• How much does your road weigh?

    The ways roads are used, with ever larger and heavier vehicles, have dramatic consequences on the environment – and electric cars are not the answer
    Today, there is an average of 37 tonnes of road per inhabitant of the planet. The weight of the road network alone accounts for a third of all construction worldwide, and has grown exponentially in the 20th century. There is 10 times more bitumen, in mass, than there are living animals. Yet growth in the mass of roads does not automatically correspond to population growth, or translate into increased length of road networks. In wealthier countries, the number of metres of road per inhabitant has actually fallen over the last century. In the United States, for instance, between 1905 and 2015 the length of the network increased by a factor of 1.75 and the population by a factor of 3.8, compared with 21 for the mass of roads. Roads have become wider and, above all, much thicker. To understand the evolution of these parameters, and their environmental impact, it is helpful to trace the different stages in the life of the motorway. 
    Until the early 20th century, roads were used for various modes of transport, including horses, bicycles, pedestrians and trams; as a result of the construction of railways, road traffic even declined in some European countries in the 19th century. The main novelty brought by the motorway was that they would be reserved for motorised traffic. In several languages, the word itself – autostrada, autobahn, autoroute or motorway – speaks of this exclusivity. 
    Roman roads varied from simple corduroy roads, made by placing logs perpendicular to the direction of the road over a low or swampy area, to paved roads, as this engraving from Jean Rondelet’s 19th‑century Traité Théorique et Pratique de l’Art de Bâtir shows. Using deep roadbeds of tamped rubble as an underlying layer to ensure that they kept dry, major roads were often stone-paved, metalled, cambered for drainage and flanked by footpaths, bridleways and drainage ditches

    Like any major piece of infrastructure, motorways became the subject of ideological discourse, long before any shovel hit the ground; politicians underlined their role in the service of the nation, how they would contribute to progress, development, the economy, modernity and even civilisation. The inauguration ceremony for the construction of the first autostrada took place in March 1923, presided over by Italy’s prime minister Benito Mussolini. The second major motorway programme was announced by the Nazi government in 1933, with a national network planned to be around 7,000 kilometres long. In his 2017 book Driving Modernity: Technology, Experts, Politics, and Fascist Motorways, 1922–1943, historian Massimo Moraglio shows how both programmes were used as propaganda tools by the regimes, most notably at the international road congresses in Milan in 1926 and Munich in 1934. In the European postwar era, the notion of the ‘civilising’ effect of roads persevered. In 1962, Valéry Giscard d’Estaing, then‑secretary of state for finances and later president of France, argued that expanded motorways would bring ‘progress, activity and life’.
    This discourse soon butted up against the realities of how motorways affected individuals and communities. In his 2011 book Fighting Traffic: The Dawn of the Motor Age in the American City, Peter D Norton explores the history of resistance to the imposition of motorised traffic in North American cities. Until the 1920s, there was a perception that cars were dangerous newcomers, and that other street and road uses – especially walking – were more legitimate. Cars were associated with speed and danger; restrictions on motorists, especially speed limits, were routine. 
    Built between 1962 and 1970, the Westway was London’s first urban motorway, elevated above the city to use less land. Construction workers are seen stressing the longitudinal soffit cables inside the box section of the deck units to achieve the bearing capacity necessary to carry the weight of traffic
    Credit: Heritage Image Partnership Ltd / Alamy
    To gain domination over cities, motor vehicles had to win priority over other street uses. Rather than restricting the flow of vehicles to minimise the risk of road accidents, a specific infrastructure was dedicated to them: both inner‑city roads and motorways. Cutting through the landscape, the motorway had, by definition, to be inaccessible by any other means of transport than motorised vehicle. To guarantee the fluidity of traffic, the construction of imposing bridges, tunnels and interchanges is necessary, particularly at junctions with other roads, railways or canals. This prioritisation of one type of user inevitably impacts journeys for others; as space is fragmented, short journeys are lengthened for those trying to navigate space by foot or bicycle. 
