Most of what happens within the video games we play is invisible to us. Even the elements we're looking straight at work because of what's happening behind the scenes. If you've ever watched a behind-the-scenes video about game development, you might've seen these versions of flat, gray game worlds filled with lines and icons pointing every which way, with multiple grids and layers. These are the visual representations of all the systems that make the game work.Assassin's Creed ShadowsThis is an especially weird dichotomy to consider when it comes to lighting in any game with a 3D perspective, but especially so in high-fidelity games. We don't see light so much as we see everything it touches; it's invisible, but it gives us most of our information about game worlds. And it's a lot more complex than "turn on lamp, room light up." Reflection, absorption, diffusion, subsurface scattering--the movement of light is a complex thing that has been explored by physicists in the real world for literally centuries, and will likely be studied for centuries more. In the middle of all of that are game designers, applying the science of light to video games in practical ways, balanced with the limitations of even today's powerful GPUs, just to show all us nerds a good time.If you've wondered why many games seem to be like static amusement parks waiting for you to interact with a few specific things, lighting is often the reason. But it's also the reason more and more game worlds look vibrant and lifelike. Game developers have gotten good at simulating static lighting, but making it move is harder. Dynamic lighting has long been computationally expensive, potentially tanking game performance, and we're finally starting to see that change.Continue Reading at GameSpot

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

By TREVOR HOGG Images courtesy of Warner Bros. Pictures. Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon. “[A]s the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” —Talia Finlayson, Creative Technologist, Disguise Interior and exterior environments had to be created, such as the shop owned by Steve (Jack Black). “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.” A virtual exploration of Steve’s shop in Midport Village. Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.” “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” —Laura Bell, Creative Technologist, Disguise Among the buildings that had to be created for Midport Village was Steve’s (Jack Black) Lava Chicken Shack. Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.” Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younis [VAD Art Director] adapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!” A virtual study and final still of the cast members standing outside of the Lava Chicken Shack. “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.” —Talia Finlayson, Creative Technologist, Disguise The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.” Virtually conceptualizing the layout of Midport Village. Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay George [VP Tech] and I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.” An example of the virtual and final version of the Woodland Mansion. “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.” —Laura Bell, Creative Technologist, Disguise Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.” Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment. Doing a virtual scale study of the Mountainside. Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.” Piglots cause mayhem during the Wingsuit Chase. Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods. “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols [VAD Supervisor], Pat Younis, Jake Tuck [Unreal Artist] and Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.”

We don’t know much about the new Trump Mobile phone or the company’s data plan, but we sure do have a lot of questions.

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Anker has announced a new version of its wireless sleep buds that could be even more effective at delivering a peaceful slumber by blocking out disturbing noises using active noise cancellation. Previous versions of the Soundcore Sleep earbuds blocked external sounds passively using just a snug fit inside the ear, but the new Sleep A30 finally add ANC while still offering enough battery life to last the night.As with previous versions, Anker is making its new Soundcore Sleep A30 available for preorder through a Kickstarter crowdfunding campaign that’s launching today, while full availability of the earbuds is expected sometime in August 2025 through Amazon and Soundcore’s online store. At $229.99, the Sleep A30 are quite a bit more expensive than last year’s $149.99 Sleep A20, but the earliest Kickstarter backers can get the A30 discounted to $139.The Sleep A30 are slimmer and smaller than previous versions, potentially making them more comfortable to wear overnight. Image: AnkerThe Sleep A30 earbuds are now 7 percent slimmer and feature a smaller design that ensures they don’t protrude from your ears so there’s reduced pressure while wearing them and laying on a pillow if you’re a side sleeper. To help you find a snug fit, Anker includes four sizes of silicone ear tips, three sizes of memory foam tips, and three sizes of ear wings.Anker claims the new Sleep A30 block up to 30dB of external noise, but the added ANC, which uses two mics positioned inside and outside your ears, does result in reduced battery life. The A20 could run for up to 14 hours on a single charge, but the A30 max out at up to nine hours on their own, or up to 45 hours with their charging case. However, that’s only when listening to white noise or other sounds designed to help you fall asleep that are stored on the buds themselves. When streaming music or podcasts from a phone, battery life is further reduced to up to 6.5 hours or 35 hours with the case.The Sleep A30’s charging case has been upgraded to detect snoring sounds and generate audio to mask them. Image: AnkerThe Sleep A30’s charging case has been upgraded with what Anker is calling “Adaptive Snore Masking technology.” If it detects the sounds of snoring from another person nearby, it analyzes the volume and frequency of the sounds and generates “noise masking audio” that’s sent to the buds to help block it out.The new earbuds also feature sleep monitoring and sleep position tracking, allowing you to see how restful or eventful your night was through the Soundcore mobile app; a private repeatable alarm with snooze functionality; and a Find My Earbud feature should they fall out in the night and get lost in the sheets.See More:

