• Walking With Dinosaurs : le retour de la série documentaire mythique

    Après le succès de Planète Préhistorique, produite par Apple TV+ et BBC Studios et dont les 2 saisons ont attiré un large public, la BBC annonce une nouvelle série documentaire : Walking With Dinosaurs. Ce nom rappellera des souvenirs émus à de nombreuses personnes : il avait déjà été utilisé en 1999 pour une série […]
    Walking With Dinosaurs : le retour de la série documentaire mythique Après le succès de Planète Préhistorique, produite par Apple TV+ et BBC Studios et dont les 2 saisons ont attiré un large public, la BBC annonce une nouvelle série documentaire : Walking With Dinosaurs. Ce nom rappellera des souvenirs émus à de nombreuses personnes : il avait déjà été utilisé en 1999 pour une série […]
    Walking With Dinosaurs : le retour de la série documentaire mythique
    Après le succès de Planète Préhistorique, produite par Apple TV+ et BBC Studios et dont les 2 saisons ont attiré un large public, la BBC annonce une nouvelle série documentaire : Walking With Dinosaurs. Ce nom rappellera des souvenirs émus à de nombr
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  • Are you ready for a holy pilgrimage with "Oblivion Remastered's Knights of the Nine"? Because nothing screams divine intervention quite like a quest that takes longer to walk than it does to actually complete. Forget about all those fancy fast-travel points; this expansion is all about embracing the ancient art of strolling through the breathtakingly dull landscapes of Cyrodiil. Who needs engaging gameplay when you can enjoy the scenic route of endless walking? Remember, folks, every step is a step closer to… well, somewhere! So lace up those boots and prepare for a sacred journey that’s less about the destination and more about the blisters.

    #OblivionRemastered #KnightsOfTheNine #HolyPilgrimage #GamingSat
    Are you ready for a holy pilgrimage with "Oblivion Remastered's Knights of the Nine"? Because nothing screams divine intervention quite like a quest that takes longer to walk than it does to actually complete. Forget about all those fancy fast-travel points; this expansion is all about embracing the ancient art of strolling through the breathtakingly dull landscapes of Cyrodiil. Who needs engaging gameplay when you can enjoy the scenic route of endless walking? Remember, folks, every step is a step closer to… well, somewhere! So lace up those boots and prepare for a sacred journey that’s less about the destination and more about the blisters. #OblivionRemastered #KnightsOfTheNine #HolyPilgrimage #GamingSat
    KOTAKU.COM
    Oblivion Remastered's Knights Of The Nine Will Send You On A Holy Pilgrimage
    Bundled in with the likes of The Shivering Isles and the Fighters’ Stronghold, Knights of the Nine is an expansion featuring a Cyrodiil-spanning questline following an order of heavenly knights. Though it’s somewhat short, as a quest it’s heavy on wa
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  • NVIDIA CEO Drops the Blueprint for Europe’s AI Boom

    At GTC Paris — held alongside VivaTech, Europe’s largest tech event — NVIDIA founder and CEO Jensen Huang delivered a clear message: Europe isn’t just adopting AI — it’s building it.
    “We now have a new industry, an AI industry, and it’s now part of the new infrastructure, called intelligence infrastructure, that will be used by every country, every society,” Huang said, addressing an audience gathered online and at the iconic Dôme de Paris.
    From exponential inference growth to quantum breakthroughs, and from infrastructure to industry, agentic AI to robotics, Huang outlined how the region is laying the groundwork for an AI-powered future.