    Enabling cars to drive at around 110–140km/h on motorways, as modern motorways do, directly impacts their design, with major environmental effects: the gradient has to be gentle, the curves longand the lanes wide, to allow vehicles to overtake each other safely. As much terrain around the world is not naturally suited to these requirements, the earthworks are considerable: in France, the construction of a metre of highway requires moving some 100m3 of earth, and when the soil is soft, full of clay or peat, it is made firmer with hydraulic lime and cement before the highway’s first sub‑layers are laid. This material cost reinforces the criticisms levelled in the 1960s, by the likes of Jane Jacobs and Lewis Mumford, at urban planning that prioritised the personal motor vehicle.
    When roads are widened to accommodate more traffic, buildings are sliced and demolished, as happened in Dhaka’s Bhasantek Road in 2021
    Credit: Dhaka Tribune
    Once built, the motorway is never inert. Motorway projects today generally anticipate future expansion, and include a large median strip of 12m between the lanes, with a view to adding new ones. Increases in speed and vehicle sizes have also translated into wider lanes, from 2.5m in 1945 to 3.5m today. The average contemporary motorway footprint is therefore 100 square metres per linear metre. Indeed, although the construction of a road is supposed to reduce congestion, it also generates new traffic and, therefore, new congestion. This is the principle of ‘induced traffic’: the provision of extra road capacity results in a greater volume of traffic.
    The Katy Freeway in Texas famously illustrates this dynamic. Built as a regular six‑lane highway in the 1960s, it was called the second worst bottleneck in the nation by 2004, wasting 25 million hours a year of commuter time. In 2011, the state of Texas invested USbillion to fix this problem, widening the road to a staggering total of 26 lanes. By 2014, the morning and afternoon traffic had both increased again. The vicious circle based on the induced traffic has been empirically demonstrated in most countries: traffic has continued to increase and congestion remains unresolved, leading to ever-increasing emissions. In the EU, transport is the only sector where greenhouse gas emissions have increased in the past three decades, rising 33.5 per cent between 1990 and 2019. Transport accounts for around a fifth of global CO₂ emissions today, with three quarters of this figure linked to road transport.
    Houston’s Katy Freeway is one of the world’s widest motorways, with 26 lanes. Its last expansion, in 2008, was initially hailed as a success, but within five years, peak travel times were longer than before the expansion – a direct illustration of the principle of induced traffic
    Credit: Smiley N Pool / Houston Chronicle / Getty
    Like other large transport infrastructures such as ports and airports, motorways are designed for the largest and heaviest vehicles. Engineers, road administrations and politicians have known since the 1950s that one truck represents millions of cars: the impact of a vehicle on the roadway is exponential to its weight – an online ‘road damage calculator’ allows you to compare the damage done by different types of vehicles to the road. Over the years, heavier and heavier trucks have been authorised to operate on roads: from 8‑tonne trucks in 1945 to 44 tonnes nowadays. The European Parliament adopted a revised directive on 12 March 2024 authorising mega‑trucks to travel on European roads; they can measure up to 25 metres and weigh up to 60 tonnes, compared with the previous limits of 18.75 metres and 44 tonnes. This is a political and economic choice with considerable material effects: thickness, rigidity of sub‑bases and consolidation of soil and subsoil with lime and cement. Altogether, motorways are 10 times thicker than large roads from the late 19th century. In France, it takes an average of 30 tonnes of sand and aggregate to build one linear metre of motorway, 100 times more than cement and bitumen. 
    The material history of road networks is a history of quarrying and environmental damage. The traces of roads can also be seen in rivers emptied of their sediment, the notches of quarries in the hills and the furrows of dredgers extracting sand from the seabed. This material extraction, arguably the most significant in human history, has dramatic ecological consequences for rivers, groundwater tables, the rise of sea levels and saltwater in farmlands, as well as biodiversity. As sand is ubiquitous and very cheap, the history of roads is also the history of a local extractivism and environmental conflicts around the world. 