“The best way to predict the future is to invent it,” the famed computer scientist Alan Kay once said. Uttered more out of exasperation than as inspiration, his remark has nevertheless attained gospel-like status among Silicon Valley entrepreneurs, in particular a handful of tech billionaires who fancy themselves the chief architects of humanity’s future.  Sam Altman, Jeff Bezos, Elon Musk, and others may have slightly different goals and ambitions in the near term, but their grand visions for the next decade and beyond are remarkably similar. Framed less as technological objectives and more as existential imperatives, they include aligning AI with the interests of humanity; creating an artificial superintelligence that will solve all the world’s most pressing problems; merging with that superintelligence to achieve immortality (or something close to it); establishing a permanent, self-­sustaining colony on Mars; and, ultimately, spreading out across the cosmos. While there’s a sprawling patchwork of ideas and philosophies powering these visions, three features play a central role, says Adam Becker, a science writer and astrophysicist: an unshakable certainty that technology can solve any problem, a belief in the necessity of perpetual growth, and a quasi-religious obsession with transcending our physical and biological limits. In his timely new book, More Everything Forever: AI Overlords, Space Empires, and Silicon Valley’s Crusade to Control the Fate of Humanity, Becker calls this triumvirate of beliefs the “ideology of technological salvation” and warns that tech titans are using it to steer humanity in a dangerous direction.  “In most of these isms you’ll find the idea of escape and transcendence, as well as the promise of an amazing future, full of unimaginable wonders—so long as we don’t get in the way of technological progress.” “The credence that tech billionaires give to these specific science-fictional futures validates their pursuit of more—to portray the growth of their businesses as a moral imperative, to reduce the complex problems of the world to simple questions of technology, [and] to justify nearly any action they might want to take,” he writes. Becker argues that the only way to break free of these visions is to see them for what they are: a convenient excuse to continue destroying the environment, skirt regulations, amass more power and control, and dismiss the very real problems of today to focus on the imagined ones of tomorrow.  A lot of critics, academics, and journalists have tried to define or distill the Silicon Valley ethos over the years. There was the “Californian Ideology” in the mid-’90s, the “Move fast and break things” era of the early 2000s, and more recently the “Libertarianism for me, feudalism for thee”  or “techno-­authoritarian” views. How do you see the “ideology of technological salvation” fitting in?  I’d say it’s very much of a piece with those earlier attempts to describe the Silicon Valley mindset. I mean, you can draw a pretty straight line from Max More’s principles of transhumanism in the ’90s to the Californian Ideology [a mashup of countercultural, libertarian, and neoliberal values] and through to what I call the ideology of technological salvation. The fact is, many of the ideas that define or animate Silicon Valley thinking have never been much of a ­mystery—libertarianism, an antipathy toward the government and regulation, the boundless faith in technology, the obsession with optimization.  What can be difficult is to parse where all these ideas come from and how they fit together—or if they fit together at all. I came up with the ideology of technological salvation as a way to name and give shape to a group of interrelated concepts and philosophies that can seem sprawling and ill-defined at first, but that actually sit at the center of a worldview shared by venture capitalists, executives, and other thought leaders in the tech industry.  Readers will likely be familiar with the tech billionaires featured in your book and at least some of their ambitions. I’m guessing they’ll be less familiar with the various “isms” that you argue have influenced or guided their thinking. Effective altruism, rationalism, long­termism, extropianism, effective accelerationism, futurism, singularitarianism, ­transhumanism—there are a lot of them. Is there something that they all share?  They’re definitely connected. In a sense, you could say they’re all versions or instantiations of the ideology of technological salvation, but there are also some very deep historical connections between the people in these groups and their aims and beliefs. The Extropians in the late ’80s believed in self-­transformation through technology and freedom from limitations of any kind—ideas that Ray Kurzweil eventually helped popularize and legitimize for a larger audience with the Singularity.  In most of these isms you’ll find the idea of escape and transcendence, as well as the promise of an amazing future, full of unimaginable wonders—so long as we don’t get in the way of technological progress. I should say that AI researcher Timnit Gebru and philosopher Émile Torres have also done a lot of great work linking these ideologies to one another and showing how they all have ties to racism, misogyny, and eugenics. You argue that the Singularity is the purest expression of the ideology of technological salvation. How so? Well, for one thing, it’s just this very simple, straightforward idea—the Singularity is coming and will occur when we merge our brains with the cloud and expand our intelligence a millionfold. This will then deepen our awareness and consciousness and everything will be amazing. In many ways, it’s a fantastical vision of a perfect technological utopia. We’re all going to live as long as we want in an eternal paradise, watched over by machines of loving grace, and everything will just get exponentially better forever. The end. The other isms I talk about in the book have a little more … heft isn’t the right word—they just have more stuff going on. There’s more to them, right? The rationalists and the effective altruists and the longtermists—they think that something like a singularity will happen, or could happen, but that there’s this really big danger between where we are now and that potential event. We have to address the fact that an all-powerful AI might destroy humanity—the so-called alignment problem—before any singularity can happen.  