    A New Industrial Revolution
    At the heart of this transformation, Huang explained, are systems like GB200 NVL72 — “one giant GPU” and NVIDIA’s most powerful AI platform yet — now in full production and powering everything from sovereign models to quantum computing.
    “This machine was designed to be a thinking machine, a thinking machine, in the sense that it reasons, it plans, it spends a lot of time talking to itself,” Huang said, walking the audience through the size and scale of these machines and their performance.
    At GTC Paris, Huang showed audience members the innards of some of NVIDIA’s latest hardware.
    There’s more coming, with Huang saying NVIDIA’s partners are now producing 1,000 GB200 systems a week, “and this is just the beginning.” He walked the audience through a range of available systems ranging from the tiny NVIDIA DGX Spark to rack-mounted RTX PRO Servers.
    Huang explained that NVIDIA is working to help countries use technologies like these to build both AI infrastructure — services built for third parties to use and innovate on — and AI factories, which companies build for their own use, to generate revenue.
    NVIDIA is partnering with European governments, telcos and cloud providers to deploy NVIDIA technologies across the region. NVIDIA is also expanding its network of technology centers across Europe — including new hubs in Finland, Germany, Spain, Italy and the U.K. — to accelerate skills development and quantum growth.
    Quantum Meets Classical
    Europe’s quantum ambitions just got a boost.
    The NVIDIA CUDA-Q platform is live on Denmark’s Gefion supercomputer, opening new possibilities for hybrid AI and quantum engineering. In addition, Huang announced that CUDA-Q is now available on NVIDIA Grace Blackwell systems.
    Across the continent, NVIDIA is partnering with supercomputing centers and quantum hardware builders to advance hybrid quantum-AI research and accelerate quantum error correction.
    “Quantum computing is reaching an inflection point,” Huang said. “We are within reach of being able to apply quantum computing, quantum classical computing, in areas that can solve some interesting problems in the coming years.”
    Sovereign Models, Smarter Agents
    European developers want more control over their models. Enter NVIDIA Nemotron, designed to help build large language models tuned to local needs.
    “And so now you know that you have access to an enhanced open model that is still open, that is top of the leader chart,” Huang said.
    These models will be coming to Perplexity, a reasoning search engine, enabling secure, multilingual AI deployment across Europe.
    “You can now ask and get questions answered in the language, in the culture, in the sensibility of your country,” Huang said.
    Huang explained how NVIDIA is helping countries across Europe build AI infrastructure.
    Every company will build its own agents, Huang said. To help create those agents, Huang introduced a suite of agentic AI blueprints, including an Agentic AI Safety blueprint for enterprises and governments.
    The new NVIDIA NeMo Agent toolkit and NVIDIA AI Blueprint for building data flywheels further accelerate the development of safe, high-performing AI agents.
    To help deploy these agents, NVIDIA is partnering with European governments, telcos and cloud providers to deploy the DGX Cloud Lepton platform across the region, providing instant access to accelerated computing capacity.
    “One model architecture, one deployment, and you can run it anywhere,” Huang said, adding that Lepton is now integrated with Hugging Face, giving developers direct access to global compute.
    The Industrial Cloud Goes Live
    AI isn’t just virtual. It’s powering physical systems, too, sparking a new industrial revolution.
    “We’re working on industrial AI with one company after another,” Huang said, describing work to build digital twins based on the NVIDIA Omniverse platform with companies across the continent.
    Huang explained that everything he showed during his keynote was “computer simulation, not animation” and that it looks beautiful because “it turns out the world is beautiful, and it turns out math is beautiful.”
    To further this work, Huang announced NVIDIA is launching the world’s first industrial AI cloud — to be built in Germany — to help Europe’s manufacturers simulate, automate and optimize at scale.
    “Soon, everything that moves will be robotic,” Huang said. “And the car is the next one.”
    NVIDIA DRIVE, NVIDIA’s full-stack AV platform, is now in production to accelerate the large-scale deployment of safe, intelligent transportation.
    And to show what’s coming next, Huang was joined on stage by Grek, a pint-sized robot, as Huang talked about how NVIDIA partnered with DeepMind and Disney to build Newton, the world’s most advanced physics training engine for robotics.
    The Next Wave
    The next wave of AI has begun — and it’s exponential, Huang explained.
    “We have physical robots, and we have information robots. We call them agents,” Huang said. “The technology necessary to teach a robot to manipulate, to simulate — and of course, the manifestation of an incredible robot — is now right in front of us.”
    This new era of AI is being driven by a surge in inference workloads. “The number of people using inference has gone from 8 million to 800 million — 100x in just a couple of years,” Huang said.
    To meet this demand, Huang emphasized the need for a new kind of computer: “We need a special computer designed for thinking, designed for reasoning. And that’s what Blackwell is — a thinking machine.”
    Huang and Grek, as he explained how AI is driving advancements in robotics.
    These Blackwell-powered systems will live in a new class of data centers — AI factories — built to generate tokens, the raw material of modern intelligence.
    “These AI factories are going to generate tokens,” Huang said, turning to Grek with a smile. “And these tokens are going to become your food, little Grek.”
    With that, the keynote closed on a bold vision: a future powered by sovereign infrastructure, agentic AI, robotics — and exponential inference — all built in partnership with Europe.
    Watch the NVIDIA GTC Paris keynote from Huang at VivaTech and explore GTC Paris sessions.
    #nvidia #ceo #drops #blueprint #europes
    NVIDIA CEO Drops the Blueprint for Europe’s AI Boom
    At GTC Paris — held alongside VivaTech, Europe’s largest tech event — NVIDIA founder and CEO Jensen Huang delivered a clear message: Europe isn’t just adopting AI — it’s building it. “We now have a new industry, an AI industry, and it’s now part of the new infrastructure, called intelligence infrastructure, that will be used by every country, every society,” Huang said, addressing an audience gathered online and at the iconic Dôme de Paris. From exponential inference growth to quantum breakthroughs, and from infrastructure to industry, agentic AI to robotics, Huang outlined how the region is laying the groundwork for an AI-powered future. A New Industrial Revolution At the heart of this transformation, Huang explained, are systems like GB200 NVL72 — “one giant GPU” and NVIDIA’s most powerful AI platform yet — now in full production and powering everything from sovereign models to quantum computing. “This machine was designed to be a thinking machine, a thinking machine, in the sense that it reasons, it plans, it spends a lot of time talking to itself,” Huang said, walking the audience through the size and scale of these machines and their performance. At GTC Paris, Huang showed audience members the innards of some of NVIDIA’s latest hardware. There’s more coming, with Huang saying NVIDIA’s partners are now producing 1,000 GB200 systems a week, “and this is just the beginning.” He walked the audience through a range of available systems ranging from the tiny NVIDIA DGX Spark to rack-mounted RTX PRO Servers. Huang explained that NVIDIA is working to help countries use technologies like these to build both AI infrastructure — services built for third parties to use and innovate on — and AI factories, which companies build for their own use, to generate revenue. NVIDIA is partnering with European governments, telcos and cloud providers to deploy NVIDIA technologies across the region. NVIDIA is also expanding its network of technology centers across Europe — including new hubs in Finland, Germany, Spain, Italy and the U.K. — to accelerate skills development and quantum growth. Quantum Meets Classical Europe’s quantum ambitions just got a boost. The NVIDIA CUDA-Q platform is live on Denmark’s Gefion supercomputer, opening new possibilities for hybrid AI and quantum engineering. In addition, Huang announced that CUDA-Q is now available on NVIDIA Grace Blackwell systems. Across the continent, NVIDIA is partnering with supercomputing centers and quantum hardware builders to advance hybrid quantum-AI research and accelerate quantum error correction. “Quantum computing is reaching an inflection point,” Huang said. “We are within reach of being able to apply quantum computing, quantum classical computing, in areas that can solve some interesting problems in the coming years.” Sovereign Models, Smarter Agents European developers want more control over their models. Enter NVIDIA Nemotron, designed to help build large language models tuned to local needs. “And so now you know that you have access to an enhanced open model that is still open, that is top of the leader chart,” Huang said. These models will be coming to Perplexity, a reasoning search engine, enabling secure, multilingual AI deployment across Europe. “You can now ask and get questions answered in the language, in the culture, in the sensibility of your country,” Huang said. Huang explained how NVIDIA is helping countries across Europe build AI infrastructure. Every company will build its own agents, Huang said. To help create those agents, Huang introduced a suite of agentic AI blueprints, including an Agentic AI Safety blueprint for enterprises and governments. The new NVIDIA NeMo Agent toolkit and NVIDIA AI Blueprint for building data flywheels further accelerate the development of safe, high-performing AI agents. To help deploy these agents, NVIDIA is partnering with European governments, telcos and cloud providers to deploy the DGX Cloud Lepton platform across the region, providing instant access to accelerated computing capacity. “One model architecture, one deployment, and you can run it anywhere,” Huang said, adding that Lepton is now integrated with Hugging Face, giving developers direct access to global compute. The Industrial Cloud Goes Live AI isn’t just virtual. It’s powering physical systems, too, sparking a new industrial revolution. “We’re working on industrial AI with one company after another,” Huang said, describing work to build digital twins based on the NVIDIA Omniverse platform with companies across the continent. Huang explained that everything he showed during his keynote was “computer simulation, not animation” and that it looks beautiful because “it turns out the world is beautiful, and it turns out math is beautiful.” To further this work, Huang announced NVIDIA is launching the world’s first industrial AI cloud — to be built in Germany — to help Europe’s manufacturers simulate, automate and optimize at scale. “Soon, everything that moves will be robotic,” Huang said. “And the car is the next one.” NVIDIA DRIVE, NVIDIA’s full-stack AV platform, is now in production to accelerate the large-scale deployment of safe, intelligent transportation. And to show what’s coming next, Huang was joined on stage by Grek, a pint-sized robot, as Huang talked about how NVIDIA partnered with DeepMind and Disney to build Newton, the world’s most advanced physics training engine for robotics. The Next Wave The next wave of AI has begun — and it’s exponential, Huang explained. “We have physical robots, and we have information robots. We call them agents,” Huang said. “The technology necessary to teach a robot to manipulate, to simulate — and of course, the manifestation of an incredible robot — is now right in front of us.” This new era of AI is being driven by a surge in inference workloads. “The number of people using inference has gone from 8 million to 800 million — 100x in just a couple of years,” Huang said. To meet this demand, Huang emphasized the need for a new kind of computer: “We need a special computer designed for thinking, designed for reasoning. And that’s what Blackwell is — a thinking machine.” Huang and Grek, as he explained how AI is driving advancements in robotics. These Blackwell-powered systems will live in a new class of data centers — AI factories — built to generate tokens, the raw material of modern intelligence. “These AI factories are going to generate tokens,” Huang said, turning to Grek with a smile. “And these tokens are going to become your food, little Grek.” With that, the keynote closed on a bold vision: a future powered by sovereign infrastructure, agentic AI, robotics — and exponential inference — all built in partnership with Europe. Watch the NVIDIA GTC Paris keynote from Huang at VivaTech and explore GTC Paris sessions. #nvidia #ceo #drops #blueprint #europes
    BLOGS.NVIDIA.COM
    NVIDIA CEO Drops the Blueprint for Europe’s AI Boom
    At GTC Paris — held alongside VivaTech, Europe’s largest tech event — NVIDIA founder and CEO Jensen Huang delivered a clear message: Europe isn’t just adopting AI — it’s building it. “We now have a new industry, an AI industry, and it’s now part of the new infrastructure, called intelligence infrastructure, that will be used by every country, every society,” Huang said, addressing an audience gathered online and at the iconic Dôme de Paris. From exponential inference growth to quantum breakthroughs, and from infrastructure to industry, agentic AI to robotics, Huang outlined how the region is laying the groundwork for an AI-powered future. A New Industrial Revolution At the heart of this transformation, Huang explained, are systems like GB200 NVL72 — “one giant GPU” and NVIDIA’s most powerful AI platform yet — now in full production and powering everything from sovereign models to quantum computing. “This machine was designed to be a thinking machine, a thinking machine, in the sense that it reasons, it plans, it spends a lot of time talking to itself,” Huang said, walking the audience through the size and scale of these machines and their performance. At GTC Paris, Huang showed audience members the innards of some of NVIDIA’s latest hardware. There’s more coming, with Huang saying NVIDIA’s partners are now producing 1,000 GB200 systems a week, “and this is just the beginning.” He walked the audience through a range of available systems ranging from the tiny NVIDIA DGX Spark to rack-mounted RTX PRO Servers. Huang explained that NVIDIA is working to help countries use technologies like these to build both AI infrastructure — services built for third parties to use and innovate on — and AI factories, which companies build for their own use, to generate revenue. NVIDIA is partnering with European governments, telcos and cloud providers to deploy NVIDIA technologies across the region. NVIDIA is also expanding its network of technology centers across Europe — including new hubs in Finland, Germany, Spain, Italy and the U.K. — to accelerate skills development and quantum growth. Quantum Meets Classical Europe’s quantum ambitions just got a boost. The NVIDIA CUDA-Q platform is live on Denmark’s Gefion supercomputer, opening new possibilities for hybrid AI and quantum engineering. In addition, Huang announced that CUDA-Q is now available on NVIDIA Grace Blackwell systems. Across the continent, NVIDIA is partnering with supercomputing centers and quantum hardware builders to advance hybrid quantum-AI research and accelerate quantum error correction. “Quantum computing is reaching an inflection point,” Huang said. “We are within reach of being able to apply quantum computing, quantum classical computing, in areas that can solve some interesting problems in the coming years.” Sovereign Models, Smarter Agents European developers want more control over their models. Enter NVIDIA Nemotron, designed to help build large language models tuned to local needs. “And so now you know that you have access to an enhanced open model that is still open, that is top of the leader chart,” Huang said. These models will be coming to Perplexity, a reasoning search engine, enabling secure, multilingual AI deployment across Europe. “You can now ask and get questions answered in the language, in the culture, in the sensibility of your country,” Huang said. Huang explained how NVIDIA is helping countries across Europe build AI infrastructure. Every company will build its own agents, Huang said. To help create those agents, Huang introduced a suite of agentic AI blueprints, including an Agentic AI Safety blueprint for enterprises and governments. The new NVIDIA NeMo Agent toolkit and NVIDIA AI Blueprint for building data flywheels further accelerate the development of safe, high-performing AI agents. To help deploy these agents, NVIDIA is partnering with European governments, telcos and cloud providers to deploy the DGX Cloud Lepton platform across the region, providing instant access to accelerated computing capacity. “One model architecture, one deployment, and you can run it anywhere,” Huang said, adding that Lepton is now integrated with Hugging Face, giving developers direct access to global compute. The Industrial Cloud Goes Live AI isn’t just virtual. It’s powering physical systems, too, sparking a new industrial revolution. “We’re working on industrial AI with one company after another,” Huang said, describing work to build digital twins based on the NVIDIA Omniverse platform with companies across the continent. Huang explained that everything he showed during his keynote was “computer simulation, not animation” and that it looks beautiful because “it turns out the world is beautiful, and it turns out math is beautiful.” To further this work, Huang announced NVIDIA is launching the world’s first industrial AI cloud — to be built in Germany — to help Europe’s manufacturers simulate, automate and optimize at scale. “Soon, everything that moves will be robotic,” Huang said. “And the car is the next one.” NVIDIA DRIVE, NVIDIA’s full-stack AV platform, is now in production to accelerate the large-scale deployment of safe, intelligent transportation. And to show what’s coming next, Huang was joined on stage by Grek, a pint-sized robot, as Huang talked about how NVIDIA partnered with DeepMind and Disney to build Newton, the world’s most advanced physics training engine for robotics. The Next Wave The next wave of AI has begun — and it’s exponential, Huang explained. “We have physical robots, and we have information robots. We call them agents,” Huang said. “The technology necessary to teach a robot to manipulate, to simulate — and of course, the manifestation of an incredible robot — is now right in front of us.” This new era of AI is being driven by a surge in inference workloads. “The number of people using inference has gone from 8 million to 800 million — 100x in just a couple of years,” Huang said. To meet this demand, Huang emphasized the need for a new kind of computer: “We need a special computer designed for thinking, designed for reasoning. And that’s what Blackwell is — a thinking machine.” Huang and Grek, as he explained how AI is driving advancements in robotics. These Blackwell-powered systems will live in a new class of data centers — AI factories — built to generate tokens, the raw material of modern intelligence. “These AI factories are going to generate tokens,” Huang said, turning to Grek with a smile. “And these tokens are going to become your food, little Grek.” With that, the keynote closed on a bold vision: a future powered by sovereign infrastructure, agentic AI, robotics — and exponential inference — all built in partnership with Europe. Watch the NVIDIA GTC Paris keynote from Huang at VivaTech and explore GTC Paris sessions.
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  • BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4

    By TREVOR HOGG
    Images courtesy of Prime Video.