    Shoving and rutting is the bulging and rippling of the pavement surface. Once built, roads require extensive maintenance – the heavier the vehicles, the quicker the damage. From pothole repair to the full resurfacing of a road, maintenance contributes to keeping road users safe
    Credit: Yakov Oskanov / Alamy
    Once roads are built and extended, they need to be maintained to support the circulation of lorries and, by extension, commodities. This stage is becoming increasingly important as rail freight, which used to be important in countries such as France and the UK, is declining, accounting for no more than 10 per cent of the transport of commodities. Engineers might judge that a motorway is destined to last 20 years or so, but this prognosis will be significantly reduced with heavy traffic. The same applies to the thousands of motorway bridges: in the UK, nearly half of the 9,000 highway bridges are in poor condition; in France, 7 per cent of the 12,000 bridges are in danger of collapsing, as did Genoa’s Morandi bridge in 2018. If only light vehicles drove on it, this infrastructure would last much longer.
    This puts into perspective governments’ insistence on ‘greening’ the transport sector by targeting CO2 emissions alone, typically by promoting the use of electric vehicles. Public policies prioritising EVs do nothing to change the mass of roads or the issue of their maintenance – even if lorries were to run on clean air, massive quarrying would still be necessary. A similar argument plays out with regard to canals and ports, which have been constantly widened and deepened for decades to accommodate ever-larger oil tankers or container ships. The simple operation of these infrastructures, dimensioned for the circulation of commodities and not humans, requires permanent dredging of large volumes. The environmental problem of large transport infrastructure goes beyond the type of energy used: it is, at its root, free and globalised trade.
    ‘The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing’
    As both a material and ideological object, the motorway fixes certain political choices in the landscape. Millions of kilometres of road continue to be asphalted, widened and thickened around the world to favour cars and lorries. In France, more than 80 per cent of today’s sand and aggregate extraction is used for civil engineering works – the rest goes to buildings. Even if no more buildings, roads or other infrastructures were to be built, phenomenal quantities of sand and aggregates would still need to be extracted in order to maintain existing road networks. The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing, adding new structures such as wildlife crossings, more maintaining. 
    Rising traffic levels are always deemed positive by governments for a country’s economy and development. As Christopher Wells shows in his 2014 book Car Country: An Environmental History, car use becomes necessary in an environment where everything has been planned for the car, from the location of public services and supermarkets to residential and office areas. Similarly, when an entire economy is based on globalised trade and just‑in‑time logistics, the lorry and the container ship become vital. 
    The final stage in the life of a piece of motorway infrastructure is dismantling. Like the other stages, this one is not a natural outcome but the fruit of political choices – which should be democratic – regarding how we wish to use existing roads. Dismantling, which is essential if we are to put an end to the global extractivism of sand and aggregates, does not mean destruction: if bicycles and pedestrians were to use them instead, maintenance would be minimal. This final stage requires a paradigm shift away from the eternal adaptation to increasing traffic. Replacing cars and lorries with public transport and rail freight would be a first step. But above all, a different political and spatial organisation of economic activities is necessary, and ultimately, an end to globalised, just-in-time trade and logistics.
    In 1978, a row of cars parked at a shopping centre in Connecticut was buried under a thick layer of gooey asphalt. The Ghost Parking Lot, one of the first projects by James Wines’ practice SITE, became a playground for skateboarders until it was removed in 2003. Images of this lumpy landscape serve as allegories of the damage caused by reliance on the automobile
    Credit: Project by SITE

    Lead image: Some road damage is beyond repair, as when a landslide caused a large chunk of the Gothenburg–Oslo motorway to collapse in 2023. Such dramatic events remind us of both the fragility of these seemingly robust infrastructures, and the damage that extensive construction does to the planet. Credit: Hanna Brunlöf Windell / TT / Shutterstock

    2025-06-03
    Reuben J Brown

    Share
    #how #much #does #your #road
    How much does your road weigh?
