continuous scale? If the answer is yes, it’s probably regression. For example, predicting weight, speed, cost, score, rating, or any other numeric measurement.Are you trying to assign an input to a predefined group? If so, it’s classification. For example, identifying sentiment, detecting objects, predicting diagnoses, or categorizing news articles. And if you are not sure, here’s a tip: look at your target variable. If it has units — like kilograms, rupees, degrees, or centimeters — it’s probably regression. If it has labels like “positive,” “negative,” “approved,” or “rejected” it’s classification. — 🔴 Evaluation Metrics You Must Know This is where many people go wrong — including me, at first. You cannot evaluate regression and classification models the same way. In regression, we care about how far off the prediction is. Metrics like mean absolute error, mean squared error, or root mean squared error are used. They tell you how close the prediction is to the real value. In classification, we care about how often the prediction is right. But accuracy alone is not always enough — especially with imbalanced data. For example, in a fraud detection model where only 1 percent of transactions are actually fraud, a model that says “not fraud” for every case will be 99 percent accurate — and completely useless. That’s why we use other metrics like precision, recall, F1-score, and AUC (area under the curve). These metrics tell us not just how often we are right, but how we are right — and when it matters. Knowing the difference between evaluation strategies is just as important as choosing the right model. — 🔴 What I Learned the Hard Way In one of my earlier models, I was trying to predict how likely someone was to buy a product. The target column was labeled “purchase likelihood” and had values between 0 and 1. I assumed it was a regression problem. I trained a model using RMSE. The predictions were pretty close. But then I looked deeper and realized that this target had been generated by a previous model. It was already a probability. What I really needed was a classification decision: “Will buy” or “Will not buy.” I had treated it like a regression problem when what I really wanted was classification. That mismatch between goal and framing wasted weeks of iteration. Since then, I always start with the same question: “What decision is this model helping someone make?” That almost always leads me to the right type of problem. — 🔴 Final Thoughts: Don’t Just Choose Models. Understand Problems. Machine Learning is not about throwing algorithms at data. It is about solving real problems. And that starts with framing those problems the right way. Choosing between regression and classification is not about picking the most popular model. It is about understanding the shape of the outcome you are trying to predict. The closer you look at your data — especially your target variable — the better your choices will be. And the better your choices, the more reliable your models become. This is how I build ML systems. Not just by following tutorials — but by understanding what the model is supposed to do, and why. — 🔴 What Comes Next In the next few articles, I will dive into model evaluation, error analysis, overfitting, and how I engineer features that actually improve predictions not just accuracy on paper. As always, I will write from experience. From curiosity. From real-world projects and lessons that stick. Follow along if you are tired of fluffy articles and want to build Machine Learning systems that actually work. 📍 Find me here: Twitter: x.com/MehulLigade LinkedIn: linkedin.com/in/mehulcode12Let’s keep learning one layer deeper at a time. — Join thousands of data leaders on the AI newsletter. Join over 80,000 subscribers and keep up to date with the latest developments in AI. From research to projects and ideas. If you are building an AI startup, an AI-related product, or a service, we invite you to consider becoming a sponsor. Published via Towards AI Towards AI - Medium Share this post

Take-Two Interactive Software let the cat out of the bag as it postponed the launch of Grand Theft Auto VI (now coming on May 26, 2026), and now we can see the impact of that on its outlook. The company reported its net bookings for the fourth-fiscal quarter ended March 31 hit $1.58 billion, up 17% from the same quarter a year ago. The results were in the top end of the company’s own guidance. Good results for NBA 2K25, Grand Theft Auto Online and Grand Theft Auto V, Civilization VII, Toon Blast, Match Factory, Empires & Puzzles, Red Dead Redemption 2 and Red Dead Online and WWE 2K25. The company said that giving Rockstar Games more time to finish Grand Theft Auto VI will improve quality, and it noted that its most recent trailer on GTA VI got 475 million views in 24 hours, up from the announcement trailer of 93 million views. GAAP net revenue was $1.582 billion, up 13% from last year’s fiscal fourth quarter. The GAAP net loss was $3.373 billion, or $21.08 per share, as compared to $2.9 billion, or $17.02 per share, for the comparable period last year. Analysts were expecting GAAP revenues of $1.55 billion and a loss per share of 5 cents. The GAAP results included impairment charges of $3.55 billion related to goodwill and $176.3 million for acquisition-related intangible assets. Net bookings are the company’s operational metric, and it’s defined as the net amount of products and services sold digitally or sold-in physically during the period. It includes licensing fees, merchandise, in-game advertising, strategy guides and publisher incentives. GAAP revenues don’t count revenue that is booked in the quarter but realized at later times. The largest contributors to net bookings were NBA 2K25 and NBA 2K24, Grand Theft Auto Online and Grand Theft Auto V, Civilization VII, Toon Blast, our hyper-casual mobile portfolio, Match Factory!, Empires & Puzzles, Red Dead Redemption 2 and Red Dead Online and WWE 2K25. As of March 31, 2025, Take-Two’s number of employees was 12,928, including 10,096 in-house development studio staff. That was up about 31 people since the previous quarter, and the rest of the company’s headcount was up about 49 people. About 22% of the staff were in low-cost locations (India, China, Turkey, Serbia, Chile, and Hungary). Take-Two Interactive chief executive Strauss Zelnick. “We achieved outstanding results in our 2025 Fiscal Year, with each of our labels contributing meaningfully to our performance,” said Strauss Zelnick, CEO of Take-Two, in a statement. “Our Fiscal 2026 outlook reflects continuing positive momentum, with Net Bookings guidance of $5.9 to $6.0 billion. As we bring our exciting lineup to market, including Grand Theft Auto VI in Fiscal 2027, we expect to achieve record levels of Net Bookings that will establish a new baseline for our business and set us on a path of enhanced profitability.” In an interview with GamesBeat, Zelnick tole me some context around the announcement of the delay of Grand Theft Auto VI. “We’re constantly seeking perfection here at Take-Two. Broadly and specifically, Rockstar Games sometimes requires more time. In this case, to deliver this groundbreaking project at the level that its fans demand.” I asked why it was such a precise date, in terms of the new date for launching the game on May 26, 2026. Zelnick said that, generally speaking, when Take-Two announces a specific date, they stick to those dates, historically speaking. While to me it looked like a long delay, Zelnick said that he would quibble that it was a long delay, as it was less than six months later. Since we didn’t know the original date Rockstar had in mind, we didn’t know it was a short delay. I asked if Zelnick felt like the industry was stabilizing, but he said Take-Two wasn’t reporting on how the industry was doing, only the company itself, and that it was a great fiscal year. I mentioned that in the previous quarter we had discussed the uncertainty around tariffs. He replied, “Well, you know that tariffs have been a moving target. So far, we don’t expect tariffs will have a meaningful impact, if any, on software pricing, and therefore sales [would not likely be affected].” He added, “Undoubtedly, tariffs could have an impact on console costs, on pricing, and anything that stands in the way of the growth of an installed base is bad news for us compared to the lack of encumbrances. So we’re hopeful that our situation will be resolved in such a way as to benefit consumers broadly.” I asked about the higher pricing of Switch 2 titles like Mario Kart World, which will sell on the Switch 2 for $80. While not commenting on Nintendo’s pricing, he said competitors have announced variable pricing, but the company has always had variable pricing itself. “Our job as a company, and I think the job of the industry is to deliver way more value given what we charge. And of course, interactive entertainment [delivers] so many hours of gameplay associated with titles that people love,” he said. He noted that the goal is to offer the best value in the business in terms of price per hours played. He confirmed that Borderlands 4 is launching on PC and consoles (Xbox and PlayStation) while the Switch 2 version is coming out later but does not have a ship date yet. He said that, beyond Grand Theft Auto VI, there was no significant movement in the company’s slate for upcoming titles. Take-Two expects growth in the fiscal year 2027, which is year GTA VI will launch now, to be positive at about 5% in the midrange but the company is not spelling out a number for expected bookings in that year. Take-Two said each of its labels contributed meaningfully to performance in the quarter. The company said, “2K posted a fantastic quarter, with the successful launches of Sid Meier’s Civilization VII, WWE 2K25, and PGA TOUR 2K25. NBA 2K delivered one of its strongest periods on-record, including recurrent consumer spending growth of 42%. Rockstar Games excelled once again, with the Grand Theft Auto and Red Dead Redemption series surpassing our forecasts; and Zynga continued to gain momentum, led by Match Factory, Toon Blast, and Rollic’s newest hit – Color Block Jam.” Recurrent consumer spending growth was up 14% over last year and accounting for 77% of net bookings. NBA 2K grew over 40%, while Grand Theft Auto Online and mobile both increased mid-single digits. All of these businesses greatly exceeded forecasts. For the fiscal year, Take-Two reported net bookings of $5.65 billion, which was also the top of guidance range of $5.55 billion to $5.65 billion. Recurrent consumer spending exceeded the firm’s outlook, growing 7%, and accounted for 80% of net bookings. NBA 2K grew high-teens; mobile increased mid-single-digits; and Grand Theft Auto Online declined modestly. Operating expenses increased 28% to $7.5 billion, due to the impairment charges recorded during our fourth quarter. On a management basis, operating expenses rose 11% year-over-year, slightly above guidance, due to higher development costs for titles not technologically feasible. The company spent approximately $169 million on capital expenditures, which was above forecast of $140 million, primarily due to higher game technology expenses. Division label results 2K: NBA 2K25 posted near-record performance and exceeded our forecast. To date, the title has sold-in nearly 10 million units — a 7% increase compared to NBA 2K24 during the same timeframe. Engagement grew significantly, with Daily Active Users, MyCareer Daily Players, and Average Games Per User increasing 30%, 40%, and 80%, respectively. The company was please with the performance of brand extensions for the franchise. NBA 2K25 Arcade Edition remains a top-5 performing title on Apple Arcade; NBA 2K Online in China continues to hold its place as the No. 1 PC sports game in the country; and NBA 2K All-Stars mobile title, which the firm developed in partnership with Tencent and launched on March 25, is maintaining the No. 1 spot on the iOS Sports Game Chart for both downloads and revenue in China. 2K’s release of WWE 2K25 was met with critical acclaim, including a score of 84 on Metacritic for Xbox Series X – an all-time high for the series on that platform. Visual Concepts introduced new features, including The Island, a highly immersive WWE-themed world where players can explore, compete in live events, and earn rewards. Consumer appetite for the franchise is growing, with recurrent consumer spending up 20% during the quarter. This includes strong performance from WWE SuperCard, which achieved near-record levels of net bookings in March. WWE 2K25 has been integrated regularly into WWE’s televised programming and was also a cosponsor of last month’s spectacular WrestleMania 41. In addition, 2K is bringing WWE 2K to Switch 2 this summer as well as bringing WWE 2K to mobile devices this Fall in partnership with Netflix. 