    For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!”

    When Splintersplits in two, the cloning effect was inspired by cellular mitosis.

    “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!”
    —Stephan Fleet, VFX Supervisor

    A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith, who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.”

    Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed.

    Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.”

    “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.”
    —Stephan Fleet, VFX Supervisor

    The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be, so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a humanyou tend to want to give it human gestures and eyebrows. Erik Kripkesaid, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.”

    A building is replaced by a massive crowd attending a rally being held by Homelander.

    In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep wasin one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.”

    In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around.

    “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.”
    —Stephan Fleet, VFX Supervisor

    Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.”

    The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes.

    Once injected with Compound V, Hugh Campbell Sr.develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.”

    Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination.

    Homelanderbreaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.”

    “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.”
    —Stephan Fleet, VFX Supervisor

    Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution.

    A different spin on the bloodbath occurs during a fight when a drugged Frenchiehallucinates as Kimiko Miyashirogoes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.”

    Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4.

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

    Print. Fold. Share. Download. Sounds easy, right? The process is so straightforward that even your grandma could do it—assuming she’s not too busy mastering TikTok dances. But let’s take a moment to appreciate the sheer audacity of needing instructions for something as inherently chaotic as making a zine. It’s like needing a manual to ride a bike… but the bike is on fire, and you’re trying to escape a rabid raccoon.

    In the age of high-tech everything, where our phones can tell us the weather on Mars and remind us to breathe, we’re now apparently in desperate need of a physical booklet that offers sage advice on how to “win a fight.” Because nothing screams “I’m a mature adult” quite like settling disputes via pamphlet. Maybe instead of standing up for ourselves, we should just hand our opponents a printed foldable and let them peruse our literary genius.

    And let’s not forget the nostalgia factor here! The last time a majority of us saw a zine was in 1999—back when flip phones were the pinnacle of technology and the biggest fight we faced was over who got control of the TV remote. Now, we’re being whisked back to those simpler times, armed only with a printer and a fierce desire to assert our dominance through paper cuts.

    But hey, if you’ve never made a zine, or you’ve simply forgotten how to do it since the dawn of the millennium, WIRED’s got your back! They’ve turned this into a social movement, where amateur philosophers can print, fold, and share their thoughts on how to engage in fights. Because why have a conversation when you can battle with paper instead?

    Let’s be honest: this is all about making “fighting” a trendy topic again. Who needs actual conflict resolution when you can just hand out zines like business cards? Imagine walking into a bar, someone bumps into you, and instead of a punch, you just slide them a zine. “Here’s how to win a fight, buddy. Chapter One: Don’t.”

    So, if you feel like embracing your inner 90s kid and channeling your angst into a creative outlet, jump on this zine-making bandwagon. Who knows? You might just win a fight—against boredom, at least.

    #ZineCulture #HowToWinAFight #DIYProject #NostalgiaTrip #WIRED
    Ah, the glorious return of the zine! Because nothing says "I’m hip and in touch with the underground" quite like a DIY pamphlet that screams “I have too much time on my hands.” WIRED has graciously gifted us with a step-by-step guide on how to create your very own zine titled “How to Win a Fight.” Print. Fold. Share. Download. Sounds easy, right? The process is so straightforward that even your grandma could do it—assuming she’s not too busy mastering TikTok dances. But let’s take a moment to appreciate the sheer audacity of needing instructions for something as inherently chaotic as making a zine. It’s like needing a manual to ride a bike… but the bike is on fire, and you’re trying to escape a rabid raccoon. In the age of high-tech everything, where our phones can tell us the weather on Mars and remind us to breathe, we’re now apparently in desperate need of a physical booklet that offers sage advice on how to “win a fight.” Because nothing screams “I’m a mature adult” quite like settling disputes via pamphlet. Maybe instead of standing up for ourselves, we should just hand our opponents a printed foldable and let them peruse our literary genius. And let’s not forget the nostalgia factor here! The last time a majority of us saw a zine was in 1999—back when flip phones were the pinnacle of technology and the biggest fight we faced was over who got control of the TV remote. Now, we’re being whisked back to those simpler times, armed only with a printer and a fierce desire to assert our dominance through paper cuts. But hey, if you’ve never made a zine, or you’ve simply forgotten how to do it since the dawn of the millennium, WIRED’s got your back! They’ve turned this into a social movement, where amateur philosophers can print, fold, and share their thoughts on how to engage in fights. Because why have a conversation when you can battle with paper instead? Let’s be honest: this is all about making “fighting” a trendy topic again. Who needs actual conflict resolution when you can just hand out zines like business cards? Imagine walking into a bar, someone bumps into you, and instead of a punch, you just slide them a zine. “Here’s how to win a fight, buddy. Chapter One: Don’t.” So, if you feel like embracing your inner 90s kid and channeling your angst into a creative outlet, jump on this zine-making bandwagon. Who knows? You might just win a fight—against boredom, at least. #ZineCulture #HowToWinAFight #DIYProject #NostalgiaTrip #WIRED
    Print. Fold. Share. Download WIRED's How to Win a Fight Zine Here
    Never made a zine? Haven’t made one since 1999? We made one, and so can you.
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  • This Week's Tips For Helldivers 2, Monster Hunter Wilds, Oblivion Remastered, And More