    The ways roads are used, with ever larger and heavier vehicles, have dramatic consequences on the environment – and electric cars are not the answer Today, there is an average of 37 tonnes of road per inhabitant of the planet. The weight of the road network alone accounts for a third of all construction worldwide, and has grown exponentially in the 20th century. There is 10 times more bitumen, in mass, than there are living animals. Yet growth in the mass of roads does not automatically correspond to population growth, or translate into increased length of road networks. In wealthier countries, the number of metres of road per inhabitant has actually fallen over the last century. In the United States, for instance, between 1905 and 2015 the length of the network increased by a factor of 1.75 and the population by a factor of 3.8, compared with 21 for the mass of roads. Roads have become wider and, above all, much thicker. To understand the evolution of these parameters, and their environmental impact, it is helpful to trace the different stages in the life of the motorway.  Until the early 20th century, roads were used for various modes of transport, including horses, bicycles, pedestrians and trams; as a result of the construction of railways, road traffic even declined in some European countries in the 19th century. The main novelty brought by the motorway was that they would be reserved for motorised traffic. In several languages, the word itself – autostrada, autobahn, autoroute or motorway – speaks of this exclusivity.  Roman roads varied from simple corduroy roads, made by placing logs perpendicular to the direction of the road over a low or swampy area, to paved roads, as this engraving from Jean Rondelet’s 19th‑century Traité Théorique et Pratique de l’Art de Bâtir shows. Using deep roadbeds of tamped rubble as an underlying layer to ensure that they kept dry, major roads were often stone-paved, metalled, cambered for drainage and flanked by footpaths, bridleways and drainage ditches Like any major piece of infrastructure, motorways became the subject of ideological discourse, long before any shovel hit the ground; politicians underlined their role in the service of the nation, how they would contribute to progress, development, the economy, modernity and even civilisation. The inauguration ceremony for the construction of the first autostrada took place in March 1923, presided over by Italy’s prime minister Benito Mussolini. The second major motorway programme was announced by the Nazi government in 1933, with a national network planned to be around 7,000 kilometres long. In his 2017 book Driving Modernity: Technology, Experts, Politics, and Fascist Motorways, 1922–1943, historian Massimo Moraglio shows how both programmes were used as propaganda tools by the regimes, most notably at the international road congresses in Milan in 1926 and Munich in 1934. In the European postwar era, the notion of the ‘civilising’ effect of roads persevered. In 1962, Valéry Giscard d’Estaing, then‑secretary of state for finances and later president of France, argued that expanded motorways would bring ‘progress, activity and life’. This discourse soon butted up against the realities of how motorways affected individuals and communities. In his 2011 book Fighting Traffic: The Dawn of the Motor Age in the American City, Peter D Norton explores the history of resistance to the imposition of motorised traffic in North American cities. Until the 1920s, there was a perception that cars were dangerous newcomers, and that other street and road uses – especially walking – were more legitimate. Cars were associated with speed and danger; restrictions on motorists, especially speed limits, were routine.  Built between 1962 and 1970, the Westway was London’s first urban motorway, elevated above the city to use less land. Construction workers are seen stressing the longitudinal soffit cables inside the box section of the deck units to achieve the bearing capacity necessary to carry the weight of traffic Credit: Heritage Image Partnership Ltd / Alamy To gain domination over cities, motor vehicles had to win priority over other street uses. Rather than restricting the flow of vehicles to minimise the risk of road accidents, a specific infrastructure was dedicated to them: both inner‑city roads and motorways. Cutting through the landscape, the motorway had, by definition, to be inaccessible by any other means of transport than motorised vehicle. To guarantee the fluidity of traffic, the construction of imposing bridges, tunnels and interchanges is necessary, particularly at junctions with other roads, railways or canals. This prioritisation of one type of user inevitably impacts journeys for others; as space is fragmented, short journeys are lengthened for those trying to navigate space by foot or bicycle.  