Then you’ve got the effective accelerationists, who are more like Kurzweil, but they’ve got more of a tech-bro spin on things. They’ve taken some of the older transhumanist ideas from the Singularity and updated them for startup culture. Marc Andreessen’s “Techno-Optimist Manifesto” [from 2023] is a good example. You could argue that all of these other philosophies that have gained purchase in Silicon Valley are just twists on Kurzweil’s Singularity, each one building on top of the core ideas of transcendence, techno­-optimism, and exponential growth.  Early on in the book you take aim at that idea of exponential growth—specifically, Kurzweil’s “Law of Accelerating Returns.” Could you explain what that is and why you think it’s flawed? Kurzweil thinks there’s this immutable “Law of Accelerating Returns” at work in the affairs of the universe, especially when it comes to technology. It’s the idea that technological progress isn’t linear but exponential. Advancements in one technology fuel even more rapid advancements in the future, which in turn lead to greater complexity and greater technological power, and on and on. This is just a mistake. Kurzweil uses the Law of Accelerating Returns to explain why the Singularity is inevitable, but to be clear, he’s far from the only one who believes in this so-called law. “I really believe that when you get as rich as some of these guys are, you can just do things that seem like thinking and no one is really going to correct you or tell you things you don’t want to hear.” My sense is that it’s an idea that comes from staring at Moore’s Law for too long. Moore’s Law is of course the famous prediction that the number of transistors on a chip will double roughly every two years, with a minimal increase in cost. Now, that has in fact happened for the last 50 years or so, but not because of some fundamental law in the universe. It’s because the tech industry made a choice and some very sizable investments to make it happen. Moore’s Law was ultimately this really interesting observation or projection of a historical trend, but even Gordon Moore [who first articulated it] knew that it wouldn’t and couldn’t last forever. In fact, some think it’s already over.  These ideologies take inspiration from some pretty unsavory characters. Transhumanism, you say, was first popularized by the eugenicist Julian Huxley in a speech in 1951. Marc Andreessen’s “Techno-Optimist Manifesto” name-checks the noted fascist Filippo Tommaso Marinetti and his futurist manifesto. Did you get the sense while researching the book that the tech titans who champion these ideas understand their dangerous origins? You’re assuming in the framing of that question that there’s any rigorous thought going on here at all. As I say in the book, Andreessen’s manifesto runs almost entirely on vibes, not logic. I think someone may have told him about the futurist manifesto at some point, and he just sort of liked the general vibe, which is why he paraphrases a part of it. Maybe he learned something about Marinetti and forgot it. Maybe he didn’t care.  I really believe that when you get as rich as some of these guys are, you can just do things that seem like thinking and no one is really going to correct you or tell you things you don’t want to hear. For many of these billionaires, the vibes of fascism, authoritarianism, and colonialism are attractive because they’re fundamentally about creating a fantasy of control.  You argue that these visions of the future are being used to hasten environmental destruction, increase authoritarianism, and exacerbate inequalities. You also admit that they appeal to lots of people who aren’t billionaires. Why do you think that is?  I think a lot of us are also attracted to these ideas for the same reasons the tech billionaires are—they offer this fantasy of knowing what the future holds, of transcending death, and a sense that someone or something out there is in control. It’s hard to overstate how comforting a simple, coherent narrative can be in an increasingly complex and fast-moving world. This is of course what religion offers for many of us, and I don’t think it’s an accident that a sizable number of people in the rationalist and effective altruist communities are actually ex-evangelicals. More than any one specific technology, it seems like the most consequential thing these billionaires have invented is a sense of inevitability—that their visions for the future are somehow predestined. How does one fight against that? It’s a difficult question. For me, the answer was to write this book. I guess I’d also say this: Silicon Valley enjoyed well over a decade with little to no pushback on anything. That’s definitely a big part of how we ended up in this mess. There was no regulation, very little critical coverage in the press, and a lot of self-mythologizing going on. Things have started to change, especially as the social and environmental damage that tech companies and industry leaders have helped facilitate has become more clear. That understanding is an essential part of deflating the power of these tech billionaires and breaking free of their visions. When we understand that these dreams of the future are actually nightmares for the rest of us, I think you’ll see that senseof inevitability vanish pretty fast.  This interview was edited for length and clarity. Bryan Gardiner is a writer based in Oakland, California. 