    Start SlideshowStart SlideshowImage: The Pokémon Company, Arrowhead Game Studios, Blizzard, The Pokémon Company, Screenshot: Capcom / Samuel Moreno / Kotaku, Bethesda / Brandon Morgan / Kotaku, Nintendo, Bethesda / Brandon Morgan / Kotaku, Capcom / Samuel Moreno / KotakuYou know what we all need sometimes? A little advice. How do I plan for a future that’s so uncertain? Will AI take my job? If I go back to school and use AI to cheat, will I graduate and work for an AI boss? We can’t help you with any of that. But what we can do is provide some tips for Helldivers 2, Monster Hunter Wilds, Oblivion Remastered, and other great games. So, read on for that stuff, and maybe ask ChatGPT about those other things.Previous SlideNext SlideList slidesDon’t Rely On Ex Pokémon In Pokémon TCG Pocket AnymoreImage: The Pokémon CompanyDuring the initial months of Pokémon TCG Pocket, ex monsters dominated the competitive landscape. These monsters arestronger than their non-ex counterparts, and they can come with game-changing abilities that determine how your entire deck plays. In the past, players could create frustratingly fearsome decks consisting of two ex Pokémon supported by trainer and item cards. However, unless you pair together very specific ex Pokémon, you’ll now find yourself losing nearly every game you play. - Timothy Monbleau Read MorePrevious SlideNext SlideList slidesPlease, For The Love Of God, Defeat All Illuminate Stingrays In Helldivers 2Image: Arrowhead Game StudiosYou know what? Screw the Illuminate. I played round after round trying to get the Stingrays, also known as an Interloper, to spawn at least once, and those damn Overseers and Harvesters kept walking up and rocking me. In the end, I was victorious. A Stingray approached the airspace with reckless abandon, swooping in with practiced ease as it unloaded a barrage of molten death beams upon my head, and you know what happened? I died. A few times. But eventually, I managed to pop a shot off and I quickly discovered how to defeat Illuminate Stingrays in Helldivers 2. - Brandon Morgan Read MorePrevious SlideNext SlideList slidesDefeating Monster Hunter Wilds’ Demi Elder Dragon Might Be The Game’s Hardest Challenge So FarScreenshot: Capcom / Samuel Moreno / KotakuAlthough Zoh Shia is the thematic boss of Monster Hunter Wilds, other beasts can put up a tougher fight. Gore Magalaare easily in contention for being the most deadly enemies in the game. Not much is more threatening than their high mobility, powerful attacks, and unique Frenzy ailment that forms the basis for your Corrupted Mantle. - Samuel Moreno Read MorePrevious SlideNext SlideList slidesDon’t Forget To Play ‘The Shivering Isles’ Expansion In Oblivion RemasteredScreenshot: Bethesda / Brandon Morgan / KotakuWhether you’ve played the original Oblivion or not, chances are you’ve heard tales of the oddities awaiting you in the Shivering Isles. This expansion—the largest one for the open-world RPG—features a land of madness under the unyielding control of Sheogorath. It’s a beautiful world, yet so immensely wrong. But that’s why this DLC is one of the best in the franchise, so no matter how many hours you may have already put into the main story and the main world, you don’t want to miss this expansion. - Brandon Morgan Read MorePrevious SlideNext SlideList slidesHow Long Of A Ride Is Mario Kart World?Screenshot: NintendoThe Mario Kart franchise has been entertaining us all for decades—even with sibling fights and fits of rage over losing a race from a blue shell at the last second—but Mario Kart World is the first game to go open world. There hasn’t been a truly new entry in the series since 2014's Mario Kart 8, so being stoked to dive into this exciting adventure is perfectly reasonable. Equally reasonable, especially given the game’s controversial price tag, is to wonder how long it’ll take to beat and what type of replayability it offers. Let’s talk about it. - Billy Givens Read MorePrevious SlideNext SlideList slidesMario Kart World Players Are Exploiting Free Roam To Quickly Farm CoinsGif: Nintendo / FannaWuck / KotakuMario Kart World is full of cool stunts and lots of things to unlock, like new characters, costumes, and vehicles. The last of those requires accumulating a certain number of coins during your time with the Switch 2 exclusive, and while you could do that the normal way by just playing tons of races, you can also use the latest entry’s open world to farm coins faster or even while being completely AFK. - Ethan Gach Read MorePrevious SlideNext SlideList slidesOblivion Remastered’s Best Side Quest Is A World Within A WorldScreenshot: Bethesda / Brandon Morgan / KotakuIt’s been a long time since I kept a spreadsheet for a video game, or even notes beyond what I need for work. I had one for the original Oblivion run back in my school days. Back then, I knew where to find every side quest in the game. There were over 250. Still are, but now they’re enhanced, beautified for the modern gamer. One side quest retains its crown as the best, despite the game’s age. “A Brush With Death” is Oblivion Remastered’s best side quest by far, and here’s how to find and beat it! - Brandon Morgan Read MorePrevious SlideNext SlideList slidesDiablo IV: How To Power Level Your Way To Season 8's EndgameImage: BlizzardWhether you’re running a new build, trying out a new class, or returning to Diablo IV after an extended break,Whatever the case, learning how to level up fast in Diablo IV should help you check out everything new this season, along with hitting endgame so that your friends don’t cruelly make fun of you! - Brandon Morgan Read MorePrevious SlideNext SlideList slidesThe 5 Strongest Non-Ex Pokémon To Use In Pokémon TCG PocketImage: The Pokémon CompanyIt’s official: ex Pokémon no longer rule unchallenged Pokémon TCG Pocket. While these powerful cards are still prevalent in the competitive landscape, the rise of ex-specific counters have made many of these monsters risky to bring. It’s never been more vital to find strong Pokémon that are unburdened by the ex label, but who should you use? - Timothy Monbleau Read MorePrevious SlideNext SlideList slidesSome Of The Coolest Monster Hunter Wilds Armor Can Be Yours If You Collect Enough CoinsScreenshot: Capcom / Samuel Moreno / KotakuIt goes without saying that Monster Hunter Wilds has a lot of equipment materials to keep track of. The Title 1 Update increased the amount with the likes of Mizutsune parts and the somewhat obscurely named Pinnacle Coins. While it’s easy to know what the monster parts can be used for, the same can’t be said for a coin. Making things more complicated is that the related equipment isn’t unlocked all at once. - Samuel Moreno Read More
    #this #week039s #tips #helldivers #monster
    This Week's Tips For Helldivers 2, Monster Hunter Wilds, Oblivion Remastered, And More
    Start SlideshowStart SlideshowImage: The Pokémon Company, Arrowhead Game Studios, Blizzard, The Pokémon Company, Screenshot: Capcom / Samuel Moreno / Kotaku, Bethesda / Brandon Morgan / Kotaku, Nintendo, Bethesda / Brandon Morgan / Kotaku, Capcom / Samuel Moreno / KotakuYou know what we all need sometimes? A little advice. How do I plan for a future that’s so uncertain? Will AI take my job? If I go back to school and use AI to cheat, will I graduate and work for an AI boss? We can’t help you with any of that. But what we can do is provide some tips for Helldivers 2, Monster Hunter Wilds, Oblivion Remastered, and other great games. So, read on for that stuff, and maybe ask ChatGPT about those other things.Previous SlideNext SlideList slidesDon’t Rely On Ex Pokémon In Pokémon TCG Pocket AnymoreImage: The Pokémon CompanyDuring the initial months of Pokémon TCG Pocket, ex monsters dominated the competitive landscape. These monsters arestronger than their non-ex counterparts, and they can come with game-changing abilities that determine how your entire deck plays. In the past, players could create frustratingly fearsome decks consisting of two ex Pokémon supported by trainer and item cards. However, unless you pair together very specific ex Pokémon, you’ll now find yourself losing nearly every game you play. - Timothy Monbleau Read MorePrevious SlideNext SlideList slidesPlease, For The Love Of God, Defeat All Illuminate Stingrays In Helldivers 2Image: Arrowhead Game StudiosYou know what? Screw the Illuminate. I played round after round trying to get the Stingrays, also known as an Interloper, to spawn at least once, and those damn Overseers and Harvesters kept walking up and rocking me. In the end, I was victorious. A Stingray approached the airspace with reckless abandon, swooping in with practiced ease as it unloaded a barrage of molten death beams upon my head, and you know what happened? I died. A few times. But eventually, I managed to pop a shot off and I quickly discovered how to defeat Illuminate Stingrays in Helldivers 2. - Brandon Morgan Read MorePrevious SlideNext SlideList slidesDefeating Monster Hunter Wilds’ Demi Elder Dragon Might Be The Game’s Hardest Challenge So FarScreenshot: Capcom / Samuel Moreno / KotakuAlthough Zoh Shia is the thematic boss of Monster Hunter Wilds, other beasts can put up a tougher fight. Gore Magalaare easily in contention for being the most deadly enemies in the game. Not much is more threatening than their high mobility, powerful attacks, and unique Frenzy ailment that forms the basis for your Corrupted Mantle. - Samuel Moreno Read MorePrevious SlideNext SlideList slidesDon’t Forget To Play ‘The Shivering Isles’ Expansion In Oblivion RemasteredScreenshot: Bethesda / Brandon Morgan / KotakuWhether you’ve played the original Oblivion or not, chances are you’ve heard tales of the oddities awaiting you in the Shivering Isles. This expansion—the largest one for the open-world RPG—features a land of madness under the unyielding control of Sheogorath. It’s a beautiful world, yet so immensely wrong. But that’s why this DLC is one of the best in the franchise, so no matter how many hours you may have already put into the main story and the main world, you don’t want to miss this expansion. - Brandon Morgan Read MorePrevious SlideNext SlideList slidesHow Long Of A Ride Is Mario Kart World?Screenshot: NintendoThe Mario Kart franchise has been entertaining us all for decades—even with sibling fights and fits of rage over losing a race from a blue shell at the last second—but Mario Kart World is the first game to go open world. There hasn’t been a truly new entry in the series since 2014's Mario Kart 8, so being stoked to dive into this exciting adventure is perfectly reasonable. Equally reasonable, especially given the game’s controversial price tag, is to wonder how long it’ll take to beat and what type of replayability it offers. Let’s talk about it. - Billy Givens Read MorePrevious SlideNext SlideList slidesMario Kart World Players Are Exploiting Free Roam To Quickly Farm CoinsGif: Nintendo / FannaWuck / KotakuMario Kart World is full of cool stunts and lots of things to unlock, like new characters, costumes, and vehicles. The last of those requires accumulating a certain number of coins during your time with the Switch 2 exclusive, and while you could do that the normal way by just playing tons of races, you can also use the latest entry’s open world to farm coins faster or even while being completely AFK. - Ethan Gach Read MorePrevious SlideNext SlideList slidesOblivion Remastered’s Best Side Quest Is A World Within A WorldScreenshot: Bethesda / Brandon Morgan / KotakuIt’s been a long time since I kept a spreadsheet for a video game, or even notes beyond what I need for work. I had one for the original Oblivion run back in my school days. Back then, I knew where to find every side quest in the game. There were over 250. Still are, but now they’re enhanced, beautified for the modern gamer. One side quest retains its crown as the best, despite the game’s age. “A Brush With Death” is Oblivion Remastered’s best side quest by far, and here’s how to find and beat it! - Brandon Morgan Read MorePrevious SlideNext SlideList slidesDiablo IV: How To Power Level Your Way To Season 8's EndgameImage: BlizzardWhether you’re running a new build, trying out a new class, or returning to Diablo IV after an extended break,Whatever the case, learning how to level up fast in Diablo IV should help you check out everything new this season, along with hitting endgame so that your friends don’t cruelly make fun of you! - Brandon Morgan Read MorePrevious SlideNext SlideList slidesThe 5 Strongest Non-Ex Pokémon To Use In Pokémon TCG PocketImage: The Pokémon CompanyIt’s official: ex Pokémon no longer rule unchallenged Pokémon TCG Pocket. While these powerful cards are still prevalent in the competitive landscape, the rise of ex-specific counters have made many of these monsters risky to bring. It’s never been more vital to find strong Pokémon that are unburdened by the ex label, but who should you use? - Timothy Monbleau Read MorePrevious SlideNext SlideList slidesSome Of The Coolest Monster Hunter Wilds Armor Can Be Yours If You Collect Enough CoinsScreenshot: Capcom / Samuel Moreno / KotakuIt goes without saying that Monster Hunter Wilds has a lot of equipment materials to keep track of. The Title 1 Update increased the amount with the likes of Mizutsune parts and the somewhat obscurely named Pinnacle Coins. While it’s easy to know what the monster parts can be used for, the same can’t be said for a coin. Making things more complicated is that the related equipment isn’t unlocked all at once. - Samuel Moreno Read More #this #week039s #tips #helldivers #monster
    KOTAKU.COM
    This Week's Tips For Helldivers 2, Monster Hunter Wilds, Oblivion Remastered, And More
    Start SlideshowStart SlideshowImage: The Pokémon Company, Arrowhead Game Studios, Blizzard, The Pokémon Company, Screenshot: Capcom / Samuel Moreno / Kotaku, Bethesda / Brandon Morgan / Kotaku, Nintendo, Bethesda / Brandon Morgan / Kotaku, Capcom / Samuel Moreno / KotakuYou know what we all need sometimes? A little advice. How do I plan for a future that’s so uncertain? Will AI take my job? If I go back to school and use AI to cheat, will I graduate and work for an AI boss? We can’t help you with any of that. But what we can do is provide some tips for Helldivers 2, Monster Hunter Wilds, Oblivion Remastered, and other great games. So, read on for that stuff, and maybe ask ChatGPT about those other things.Previous SlideNext SlideList slidesDon’t Rely On Ex Pokémon In Pokémon TCG Pocket AnymoreImage: The Pokémon CompanyDuring the initial months of Pokémon TCG Pocket, ex monsters dominated the competitive landscape. These monsters are (usually) stronger than their non-ex counterparts, and they can come with game-changing abilities that determine how your entire deck plays. In the past, players could create frustratingly fearsome decks consisting of two ex Pokémon supported by trainer and item cards. However, unless you pair together very specific ex Pokémon, you’ll now find yourself losing nearly every game you play. - Timothy Monbleau Read MorePrevious SlideNext SlideList slidesPlease, For The Love Of God, Defeat All Illuminate Stingrays In Helldivers 2Image: Arrowhead Game StudiosYou know what? Screw the Illuminate. I played round after round trying to get the Stingrays, also known as an Interloper, to spawn at least once, and those damn Overseers and Harvesters kept walking up and rocking me. In the end, I was victorious. A Stingray approached the airspace with reckless abandon, swooping in with practiced ease as it unloaded a barrage of molten death beams upon my head, and you know what happened? I died. A few times. But eventually, I managed to pop a shot off and I quickly discovered how to defeat Illuminate Stingrays in Helldivers 2. - Brandon Morgan Read MorePrevious SlideNext SlideList slidesDefeating Monster Hunter Wilds’ Demi Elder Dragon Might Be The Game’s Hardest Challenge So FarScreenshot: Capcom / Samuel Moreno / KotakuAlthough Zoh Shia is the thematic boss of Monster Hunter Wilds, other beasts can put up a tougher fight. Gore Magala (and especially its Tempered version) are easily in contention for being the most deadly enemies in the game. Not much is more threatening than their high mobility, powerful attacks, and unique Frenzy ailment that forms the basis for your Corrupted Mantle. - Samuel Moreno Read MorePrevious SlideNext SlideList slidesDon’t Forget To Play ‘The Shivering Isles’ Expansion In Oblivion RemasteredScreenshot: Bethesda / Brandon Morgan / KotakuWhether you’ve played the original Oblivion or not, chances are you’ve heard tales of the oddities awaiting you in the Shivering Isles. This expansion—the largest one for the open-world RPG—features a land of madness under the unyielding control of Sheogorath. It’s a beautiful world, yet so immensely wrong. But that’s why this DLC is one of the best in the franchise, so no matter how many hours you may have already put into the main story and the main world, you don’t want to miss this expansion. - Brandon Morgan Read MorePrevious SlideNext SlideList slidesHow Long Of A Ride Is Mario Kart World?Screenshot: NintendoThe Mario Kart franchise has been entertaining us all for decades—even with sibling fights and fits of rage over losing a race from a blue shell at the last second—but Mario Kart World is the first game to go open world. There hasn’t been a truly new entry in the series since 2014's Mario Kart 8, so being stoked to dive into this exciting adventure is perfectly reasonable. Equally reasonable, especially given the game’s controversial price tag, is to wonder how long it’ll take to beat and what type of replayability it offers. Let’s talk about it. - Billy Givens Read MorePrevious SlideNext SlideList slidesMario Kart World Players Are Exploiting Free Roam To Quickly Farm CoinsGif: Nintendo / FannaWuck / KotakuMario Kart World is full of cool stunts and lots of things to unlock, like new characters, costumes, and vehicles. The last of those requires accumulating a certain number of coins during your time with the Switch 2 exclusive, and while you could do that the normal way by just playing tons of races, you can also use the latest entry’s open world to farm coins faster or even while being completely AFK. - Ethan Gach Read MorePrevious SlideNext SlideList slidesOblivion Remastered’s Best Side Quest Is A World Within A WorldScreenshot: Bethesda / Brandon Morgan / KotakuIt’s been a long time since I kept a spreadsheet for a video game, or even notes beyond what I need for work. I had one for the original Oblivion run back in my school days. Back then, I knew where to find every side quest in the game. There were over 250. Still are, but now they’re enhanced, beautified for the modern gamer. One side quest retains its crown as the best, despite the game’s age. “A Brush With Death” is Oblivion Remastered’s best side quest by far, and here’s how to find and beat it! - Brandon Morgan Read MorePrevious SlideNext SlideList slidesDiablo IV: How To Power Level Your Way To Season 8's EndgameImage: BlizzardWhether you’re running a new build, trying out a new class, or returning to Diablo IV after an extended break, (a break in which you were likely playing Path of Exile 2, right? I know I wasn’t alone in farming Exalted Orbs!) Whatever the case, learning how to level up fast in Diablo IV should help you check out everything new this season, along with hitting endgame so that your friends don’t cruelly make fun of you! - Brandon Morgan Read MorePrevious SlideNext SlideList slidesThe 5 Strongest Non-Ex Pokémon To Use In Pokémon TCG PocketImage: The Pokémon CompanyIt’s official: ex Pokémon no longer rule unchallenged Pokémon TCG Pocket. While these powerful cards are still prevalent in the competitive landscape, the rise of ex-specific counters have made many of these monsters risky to bring. It’s never been more vital to find strong Pokémon that are unburdened by the ex label, but who should you use? - Timothy Monbleau Read MorePrevious SlideNext SlideList slidesSome Of The Coolest Monster Hunter Wilds Armor Can Be Yours If You Collect Enough CoinsScreenshot: Capcom / Samuel Moreno / KotakuIt goes without saying that Monster Hunter Wilds has a lot of equipment materials to keep track of. The Title 1 Update increased the amount with the likes of Mizutsune parts and the somewhat obscurely named Pinnacle Coins. While it’s easy to know what the monster parts can be used for, the same can’t be said for a coin. Making things more complicated is that the related equipment isn’t unlocked all at once. - Samuel Moreno Read More
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  • Inside the Palazzo Durini Caproni di Taleido, Where the Past and Present Clash Harmoniously