Enabling cars to drive at around 110–140km/h on motorways, as modern motorways do, directly impacts their design, with major environmental effects: the gradient has to be gentle, the curves longand the lanes wide, to allow vehicles to overtake each other safely. As much terrain around the world is not naturally suited to these requirements, the earthworks are considerable: in France, the construction of a metre of highway requires moving some 100m3 of earth, and when the soil is soft, full of clay or peat, it is made firmer with hydraulic lime and cement before the highway’s first sub‑layers are laid. This material cost reinforces the criticisms levelled in the 1960s, by the likes of Jane Jacobs and Lewis Mumford, at urban planning that prioritised the personal motor vehicle. When roads are widened to accommodate more traffic, buildings are sliced and demolished, as happened in Dhaka’s Bhasantek Road in 2021 Credit: Dhaka Tribune Once built, the motorway is never inert. Motorway projects today generally anticipate future expansion, and include a large median strip of 12m between the lanes, with a view to adding new ones. Increases in speed and vehicle sizes have also translated into wider lanes, from 2.5m in 1945 to 3.5m today. The average contemporary motorway footprint is therefore 100 square metres per linear metre. Indeed, although the construction of a road is supposed to reduce congestion, it also generates new traffic and, therefore, new congestion. This is the principle of ‘induced traffic’: the provision of extra road capacity results in a greater volume of traffic. The Katy Freeway in Texas famously illustrates this dynamic. Built as a regular six‑lane highway in the 1960s, it was called the second worst bottleneck in the nation by 2004, wasting 25 million hours a year of commuter time. In 2011, the state of Texas invested USbillion to fix this problem, widening the road to a staggering total of 26 lanes. By 2014, the morning and afternoon traffic had both increased again. The vicious circle based on the induced traffic has been empirically demonstrated in most countries: traffic has continued to increase and congestion remains unresolved, leading to ever-increasing emissions. In the EU, transport is the only sector where greenhouse gas emissions have increased in the past three decades, rising 33.5 per cent between 1990 and 2019. Transport accounts for around a fifth of global CO₂ emissions today, with three quarters of this figure linked to road transport. Houston’s Katy Freeway is one of the world’s widest motorways, with 26 lanes. Its last expansion, in 2008, was initially hailed as a success, but within five years, peak travel times were longer than before the expansion – a direct illustration of the principle of induced traffic Credit: Smiley N Pool / Houston Chronicle / Getty Like other large transport infrastructures such as ports and airports, motorways are designed for the largest and heaviest vehicles. Engineers, road administrations and politicians have known since the 1950s that one truck represents millions of cars: the impact of a vehicle on the roadway is exponential to its weight – an online ‘road damage calculator’ allows you to compare the damage done by different types of vehicles to the road. Over the years, heavier and heavier trucks have been authorised to operate on roads: from 8‑tonne trucks in 1945 to 44 tonnes nowadays. The European Parliament adopted a revised directive on 12 March 2024 authorising mega‑trucks to travel on European roads; they can measure up to 25 metres and weigh up to 60 tonnes, compared with the previous limits of 18.75 metres and 44 tonnes. This is a political and economic choice with considerable material effects: thickness, rigidity of sub‑bases and consolidation of soil and subsoil with lime and cement. Altogether, motorways are 10 times thicker than large roads from the late 19th century. In France, it takes an average of 30 tonnes of sand and aggregate to build one linear metre of motorway, 100 times more than cement and bitumen.  The material history of road networks is a history of quarrying and environmental damage. The traces of roads can also be seen in rivers emptied of their sediment, the notches of quarries in the hills and the furrows of dredgers extracting sand from the seabed. This material extraction, arguably the most significant in human history, has dramatic ecological consequences for rivers, groundwater tables, the rise of sea levels and saltwater in farmlands, as well as biodiversity. As sand is ubiquitous and very cheap, the history of roads is also the history of a local extractivism and environmental conflicts around the world.  