You’ve drawn fifty versions of the same screen — and you still hate every one of them. Begrudgingly, you pick three, show them to your product manager, and hear: “Looks cool, but the idea doesn’t work.” Sound familiar? In this article, I’ll unpack why designers fall into detail work at the wrong moment, examining both process pitfalls and the underlying psychological reasons, as understanding these traps is the first step to overcoming them. I’ll also share tactics I use to climb out of that trap. Reason #1 You’re Afraid To Show Rough Work We designers worship detail. We’re taught that true craft equals razor‑sharp typography, perfect grids, and pixel precision. So the minute a task arrives, we pop open Figma and start polishing long before polish is needed. I’ve skipped the sketch phase more times than I care to admit. I told myself it would be faster, yet I always ended up spending hours producing a tidy mock‑up when a scribbled thumbnail would have sparked a five‑minute chat with my product manager. Rough sketches felt “unprofessional,” so I hid them. The cost? Lost time, wasted energy — and, by the third redo, teammates were quietly wondering if I even understood the brief. The real problem here is the habit: we open Figma and start perfecting the UI before we’ve even solved the problem. So why do we hide these rough sketches? It’s not just a bad habit or plain silly. There are solid psychological reasons behind it. We often just call it perfectionism, but it’s deeper than wanting things neat. Digging into the psychology (like the research by Hewitt and Flett) shows there are a couple of flavors driving this: Socially prescribed perfectionismIt’s that nagging feeling that everyone else expects perfect work from you, which makes showing anything rough feel like walking into the lion’s den. Self-oriented perfectionismWhere you’re the one setting impossibly high standards for yourself, leading to brutal self-criticism if anything looks slightly off. Either way, the result’s the same: showing unfinished work feels wrong, and you miss out on that vital early feedback. Back to the design side, remember that clients rarely see architects’ first pencil sketches, but these sketches still exist; they guide structural choices before the 3D render. Treat your thumbnails the same way — artifacts meant to collapse uncertainty, not portfolio pieces. Once stakeholders see the upside, roughness becomes a badge of speed, not sloppiness. So, the key is to consciously make that shift: Treat early sketches as disposable tools for thinking and actively share them to get feedback faster. Reason #2: You Fix The Symptom, Not The Cause Before tackling any task, we need to understand what business outcome we’re aiming for. Product managers might come to us asking to enlarge the payment button in the shopping cart because users aren’t noticing it. The suggested solution itself isn’t necessarily bad, but before redesigning the button, we should ask, “What data suggests they aren’t noticing it?” Don’t get me wrong, I’m not saying you shouldn’t trust your product manager. On the contrary, these questions help ensure you’re on the same page and working with the same data. From my experience, here are several reasons why users might not be clicking that coveted button: Users don’t understand that this step is for payment. They understand it’s about payment but expect order confirmation first. Due to incorrect translation, users don’t understand what the button means. Lack of trust signals (no security icons, unclear seller information). Unexpected additional costs (hidden fees, shipping) that appear at this stage. Technical issues (inactive button, page freezing). Now, imagine you simply did what the manager suggested. Would you have solved the problem? Hardly. Moreover, the responsibility for the unresolved issue would fall on you, as the interface solution lies within the design domain. The product manager actually did their job correctly by identifying a problem: suspiciously, few users are clicking the button. Psychologically, taking on this bigger role isn’t easy. It means overcoming the fear of making mistakes and the discomfort of exploring unclear problems rather than just doing tasks. This shift means seeing ourselves as partners who create value — even if it means fighting a hesitation to question product managers (which might come from a fear of speaking up or a desire to avoid challenging authority) — and understanding that using our product logic expertise proactively is crucial for modern designers. There’s another critical reason why we, designers, need to be a bit like product managers: the rise of AI. I deliberately used a simple example about enlarging a button, but I’m confident that in the near future, AI will easily handle routine design tasks. This worries me, but at the same time, I’m already gladly stepping into the product manager’s territory: understanding product and business metrics, formulating hypotheses, conducting research, and so on. It might sound like I’m taking work away from PMs, but believe me, they undoubtedly have enough on their plates and are usually more than happy to delegate some responsibilities to designers. Reason #3: You’re Solving The Wrong Problem Before solving anything, ask whether the problem even deserves your attention. During a major home‑screen redesign, our goal was to drive more users into paid services. The initial hypothesis — making service buttons bigger and brighter might help returning users — seemed reasonable enough to test. However, even when A/B tests (a method of comparing two versions of a design to determine which performs better) showed minimal impact, we continued to tweak those buttons. Only later did it click: the home screen isn’t the place to sell; visitors open the app to start, not to buy. We removed that promo block, and nothing broke. Contextual entry points deeper into the journey performed brilliantly. Lesson learned: Without the right context, any visual tweak is lipstick on a pig. Why did we get stuck polishing buttons instead of stopping sooner? It’s easy to get tunnel vision. Psychologically, it’s likely the good old sunk cost fallacy kicking in: we’d already invested time in the buttons, so stopping felt like wasting that effort, even though the data wasn’t promising. It’s just easier to keep fiddling with something familiar than to admit we need a new plan. Perhaps the simple question I should have asked myself when results stalled was: “Are we optimizing the right thing or just polishing something that fundamentally doesn’t fit the user’s primary goal here?” That alone might have saved hours. Reason #4: You’re Drowning In Unactionable Feedback