2K and HB Studios successfully launched PGA TOUR 2K25, which earned a Metacritic score of 80 on PS 5 and is generating significant recurrent consumer spending growth compared to 2K24. During the period, 2K released Sid Meier’s Civilization VII, the new chapter in our esteemed strategy franchise. As stewards of the Civilization series, Firaxis Games strives to bring innovation with each new release. Take-Two said it is confident that the development team’s ongoing efforts to update key areas of the game will deliver outstanding results over the franchise’s typically long sales cycle. The teams are pursuing opportunities to expand the audience, including the recent launch of Civilization VII VR for Meta Quest 3 and 3S, as well as the title’s upcoming release on Switch 2, which will offer new mouse controls for a highly intuitive gameplay experience. Rockstar Games The Grand Theft Auto series once again exceeded expectations, and to-date, GTA V has sold-in over 215 million units. Recurrent consumer spending outperformed our forecasts, growing 5% year-over-year, led by an array of new modes, rewards, and vehicles for GTA Online, as well as ongoing demand for GTA+ memberships. Rockstar Games continues to expand the possibilities for engagement with the series through ongoing development of its FiveM creator platform. Red Dead Redemption 2 also outperformed, with Net Bookings growing 23% over last year. Rockstar Games continues to support Red Dead Online with a series of rewards that engage their community further. Zynga Zynga Poker is launching multi-table tournaments. Zynga overperformed during the period, and we are pleased that their momentum is continuing into Fiscal 2026. Peak delivered fantastic results. Match Factory exceeded our expectations, driven by first-class live-ops execution and the introduction of Mission Center, a limited-time event that drove significant player engagement. Net Bookings grew meaningfully over last quarter, and the title is generating profits. Net Bookings for Toon Blast grew 7% over last year, primarily due to the introduction of the Cannon Fest event. The company is also thrilled that the title achieved its largest quarter of Net Bookings since Zynga acquired Peak in 2020. Rollic’s newest hit, Color Block Jam, is scaling rapidly and is currently a top-10 downloaded game and among the top-grossing titles in the U.S. Apple App Store. In just four months of operation, the title has become profitable and is making an impressive contribution to our mobile Net Bookings. Take-Two said it is encouraged to see stabilization in Empires & Puzzles. Small Giant improved the title’s in-game economy to support faster player progression and developed fun new features based on player feedback, like Instant Power Summon, Hero Coach, and Visiting Outfitter. Zynga has numerous titles in development and soft launch that it said it is eager to bring to market worldwide. The direct-to-consumer business delivered record performance, as our teams continue to launch new offers, events, and enhanced personalization, which are driving better conversion. While Zynga have been implementing DTC in our titles for some time, the company believes there is an even greater opportunity to expand this highly accretive channel given recent beneficial court rulings. As the company approaches the three-year anniversary of its acquisition of Zynga, Take-Two said it is extremely pleased that the label has become an integral part of the company. Zynga’s core franchises are strong, and the company is energized by the team’s unique ability to launch hits in a highly competitive mobile market, demonstrating further the effectiveness of their multi-studio approach and continued excellence in Live Ops. Outlook for FY26 Portrait and lifestyle shoot at Zynga’s headquarters, San Francisco, CA, April 24-25, 2019. Pictured: a large group meeting with employees and their dogs. Take-Two said it estimates net bookings for the FY26 year ending March 31, 2026 is $5.9 billion to $6 billion, which represents 5% growth over Fiscal 2025 at the midpoint. This outlook assumes a continuation of our current positive trends, including healthy mobile performance and ongoing strength in NBA 2K, as well as the release of several eagerly anticipated titles, including Mafia: The Old Country and Borderlands 4. GTA VI expectations Back to Vice City, or Miami, for GTA6. Triple-A is getting expensive. Rockstar expects to release Grand Theft Auto VI on May 26, 2026, which is in fiscal year 2027. Take-Two said it believes affording Rockstar additional time for such a groundbreaking project is a worthy investment. Grand Theft Auto VI began development in earnest in 2020 following the massive success of Red Dead Redemption 2, and the title is now the most anticipated entertainment property of all time. Consumer anticipation is unprecedented, with Trailer 2’s cross-platform debut last week shattering records to become the biggest video launch of all time, with over 475 million views in 24 hours. This follows Trailer 1’s record-breaking debut of 93 million views in 24 hours on YouTube alone. Spotify streams of the track featured in the trailer, Hot Together, by the Pointer Sisters, surged by 182,000%, once again proving Rockstar’s ability to influence popular culture. The ambition and complexity of Grand Theft Auto VI is greater than any previous Rockstar title, and the team is poised to release another astonishing entertainment experience that will exceed players’ expectations. Largest contributors to net bookings are expected to be NBA 2K, the Grand Theft Auto series, Toon Blast, Borderlands 4, Match Factory, Empires & Puzzles, Words With Friends, the Red Dead Redemption series, and Zynga Poker. The company expects recurrent consumer spending to be flat compared to Fiscal 2025, and to represent 76% of Net Bookings. Our recurrent consumer spending forecast assumes high single-digit growth for NBA 2K and declines for mobile and Grand Theft Auto Online. Release slate for the next year Take-Two Interactive During Fiscal 2026, Take-Two plans to release 13 titles, including four within the immersive core category; five mobile titles, including WWE 2K for Netflix in the fall; and four new iterations of prior releases, including the recent release of Civilization VII VR for Meta Quest 3 and 3S, as well as Civilization VII for Switch 2. In addition, our labels will continue to provide new content and experiences that drive engagement and recurrent consumer spending across many of our key offerings. The company expects the net bookings breakdown from our labels to be roughly 45% Zynga, 39% 2K, and 16% Rockstar Games. Plan to deploy approximately $140 million of capital expenditures for game technology and office buildouts. On August 8, 2K and Hangar 13 will introduce Mafia: The Old Country. This linear, narrative-driven game is a premium experience in the vein of early Mafia titles, set against the stunning, authentic backdrop of 1900s Sicily. Pre-orders are off to a strong start following the debut of the first official gameplay trailer at PAX East last week, and we’re excited for its upcoming launch. 2K and Gearbox will launch Borderlands 4 on September 12th. Last month, during the PlayStation State of Play, our teams shared an extended look at the action-packed gameplay coming in the title. Players were treated to a first look at two of four new Vault Hunters as they tore a path through a secret black site in Terminus Range, showcasing the destructive power of an updated gear system. The Borderlands community reacted very positively, with the game trending on X, and becoming one of the most wish-listed games on Steam. 2K and Gearbox will also release Borderlands 4 for the Switch 2 in the future. The company will release the next iterations of the industry-leading annual sports franchises, NBA 2K and WWE 2K. Long-term outlook With a player-first approach and a deep commitment to quality, the company said it strives to create the best entertainment experiences for global communities and to redefine the art form. As the company brings its exciting lineup to market, including Grand Theft Auto VI in Fiscal 2027, the company expects to achieve record levels of net bookings that will establish a new baseline for the business and set it on a path of enhanced profitability. Pipeline FY26-FY28 The company is extremely optimistic about its upcoming pipeline, which includes approximately 38 titles between Fiscal 2026-2028. Looking ahead, the company currently expects to deliver 25 titles throughout Fiscal 2027 and 2028 including: 17 immersive core releases, including Grand Theft Auto VI and five sports simulation games; four mobile games; and four new iterations of previously released titles. GB Daily Stay in the know! Get the latest news in your inbox daily Read our Privacy Policy Thanks for subscribing. Check out more VB newsletters here. An error occured.

I experimented with Japanese-inspired textures to give Yatai Master a cozier feel. For gameplay, I tried to make dish quality depend on ingredients, cooking, and player choices—hoping small decisions would feel meaningful in this little street food simulator. Posted by oht on May 4th, 2025 Redesigning Yatai Master’s aesthetic and quality system Visual Redesign During the early stages of development, the game's interface used solid, smooth colors, following a functional but somewhat cold aesthetic. That was the effect I was aiming for—something simple, minimal, and austere. However, as the project progressed, I felt the need to add a warmer, more inviting touch, something that evoked the texture and ambiance of physical materials. That's when I began experimenting with a visual dithering pattern subtly inspired by traditional Japanese designs known as "wagara"—decorative motifs used in fabrics and garments like kimonos. Interestingly, this change wasn't the result of deliberate planning but rather a series of casual experiments while exploring the new features of Pinta 3.0, a free, cross-platform image editor that aspires to be the "Paint.NET" for all operating systems. This version of the software introduced dithering tools, which allow applying halftone patterns to colored surfaces. While playing with this feature, I discovered a texture that vaguely resembled fabric or burlap, offering a softer, more artisanal feel—perfect for the spirit of the Yatai. I believe this dithering adds some "visual personality" and helps break the rigidity of flat colors, creating a more intimate and less virtual atmosphere. I hope this change better represents the idea of a small street stall, typically made with humble materials yet full of character. Rethinking Quality When I started developing my game, one of the first mechanics I defined was dish preparation. I envisioned that ingredients would have a "quality" rating, and customers would evaluate the food based on that. At first, it seemed like a straightforward decision: assign a value from 1 to 10 and calculate an average. Done. How hard could it be? Turns out, quite a bit… Many Variables As I integrated more elements—proper cooking, features like Fast Cooking, ingredients with different attributes—the quality scoring system stopped being a simple sum and became a small decision-making machine. What if a player uses only excellent ingredients? How to penalize poor cooking without being unfair? And how to prevent dishes with more ingredients from having an unfair advantage simply due to more components? I soon realized that a good scoring system not only has to work, but also must balance the game and clearly communicate to the player what’s happening. It’s not just about numbers but what those numbers represent: effort, choices, mistakes, and improvements. After several adjustments, I ended up building a system that considers: The ingredient’s base quality. Whether it was cooked correctly (yes, even that adds or subtracts). A special adjustment if the player uses fast cooking (Fast Cooking). And a final mapping that converts the technical score into a comprehensible evaluation: Poor, Good, Excellent, etc. Markets and Quality One of the elements I was most excited to design was the market system. Just like in real life, not all ingredients come from the same place, nor do they have the same quality or price. In Yatai Master, each market offers different ingredients with variations in their base quality, which directly impacts the final dish’s score. Buying a higher-quality ingredient usually means paying more, but that doesn’t guarantee success—it also needs to be cooked well, have sufficient stock, and require budget management with cunning. On the other hand, opting for cheaper ingredients may allow for more dishes to be prepared but with a lower quality score… and that can affect customer satisfaction. With this mechanic, I aimed to simulate the daily decisions of a small food business owner. And this, without fully planning it at first, helped me more deeply connect gameplay with the experience of running aYatai. You may never see all these calculations as a player, but they’re there, making every decision matter. The most interesting part is that I never imagined how complex designing something as seemingly simple as a score could be. Is it worth all this effort for a number? I think so. Thanks for reading this far.