Shoving and rutting is the bulging and rippling of the pavement surface. Once built, roads require extensive maintenance – the heavier the vehicles, the quicker the damage. From pothole repair to the full resurfacing of a road, maintenance contributes to keeping road users safe Credit: Yakov Oskanov / Alamy Once roads are built and extended, they need to be maintained to support the circulation of lorries and, by extension, commodities. This stage is becoming increasingly important as rail freight, which used to be important in countries such as France and the UK, is declining, accounting for no more than 10 per cent of the transport of commodities. Engineers might judge that a motorway is destined to last 20 years or so, but this prognosis will be significantly reduced with heavy traffic. The same applies to the thousands of motorway bridges: in the UK, nearly half of the 9,000 highway bridges are in poor condition; in France, 7 per cent of the 12,000 bridges are in danger of collapsing, as did Genoa’s Morandi bridge in 2018. If only light vehicles drove on it, this infrastructure would last much longer. This puts into perspective governments’ insistence on ‘greening’ the transport sector by targeting CO2 emissions alone, typically by promoting the use of electric vehicles. Public policies prioritising EVs do nothing to change the mass of roads or the issue of their maintenance – even if lorries were to run on clean air, massive quarrying would still be necessary. A similar argument plays out with regard to canals and ports, which have been constantly widened and deepened for decades to accommodate ever-larger oil tankers or container ships. The simple operation of these infrastructures, dimensioned for the circulation of commodities and not humans, requires permanent dredging of large volumes. The environmental problem of large transport infrastructure goes beyond the type of energy used: it is, at its root, free and globalised trade. ‘The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing’ As both a material and ideological object, the motorway fixes certain political choices in the landscape. Millions of kilometres of road continue to be asphalted, widened and thickened around the world to favour cars and lorries. In France, more than 80 per cent of today’s sand and aggregate extraction is used for civil engineering works – the rest goes to buildings. Even if no more buildings, roads or other infrastructures were to be built, phenomenal quantities of sand and aggregates would still need to be extracted in order to maintain existing road networks. The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing, adding new structures such as wildlife crossings, more maintaining.  Rising traffic levels are always deemed positive by governments for a country’s economy and development. As Christopher Wells shows in his 2014 book Car Country: An Environmental History, car use becomes necessary in an environment where everything has been planned for the car, from the location of public services and supermarkets to residential and office areas. Similarly, when an entire economy is based on globalised trade and just‑in‑time logistics, the lorry and the container ship become vital.  The final stage in the life of a piece of motorway infrastructure is dismantling. Like the other stages, this one is not a natural outcome but the fruit of political choices – which should be democratic – regarding how we wish to use existing roads. Dismantling, which is essential if we are to put an end to the global extractivism of sand and aggregates, does not mean destruction: if bicycles and pedestrians were to use them instead, maintenance would be minimal. This final stage requires a paradigm shift away from the eternal adaptation to increasing traffic. Replacing cars and lorries with public transport and rail freight would be a first step. But above all, a different political and spatial organisation of economic activities is necessary, and ultimately, an end to globalised, just-in-time trade and logistics. In 1978, a row of cars parked at a shopping centre in Connecticut was buried under a thick layer of gooey asphalt. The Ghost Parking Lot, one of the first projects by James Wines’ practice SITE, became a playground for skateboarders until it was removed in 2003. Images of this lumpy landscape serve as allegories of the damage caused by reliance on the automobile Credit: Project by SITE Lead image: Some road damage is beyond repair, as when a landslide caused a large chunk of the Gothenburg–Oslo motorway to collapse in 2023. Such dramatic events remind us of both the fragility of these seemingly robust infrastructures, and the damage that extensive construction does to the planet. Credit: Hanna Brunlöf Windell / TT / Shutterstock 2025-06-03 Reuben J Brown Share #how #much #does #your #road
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    How much does your road weigh?