We all discuss our work with colleagues. But here’s a crucial point: what kind of question do you pose to kick off that discussion? If your go-to is “What do you think?” well, that question might lead you down a rabbit hole of personal opinions rather than actionable insights. While experienced colleagues will cut through the noise, others, unsure what to evaluate, might comment on anything and everything — fonts, button colors, even when you desperately need to discuss a user flow. What matters here are two things: The question you ask, The context you give. That means clearly stating the problem, what you’ve learned, and how your idea aims to fix it. For instance: “The problem is our payment conversion rate has dropped by X%. I’ve interviewed users and found they abandon payment because they don’t understand how the total amount is calculated. My solution is to show a detailed cost breakdown. Do you think this actually solves the problem for them?” Here, you’ve stated the problem (conversion drop), shared your insight (user confusion), explained your solution (cost breakdown), and asked a direct question. It’s even better if you prepare a list of specific sub-questions. For instance: “Are all items in the cost breakdown clear?” or “Does the placement of this breakdown feel intuitive within the payment flow?” Another good habit is to keep your rough sketches and previous iterations handy. Some of your colleagues’ suggestions might be things you’ve already tried. It’s great if you can discuss them immediately to either revisit those ideas or definitively set them aside. I’m not a psychologist, but experience tells me that, psychologically, the reluctance to be this specific often stems from a fear of our solution being rejected. We tend to internalize feedback: a seemingly innocent comment like, “Have you considered other ways to organize this section?” or “Perhaps explore a different structure for this part?” can instantly morph in our minds into “You completely messed up the structure. You’re a bad designer.” Imposter syndrome, in all its glory. So, to wrap up this point, here are two recommendations: Prepare for every design discussion.A couple of focused questions will yield far more valuable input than a vague “So, what do you think?”. Actively work on separating feedback on your design from your self-worth.If a mistake is pointed out, acknowledge it, learn from it, and you’ll be less likely to repeat it. This is often easier said than done. For me, it took years of working with a psychotherapist. If you struggle with this, I sincerely wish you strength in overcoming it. Reason #5 You’re Just Tired Sometimes, the issue isn’t strategic at all — it’s fatigue. Fussing over icon corners can feel like a cozy bunker when your brain is fried. There’s a name for this: decision fatigue. Basically, your brain’s battery for hard thinking is low, so it hides out in the easy, comfy zone of pixel-pushing. A striking example comes from a New York Times article titled “Do You Suffer From Decision Fatigue?.” It described how judges deciding on release requests were far more likely to grant release early in the day (about 70% of cases) compared to late in the day (less than 10%) simply because their decision-making energy was depleted. Luckily, designers rarely hold someone’s freedom in their hands, but the example dramatically shows how fatigue can impact our judgment and productivity. What helps here: Swap tasks.Trade tickets with another designer; novelty resets your focus. Talk to another designer.If NDA permits, ask peers outside the team for a sanity check. Step away.Even a ten‑minute walk can do more than a double‑shot espresso. By the way, I came up with these ideas while walking around my office. I was lucky to work near a river, and those short walks quickly turned into a helpful habit. And one more trick that helps me snap out of detail mode early: if I catch myself making around 20 little tweaks — changing font weight, color, border radius — I just stop. Over time, it turned into a habit. I have a similar one with Instagram: by the third reel, my brain quietly asks, “Wait, weren’t we working?” Funny how that kind of nudge saves a ton of time. Four Steps I Use to Avoid Drowning In Detail Knowing these potential traps, here’s the practical process I use to stay on track: 1. Define the Core Problem & Business Goal Before anything, dig deep: what’s the actual problem we’re solving, not just the requested task or a surface-level symptom? Ask ‘why’ repeatedly. What user pain or business need are we addressing? Then, state the clear business goal: “What metric am I moving, and do we have data to prove this is the right lever?” If retention is the goal, decide whether push reminders, gamification, or personalised content is the best route. The wrong lever, or tackling a symptom instead of the cause, dooms everything downstream. 2. Choose the Mechanic (Solution Principle) Once the core problem and goal are clear, lock the solution principle or ‘mechanic’ first. Going with a game layer? Decide if it’s leaderboards, streaks, or badges. Write it down. Then move on. No UI yet. This keeps the focus high-level before diving into pixels. 3. Wireframe the Flow & Get Focused Feedback Now open Figma. Map screens, layout, and transitions. Boxes and arrows are enough. Keep the fidelity low so the discussion stays on the flow, not colour. Crucially, when you share these early wires, ask specific questions and provide clear context (as discussed in ‘Reason #4’) to get actionable feedback, not just vague opinions. 4. Polish the Visuals (Mindfully) I only let myself tweak grids, type scales, and shadows after the flow is validated. If progress stalls, or before a major polish effort, I surface the work in a design critique — again using targeted questions and clear context — instead of hiding in version 47. This ensures detailing serves the now-validated solution. Even for something as small as a single button, running these four checkpoints takes about ten minutes and saves hours of decorative dithering. Wrapping Up Next time you feel the pull to vanish into mock‑ups before the problem is nailed down, pause and ask what you might be avoiding. Yes, that can expose an uncomfortable truth. But pausing to ask what you might be avoiding — maybe the fuzzy core problem, or just asking for tough feedback — gives you the power to face the real issue head-on. It keeps the project focused on solving the right problem, not just perfecting a flawed solution. Attention to detail is a superpower when used at the right moment. Obsessing over pixels too soon, though, is a bad habit and a warning light telling us the process needs a rethink.