Take-Two Interactive reported its latest earnings Thursday, which included a writedown of more than $3 billion. But despite that hit, the biggest news for the company still came out nearly two weeks ahead of the financial results: the publisher’s highly anticipated Rockstar Games-developed “Grand Theft Auto 6” would be shifting from a planned fall 2025 release to a May 26, 2026 launch. The choice, which was announced May 2, was made before Take-Two revealed these full fiscal 2025 results (which ran April 1, 2024 -March 31, 2025) and projections for its Fiscal 2026, but the company has not disclosed exactly at what point Rockstar decided “GTA 6” would need to be moved. As of February, the company had still been publicly eyeing that fall window. Related Stories “So we don’t talk about when we make decisions around here,” Take-Two chairman and CEO Strauss Zelnick told Variety Thursday ahead of the company’s earnings call. “And obviously, the net bookings that are expected for Fiscal ’26 are lower without the release of ‘GTA 6,’ that goes without saying. But we haven’t actually parsed what the specific felt is, although analysts have speculated. I think the key point to bear in mind is, once again, we’re setting a record, which is what we said we would do. We certainly expect growth in Fiscal ’27. This company is in extraordinarily sound shape and well positioned both for the challenges and opportunities ahead.” Popular on Variety Wall Street forecast a loss of earnings per share (EPS) of 5 cents on $1.55 billion in revenue for Take-Two’s January-March results, according to analyst consensus data provided by LSEG. On Thursday, Take-Two reported $1.58 billion in net bookings. GAAP net loss was $3.78 billion, or $21.08 per share. That loss included a writedown of $3.55 billion, though Take-Two did not disclose which division within the company accounted for that large hit and declined to comment when asked. For the year-long period between April 1, 2025-March 31, 2026, Take-Two is projecting net bookings between $5.9 to $6 billion. Regarding the potential pricing for “GTA 6,” as well as the rest of Take-Two’s games moving forward, Zelnick said he’s not letting recent moves made by competitors affect what Take-Two decides to do. “Well it’s true that some of our competitors have talked about higher prices and variable pricing. The rubric that informs our decision making is that we need and want to deliver way more value than whatever we charge consumers,” Zelnick said. “We think the consumer experiences the intersection of the thing itself. How great is the property with how much you pay for it? I think you know that anecdotally about yourself. We all feel that way. So we’re very mindful that it’s our job to deliver enormous value to consumers. We think we do just that.” More to come…

Summer's almost here. Bote, a company that makes "water lifestyle products," has a line of floating furniture for when you want to hang out in the drink. Each feature their "Magnepod" system, whereby you can magnetically attach the company's drinkware to the furniture. And because they're all inflatable, they break down for storage, making them easy to toss into car trunks and backpacks. Their Sling Chair seats one: Their Hangout Couch can seat three, and can be attached to create a floating conversation dock: And their circular Hammock series can seat a variable number. They come in 7', 10' and 15' diameters: Sure you can use these in a pool, but these look more at home in a proper body of water. Meaning yeah, you'll need that boat. The real move is to simply know someone who owns one. I hear the best two days of owning a boat, are the day you buy it, and the day you sell it.

Energy vs. hearts.Last week, Duolingo announced a major shift: they’re replacing their long-standing hearts system with a new “energy” mechanic. The company frames this as a way to make learning more motivating by focusing on rewarding correct answers rather than punishing mistakes.But after spending 48 hours thinking about this change and analyzing reactions across the internet, I’ve come to see it as something far more nuanced: a masterclass in behavioral psychology that serves both users and Duolingo’s bottom line in fascinating ways.What’s actually changingUnder the old hearts system, users started with five hearts and lost one for each mistake. When all hearts were depleted, you couldn’t continue learning until you either waited (hearts regenerated over time), watched ads, practiced old content to earn hearts back, or paid for premium.The new energy system gives users 25 energy units. Each lesson costs one unit to start, and mistakes also cost energy. The key difference? Users can earn bonus energy at random intervals when answering correctly.As Moses Wayne, a senior staff engineer at Duolingo, explains to The Verge: “We feel like this is a way that we can motivate you to focus on things you’re getting right rather than penalizing for the things that you’re making mistakes on.”It sounds positive on the surface. But there’s much more happening under the hood.The psychological switch: from loss to expenditureThe hearts system was built on loss aversion (our tendency to feel losses more intensely than equivalent gains). Users would desperately try to avoid mistakes to keep their hearts. In psychological terms, this creates anxiety that can inhibit learning, especially for a complex skill like language acquisition.The energy system cleverly shifts the frame from “losing hearts through mistakes” to “spending energy to learn.” This slight repositioning transforms the psychological experience. Instead of punishment, it’s now an investment.But here’s where it gets particularly interesting, and perhaps concerning.At time of writing, users will still be seeing this when they run out of hearts.Variable rewards: the slot machine mechanismThe new system incorporates one of the most powerful psychological techniques in existence: variable reward schedules, or what behavioral scientists call “intermittent reinforcement.”When completing lessons, users now receive random bonus energy for consecutive correct answers. This unpredictability is the same mechanism that makes slot machines so addictive. As behavioral psychologist B.F. Skinner discovered decades ago, unpredictable rewards create stronger habit loops than predictable ones.The uncertain nature of “when will I get bonus energy?” creates a dopamine response that keeps users engaged far longer than the more predictable hearts system. One psychology research article noted that “variable ratio schedules have two benefits: They result in the most instances of the behavior than any of the other schedules… and they result in behaviors that are ‘hard to extinguish,” meaning the behavior persists even when rewards decrease.Duolingo isn’t the first app to use this technique. It’s everywhere in modern digital products, from social media (random likes triggering dopamine) to games (loot boxes with variable rewards). What’s notable is how Duolingo is implementing it in an educational context.The inverse energy model: Finch vs. DuolingoTo understand what makes Duolingo’s approach unique, it’s worth comparing it to another popular app that uses an energy system: Finch.In Finch, a self-care app with a virtual pet, users earn energy by completing wellness tasks. As one reviewer describes it: “My effort gives [my pet] energy, but my lack of effort takes none away.” The energy you earn through self-care allows your pet to go on adventures and grow.Energy in Finch and Duolingo are both symbolized by a ⚡Duolingo takes the inverse approach, i.e. you spend energy to engage with the product. This fundamental difference reveals contrasting philosophies:Finch’s model: Do real-world activities → earn in-app energy → enjoy rewardsDuolingo’s model: Spend in-app energy → engage with content → occasionally get energy backWhile both use similar terminology, the direction of energy flow completely changes the behavioral dynamics. One rewards external action; the other creates a closed loop that keeps users in the app.The business of artificial scarcityLet’s not overlook the monetization angle. Super Duolingo subscribers get unlimited energy, just as they previously got unlimited hearts. The new system maintains the same fundamental constraint: free users eventually hit a wall where they need to either wait, work harder, or pay up.What the energy system might do more effectively is increase the perceived value of the premium subscription. By creating a more engaging core loop with the variable rewards, users may be more likely to convert when they hit energy limits.The strategy is brilliant, if perhaps ethically complex. By transforming a negative experience (punishment for mistakes) into a more positive ne (spending a resource with occasional bonuses), Duolingo has maintained its monetization constraints while making them feel less punitive.Critics of the heart system have long pointed out that unlimited hearts are one of the main selling points of Duolingo’s premium tier, suggesting the constraint exists primarily to drive conversions rather than improve learning. The energy system continues this pattern, just with more sophisticated psychological underpinnings.The learning science questionThe most important question is whether this change actually improves learning outcomes.Duolingo claims the energy system helps users “get through more lessons,” as the data shows users can do more with the new system. But completing more lessons doesn’t necessarily mean better language acquisition.Language learning requires making mistakes. It’s a fundamental part of the process. The old heart system discouraged risk-taking by heavily penalizing errors, potentially leading users to stick with easier content where they wouldn’t lose hearts.The energy system might ease this anxiety somewhat — making a mistake costs the same as starting a new lesson. But the fundamental constraint remains: you still have a limited resource that depletes when you make errors.A truly learning-optimized approach might involve no penalties for mistakes at all, focusing instead on spaced repetition, comprehensible input, and other evidence-based language acquisition methods. But such an approach might not drive the same level of engagement or monetization.Duloingo falls somewhere in the center of the bottom right quadrantUsers vs. learnersThis tension highlights a key challenge for educational technology: the gap between what creates engaged users and what creates successful learners.The techniques that make an app sticky (intermittent reinforcement, streaks, gamification) don’t always align with optimal learning science. In fact, they can sometimes work against it by encouraging shallow engagement over deep processing.Duolingo has always walked this line, using game mechanics to keep people engaged with language learning when they might otherwise quit. The energy system represents an evolution of this approach, using more sophisticated behavioral psychology to maintain the same fundamental constraints while making them feel better.The verdict: clever design for multiple objectivesAfter analyzing this change from multiple angles, I’m left impressed by its cleverness while somewhat ambivalent about its implications.The energy system:Creates a more positive psychological framing than heartsImplements powerful variable rewards that increase engagementMaintains the same fundamental monetization pressurePotentially allows for more mistakes, which is better for learningUses randomness to create stronger habit loopsIt’s a change that serves both user experience and business goals, likely increasing both engagement and conversion to premium. Whether it truly serves learning outcomes remains to be seen, though it’s probably at least marginally better than the hearts system in this regard.What fascinates me most is how this change reveals the sophistication of behavioral design in today’s digital products. What looks like a simple mechanic change is actually a carefully engineered system to shape behavior through psychological principles.The next time you find yourself compulsively swiping for another lesson, hoping for that bonus energy to drop, remember that this feeling isn’t accidental… it’s by design.And while I appreciate the brilliance of that design, I find myself wishing more of this psychological ingenuity was directed toward optimizing learning outcomes rather than engagement metrics. Perhaps that’s the next frontier for language learning apps: finding ways to make evidence-based learning as addictive as a slot machine.Sam Liberty is a gamification expert, applied game designer, and consultant. His clients include The World Bank, Click Therapeutics, and DARPA. He teaches game design at Northeastern University. He is the former Lead Game Designer at Sidekick Health.Duolingo’s small UI switch that changes everything was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.