    The 17th-century frescoes and antique mirrors should immediately tip visitors off: This showroom has something it needs to say. Palazzo Durini Caproni di Taliedo is a historic building in Milan, designed and built in the mid-1600s by Baroque architect Francesco Maria Richini. Among many other monumental works and churches, he also designed Milan’s Palazzo di Brera, which currently includes the Pinacoteca di Brera museum. The Palazzo Durini Caproni di Taliedo was commissioned by the heir to the Durinis, a wealthy merchant family.Today the palazzo is furniture showroom as palimpsest. Since 2021, Edra has exhibited collaborations with supremely contemporary designers, including the Campana brothers, Jacopo Foggini, and Francesco Binfaré, amid the restored Baroque grandeur.Courtesy Edra.Palazzo Durini in the 1920s, when the famed Italian aircraft designer and aeronautical engineer Giovanni Battista Caproni used it as an office.Walking through the rooms, one might imagine the visitors who could have lounged on an Edra “On the Rocks” sofa at one time or another in the history of this place: Giovanni Battista Caproni, the Italian count and aeronautical engineer who lived and worked in the building for more than 40 years? Soccer sensation Ronaldo, who caused a near riot when he visited the palazzo during its Inter Football Club era, when the sports association’s offices were located here? Or could it be iconic designer Gio Ponti, who is said to have drawn that gilded Art Deco bathroom with green terrazzo floors in the back?One palazzo, so many lives. Top Image: Palazzo Durini now, in its Edra showroom era. The frescoes may be 17th-century, but the furniture is the 2021 A’mare collection by Jacopo Foggini.This story originally appeared in the Summer 2025 issue of Elle Decor. SUBSCRIBEStellene VolandesEditor In ChiefEditor-in-Chief Stellene Volandes is a jewelry expert, and the author of Jeweler: Masters and Mavericks of Modern Design.
    #inside #palazzo #durini #caproni #taleido
    Inside the Palazzo Durini Caproni di Taleido, Where the Past and Present Clash Harmoniously
    The 17th-century frescoes and antique mirrors should immediately tip visitors off: This showroom has something it needs to say. Palazzo Durini Caproni di Taliedo is a historic building in Milan, designed and built in the mid-1600s by Baroque architect Francesco Maria Richini. Among many other monumental works and churches, he also designed Milan’s Palazzo di Brera, which currently includes the Pinacoteca di Brera museum. The Palazzo Durini Caproni di Taliedo was commissioned by the heir to the Durinis, a wealthy merchant family.Today the palazzo is furniture showroom as palimpsest. Since 2021, Edra has exhibited collaborations with supremely contemporary designers, including the Campana brothers, Jacopo Foggini, and Francesco Binfaré, amid the restored Baroque grandeur.Courtesy Edra.Palazzo Durini in the 1920s, when the famed Italian aircraft designer and aeronautical engineer Giovanni Battista Caproni used it as an office.Walking through the rooms, one might imagine the visitors who could have lounged on an Edra “On the Rocks” sofa at one time or another in the history of this place: Giovanni Battista Caproni, the Italian count and aeronautical engineer who lived and worked in the building for more than 40 years? Soccer sensation Ronaldo, who caused a near riot when he visited the palazzo during its Inter Football Club era, when the sports association’s offices were located here? Or could it be iconic designer Gio Ponti, who is said to have drawn that gilded Art Deco bathroom with green terrazzo floors in the back?One palazzo, so many lives. ◾Top Image: Palazzo Durini now, in its Edra showroom era. The frescoes may be 17th-century, but the furniture is the 2021 A’mare collection by Jacopo Foggini.This story originally appeared in the Summer 2025 issue of Elle Decor. SUBSCRIBEStellene VolandesEditor In ChiefEditor-in-Chief Stellene Volandes is a jewelry expert, and the author of Jeweler: Masters and Mavericks of Modern Design. #inside #palazzo #durini #caproni #taleido
    WWW.ELLEDECOR.COM
    Inside the Palazzo Durini Caproni di Taleido, Where the Past and Present Clash Harmoniously
    The 17th-century frescoes and antique mirrors should immediately tip visitors off: This showroom has something it needs to say. Palazzo Durini Caproni di Taliedo is a historic building in Milan, designed and built in the mid-1600s by Baroque architect Francesco Maria Richini. Among many other monumental works and churches, he also designed Milan’s Palazzo di Brera, which currently includes the Pinacoteca di Brera museum. The Palazzo Durini Caproni di Taliedo was commissioned by the heir to the Durinis, a wealthy merchant family.Today the palazzo is furniture showroom as palimpsest. Since 2021, Edra has exhibited collaborations with supremely contemporary designers, including the Campana brothers, Jacopo Foggini, and Francesco Binfaré, amid the restored Baroque grandeur.Courtesy Edra.Palazzo Durini in the 1920s, when the famed Italian aircraft designer and aeronautical engineer Giovanni Battista Caproni used it as an office.Walking through the rooms, one might imagine the visitors who could have lounged on an Edra “On the Rocks” sofa at one time or another in the history of this place: Giovanni Battista Caproni, the Italian count and aeronautical engineer who lived and worked in the building for more than 40 years? Soccer sensation Ronaldo, who caused a near riot when he visited the palazzo during its Inter Football Club era, when the sports association’s offices were located here? Or could it be iconic designer Gio Ponti, who is said to have drawn that gilded Art Deco bathroom with green terrazzo floors in the back?One palazzo, so many lives. ◾Top Image: Palazzo Durini now, in its Edra showroom era. The frescoes may be 17th-century, but the furniture is the 2021 A’mare collection by Jacopo Foggini.This story originally appeared in the Summer 2025 issue of Elle Decor. SUBSCRIBEStellene VolandesEditor In ChiefEditor-in-Chief Stellene Volandes is a jewelry expert, and the author of Jeweler: Masters and Mavericks of Modern Design (Rizzoli).
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  • Patch Notes #9: Xbox debuts its first handhelds, Hong Kong authorities ban a video game, and big hopes for Big Walk