This month, join forces to tackle the paranormal crises of a mysterious federal agency under siege in the cooperative first-person shooter FBC: Firebreak, lead your team to victory in the iconic all-out warfare of Battlefield 2042, test your skills as a new Fazbear employee managing and maintaining the eerie pizzeria of Five Nights at Freddy’s: Help Wanted 2 or live for the thrill of the hunt in the realistic hunting open world theHunter: Call of the Wild. All of these titles and more are available in June’s PlayStation Plus Game Catalog lineup*.    Meanwhile, PS2’s Deus Ex: The Conspiracy merges action-RPG, stealth and FPS gameplay in PlayStation Plus Premium.    All titles will be available to play on June 17.   PlayStation Plus Extra and Premium | Game Catalog  View and download image Download the image close Close Download this image FBC: Firebreak | PS5 Launching on the PlayStation Plus Game Catalog this month is FBC: Firebreak, a cooperative first-person shooter set within a mysterious federal agency under assault by otherworldly forces. Return to the strange and unexpected world of Control or venture in for the first time in this standalone, multiplayer experience. As a years-long siege on the agency’s headquarters reaches its boiling point, only Firebreak—the Bureau’s most versatile unit—has the gear and the guts to plunge into the building’s strangest crises, restore order, contain the chaos, and fight to reclaim control. Join forces with friends or strangers to tackle each job as a well-oiled crew. Survival in this three-player cooperative FPS hinges on quick thinking and seamless teamwork as you scramble to tame raging paranatural crises across a variety of unexpected locations.    View and download image Download the image close Close Download this image Battlefield 2042 | PS4, PS5 Battlefield 2042 is a first-person shooter that marks the return to the iconic all-out warfare of the franchise. With the help of a cutting-edge arsenal, engage in intense, immersive multiplayer battles. Lead your team to victory in both large all-out warfare and close quarters combat on maps from the world of 2042 and classic Battlefield titles. Find your playstyle in class-based gameplay and take on several experiences comprising elevated versions of Conquest and Breakthrough. Explore Battlefield Portal, a platform where players can discover, create, and share unexpected battles from Battlefield’s past and present. View and download image Download the image close Close Download this image Five Nights at Freddy’s: Help Wanted 2 | PS5 Five Nights at Freddy’s: Help Wanted 2 is the sequel to the terrifying VR experience that brought new life to the iconic horror franchise. As a brand new Fazbear employee you’ll have to prove you have what it takes to excel in all aspects of Pizzeria management and maintenance. Find out if you have what it takes to be a Fazbear Entertainment Superstar! View and download image Download the image close Close Download this image theHunter: Call of the Wild | PS4 Discover an atmospheric hunting game like no other in this realistic, stunning open world – regularly updated in collaboration with its community. Immerse yourself in the single player campaign, or share the ultimate hunting experience with friends. Roam freely across meticulously crafted environments and explore a diverse range of regions and biomes, each with its own unique flora and fauna. Experience the intricacies of complex animal behavior, dynamic weather events, full day and night cycles, simulated ballistics, highly realistic acoustics, and scents carried by the wind. Select from a variety of weapons, ammunition, and equipment to create the ultimate hunting experience. With a diverse range of wildlife, including Jackrabbits, Mallard Ducks, Black Bears, Elk, and Moose, you will need to strategically match prey to weaponry to successfully track, lure, and ambush animals based on their unique behavior and environment. View and download image Download the image close Close Download this image We Love Katamari Reroll + Royal Reverie | PS4, PS5 We Love Katamari Damacy, the second title in the Katamari series released in 2005, has been