In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.If you’ve always been fascinated by the dark romanticism of medieval aesthetics, then Gothic Fonts are your bread and butter. There’s something utterly captivating about these dramatic typefaces that transport us straight back to ancient cathedrals, mysterious manuscripts, and candlelit chambers. Gothic fonts aren’t just about looking intimidating or spooky (though they certainly excel at that). These typefaces embody centuries of typographic heritage, carrying the weight of history in every dramatic flourish and angular stroke. From the ornate Black Letter scripts of medieval scribes to modern interpretations that blend gothic sensibilities with contemporary design, these fonts are storytelling powerhouses. Whether you’re designing for a metal band, crafting invitations for a Halloween party, or building a brand that needs serious gravitas, gothic fonts deliver that perfect blend of elegance and edge that’s impossible to ignore. In this deep dive, we’ll explore the most bewitching gothic fonts of 2025, uncover what makes these typefaces so mesmerizing, and discover how to wield their power in your own designs. So dim the lights, light a candle, and let’s embark on this typographic journey into the shadows! 👋 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 Most Darkly Divine Gothic Fonts of 2025 Not all gothic fonts are created equal – some whisper dark secrets while others scream medieval drama. I’ve curated a collection of the most striking gothic typefaces that are making waves in 2025. Here are the fonts that will add serious mystique to your designs: Cattedrale – Gothic Blackletter Cattedrale is a striking Gothic blackletter font with decorative elements and symbols. It embodies the classic blackletter style with a modern twist, perfect for creating dramatic and impactful designs with a medieval flair.Shillow Gothic Font Shillow is a decorative Gothic font that blends traditional Gothic elements with modern aesthetics. Its unique character makes it ideal for creating eye-catching headlines, logos, and display text with a touch of elegance and mystery.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. Blacker Gothic Blacker Gothic is a serif font that combines Gothic and old-style elements. It offers a timeless look with a hint of antiquity, making it suitable for projects that require a classic yet sophisticated typographic approach.Killuminati – Gothic Type Killuminati is a bold and dramatic Gothic typeface with decorative and serif elements. This display font combines blackletter styling with modern flair, perfect for creating intense, attention-grabbing designs with a dark edge.Swordstone – Gothic Typeface Swordstone is a decorative Gothic typeface with a mystical touch. Its unique letterforms evoke a sense of fantasy and ancient lore, making it ideal for book covers, game titles, or any design requiring a touch of medieval magic.Grenosa Gothic Font Grenosa is a serif Gothic font with decorative Victorian influences. Its elegant and ornate design makes it perfect for creating sophisticated logos, headlines, or decorative text in projects that require a touch of historical charm.Crestfallen – Gothic Font Crestfallen is a sans-serif Gothic display font with a unique, edgy character. Its bold and slightly distressed appearance makes it ideal for creating impactful designs in music, fashion, or alternative culture-related projects.Andalucya – Gothic Typeface Andalucya is a decorative Gothic typeface with a unique and intricate design. Its elaborate letterforms and ornamental details make it perfect for creating stunning headlines, logos, or decorative text in projects that require a touch of exotic elegance.Blatters – Gothic Font Blatters is a serif Gothic font with a horror-inspired twist. Its eerie and unsettling design makes it perfect for creating chilling titles, posters, or text for horror-themed projects or Halloween designs.Groundead – Gothic Font Groundead is a serif Gothic font with decorative blackletter elements. Its bold and slightly grungy appearance makes it ideal for creating impactful display text, logos, or titles in alternative, rock, or metal-themed designs.Wild Gothic – Experimental Blackletter Wild Gothic is an experimental blackletter font with a condensed and edgy design. Its unique and unconventional letterforms make it perfect for creating bold, attention-grabbing headlines or logos in modern, urban-inspired projects.Gothic – Modern Blackletter Font Gothic is a modern take on the traditional blackletter style. Its clean lines and contemporary feel make it versatile for various design projects, from branding to editorial layouts, while still maintaining a Gothic essence.Demons Gothic Demons Gothic is a decorative blackletter font with a dark and ominous feel. Its intricate design and death-inspired elements make it perfect for creating sinister and intense visuals in horror, metal, or gothic-themed projects.Quispe – Gothic Font Quispe is a decorative Gothic font designed for logos and headlines. Its bold and distinctive character makes it ideal for creating eye-catching branding elements or impactful titles in various design contexts.Rohesia – Gothic Font Rohesia is an elegant and ornate Gothic font with decorative elements. Its intricate design and refined details make it perfect for creating sophisticated logos, invitations, or decorative text in luxury or high-end design projects.Raven Hell Gothic Raven Hell Gothic is a sans-serif decorative font with blackletter influences and a Halloween theme. Its spooky and playful design makes it ideal for creating fun and eerie text for Halloween-related projects or horror-themed designs.Lawson – Gothic Font Lawson is a decorative Gothic font designed for logos and headlines. Its strong and distinctive character makes it perfect for creating impactful branding elements or eye-catching titles in various design projects.Modirgan Gothic Display Font Modirgan is a Gothic display font with horror and fantasy influences. Its unique and otherworldly design makes it ideal for creating captivating titles, posters, or text for fantasy, sci-fi, or horror-themed projects.Gentry – Gothic Uncial Font Gentry is a decorative Gothic Uncial font designed for logos and headlines. Its blend of Gothic and Celtic influences creates a unique and elegant typeface perfect for projects requiring a touch of historical or mystical flair.Metal Gothic – Logo Font Metal Gothic is a serif decorative font designed for logos and display text. Its bold and edgy character makes it ideal for creating impactful designs in metal, rock, or alternative music-related projects.Gonaro – gothic and display typeface Gonaro is a free Gothic display typeface with a modern twist. Its unique design combines traditional Gothic elements with contemporary aesthetics, making it versatile for various creative projects requiring a bold and distinctive typeface.Gothic Rapsody – Blackletter Font Gothic Rapsody is a decorative blackletter font with a funky twist. Its playful and unconventional design makes it perfect for creating eye-catching headlines or logos in projects that blend Gothic style with modern, quirky aesthetics.Monastic – Vintage Gothic Font Monastic is a vintage-inspired Gothic font with ornate and modern elements. Its unique blend of old-world charm and contemporary design makes it ideal for creating sophisticated logos, headlines, or decorative text in various design contexts.Stackwin – Display Gothic Blackletter Typeface Stackwin is a modern Gothic blackletter display typeface. Its bold and contemporary interpretation of traditional blackletter style makes it perfect for creating striking headlines, logos, or titles in projects that require a blend of Gothic and modern aesthetics.Shadows – Vintage Gothic Blackletter Typeface Shadows is a serif decorative typeface that combines vintage Gothic and blackletter styles. Its unique blend of modern and retro elements makes it ideal for creating eye-catching designs in projects that require a somewhat spooky font with a Gothic twist.Big Fat Gothic Blackletter Typeface Big Fat Gothic is a bold and imposing blackletter typeface. Its thick, dramatic strokes and traditional gangster old english style make it perfect for creating powerful headlines, logos, or titles in projects that require a strong, authoritative presence.Blackey Bold Decorative Gothic Blackletter Font Blackey is a bold, serif Gothic blackletter font with decorative elements. Its strong character and intricate details make it ideal for creating impactful headlines, logos, or titles in projects that require a blend of traditional and modern Gothic aesthetics. There are more old english fonts here.Old Charlotte – Bold Decorative Gothic Font Old Charlotte is a sans-serif decorative Gothic font with blackletter influences. Its bold and distinctive design makes it perfect for creating eye-catching headlines, logos, or display text in projects that require a strong Gothic presence with a modern twist.Gothic Byte – Blackletter 8Bit Typeface Gothic Byte is a unique blackletter typeface with an 8-bit pixel art style. Its innovative blend of Gothic and retro video game aesthetics makes it ideal for creating eye-catching designs in gaming, tech, or nostalgia-themed projects.Cambridge – Bold Decorative Gothic Font Cambridge is a serif decorative Gothic font with blackletter influences. Its bold and elegant design makes it perfect for creating sophisticated headlines, logos, or titles in projects that require a blend of traditional Gothic style and modern refinement. What Gives Gothic Fonts Their Mysterious Allure? Gothic fonts derive their haunting beauty from several key characteristics that set them apart from other typeface families: Angular, Sharp Letterforms The most defining feature of gothic fonts is their angular construction. Unlike the smooth curves of humanist typefaces, gothic fonts embrace sharp angles, pointed serifs, and dramatic contrasts. These harsh edges create an immediate sense of drama and formality that feels both ancient and powerful.Heavy, Dark Strokes Gothic fonts are known for their bold, dark appearance. The thick strokes dominate the white space, creating a dense, imposing texture on the page. This heaviness gives gothic fonts their famous “blackletter” appearance and contributes to their serious, authoritative presence.Ornate Details and Flourishes Many gothic fonts feature intricate decorative elements – from elaborate swashes to ornamental capitals that look like they were lifted from illuminated manuscripts. These details add layers of visual interest and enhance the font’s connection to medieval craftsmanship.Vertical Emphasis Gothic letterforms tend to be compressed horizontally and stretched vertically, creating a tall, narrow appearance. This vertical emphasis adds to their formal, cathedral-like grandeur and makes them particularly striking in headlines and titles.Where Gothic Fonts Cast Their Spell Gothic fonts possess a unique versatility that might surprise you. While they’re natural choices for certain niches, their dramatic flair can elevate designs across multiple industries: Music Industry Metal bands, gothic rock groups, and classical orchestras all turn to gothic fonts for their album covers, merchandise, and branding. These typefaces perfectly capture the intensity and drama that defines these musical genres.Gaming and Entertainment Fantasy games, horror films, and medieval-themed entertainment rely heavily on gothic fonts to establish atmosphere. From video game logos to movie posters, these fonts immediately signal adventure, mystery, and otherworldly experiences.Luxury Branding High-end brands often incorporate gothic elements to convey exclusivity, tradition, and craftsmanship. Think luxury watches, premium spirits, and boutique fashion houses that want to emphasize their heritage and sophistication.Event Design Gothic fonts are perfect for