    We did it gang. We completed another week in the impossible survival sim that is real life. Give yourself a appreciative pat on the back and gaze wistfully towards whatever adventures or blissful respite the weekend might bring.This week I've mostly been recovering from my birthday celebrations, which entailed a bountiful Korean Barbecue that left me with a rampant case of the meat sweats and a pub crawl around one of Manchester's finest suburbs. There was no time for video games, but that's not always a bad thing. Distance makes the heart grow fonder, after all.I was welcomed back to the imaginary office with a news bludgeon to the face. The headlines this week have come thick and fast, bringing hardware announcements, more layoffs, and some notable sales milestones. As always, there's a lot to digest, so let's venture once more into the fray. The first Xbox handhelds have finally arrivedvia Game Developer // Microsoft finally stopped flirting with the idea of launching a handheld this week and unveiled not one, but two devices called the ROG Xbox Ally and ROG Xbox Ally X. The former is pitched towards casual players, while the latter aims to entice hardcore video game aficionados. Both devices were designed in collaboration with Asus and will presumably retail at price points that reflect their respective innards. We don't actually know yet, mind, because Microsoft didn't actually state how much they'll cost. You have the feel that's where the company really needs to stick the landing here.Related:Switch 2 tops 3.5 million sales to deliver Nintendo's biggest console launchvia Game Developer // Four days. That's all it took for the Switch 2 to shift over 3.5 million units worldwide to deliver Nintendo's biggest console launch ever. The original Switch needed a month to reach 2.74 million sales by contrast, while the PS5 needed two months to sell 4.5 million units worldwide. Xbox sales remain a mystery because Microsoft just doesn't talk about that sort of thing anymore, which is decidedly frustrating for those oddballswho actually enjoy sifting through financial documents in search of those juicy juicy numbers.Inside the ‘Dragon Age’ Debacle That Gutted EA’s BioWare Studiovia Bloomberg// How do you kill a franchise like Dragon Age and leave a studio with the pedigree of BioWare in turmoil? According to a new report from Bloomberg, the answer will likely resonate with developers across the industry: corporate meddling. Sources speaking to the publication explained how Dragon Age: The Veilguard, which failed to meet the expectations of parent company EA, was in constant disarray because the American publisher couldn't decide whether it should be a live-service or single player title. Indecision from leadership within EA and an eventual pivot away from the live-service model only caused more confusion, with BioWare being told to implement foundational changes within impossible timelines. It's a story that's all the more alarming because of how familiar it feels.Related:Sony is making layoffs at Days Gone developer Bend Studiovia Game Developer // Sony has continued its Tony Award-winning tun as the Grim Reaper by cutting even more jobs within PlayStation Studios. Days Gone developer Bend Studio was the latest casualty, with the first-party developer confirming a number of employees were laid off just months after the cancellation of a live-service project. Sony didn't confirm how many people lost their jobs, but Bloomberg reporter Jason Schreier heard that around 40 peoplewere let go. Embracer CEO Lars Wingefors to become executive chair and focus on M&Avia Game Developer // Somewhere, in a deep dark corner of the world, the monkey's paw has curled. Embracer CEO Lars Wingefors, who demonstrated his leadership nous by spending years embarking on a colossal merger and acquisition spree only to immediately start downsizing, has announced he'll be stepping down as CEO. The catch? Wingefors is currently proposed to be appointed executive chair of the board of Embracer. In his new role, he'll apparently focus on strategic initiatives, capital allocation, and mergers and acquisitions. And people wonder why satire is dead. Related:Hong Kong Outlaws a Video Game, Saying It Promotes 'Armed Revolution'via The New York Times// National security police in Hong Kong have banned a Taiwanese video game called Reversed Front: Bonfire for supposedly "advocating armed revolution." Authorities in the region warned that anybody who downloads or recommends the online strategy title will face serious legal charges. The game has been pulled from Apple's marketplace in Hong Kong but is still available for download elsewhere. It was never available in mainland China. Developer ESC Taiwan, part of an group of volunteers who are vocal detractors of China's Communist Party, thanked Hong Kong authorities for the free publicity in a social media post and said the ban shows how political censorship remains prominent in the territory. RuneScape developer accused of ‘catering to American conservatism’ by rolling back Pride Month eventsvia PinkNews // Runescape developers inside Jagex have reportedly been left reeling after the studio decided to pivot away from Pride Month content to focus more on "what players wanted." Jagex CEO broke the news to staff with a post on an internal message board, prompting a rush of complaints—with many workers explaining the content was either already complete or easy to implement. Though Jagex is based in the UK, it's parent company CVC Capital Partners operates multiple companies in the United States. It's a situation that left one employee who spoke to PinkNews questioning whether the studio has caved to "American conservatism." SAG-AFTRA suspends strike and instructs union members to return to workvia Game Developer // It has taken almost a year, but performer union SAG-AFTRA has finally suspended strike action and instructed members to return to work. The decision comes after protracted negotiations with major studios who employ performers under the Interactive Media Agreement. SAG-AFTRA had been striking to secure better working conditions and AI protections for its members, and feels it has now secured a deal that will install vital "AI guardrails."A Switch 2 exclusive Splatoon spinoff was just shadow-announced on Nintendo Todayvia Game Developer // Nintendo did something peculiar this week when it unveiled a Splatoon spinoff out of the blue. That in itself might not sound too strange, but for a short window the announcement was only accessible via the company's new Nintendo Today mobile app. It's a situation that left people without access to the app questioning whether the news was even real. Nintendo Today prevented users from capturing screenshots or footage, only adding to the sense of confusion. It led to this reporter branding the move a "shadow announcement," which in turn left some of our readers perplexed. Can you ever announce and announcement? What does that term even mean? Food for thought. A wonderful new Big Walk trailer melted this reporter's heartvia House House//  The mad lads behind Untitled Goose Game are back with a new jaunt called Big Walk. This one has been on my radar for a while, but the studio finally debuted a gameplay overview during Summer Game Fest and it looks extraordinary in its purity. It's about walking and talking—and therein lies the charm. Players are forced to cooperate to navigate a lush open world, solve puzzles, and embark upon hijinks. Proximity-based communication is the core mechanic in Big Walk—whether that takes the form of voice chat, written text, hand signals, blazing flares, or pictograms—and it looks like it'll lead to all sorts of weird and wonderful antics. It's a pitch that cuts through because it's so unashamedly different, and there's a lot to love about that. I'm looking forward to this one.
    #patch #notes #xbox #debuts #its
    Patch Notes #9: Xbox debuts its first handhelds, Hong Kong authorities ban a video game, and big hopes for Big Walk
    We did it gang. We completed another week in the impossible survival sim that is real life. Give yourself a appreciative pat on the back and gaze wistfully towards whatever adventures or blissful respite the weekend might bring.This week I've mostly been recovering from my birthday celebrations, which entailed a bountiful Korean Barbecue that left me with a rampant case of the meat sweats and a pub crawl around one of Manchester's finest suburbs. There was no time for video games, but that's not always a bad thing. Distance makes the heart grow fonder, after all.I was welcomed back to the imaginary office with a news bludgeon to the face. The headlines this week have come thick and fast, bringing hardware announcements, more layoffs, and some notable sales milestones. As always, there's a lot to digest, so let's venture once more into the fray. The first Xbox handhelds have finally arrivedvia Game Developer // Microsoft finally stopped flirting with the idea of launching a handheld this week and unveiled not one, but two devices called the ROG Xbox Ally and ROG Xbox Ally X. The former is pitched towards casual players, while the latter aims to entice hardcore video game aficionados. Both devices were designed in collaboration with Asus and will presumably retail at price points that reflect their respective innards. We don't actually know yet, mind, because Microsoft didn't actually state how much they'll cost. You have the feel that's where the company really needs to stick the landing here.Related:Switch 2 tops 3.5 million sales to deliver Nintendo's biggest console launchvia Game Developer // Four days. That's all it took for the Switch 2 to shift over 3.5 million units worldwide to deliver Nintendo's biggest console launch ever. The original Switch needed a month to reach 2.74 million sales by contrast, while the PS5 needed two months to sell 4.5 million units worldwide. Xbox sales remain a mystery because Microsoft just doesn't talk about that sort of thing anymore, which is decidedly frustrating for those oddballswho actually enjoy sifting through financial documents in search of those juicy juicy numbers.Inside the ‘Dragon Age’ Debacle That Gutted EA’s BioWare Studiovia Bloomberg// How do you kill a franchise like Dragon Age and leave a studio with the pedigree of BioWare in turmoil? According to a new report from Bloomberg, the answer will likely resonate with developers across the industry: corporate meddling. Sources speaking to the publication explained how Dragon Age: The Veilguard, which failed to meet the expectations of parent company EA, was in constant disarray because the American publisher couldn't decide whether it should be a live-service or single player title. Indecision from leadership within EA and an eventual pivot away from the live-service model only caused more confusion, with BioWare being told to implement foundational changes within impossible timelines. It's a story that's all the more alarming because of how familiar it feels.Related:Sony is making layoffs at Days Gone developer Bend Studiovia Game Developer // Sony has continued its Tony Award-winning tun as the Grim Reaper by cutting even more jobs within PlayStation Studios. Days Gone developer Bend Studio was the latest casualty, with the first-party developer confirming a number of employees were laid off just months after the cancellation of a live-service project. Sony didn't confirm how many people lost their jobs, but Bloomberg reporter Jason Schreier heard that around 40 peoplewere let go. Embracer CEO Lars Wingefors to become executive chair and focus on M&Avia Game Developer // Somewhere, in a deep dark corner of the world, the monkey's paw has curled. Embracer CEO Lars Wingefors, who demonstrated his leadership nous by spending years embarking on a colossal merger and acquisition spree only to immediately start downsizing, has announced he'll be stepping down as CEO. The catch? Wingefors is currently proposed to be appointed executive chair of the board of Embracer. In his new role, he'll apparently