remastered with redesigned graphics and a revamped in-game UI. The King of the Cosmos accidentally destroyed all the stars in the universe. He sent his son, the Prince, to Earth and ordered him to create a large katamari. Roll the katamari to make it bigger and bigger, rolling up all the things on the earth. You can roll up anything from paper clips and snacks in the house, to telephone poles and buildings in the town, to even living creatures such as people and animals. Once the katamari is complete, it will turn into a star that colors the night sky. You cannot roll up anything larger than the current size of your katamari, so the key is to think in advance about the order in which you roll things up around the stage. In Royal Reverie, roll up katamari as the King of All Cosmos in his boyhood! View and download image Download the image close Close Download this image Eiyuden Chronicles: Hundred Heroes | PS4, PS5 Directed and produced by the creator of treasured JRPG series Suikoden, Eiyuden Chronicle: Hundred Heroes provides a contemporary take on the classic JRPG experience. In the land of Allraan, two friends from different backgrounds are united by a war waged by the power-hungry Galdean Empire. Explore a diverse, magical world populated by humans, beastmen, elves and desert people. Meet and recruit over 100 unique characters, each with their own vivid voice acting and intricate backstories. Over four years in the making, and funded by the most successful Kickstarter videogame campaign of 2020, Eiyuden Chronicle: Hundred Heroes features turn-based battles, a staggering selection of heroes and a thrilling story to discover. View and download image Download the image close Close Download this image Train Sim World 5 | PS4, PS5 The rails are yours in Train Sim World 5! Take on new challenges and new roles as you master the tracks and trains of iconic cities across 3 new routes. Immerse yourself in the ultimate rail hobby and embark on your next journey. Be swept off your feet with the commuter mayhem of the West Coast main line with the Northwestern Class 350, the twisting Kinzigtalbahn with the tilting DB BR 411 ICE-T, or the sun-soaked tracks of the San Bernardino line and its Metrolink movements, powered by the MP36 & F125.  View and download image Download the image close Close Download this image Endless Dungeon | PS4, PS5 Endless Dungeon is a unique blend of roguelite, tactical action, and tower defense set in the award-winning Endless Universe. Plunge into an abandoned space station alone or with friends in co-op, recruit a team of shipwrecked heroes, and protect your crystal against never-ending waves of monsters… or die trying, get reloaded, and try again. You’re stranded on an abandoned space station chock-full of monsters and mysteries. To get out you’ll have to reach The Core, but you can’t do that without your crystal bot. That scuttling critter is your key to surviving the procedurally generated rooms of this space ruin. Sadly, it’s also a fragile soul, and every monster in the place wants a piece of it. You’re going to have to think quick, plan well, place your turrets, and then… fireworks! Bugs, bots and blobs will stop at nothing to turn you and that crystal into dust and debris. With a large choice of weapons and turrets, the right gear will be the difference between life and death. PlayStation Plus Premium  View and download image Download the image close Close Download this image Deus Ex: The Conspiracy | PS4, PS5This is an emulation of the classic PS2 title, Deus Ex: The Conspiracy, playable on PS4 and PS5 for the first time. The year is 2052 and the world is a dangerous and chaotic place. Terrorists operate openly – killing thousands; drugs, disease and pollution kill even more. The world’s economies are close to collapse and the gap between the insanely wealthy and the desperately poor grows ever wider. Worst of all, an age- old conspiracy bent on world domination has decided that the time is right to emerge from the shadows and take control.  *PlayStation Plus Game Catalog and PlayStation Plus Premium/Deluxe lineups may differ by region. Please check PlayStation Store on release day. 