Halloween parties, medieval-themed weddings, academic ceremonies, and any event that calls for drama and elegance. They transform ordinary invitations into memorable experiences.Publishing and Literature Book covers for fantasy novels, horror stories, and historical fiction often feature gothic fonts. These typefaces help genre books stand out on shelves and immediately communicate their content to readers.When to Avoid the Gothic Touch While gothic fonts are undeniably powerful, they’re not suitable for every design context. Here’s when you might want to consider alternatives: Modern Tech Brands Unless you’re intentionally going for a retro-tech aesthetic, gothic fonts can feel outdated for contemporary technology companies. Clean, modern sans-serifs typically better reflect innovation and forward-thinking values.Children’s Products Gothic fonts can appear scary or intimidating to young audiences. For children’s books, toys, or educational materials, friendlier, more approachable typefaces usually work better.Medical and Healthcare In medical contexts, gothic fonts might undermine the sense of trust and cleanliness that patients expect. Clean, professional typefaces better convey competence and care.Fast-Casual Dining While gothic fonts work wonderfully for upscale restaurants or themed establishments, they might feel too formal or dramatic for casual dining experiences where approachability is key.Choosing the Perfect Gothic Font for Your Project Selecting the right gothic font requires careful consideration of several factors: Historical Accuracy vs. Modern Interpretation Decide whether you need authentic medieval character or a contemporary take on gothic style. Traditional blackletter fonts offer historical accuracy, while modern gothic interpretations provide more flexibility and readability.Legibility Requirements Consider how much text you’ll be setting in the gothic font. Ornate gothic typefaces work beautifully for headlines and logos but can become difficult to read in large blocks of text.Cultural Sensitivity Be aware that certain gothic fonts, particularly German blackletter styles, carry historical associations that might not be appropriate for all contexts. Choose fonts that align with your project’s cultural sensitivity requirements.Brand Personality Match Ensure the gothic font aligns with your brand’s personality. A playful, modern brand might benefit from a quirky gothic interpretation, while a luxury brand might prefer a more refined, traditional approach.Gothic Font Alternatives That Capture the Magic If full gothic fonts feel too intense for your project, consider these alternatives that capture gothic elements while remaining more approachable: Magic Fonts Typefaces like Cinzel or Cormorant Garamond incorporate gothic-inspired details while maintaining excellent readability. These fonts offer a subtle nod to gothic style without overwhelming the design. You can find all our magic fonts here. Modern Gothic Sans-Serifs Fonts like Impact or Bebas Neue capture the vertical emphasis and dramatic presence of gothic fonts in a clean, contemporary package. Decorative Display Fonts For special applications, decorative fonts with medieval or mystical themes can provide gothic atmosphere without the formality of traditional blackletter typefaces. The Future of Gothic Typography As we move deeper into 2025, gothic fonts continue to evolve. Digital design tools allow for more sophisticated interpretations of traditional forms, while contemporary designers push the boundaries of what gothic can be. We’re seeing increased interest in variable gothic fonts that allow designers to adjust weight, width, and ornamental details on the fly. This flexibility makes gothic fonts more versatile than ever before. The rise of dark mode interfaces has also given gothic fonts new relevance in digital design, where their dramatic contrast works particularly well against dark backgrounds. Common Gothic Font Questions Answered What’s the difference between gothic and blackletter fonts? Blackletter is a specific category within the broader gothic font family. While all blackletter fonts are gothic, not all gothic fonts are blackletter. Blackletter specifically refers to the dense, angular scripts used in medieval manuscripts.Are gothic fonts hard to read? Traditional gothic fonts can be challenging to read in large amounts, especially for modern audiences. However, contemporary gothic interpretations often improve readability while maintaining the style’s dramatic impact.Can I use gothic fonts for body text? Generally, gothic fonts work best for headlines, logos, and short passages. For body text, consider using a more readable font and reserve gothic styling for emphasis.What’s the most versatile gothic font? Fonts like Old English Text or modern interpretations such as Cinzel offer good versatility, balancing gothic character with practical readability across different applications.Embracing the Dark Side of Typography Gothic fonts offer designers a direct connection to centuries of typographic tradition and artistic expression. They remind us that type can be more than just a vessel for words – it can evoke emotions, tell stories, and transport viewers to different times and places. Whether you’re crafting a brand identity that demands attention, designing an invitation that needs to feel special, or creating a poster that must stop viewers in their tracks, gothic fonts provide a powerful tool for visual storytelling. The key to successfully using gothic fonts lies in understanding their history, respecting their power, and applying them thoughtfully. When used with intention and restraint, these dramatic typefaces can transform ordinary designs into extraordinary experiences. So go ahead, embrace the gothic aesthetic in your next project. Let these fonts whisper ancient secrets and cast their typographic spells. In a world of safe, sanitized design choices, sometimes what you need is a little medieval magic to make your work truly unforgettable.

Cases A New Best: Fractal Meshify 3 Case Review, Thermal Benchmarks, & NoiseMay 15, 2025Last Updated: 2025-05-15We analyze the Fractal Design Meshify 3’s design, specs, build quality, LEDs, and thermalsThe HighlightsThe Meshify 3 comes with 3 fans and focuses on looksAt its price category, there’s a lot of stiff competitionOverall, we like the caseOriginal MSRP: $140 to $220Release Date: May 2025Table of ContentsAutoTOC Our fully custom 3D Emblem Glasses celebrate our 15th Anniversary! We hand-assemble these on the East Coast in the US with a metal badge, strong adhesive, and high-quality pint glass. They pair excellently with our 3D 'Debug' Drink Coasters. Purchases keep us ad-free and directly support our consumer-focused reviews!IntroToday we’re reviewing the Fractal Meshify 3. It ranges from $140 to $220 depending on the level of “integrated atmospheric lighting” you want, but to be fair to Fractal, it does look good with the angular mesh front panel. The good news upfront with this review is that we actually like the case overall.Editor's note: This was originally published on May 15, 2025 as a video. This content has been adapted to written format for this article and is unchanged from the original publication.CreditsTest Lead, Host, WritingSteve BurkeTesting, WritingPatrick LathanCamera, Video EditingVitalii MakhnovetsCameraTim PhetdaraAndrew ColemanWriting, Web EditingJimmy ThangFractal's has added some interesting new features: an air guide in front of the PSU shroud that genuinely helps GPU thermals in our testing, excellent cable aligner clips, and a bizarre PSU filter that blends seamlessly into the side of the case.This case was going to launch months ago, but was quietly pulled from shelves by Fractal at the last minute because the PCIe slots were too tight. Multiple reviewers, including us, noticed that these PCIe slots were too tight for GPUs to slot properly, an issue we had recorded in our notes for the review and were about to film when Fractal sent an email that it was halting the launch. Fractal manually reworked this, meaning someone went through all the cases and shaved them down.Originally, Fractal would have launched just before the worst of the tariffs, but now is launching into a far more expensive import situation. Fractal says that, for now, its MSRP is unchanged.But we’re here to review the case. We have a 3-hour documentary about the tariffs’ impact.The case comes with 3 fans and clearly has a focus on looks with its lighting and front panel design, but also manages to make a number of mechanical choices that affect cooling.Let’s get into the Meshify 3 review.Meshify 3 Ambience Pro RGB OverviewThis is Fractal's third generation of Meshify cases, starting with the Meshify 3 and the larger Meshify 3 XL. We're reviewing the shallow front-to-back Meshify 3 today, which is the size equivalent of the first generation's Meshify C and the second generation's Meshify 2 Compact (watch our review). The Meshify C (watch our review) was $90 at launch in 2017, followed later by the Meshify 2 (watch our review) at $110.The Meshify 3 is launching from $140-$220 (depending on SKU). It’s not distant from Fractal’s Torrent case. We liked that case. It’s priced at around $190 to $230. The increased Meshify series cost goes towards new features.The flashiest new feature is the "integrated atmospheric lighting" in the top-tier Ambience Pro RGB SKU. Fractal also has committed to proprietary connectors for these cases, which we’re not thrilled about. Fractal additionally has a web tool for the new Adjust Pro fan and RGB hub.The cases are sold at $140 for 3x 140mm fans without LEDs, $160 for 3x 14mm RGB fans using proprietary connectors, and $220 for 3x RGB fans with a lighting control hub and additional case lighting around the front panel, shroud, and power button.Meshify 3 Ambience Pro RGB SpecsMeshify 3 TG3.5"/2.5" mountsUp to 2x HDD or 4x SSDDedicated 2.5" mounts2 (6 total)5.25" drive bays0Expansion slots7Motherboard compatibilityE-ATX (max 277 mm), ATX, mATX, Mini-ITXPower supply typeATXFront interface1x USB 3.2 Gen 2x2 Type-C 20Gbps2x USB 3.0 5Gbps1x Combined Mic/AudioTotal fan mounts6x 120 mm or 5x 140 mm + 1x 120mmFront fan mounts3x 120/140 mm (3x Momentum 140 mm PWM/RGB Included)Top fan mounts2x 120/140 mmRear fan mounts1x 120 mmSide fan mountsN/ABottom fan mountsN/ADust filtersPSUFront radiatorUp to 280/360 mm (max 155 mm width)Top radiatorUp to 280/240 mm (max 148 mm width)Rear radiator120 mm (max 128 mm width)Bottom radiatorN/APSU max length180 mmGPU max length349 mmGPU max height176 mm (7 slot) including cablesCPU cooler max height173 mmCable routing space34.5 mmCable coverYesCable organizers3x Cable Aligners, 3x Internal Straps, 3x Rear External StrapsCaptive thumbscrewsTop Rad. Bracket, PSU BracketTool-less push-to-lockSide Panels, Bottom Filter, Front Panel, Top Panel, PSU BracketCase MaterialSteelLeft side panelTempered GlassRight side panelIndustrial SteelCase dimensions (LxWxH)423 x 229 x 507 mmCase dimensions w/o feet/protrusions/screws423 x 229 x 483 mmNet weight8.0 kgPackage dimensions (LxWxH)596 x 350 x 550 mmGross weight10.3 kgSpecs copied from manufacturer materials, please read review for our own measurements and opinionsThe BuildLet’s get into the build quality and features.Some of the exterior is similar to the Torrent, especially the way the top panel slides off. Unlike the Torrent, the top panel is mesh in the Meshify 3, although only the central portion is actually open due to the thick plastic frame underneath. The front panel pops off from the bottom like the North cases, and the top edge (in the Ambience Pro RGB) has pogo pins to connect the ambient front panel lighting.There are three plastic "cable aligners" that can be snapped over the main cable channel. We found them to be well-placed and surprisingly sturdy even with large bundles of power supply cables wedged behind them. Our only complaint is that