    The ways roads are used, with ever larger and heavier vehicles, have dramatic consequences on the environment – and electric cars are not the answer Today, there is an average of 37 tonnes of road per inhabitant of the planet. The weight of the road network alone accounts for a third of all construction worldwide, and has grown exponentially in the 20th century. There is 10 times more bitumen, in mass, than there are living animals. Yet growth in the mass of roads does not automatically correspond to population growth, or translate into increased length of road networks. In wealthier countries, the number of metres of road per inhabitant has actually fallen over the last century. In the United States, for instance, between 1905 and 2015 the length of the network increased by a factor of 1.75 and the population by a factor of 3.8, compared with 21 for the mass of roads. Roads have become wider and, above all, much thicker. To understand the evolution of these parameters, and their environmental impact, it is helpful to trace the different stages in the life of the motorway.  Until the early 20th century, roads were used for various modes of transport, including horses, bicycles, pedestrians and trams; as a result of the construction of railways, road traffic even declined in some European countries in the 19th century. The main novelty brought by the motorway was that they would be reserved for motorised traffic. In several languages, the word itself – autostrada, autobahn, autoroute or motorway – speaks of this exclusivity.  Roman roads varied from simple corduroy roads, made by placing logs perpendicular to the direction of the road over a low or swampy area, to paved roads, as this engraving from Jean Rondelet’s 19th‑century Traité Théorique et Pratique de l’Art de Bâtir shows. Using deep roadbeds of tamped rubble as an underlying layer to ensure that they kept dry, major roads were often stone-paved, metalled, cambered for drainage and flanked by footpaths, bridleways and drainage ditches Like any major piece of infrastructure, motorways became the subject of ideological discourse, long before any shovel hit the ground; politicians underlined their role in the service of the nation, how they would contribute to progress, development, the economy, modernity and even civilisation. The inauguration ceremony for the construction of the first autostrada took place in March 1923, presided over by Italy’s prime minister Benito Mussolini. The second major motorway programme was announced by the Nazi government in 1933, with a national network planned to be around 7,000 kilometres long. In his 2017 book Driving Modernity: Technology, Experts, Politics, and Fascist Motorways, 1922–1943, historian Massimo Moraglio shows how both programmes were used as propaganda tools by the regimes, most notably at the international road congresses in Milan in 1926 and Munich in 1934. In the European postwar era, the notion of the ‘civilising’ effect of roads persevered. In 1962, Valéry Giscard d’Estaing, then‑secretary of state for finances and later president of France, argued that expanded motorways would bring ‘progress, activity and life’. This discourse soon butted up against the realities of how motorways affected individuals and communities. In his 2011 book Fighting Traffic: The Dawn of the Motor Age in the American City, Peter D Norton explores the history of resistance to the imposition of motorised traffic in North American cities. Until the 1920s, there was a perception that cars were dangerous newcomers, and that other street and road uses – especially walking – were more legitimate. Cars were associated with speed and danger; restrictions on motorists, especially speed limits, were routine.  Built between 1962 and 1970, the Westway was London’s first urban motorway, elevated above the city to use less land. Construction workers are seen stressing the longitudinal soffit cables inside the box section of the deck units to achieve the bearing capacity necessary to carry the weight of traffic Credit: Heritage Image Partnership Ltd / Alamy To gain domination over cities, motor vehicles had to win priority over other street uses. Rather than restricting the flow of vehicles to minimise the risk of road accidents, a specific infrastructure was dedicated to them: both inner‑city roads and motorways. Cutting through the landscape, the motorway had, by definition, to be inaccessible by any other means of transport than motorised vehicle. To guarantee the fluidity of traffic, the construction of imposing bridges, tunnels and interchanges is necessary, particularly at junctions with other roads, railways or canals. This prioritisation of one type of user inevitably impacts journeys for others; as space is fragmented, short journeys are lengthened for those trying to navigate space by foot or bicycle.  