Who knows where branding will go in the future? However, for many of us working in the creative industries, it's our job to know. So it's something we need to start talking about, and Frontify Futures wants to be the platform where that conversation unfolds. This ambitious new thought leadership initiative from Frontify brings together an extraordinary coalition of voices—CMOs who've scaled global brands, creative leaders reimagining possibilities, strategy directors pioneering new approaches, and cultural forecasters mapping emerging opportunities—to explore how effectiveness, innovation, and scale will shape tomorrow's brand-building landscape. But Frontify Futures isn't just another content platform. Excitingly, from a design perspective, it's also a living experiment in what brand identity can become when technology meets craft, when systems embrace chaos, and when the future itself becomes a design material. Endless variation What makes Frontify Futures' typography unique isn't just its custom foundation: it's how that foundation enables endless variation and evolution. This was primarily achieved, reveals developer and digital art director Daniel Powell, by building bespoke tools for the project. "Rather than rely solely on streamlined tools built for speed and production, we started building our own," he explains. "The first was a node-based design tool that takes our custom Frame and Hairline fonts as a base and uses them as the foundations for our type generator. With it, we can generate unique type variations for each content strand—each article, even—and create both static and animated type, exportable as video or rendered live in the browser." Each of these tools included what Daniel calls a "chaos element: a small but intentional glitch in the system. A microstatement about the nature of the future: that it can be anticipated but never fully known. It's our way of keeping gesture alive inside the system." One of the clearest examples of this is the colour palette generator. "It samples from a dynamic photo grid tied to a rotating colour wheel that completes one full revolution per year," Daniel explains. "But here's the twist: wind speed and direction in St. Gallen, Switzerland—Frontify's HQ—nudges the wheel unpredictably off-centre. It's a subtle, living mechanic; each article contains a log of the wind data in its code as a kind of Easter Egg." Another favourite of Daniel's—yet to be released—is an expanded version of Conway's Game of Life. "It's been running continuously for over a month now, evolving patterns used in one of the content strand headers," he reveals. "The designer becomes a kind of photographer, capturing moments from a petri dish of generative motion." Core Philosophy In developing this unique identity, two phrases stood out to Daniel as guiding lights from the outset. The first was, 'We will show, not tell.' "This became the foundation for how we approached the identity," recalls Daniel. "It had to feel like a playground: open, experimental, and fluid. Not overly precious or prescriptive. A system the Frontify team could truly own, shape, and evolve. A platform, not a final product. A foundation, just as the future is always built on the past." The second guiding phrase, pulled directly from Frontify's rebrand materials, felt like "a call to action," says Daniel. "'Gestural and geometric. Human and machine. Art and science.' It's a tension that feels especially relevant in the creative industries today. As technology accelerates, we ask ourselves: how do we still hold onto our craft? What does it mean to be expressive in an increasingly systemised world?" Stripped back and skeletal typography The identity that Daniel and his team created reflects these themes through typography that literally embodies the platform's core philosophy. It really started from this idea of the past being built upon the 'foundations' of the past," he explains. "At the time Frontify Futures was being created, Frontify itself was going through a rebrand. With that, they'd started using a new variable typeface called Cranny, a custom cut of Azurio by Narrow Type." Daniel's team took Cranny and "pushed it into a stripped-back and almost skeletal take". The result was Crany-Frame and Crany-Hairline. "These fonts then served as our base scaffolding," he continues. "They were never seen in design, but instead, we applied decoration them to produce new typefaces for each content strand, giving the identity the space to grow and allow new ideas and shapes to form." As Daniel saw it, the demands on the typeface were pretty simple. "It needed to set an atmosphere. We needed it needed to feel alive. We wanted it to be something shifting and repositioning. And so, while we have a bunch of static cuts of each base style, we rarely use them; the typefaces you see on the website and social only exist at the moment as a string of parameters to create a general style that we use to create live animating versions of the font generated on the fly." In addition to setting the atmosphere, it needed to be extremely flexible and feature live inputs, as a significant part of the branding is about the unpredictability of the future. "So Daniel's team built in those aforementioned "chaos moments where everything from user interaction to live windspeeds can affect the font." Design Process The process of creating the typefaces is a fascinating one. "We started by working with the custom cut of Azurio (Cranny) from Narrow Type. We then redrew it to take inspiration from how a frame and a hairline could be produced from this original cut. From there, we built a type generation tool that uses them as a base. "It's a custom node-based system that lets us really get in there and play with the overlays for everything from grid-sizing, shapes and timing for the animation," he outlines. "We used this tool to design the variants for different content strands. We weren't just designing letterforms; we were designing a comprehensive toolset that could evolve in tandem with the content. "That became a big part of the process: designing systems that designers could actually use, not just look at; again, it was a wider conversation and concept around the future and how designers and machines can work together." In short, the evolution of the typeface system reflects the platform's broader commitment to continuous growth and adaptation." The whole idea was to make something open enough to keep building on," Daniel stresses. "We've already got tools in place to generate new weights, shapes and animated variants, and the tool itself still has a ton of unused functionality. "I can see that growing as new content strands emerge; we'll keep adapting the type with them," he adds. "It's less about version numbers and more about ongoing movement. The system's alive; that's the point. A provocation for the industry In this context, the Frontify Futures identity represents more than smart visual branding; it's also a manifesto for how creative systems might evolve in an age of increasing automation and systematisation. By building unpredictability into their tools, embracing the tension between human craft and machine precision, and creating systems that grow and adapt rather than merely scale, Daniel and the Frontify team have created something that feels genuinely forward-looking. For creatives grappling with similar questions about the future of their craft, Frontify Futures offers both inspiration and practical demonstration. It shows how brands can remain human while embracing technological capability, how systems can be both consistent and surprising, and how the future itself can become a creative medium. This clever approach suggests that the future of branding lies not in choosing between human creativity and systematic efficiency but in finding new ways to make them work together, creating something neither could achieve alone.