they're keyed for no discernible reason other than preventing users from flipping the Fractal logo upside-down. The cable management space behind the motherboard is a uniform depth at just over 3cm across the entire case. There's a massive cutout above the motherboard that runs its entire length, although the cutout at the bottom is undersized and difficult to use when an ATX board is installed. Overall, cable management is above average thanks to the cable aligners and the amount of space, with some velcro straps on the back for exterior cable management. The PSU shroud terminates in a plastic "air guide" angled up towards the GPU. It reminds us a little of the NZXT toilet bowl fan from the 2022 H5 Flow (watch our review), but more so the extremely similar "PSU optional cover plate" from Corsair's old 5000D Airflow (watch our review). The 5000D Airflow's single intake fan wasn't positioned to make that part matter, though, whereas the Meshify 3's intake-heavy configuration will actually benefit.The only discrete dust filter in the case is for the PSU. It ejects from the side, which is always a plus for ease of removal, but it's also built into the leg of the case so that there's no externally visible handle. This is completely unnecessary, but it's one of those small features that shows the care that was put into the case's appearance and great attention to detail.Drives can be mounted to a set of adjustable brackets behind the motherboard tray; Fractal has provided a complicated compatibility matrix, but basically, you can either fit up to 2x 3.5" drives or 4x 2.5" drives. An additional 2x 2.5" drives can be attached directly to the floor of the case underneath the air guide, but if you use those slots, you may want to leave the air guide out to make cables accessible.The front of the case can fit either 3x 120mm fans or 3x 140mm fans. The rails rotate to switch between the two sizes and there are cutouts at specific heights for each individual fan, which means the rails don't obstruct the fans at all, but also there's little freedom to reposition fans or mix and match different sizes. All Meshify 3 SKUs ship with three front fans preinstalled, so this is less of an issue than it would be on a bare chassis. When fans are installed on the rails, the fans and rails can be removed as a single unit by undoing two screws, which is awesome.The removable top bracket is extremely easy to work with and fits radiators up to 280mm with plenty of room. Simultaneously installing a 360mm radiator at the front of the case would technically be possible using standard 30mm thick rads, but without much room left for fittings, fans, or thicker radiators, so we don't recommend it. Fractal notes that the front mount is compatible with 360mm (3x120) radiators of up to 420mm total length with the air guide or 445mm without it. Critically though, this does not mean support for 420mm (3x140) radiators.If any radiators are installed at the front of the case, the cable bar has to be shifted back, which makes it harder to route power cables. In addition, maximum GPU length in the Meshify 3 is already only 349mm, and installing a front radiator directly eats that clearance. We recommend relying on the top radiator slot or moving up to the Meshify 3 XL if you really need space for liquid cooling and especially for longer cards.Along the same lines, Fractal claims compatibility with so-called E-ATX boards up to 277mm wide, but that describes the maximum size that can be installed without completely blocking cable cutouts. Realistically, if you want to install anything even slightly larger than ATX, you should be looking at the Meshify 3 XL instead. Even with a normal ATX board, we shifted the cable bar all the way forward to leave space for the 24-pin power cable.As a finer detail point, we’re happy to see that Fractal has finally compromised by adding screw holes to the plastic tabs on the side panels. If you want to add some extra security while moving your case, you can put screws through the tabs to lock them down.The fans and LEDs are complicated and confusing, so that’ll require a whole section -- but we’ll get into the thermal testing first.Meshify 3 Ambience Pro RGB Thermals Grab a GN15 Large Anti-Static Modmat to celebrate our 15th Anniversary and for a high-quality PC building work surface. The Modmat features useful PC building diagrams and is anti-static conductive. Purchases directly fund our work! (or consider a direct donation or a Patreon contribution!)Fractal's review guide claims that the RGB fans are quieter, lower CFM, but higher static pressure (at max speed) than the non-RGB versions of the same fans. Our thermal results with the stock fans are representative of the RGB case SKUs, though any major physical reasons for performance would still be reflected. The standardized fan test is representative of the Meshify 3 in general.For reasons we’ll explain in the fan control section, we had no way to skip the fan hub and connect the fans directly to the motherboard as we usually would for testing. We validated that the fans reached their rated max speed of 1,800RPM +/- 10% with a laser tachometer. However, the tach signal sent back by the Fractal Adjust Pro hub doesn't line up with standard 4-pole fan behavior: HWiNFO misreports 2295 RPM when the fans are really spinning at just over 1,800 RPM in reality. Fractal's software accounts for this and reports RPM accurately.As for comparison cases, we’ll mostly focus on the Antec C8 ARGB (read our review) and Antec Flux Pro (read our review) as close matches. The closest match in appearance and function may be Fractal's own Torrent Compact RGB. We haven't added the Torrent Compact back to our charts since our testing overhaul, but in our review, it performed similarly to the larger original Torrent. That is in our charts, so we can use that as a rough equivalent.We have plenty of other cases on the charts for your own comparisons. Let’s get into the data.CPU Full Load Thermals - Noise-NormalizedWe’ll start with noise-normalized thermals. We use our hemi-anechoic chamber that we spent $250,000 building for validating the noise levels, which allows us to heavily control the noise floor and get super accurate capture.This is the chart. The Fractal Meshify 3 dominates here, planting itself as the new chart leader and within error of the prior leaders. The Meshify 3's all-core average of 40 degrees Celsius over ambient and 44 degrees for the P-cores is significantly better than previous efforts from the Meshify 2 Compact (watch our review) at 48 degrees average and the Meshify C at 54. Those two cases shared a basic design. The Meshify 3 is more of a departure; Fractal has added an airflow guide to the bottom of the case, the stock fans are higher performance, and all three stock fans are installed in the front of the case. That's an arrangement that's worked well for CPU cooling in the North XL (read our review) and Torrent using our test bench, and evidently it works extremely well in the Meshify 3, which is now the coolest case on the chart. The Torrent was a little warmer than the Meshify 3 at 42 degrees above ambient, while the Meshify 3 is instead tied with the previous best results from the Lian Li Lancool 216 (watch our review) and Lancool 207 (read our review). The Antec Flux Pro is a case that Fractal is likely specifically targeting for competition and, like the Lian Li cases, it's within one degree of the Meshify 3. This test is a weak point for the Antec C8 ARGB, which averaged 50 degrees due to its bottom intake layout.GPU Full Load Thermals - Noise-NormalizedHere’s the chart for GPU thermals when noise-normalized.GPU cooling performance in the Meshify 3 was also strong. The equivalent cases from the previous Meshify generations didn't have particularly strong stock performance, with the Meshify 2 Compact averaging 52 degrees above ambient for the GPU and the Meshify C averaging 57. This is still noise-normalized, so it's not purely a matter of more powerful fans in the Meshify 3, which averaged 43 degrees for the GPU and 46 for the GPU memory. Judging by the performance of the North XL and the Torrent here, it seems possible that the Meshify 3's air guide actually does do something. The North XL and its conventional (although ventilated) full-length PSU shroud averaged 44-45 degrees for the GPU depending on the chosen side panel, while the Torrent with its top-mounted PSU and complete lack of a shroud at the bottom of the case averaged 40 degrees. The Meshify 3 with its shroud and air guide averaged 43 degrees, right in the middle. There are more variables at work here, though, so we need another test to know for sure.As for the other highlighted competitors, the Antec C8 ARGB averaged 42 degrees and the Flux Pro averaged 41. Technically they both beat the Meshify 3's 43 degree average, but they're all among the best performing results on this chart.GPU Full Load Thermals - Full SpeedAs part of our full speed testing, we ran a test pass with a cardboard box extension taped onto the end of the PSU shroud to bring it up flush with the front intake fans. This test is at full speed case fans and controlled CPU and GPU fans.Without this extension, the GPU in the Meshify 3 averaged 41 degrees above ambient versus 45 degrees with it. That's a significant increase with the extension, and it shows that it made sense to shorten the shroud and angle it up like a skate ramp. Adding the extension also raised noise levels from a baseline of 37.5 dBA to 38.7 dBA, which we can only really confidently state is a real difference because of our investments in the hemi-anechoic chamber and our test equipment. This is a real change. Although hardly a detectable difference to the human ear, it is a real one and some people might notice it. Fractal’s new shroud design is superior to a square-edge one both thermally and acoustically.Since we've already seen that the Meshify 3 outperforms its predecessors when noise-normalized, it's no surprise at all that it outperforms them when its 1,800 RPM stock fans are maxed out. 37.5 dBA for the Meshify 3 is definitely louder than the 31-32 dBA levels from the Meshify C and Meshify 2 Compact, but thermal performance isn't even close, with the Meshify C only able to maintain GPU temperatures at 56 degrees above ambient. The C8 ARGB tied the Meshify 3's GPU temperature in this test, which is impressive for the Meshify 3 given that the C8 ARGB has bottom intake fans pointed directly into the GPU. The stock Flux Pro and Torrent remain chart toppers at 38 degrees and 39 degrees respectively thanks to their overkill stock fans; this is also evident from the noise levels, with the Torrent's powerful fans pushing it to a maximum of 42.3 dBA to the stock Meshify 3's 37.5 dBA.GPU Full Load Thermals - Standardized FansStandardized fan testing is next.All of the Meshify 3 SKUs ship with fans, so we're just going to use the standardized fan test as an opportunity to compare directly against the previous Meshify generations when they have the same loadout. The Meshify 3 has three defined 140mm fan mounting locations at the front, so rather than sticking our two 140mm intake fans somewhere in the middle, we were forced to pick either the upper two slots or the lower two.The Meshify C and Meshify 2 Compact both had GPU averages of 47 degrees above ambient, while the Meshify 3 literally bookended the chart at 41 degrees with the fans in the lower slots and 53 degrees in the upper ones. If you alter the stock fan configuration, be sure to at least keep one fan in the bottom slot at the front of the case.CPU Full Load Thermals - Standardized FansOn to CPU thermals while using standardized fans: There wasn't much difference in CPU thermals between the upper and lower slot tests; although the upper slot technically did better with an all-core average of 39 degrees, the lower slot arrangement is preferable due to the GPU thermals we just