focus on strategic initiatives, capital allocation, and mergers and acquisitions. And people wonder why satire is dead. Related:Hong Kong Outlaws a Video Game, Saying It Promotes 'Armed Revolution'via The New York Times// National security police in Hong Kong have banned a Taiwanese video game called Reversed Front: Bonfire for supposedly "advocating armed revolution." Authorities in the region warned that anybody who downloads or recommends the online strategy title will face serious legal charges. The game has been pulled from Apple's marketplace in Hong Kong but is still available for download elsewhere. It was never available in mainland China. Developer ESC Taiwan, part of an group of volunteers who are vocal detractors of China's Communist Party, thanked Hong Kong authorities for the free publicity in a social media post and said the ban shows how political censorship remains prominent in the territory. RuneScape developer accused of ‘catering to American conservatism’ by rolling back Pride Month eventsvia PinkNews // Runescape developers inside Jagex have reportedly been left reeling after the studio decided to pivot away from Pride Month content to focus more on "what players wanted." Jagex CEO broke the news to staff with a post on an internal message board, prompting a rush of complaints—with many workers explaining the content was either already complete or easy to implement. Though Jagex is based in the UK, it's parent company CVC Capital Partners operates multiple companies in the United States. It's a situation that left one employee who spoke to PinkNews questioning whether the studio has caved to "American conservatism." SAG-AFTRA suspends strike and instructs union members to return to workvia Game Developer // It has taken almost a year, but performer union SAG-AFTRA has finally suspended strike action and instructed members to return to work. The decision comes after protracted negotiations with major studios who employ performers under the Interactive Media Agreement. SAG-AFTRA had been striking to secure better working conditions and AI protections for its members, and feels it has now secured a deal that will install vital "AI guardrails."A Switch 2 exclusive Splatoon spinoff was just shadow-announced on Nintendo Todayvia Game Developer // Nintendo did something peculiar this week when it unveiled a Splatoon spinoff out of the blue. That in itself might not sound too strange, but for a short window the announcement was only accessible via the company's new Nintendo Today mobile app. It's a situation that left people without access to the app questioning whether the news was even real. Nintendo Today prevented users from capturing screenshots or footage, only adding to the sense of confusion. It led to this reporter branding the move a "shadow announcement," which in turn left some of our readers perplexed. Can you ever announce and announcement? What does that term even mean? Food for thought. A wonderful new Big Walk trailer melted this reporter's heartvia House House//  The mad lads behind Untitled Goose Game are back with a new jaunt called Big Walk. This one has been on my radar for a while, but the studio finally debuted a gameplay overview during Summer Game Fest and it looks extraordinary in its purity. It's about walking and talking—and therein lies the charm. Players are forced to cooperate to navigate a lush open world, solve puzzles, and embark upon hijinks. Proximity-based communication is the core mechanic in Big Walk—whether that takes the form of voice chat, written text, hand signals, blazing flares, or pictograms—and it looks like it'll lead to all sorts of weird and wonderful antics. It's a pitch that cuts through because it's so unashamedly different, and there's a lot to love about that. I'm looking forward to this one. #patch #notes #xbox #debuts #its
    WWW.GAMEDEVELOPER.COM
    Patch Notes #9: Xbox debuts its first handhelds, Hong Kong authorities ban a video game, and big hopes for Big Walk
    We did it gang. We completed another week in the impossible survival sim that is real life. Give yourself a appreciative pat on the back and gaze wistfully towards whatever adventures or blissful respite the weekend might bring.This week I've mostly been recovering from my birthday celebrations, which entailed a bountiful Korean Barbecue that left me with a rampant case of the meat sweats and a pub crawl around one of Manchester's finest suburbs. There was no time for video games, but that's not always a bad thing. Distance makes the heart grow fonder, after all.I was welcomed back to the imaginary office with a news bludgeon to the face. The headlines this week have come thick and fast, bringing hardware announcements, more layoffs, and some notable sales milestones. As always, there's a lot to digest, so let's venture once more into the fray. The first Xbox handhelds have finally arrivedvia Game Developer // Microsoft finally stopped flirting with the idea of launching a handheld this week and unveiled not one, but two devices called the ROG Xbox Ally and ROG Xbox Ally X. The former is pitched towards casual players, while the latter aims to entice hardcore video game aficionados. Both devices were designed in collaboration with Asus and will presumably retail at price points that reflect their respective innards. We don't actually know yet, mind, because Microsoft didn't actually state how much they'll cost. You have the feel that's where the company really needs to stick the landing here.Related:Switch 2 tops 3.5 million sales to deliver Nintendo's biggest console launchvia Game Developer // Four days. That's all it took for the Switch 2 to shift over 3.5 million units worldwide to deliver Nintendo's biggest console launch ever. The original Switch needed a month to reach 2.74 million sales by contrast, while the PS5 needed two months to sell 4.5 million units worldwide. Xbox sales remain a mystery because Microsoft just doesn't talk about that sort of thing anymore, which is decidedly frustrating for those oddballs (read: this writer) who actually enjoy sifting through financial documents in search of those juicy juicy numbers.Inside the ‘Dragon Age’ Debacle That Gutted EA’s BioWare Studiovia Bloomberg (paywalled) // How do you kill a franchise like Dragon Age and leave a studio with the pedigree of BioWare in turmoil? According to a new report from Bloomberg, the answer will likely resonate with developers across the industry: corporate meddling. Sources speaking to the publication explained how Dragon Age: The Veilguard, which failed to meet the expectations of parent company EA, was in constant disarray because the American publisher couldn't decide whether it should be a live-service or single player title. Indecision from leadership within EA and an eventual pivot away from the live-service model only caused more confusion, with BioWare being told to implement foundational changes within impossible timelines. It's a story that's all the more alarming because of how familiar it feels.Related:Sony is making layoffs at Days Gone developer Bend Studiovia Game Developer // Sony has continued its Tony Award-winning tun as the Grim Reaper by cutting even more jobs within PlayStation Studios. Days Gone developer Bend Studio was the latest casualty, with the first-party developer confirming a number of employees were laid off just months after the cancellation of a live-service project. Sony didn't confirm how many people lost their jobs, but Bloomberg reporter Jason Schreier heard that around 40 people (roughly 30 percent of the studio's headcount) were let go. Embracer CEO Lars Wingefors to become executive chair and focus on M&Avia Game Developer // Somewhere, in a deep dark corner of the world, the monkey's paw has curled. Embracer CEO Lars Wingefors, who demonstrated his leadership nous by spending years embarking on a colossal merger and acquisition spree only to immediately start downsizing, has announced he'll be stepping down as CEO. The catch? Wingefors is currently proposed to be appointed executive chair of the board of Embracer. In his new role, he'll apparently focus on strategic initiatives, capital allocation, and mergers and acquisitions. And people wonder why satire is dead. Related:Hong Kong Outlaws a Video Game, Saying It Promotes 'Armed Revolution'via The New York Times (paywalled) // National security police in Hong Kong have banned a Taiwanese video game called Reversed Front: Bonfire for supposedly "advocating armed revolution." Authorities in the region warned that anybody who downloads or recommends the online strategy title will face serious legal charges. The game has been pulled from Apple's marketplace in Hong Kong but is still available for download elsewhere. It was never available in mainland China. Developer ESC Taiwan, part of an group of volunteers who are vocal detractors of China's Communist Party, thanked Hong Kong authorities for the free publicity in a social media post and said the ban shows how political censorship remains prominent in the territory. RuneScape developer accused of ‘catering to American conservatism’ by rolling back Pride Month eventsvia PinkNews // Runescape developers inside Jagex have reportedly been left reeling after the studio decided to pivot away from Pride Month content to focus more on "what players wanted." Jagex CEO broke the news to staff with a post on an internal message board, prompting a rush of complaints—with many workers explaining the content was either already complete or easy to implement. Though Jagex is based in the UK, it's parent company CVC Capital Partners operates multiple companies in the United States. It's a situation that left one employee who spoke to PinkNews questioning whether the studio has caved to "American conservatism." SAG-AFTRA suspends strike and instructs union members to return to workvia Game Developer // It has taken almost a year, but performer union SAG-AFTRA has finally suspended strike action and instructed members to return to work. The decision comes after protracted negotiations with major studios who employ performers under the Interactive Media Agreement. SAG-AFTRA had been striking to secure better working conditions and AI protections for its members, and feels it has now secured a deal that will install vital "AI guardrails."A Switch 2 exclusive Splatoon spinoff was just shadow-announced on Nintendo Todayvia Game Developer // Nintendo did something peculiar this week when it unveiled a Splatoon spinoff out of the blue. That in itself might not sound too strange, but for a short window the announcement was only accessible via the company's new Nintendo Today mobile app. It's a situation that left people without access to the app questioning whether the news was even real. Nintendo Today prevented users from capturing screenshots or footage, only adding to the sense of confusion. It led to this reporter branding the move a "shadow announcement," which in turn left some of our readers perplexed. Can you ever announce and announcement? What does that term even mean? Food for thought. A wonderful new Big Walk trailer melted this reporter's heartvia House House (YouTube) //  The mad lads behind Untitled Goose Game are back with a new jaunt called Big Walk. This one has been on my radar for a while, but the studio finally debuted a gameplay overview during Summer Game Fest and it looks extraordinary in its purity. It's about walking and talking—and therein lies the charm. Players are forced to cooperate to navigate a lush open world, solve puzzles, and embark upon hijinks. Proximity-based communication is the core mechanic in Big Walk—whether that takes the form of voice chat, written text, hand signals, blazing flares, or pictograms—and it looks like it'll lead to all sorts of weird and wonderful antics. It's a pitch that cuts through because it's so unashamedly different, and there's a lot to love about that. I'm looking forward to this one.
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  • Why Designers Get Stuck In The Details And How To Stop