discussed. The Meshify C and Meshify 2 Compact tied at 41 degrees all-core, not that far from the Meshify 3's 40 degree average.VRM & RAM Full Load Thermals - Noise-NormalizedReturning to the noise-normalized results, the Meshify 3 tied the Flux Pro for the best VRM temperature on the chart at 27 degrees above ambient. That's significantly better than its predecessors at 35 degrees for the Meshify 2 Compact and 39 for the Meshify C. The Torrent averaged 29 degrees and the C8 ARGB with its bottom intake layout averaged 33. The ventilated case roof and airflow definitely help here.The SPD hub (or the RAM temperature average) was better, with the Meshify 3's average of 20 degrees above ambient beating all other stock case results on the chart. The Torrent at 21 degrees and Flux Pro at 22 were also high performers, while the C8 ARGB's more GPU-focused cooling left it with a warmer 24 degree average.Fans and LEDsAnd now we’re back to the topic of fans and LEDs.The Momentum RGB fans connect through daisy-chained USB Type-C connectors. Fractal describes the connector as "Proprietary USB-C," meaning that the connectors are just USB-shaped out of convenience; the fans are NOT USB devices. This part confused us, so here's a breakdown:The regular Meshify 3's fans use regular 4-pin PWM fan connectorsThe Meshify 3 RGB's fans use Fractal proprietary connectors, but they're pre-routed with an adapter that terminates in a regular 4-pin fan connector and a 3-pin ARGB connector, so the fans can be connected to a normal motherboard out-of-the-boxThe Meshify 3 Ambience Pro RGB has the same fans as the other RGB SKU, but they're pre-routed to Fractal's Adjust Pro hub. A "legacy splitter" cable is included for OUTput so that regular ARGB devices can be daisy-chained onto Fractal's devices, but the INput adapter cable from the Meshify 3 RGB is not included. In other words, if you get the Ambience Pro RGB, you're using the hub (or waiting for Fractal to sell an adapter cable separately)The Adjust Pro Hub can be controlled through a web tool or Microsoft's Dynamic Lighting feature. Fractal can get away with using a simple web app because the Pro Hub is just a USB device, so it doesn't need low-level access to control the motherboard's fan and RGB headers. There’s no launch-on-startup bloatware and the settings are saved locally to the hub. Currently, the app claims to be fully compatible with Chrome, Opera, and Edge (but not Firefox). A sustained internet connection isn't required for this. We were glad to see Dynamic Lighting compatibility, even if it's not perfect. For instance, if you enable Dynamic Lighting, it breaks Fractal's tool, and if you haven't activated Windows then you can't disable Dynamic Lighting without editing the registry.Fractal's software has a selection of prefab lighting patterns to show off the gen 2 lighting, but the default Northern Lights pattern may be our favorite. The indirect lighting around the edges of the front panel and across the PSU shroud are mostly striking in a dark room. It's unfortunate that such a big part of the case's appeal is limited to the $220 version.Meshify 3 Ambience Pro RGB Conclusion Visit our Patreon page to contribute a few dollars toward this website's operation (or consider a direct donation or buying something from our GN Store!) Additionally, when you purchase through links to retailers on our site, we may earn a small affiliate commission.We like the Meshify 3 overall, but we're torn on several points. As an immediate positive, as reviewers who don’t normally comment a whole lot about looks, we do think they did well to pull off the LEDs and front panel on the Meshify 3. Fractal has consistently done well to execute on this style.As for the more difficult points: First off, the Meshify C launched at $90 and the Meshify 2 Compact at $110. Those weren't the lowest prices in context. The Meshify C, however, was on the affordable end of the scale even for that time. Given that Fractal picked the Meshify 3 MSRPs well before the new tariffs, we believe there's a good chance they'll go up. The Meshify 3 isn't in the medium-budget tier you might assume based on the history of the series. If you're looking for cases in that vein, Lian Li has options like the Lancool 217 (watch our coverage), while Antec has some equivalents to the Meshify 3 RGB like the C8 ARGB and Flux Pro.That's not to say that the Meshify 3 isn't worth the money, just that it’s embattled on all sides. There are a lot of options in this price category, which is good for consumers. The build quality is on par with what we expect from Fractal based on the last few years' worth of cases like the North (watch our review) and Torrent. It’s built well. Thermal performance was extremely good, and although the specs are different for the non-RGB fans as we've explained, we can assume that the performance is also extremely good for the non-RGB case variants. Based on that, the $140 and $160 options are the most competitive.As for the $220 Ambience Pro RGB, it's basically a $60-$80 upcharge for lighting, but we really like that lighting. That is, however, a big price jump. If you're considering the Ambience Pro RGB with the extra cost for the lighting, you should be comparing it to other flagship showy cases like the HAVN HS420 (read our review) or HYTE Y70 (read our review) (if you can buy one as they can be difficult to find in the US due to the tariffs). You should also look through Fractal's documentation carefully to make sure you like the RGB ecosystem of software and connectors before you commit.You can check out the competition like the Flux Pro, C8, and Corsair’s FRAME 4000D (read our review). We have more reviews coming up, but overall, we like Fractal’s new case.

NimueIntroductionFor three semesters, our student team has been hard at work on the prototype for Nimue, a 3D platformer in which you play an enchanted princess who lost her memories. She needs to find her way through the castle ruins on a misty lake to uncover her past. Water is a visual core element of this game prototype, so we took extra care in its development. In this article, we will take an in-depth look at the design and technical implementation of a lake water material.The first prototype of Nimue can be played on itch.io soon. A link to our shader for use in your own projects can be found at the end of this article.Taxonomy of WaterBefore we dive into the design decisions and technical implementation, we present a simplified taxonomy of visual water components to better understand the requirements of its representation:RiMEWind WavesWaves generated by wind, which form on an open water surface, can be divided into capillary waves and gravity waves. Capillary waves, or ripples, are small, short-wavelength waves caused by weak winds affecting surface tension in calm water. They can overlap longer and larger gravity waves. How these physically complex wave types are represented in stylized video games varies depending on the respective style. Both types are usually heavily simplified in form and motion, and capillary waves are sometimes omitted entirely to reduce detail.Sea of ThievesFoam PatternsFoam patterns refer to white foam crests that form on a water surface without breaking against an obstacle or shoreline. In reality, this effect occurs when different water layers collide, and waves become steeper until their peaks collapse, and the resulting bubbles and drops scatter the sunlight. Stylized foam patterns can be found in many video game water representations and can easily be abstracted into patterns. Such patterns contribute to a cartoon look and can sometimes even replace waveforms entirely.The Legend of Zelda: The Wind WakerFoam LinesFoam lines are a very common water element in video games, represented as white graphical lines surrounding shorelines and obstacles like rocks. They typically reference two different water phenomena: foam forming around obstacles due to wave breaking, and foam along shorelines, resulting from wave breaking and the mixing of algaes with organic and artificial substances.Foam lines can have different visual appearances depending on the surface angle: The shallower the angle, the wider the foam effect. Due to the weaker waves, distinctive foam lines are rarely observed on natural lakes, but they can be included in a stylization for aesthetic purposes. Animal Crossing: New HorizonsReflectionsWhen light hits a water surface, it can either be reflected (specular reflection) or transmitted into the water, where it may be absorbed, scattered, or reflected back through the surface. The Fresnel effect describes the perceived balance between reflection and transmission: at steep angles, more transmitted light reaches the eye, making the water appear more translucent, while at shallow angles, increased reflection makes it appear more opaqueIn stylized video games, implementations of water reflections vary: RiME, for example, imitates the Fresnel effect but does not reflect the environment at all, only a simple, otherwise invisible cube map. Wind Waker, on the other hand, completely foregoes reflection calculations and renders a flat-shaded water surface.RiMETranslucencyAs an inhomogeneous medium, water scatters some of the transmitted light before it can be reflected back to the surface. This is why water is described as translucent rather than transparent. Some scattered light is not reflected back but absorbed, reducing intensity and shifting color toward the least absorbed wavelengths, typically blue, blue-green, or turquoise. Increased distance amplifies scattering and absorption, altering color perception. Modern real-time engines simulate these effects, including absorption-based color variation with depth. However, stylized games often simplify or omit transmission entirely, rendering water as an opaque surface.RiMERefractionAn additional aspect of water transmission is refraction, the bending of light as it transitions between air and water due to their differing densities. This causes light to bend toward the normal upon entering the water, creating the apparent distortion of submerged objects. Refraction effects also commonly appear in stylized water rendering. Kirby's Forgotten Land, for example, showcases two key visual characteristics of refraction: distortion increases with steeper viewing angles and is amplified by ripples on the water's surface.Kirby and the Forgotten LandCausticsCaustic patterns form when light rays are focused by a curved water surface (caused by waves and ripples), projecting bundled light patterns onto underwater surfaces or even back to surfaces above water. These patterns are influenced by the clarity of the water, the depth of the water, and the strength of the light source. They contribute greatly to the atmosphere of virtual worlds and are often found in stylized games, although only as simplistic representations.The Legend of Zelda: Ocarina of Time 3DDesign DecisionsDue to the fact that the setting of Nimue is a lake with a calm overall atmosphere, the decision was made to use very reduced gravity waves, as a calm water surface underlines this atmosphere. Capillary waves have too high a level of detail for the stylistic requirements of Nimue and were, therefore, not implemented.NimueShapesThe mood in Nimue can be summarized as calm and mystical. The design language of Nimue is graphic, rounded, and elegant. Shapes are vertically elongated and highly abstracted. Convex corners are always rounded or have a strong bevel, while concave corners are pointed to prevent the overall mass of objects from becoming too rounded.ColorsNimue uses mostly broken colors and pastels to create a serene, reflective mood and highlight the player's character with her saturated blue tones. Platforms and obstacles are depicted with a lower tonal value (darker) to increase their visibility. Overall, the game world is kept in very unsaturated shades of blue, with the atmospheric depth, i.e., the sky and objects in the distance, falling into the complementary orange range. Shades of green and yellow are either completely avoided or extremely desaturated. The resulting reduced color palette additionally supports the atmosphere and makes it appear more harmonious.Color gamut & value/tone tests Hue, Tone & SaturationSince the color of the water, with its hue, tone, and saturation, is technically achieved by several components, a 2D mockup was first designed to more easily compare different colors in the environment. Here it could be observed that both the low and the high tonal value formed too great a contrast to the rest of the environment and thus placed an undesirable focus on the water. Therefore, the medium tone value was chosen.The hue and saturation were tested in relativity to the sky, the player character, and the background. Here, too, the color variant that harmonizes the most with the rest of the environment and contrasts the least was chosen.Foam LinesFor the design of the foam lines, we proceeded in the same way as for the color selection: In this case, a screenshot of the test scene was used as the basis for three overpaints to try out different foam lines on the stones in the scene. Version 3 offers the greatest scope in terms of movement within the patterns. Due to this, and because of the greater visual interest, we opted for variant 3. Following the mockup, the texture was prepared so that it could be technically implemented.ReflectionThe reflection of the water surface contributes to how realistic the water looks, as one would always expect a reflection with natural water, depending on the angle. However, a reflection could also contribute to the overall appearance of the water becoming less calm. The romantic character created by the reflection of diffuse light on water is more present in version 1.In addition, the soft, wafting shapes created by the reflection fit in well with the art style. A reflection is desirable, but the reflections must not take up too much focus. Ideally, the water should be lighter in tone, and the reflections should be present but less pronounced. Reflection intensityRefraction & CausticsEven though most light in our water gets absorbed, we noticed an improvement in the believability of the ground right underneath the water's surface when utilizing refraction together with the waveforms. When it comes to caustics, the diffuse lighting conditions of our scene would make visible caustic patterns physically implausible, but it felt right aesthetically, which is why we included it anyway (not being bound to physical plausibility is one of the perks of stylized graphics).Technical Realization in Unreal Engine 5When building a water material in Unreal, choosing the right shading model and blend mode is crucial. While a Default Lit Translucent material with Surface Forward Shading offers the most control, it is very costly to render. The more efficient choice is the Single Layer Water shading model introduced in Unreal 4.27, which supports light absorption, scattering, reflection, refraction, and shadowing at a lower instruction count. However, there are some downsides. For example, as it only uses a single depth layer, it lacks back-face rendering, making it less suitable for underwater views. And while still quite expensive by itself, its benefits outweigh the drawbacks of our stylized water material.WaveformsStarting with the waveforms, we used panning normal maps to simulate the rather calm low-altitude gravity waves. The approach here is simple: create a wave normal map in Substance 3D Designer, sample it twice, and continuously offset the samples' UV coordinates in opposing directions at different speeds. Give one of the two samples a higher speed and normal intensity to create a sense of wind direction. This panning operation does not need to run in the fragment shader, you can move it to the vertex shader through the Vertex Interpolator without quality loss and thereby reduce the instruction count.Texture RepetitionTo reduce visible tiling, we used three simple and fairly efficient tricks. First, we offset the UVs of the Wave Samplers with a large panning noise texture to dynamically distort the wave patterns. Second, we used another sampler of that noise texture with different tiling, speed, and direction to modulate the strength of the normal maps across the surface. We sampled this noise texture four times with different variables in the material, which is a lot, but we reused them many times for most of the visual features of our water. Third, we sampled the pixel depth of the surface to mask out the waves that were far from the camera so that there were no waves in the far distance.Vertex DisplacementWhile these normal waves are enough to create the illusion of altitude on the water surface itself, they are lacking when it comes to the intersections around objects in the water, as these intersections are static without any actual vertex displacement. To fix that, two very simple sine operations (one along the X-axis and the other on the Y-axis) were added to drive the World Position Offset of the water mesh on the Z-axis. To keep the polycounts in check, we built a simple blueprint grid system that spawns high-res plane meshes at the center in a variable radius, and low-res plane meshes around that. This enables the culling of non-visible planes and the use of a less complex version of the water material for distant planes, where features like WPO are not needed.ColorThe general transmission amount is controlled by the opacity input of the material output, but scattering and absorption are defined via the Single Layer Water material output. The inputs Scattering Coefficients and Absorption Coefficients, which are responsible for reproducing how and how far different wavelengths travel through water, are decisive here. We use two scattering colors as parameters, which are interpolated depending on the camera distance. Close to the camera, the blue scattering color (ScatteringColorNear) dominates, while at a distance, the orange scattering color (ScatteringColorFar) takes over. The advantage is a separation of the water's color from the sky's color and, thus, higher artistic control.Reflections & RefractionReflections in the Single Layer Water shading model are as usual determined by the inputs for Specular (reflection intensity) and Roughness (reflection diffusion). In our case, however, we use Lumen reflections for their accuracy and quality, and as of Unreal 5.4, the Single Layer Water model’s roughness calculation does not work with Lumen reflections. It forces mirror reflections (Roughness = 0), no matter the value input, leaving the specular lobe unaffected. Instead, it only offsets the reflection brightness, as the specular input does.For our artistic purposes, this is fine, and we do use the roughness input to fine-tune the specular level while having the specular input as the base level. A very low value was set for the specular value to keep the reflection brightness low. We further stylized the reflections by decreasing this brightness near the camera by using the already mentioned masking method via camera to interpolate between two values (RoughnessNear and RoughnessFar). For refraction, the Pixel Normal Offset mode was used, and a scalar parameter interpolates between the base refraction and the output of the normal waves.CausticsFor the caustic effect, we created a Voronoi noise pattern by using Unreal's Noise node and exporting it with a render target. In Photoshop, the pattern was duplicated twice, rotated each, colored, and blended. This texture is then projected on the objects below by using the ColorScaleBehindWater input of the Single Layer Water Material output. The pattern is dynamically distorted by adding one of the aforementioned panning noise textures to the UV coordinates.FoamlinesWe started by creating custom meshes for foam lines and applied the earlier texture pattern, but quickly realized that such a workflow would be too cumbersome and inflexible for even a small scene, so we decided to do it procedurally. Two common methods for generating intersection masks on a plane are Depth Sampling and Distance Fields. The first works by subtracting the camera's distance to the water surface at the current pixel (i.e., the "PixelDepth") from the camera's distance to the closest scene object at that pixel (i.e., the "SceneDepth"). The second method is to use the node "DistanceToNearestSurface" which calculates the shortest distance between a point on the water surface and the nearest object by referencing the scene's global distance field. We used both methods to control the mask width, as each alone varies with the object's surface slope, causing undesirable variations. Combining them allowed us to switch between two different mask widths, turning off "Affect Distance Field Lighting" for shallow slopes where narrower lines are wanted.The added mask of all intersections is then used for two effects to create the foam lines: "edge foam" (that does not depart from the intersection) and "edge waves" (which go outwards from the edge foam). Both are shaped with the noise samplers shown above to approximate the hand-drawn foam line texture.Foam PatternsThe same noise samplers are also used to create a sparkling foam effect, loosely imitating whitecaps/foam crests to add more visual interest to the water surface. Since it only reuses operations, this effect is very cheap. Similarly, the wave normals are used to create something like fake subsurface scattering to further distinguish the moving water surface. Interactive RipplesA third type of foam is added as interactive waves that ripple around the player character when walking through shallow water. This is done through a Render Target and particles, as demonstrated in this Unity tutorial by Minions Art. The steps described there are all easily applicable in Unreal with a Niagara System, a little Blueprint work, and common material nodes. We added a Height to Normal conversion for better visual integration into our existing wave setup. Finally, here are all those operations combined for the material inputs:NimueBest PracticesUse Single Layer Water for efficient translucency, but note it lacks back-face rendering and forces mirror reflections with Lumen;For simple low-altitude waves, pan two offset samples of a normal map at different speeds; move panning to Vertex Shader for better performance;Break up texture tiling efficiently by offsetting UVs with a large panning noise, modulating normal strength, and fading distant waves using pixel depth;Sampling one small noise texture at different scales can power this and many other features of a water shader efficiently;If high-altitude waves aren't needed, a simple sine-based WPO can suffice for vertex displacement; implement a grid system for LODs and culling of subdivided water meshes;Blend two scattering colors by camera distance for artistic watercolor control and separation from sky reflections;Combining depth sampling and distance fields to derive the foam lines allows for more flexible intersection widths but comes at a higher cost. Further ResourcesHere are some resources that helped us in the shader creation process:General shader theory and creation: tharlevfx, Ben Cloward;Interactive water in Unity: Minions Art;Another free stylized water material in Unreal by Fabian Lopez Arosa;Technical art wizardry: Ghislain Girardot.ConclusionWe hope this breakdown of our water material creation process will help you in your projects.If you want to take a look at our shader yourself or even use it for your own game projects, you can download the complete setup on Gumroad. We look forward to seeing your water shaders and exchanging ideas. Feel free to reach out if you have any questions or want to connect.Kolja Bopp, Academic SupervisorLeanna Geideck, Concept ArtistStephan zu Münster, Technical Artist