    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 psychologyshows 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.
    Unexpected additional coststhat appear at this stage.
    Technical issues.

    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— 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 testsshowed 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, shared your insight, explained your solution, 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 daycompared to late in the daysimply 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 MechanicOnce 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 contextto get actionable feedback, not just vague opinions.
    4. Polish the VisualsI 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.
    #why #designers #get #stuck #details
    Why Designers Get Stuck In The Details And How To Stop
    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 psychologyshows 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. Unexpected additional coststhat appear at this stage. Technical issues. 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— 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 testsshowed 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, shared your insight, explained your solution, 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 daycompared to late in the daysimply 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 MechanicOnce 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 contextto get actionable feedback, not just vague opinions. 4. Polish the VisualsI 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. #why #designers #get #stuck #details
    SMASHINGMAGAZINE.COM
    Why Designers Get Stuck In The Details And How To Stop
    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.
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  • Dispatch offers something new for superhero video games — engaging deskwork

    While we’ve had plenty of superhero games come out over the past decade and a half, most have either been open-world adventures or fighting games. I’m as excited as anyone for the upcoming Marvel Tōkon and Invincible VS, but I’m also ready for a little something different. That’s where Dispatch from AdHoc Studio comes in.

    Dispatch is a game made for people who enjoy watching a rerun of The Office as a palate cleanser after the bloody battles of Invincible. So, me. You’re cast as Robert Robertson, the former superhero known as Mecha Man. He has to step away from frontline superheroics as the mech suit he relied on was destroyed in battle. Needing a job, he starts work at a dispatch center for superheroes, and the demo takes you through a small, 30-minute chunk of his first day.

    You’ll notice Dispatch’s crude humor early on. The first thing you can do in Dispatch is give a colleague a “bro fist” at a urinal, and the juvenile jokes don’t stop there. Middle school boys are going to love it, though I’d be lying if I said a few of the jokes didn’t get chuckles from me.

    Another of Robertson’s co-workers, who also used to be a superhero until his powers caused him to rapidly age, introduces Robertson’s team of misfit heroes, though that term should be used loosely. He notes they’re a “motley crew of dangerous fuck-ups” as Robertson examines their files, each with a mugshot and rapsheet. Robertson isn’t in charge of the Avengers — he’s leading a D-List Suicide Squad. The cast, however, is full of A-listers: Laura Bailey, Matthew Mercer, Aaron Paul, and Jeffrey Wright are among those lending their voices to Dispatch.

    Much like The Boys, Dispatch plays with the idea of the corporatization of superheroes. These heroes aren’t a lone Spider-Man swinging through Manhattan on patrol — they’re employees waiting for an assignment. Gameplay consists of matching the righthero to the job. Some assignments I saw in the demo included breaking up a robbery, catching a 12-year-old thief, and grabbing a kid’s balloon from a tree while also making sure the kid didn’t cry. Seeing as how one of your misfits is a literal bat man and another looks like a tiefling, you have to choose wisely.

    The real draw of Dispatch for me isn’t the point-and-click assignment gameplay, but rather the choice-based dialogue. It’s developed by AdHoc Studio, which was formed in 2018 by former developers who had worked on Telltale titles like The Wolf Among Us, The Walking Dead, and Tales from the Borderlands, and you can easily see the throughline from those titles to Dispatch. At various points, you have a limited time to select Robertson’s dialogue, and occasionally a pop-up saying a character “will remember that” appears. How much Robertson’s choices actually have consequences or influence his relationships with others remains to be seen, though I have no doubt those choices will be fun to make.

    After its reveal at The Game Awards six months ago, Dispatch will be coming to Windows PC and unspecified consoles sometime this year. You can check out its demo now on Steam.
    #dispatch #offers #something #new #superhero
    Dispatch offers something new for superhero video games — engaging deskwork
    While we’ve had plenty of superhero games come out over the past decade and a half, most have either been open-world adventures or fighting games. I’m as excited as anyone for the upcoming Marvel Tōkon and Invincible VS, but I’m also ready for a little something different. That’s where Dispatch from AdHoc Studio comes in. Dispatch is a game made for people who enjoy watching a rerun of The Office as a palate cleanser after the bloody battles of Invincible. So, me. You’re cast as Robert Robertson, the former superhero known as Mecha Man. He has to step away from frontline superheroics as the mech suit he relied on was destroyed in battle. Needing a job, he starts work at a dispatch center for superheroes, and the demo takes you through a small, 30-minute chunk of his first day. You’ll notice Dispatch’s crude humor early on. The first thing you can do in Dispatch is give a colleague a “bro fist” at a urinal, and the juvenile jokes don’t stop there. Middle school boys are going to love it, though I’d be lying if I said a few of the jokes didn’t get chuckles from me. Another of Robertson’s co-workers, who also used to be a superhero until his powers caused him to rapidly age, introduces Robertson’s team of misfit heroes, though that term should be used loosely. He notes they’re a “motley crew of dangerous fuck-ups” as Robertson examines their files, each with a mugshot and rapsheet. Robertson isn’t in charge of the Avengers — he’s leading a D-List Suicide Squad. The cast, however, is full of A-listers: Laura Bailey, Matthew Mercer, Aaron Paul, and Jeffrey Wright are among those lending their voices to Dispatch. Much like The Boys, Dispatch plays with the idea of the corporatization of superheroes. These heroes aren’t a lone Spider-Man swinging through Manhattan on patrol — they’re employees waiting for an assignment. Gameplay consists of matching the righthero to the job. Some assignments I saw in the demo included breaking up a robbery, catching a 12-year-old thief, and grabbing a kid’s balloon from a tree while also making sure the kid didn’t cry. Seeing as how one of your misfits is a literal bat man and another looks like a tiefling, you have to choose wisely. The real draw of Dispatch for me isn’t the point-and-click assignment gameplay, but rather the choice-based dialogue. It’s developed by AdHoc Studio, which was formed in 2018 by former developers who had worked on Telltale titles like The Wolf Among Us, The Walking Dead, and Tales from the Borderlands, and you can easily see the throughline from those titles to Dispatch. At various points, you have a limited time to select Robertson’s dialogue, and occasionally a pop-up saying a character “will remember that” appears. How much Robertson’s choices actually have consequences or influence his relationships with others remains to be seen, though I have no doubt those choices will be fun to make. After its reveal at The Game Awards six months ago, Dispatch will be coming to Windows PC and unspecified consoles sometime this year. You can check out its demo now on Steam. #dispatch #offers #something #new #superhero
    WWW.POLYGON.COM
    Dispatch offers something new for superhero video games — engaging deskwork
    While we’ve had plenty of superhero games come out over the past decade and a half (and I’m always down for more), most have either been open-world adventures or fighting games. I’m as excited as anyone for the upcoming Marvel Tōkon and Invincible VS, but I’m also ready for a little something different. That’s where Dispatch from AdHoc Studio comes in. Dispatch is a game made for people who enjoy watching a rerun of The Office as a palate cleanser after the bloody battles of Invincible. So, me. You’re cast as Robert Robertson, the former superhero known as Mecha Man. He has to step away from frontline superheroics as the mech suit he relied on was destroyed in battle. Needing a job, he starts work at a dispatch center for superheroes, and the demo takes you through a small, 30-minute chunk of his first day. You’ll notice Dispatch’s crude humor early on. The first thing you can do in Dispatch is give a colleague a “bro fist” at a urinal, and the juvenile jokes don’t stop there. Middle school boys are going to love it, though I’d be lying if I said a few of the jokes didn’t get chuckles from me. Another of Robertson’s co-workers, who also used to be a superhero until his powers caused him to rapidly age, introduces Robertson’s team of misfit heroes, though that term should be used loosely. He notes they’re a “motley crew of dangerous fuck-ups” as Robertson examines their files, each with a mugshot and rapsheet. Robertson isn’t in charge of the Avengers — he’s leading a D-List Suicide Squad. The cast, however, is full of A-listers: Laura Bailey, Matthew Mercer, Aaron Paul, and Jeffrey Wright are among those lending their voices to Dispatch. Much like The Boys, Dispatch plays with the idea of the corporatization of superheroes (though without the satire of and parallels to modern-day politics). These heroes aren’t a lone Spider-Man swinging through Manhattan on patrol — they’re employees waiting for an assignment. Gameplay consists of matching the right (or perhaps “good enough”) hero to the job. Some assignments I saw in the demo included breaking up a robbery, catching a 12-year-old thief, and grabbing a kid’s balloon from a tree while also making sure the kid didn’t cry. Seeing as how one of your misfits is a literal bat man and another looks like a tiefling, you have to choose wisely. The real draw of Dispatch for me isn’t the point-and-click assignment gameplay, but rather the choice-based dialogue. It’s developed by AdHoc Studio, which was formed in 2018 by former developers who had worked on Telltale titles like The Wolf Among Us, The Walking Dead, and Tales from the Borderlands, and you can easily see the throughline from those titles to Dispatch. At various points, you have a limited time to select Robertson’s dialogue, and occasionally a pop-up saying a character “will remember that” appears. How much Robertson’s choices actually have consequences or influence his relationships with others remains to be seen, though I have no doubt those choices will be fun to make. After its reveal at The Game Awards six months ago, Dispatch will be coming to Windows PC and unspecified consoles sometime this year. You can check out its demo now on Steam.
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