Enabling cars to drive at around 110–140km/h on motorways, as modern motorways do, directly impacts their design, with major environmental effects: the gradient has to be gentle (4 per cent), the curves long (1.5km in radius) and the lanes wide, to allow vehicles to overtake each other safely. As much terrain around the world is not naturally suited to these requirements, the earthworks are considerable: in France, the construction of a metre of highway requires moving some 100m3 of earth, and when the soil is soft, full of clay or peat, it is made firmer with hydraulic lime and cement before the highway’s first sub‑layers are laid. This material cost reinforces the criticisms levelled in the 1960s, by the likes of Jane Jacobs and Lewis Mumford, at urban planning that prioritised the personal motor vehicle. When roads are widened to accommodate more traffic, buildings are sliced and demolished, as happened in Dhaka’s Bhasantek Road in 2021 Credit: Dhaka Tribune Once built, the motorway is never inert. Motorway projects today generally anticipate future expansion (from 2×2 to 2×3 to 2×4 lanes), and include a large median strip of 12m between the lanes, with a view to adding new ones. Increases in speed and vehicle sizes have also translated into wider lanes, from 2.5m in 1945 to 3.5m today. The average contemporary motorway footprint is therefore 100 square metres per linear metre. Indeed, although the construction of a road is supposed to reduce congestion, it also generates new traffic and, therefore, new congestion. This is the principle of ‘induced traffic’: the provision of extra road capacity results in a greater volume of traffic. The Katy Freeway in Texas famously illustrates this dynamic. Built as a regular six‑lane highway in the 1960s, it was called the second worst bottleneck in the nation by 2004, wasting 25 million hours a year of commuter time. In 2011, the state of Texas invested US$2.8 billion to fix this problem, widening the road to a staggering total of 26 lanes. By 2014, the morning and afternoon traffic had both increased again. The vicious circle based on the induced traffic has been empirically demonstrated in most countries: traffic has continued to increase and congestion remains unresolved, leading to ever-increasing emissions. In the EU, transport is the only sector where greenhouse gas emissions have increased in the past three decades, rising 33.5 per cent between 1990 and 2019. Transport accounts for around a fifth of global CO₂ emissions today, with three quarters of this figure linked to road transport. Houston’s Katy Freeway is one of the world’s widest motorways, with 26 lanes. Its last expansion, in 2008, was initially hailed as a success, but within five years, peak travel times were longer than before the expansion – a direct illustration of the principle of induced traffic Credit: Smiley N Pool / Houston Chronicle / Getty Like other large transport infrastructures such as ports and airports, motorways are designed for the largest and heaviest vehicles. Engineers, road administrations and politicians have known since the 1950s that one truck represents millions of cars: the impact of a vehicle on the roadway is exponential to its weight – an online ‘road damage calculator’ allows you to compare the damage done by different types of vehicles to the road. Over the years, heavier and heavier trucks have been authorised to operate on roads: from 8‑tonne trucks in 1945 to 44 tonnes nowadays. The European Parliament adopted a revised directive on 12 March 2024 authorising mega‑trucks to travel on European roads; they can measure up to 25 metres and weigh up to 60 tonnes, compared with the previous limits of 18.75 metres and 44 tonnes. This is a political and economic choice with considerable material effects: thickness, rigidity of sub‑bases and consolidation of soil and subsoil with lime and cement. Altogether, motorways are 10 times thicker than large roads from the late 19th century. In France, it takes an average of 30 tonnes of sand and aggregate to build one linear metre of motorway, 100 times more than cement and bitumen.  The material history of road networks is a history of quarrying and environmental damage. The traces of roads can also be seen in rivers emptied of their sediment, the notches of quarries in the hills and the furrows of dredgers extracting sand from the seabed. This material extraction, arguably the most significant in human history, has dramatic ecological consequences for rivers, groundwater tables, the rise of sea levels and saltwater in farmlands, as well as biodiversity. As sand is ubiquitous and very cheap, the history of roads is also the history of a local extractivism and environmental conflicts around the world.  Shoving and rutting is the bulging and rippling of the pavement surface. Once built, roads require extensive maintenance – the heavier the vehicles, the quicker the damage. From pothole repair to the full resurfacing of a road, maintenance contributes to keeping road users safe Credit: Yakov Oskanov / Alamy Once roads are built and extended, they need to be maintained to support the circulation of lorries and, by extension, commodities. This stage is becoming increasingly important as rail freight, which used to be important in countries such as France and the UK, is declining, accounting for no more than 10 per cent of the transport of commodities. Engineers might judge that a motorway is destined to last 20 years or so, but this prognosis will be significantly reduced with heavy traffic. The same applies to the thousands of motorway bridges: in the UK, nearly half of the 9,000 highway bridges are in poor condition; in France, 7 per cent of the 12,000 bridges are in danger of collapsing, as did Genoa’s Morandi bridge in 2018. If only light vehicles drove on it, this infrastructure would last much longer. This puts into perspective governments’ insistence on ‘greening’ the transport sector by targeting CO2 emissions alone, typically by promoting the use of electric vehicles (EVs). Public policies prioritising EVs do nothing to change the mass of roads or the issue of their maintenance – even if lorries were to run on clean air, massive quarrying would still be necessary. A similar argument plays out with regard to canals and ports, which have been constantly widened and deepened for decades to accommodate ever-larger oil tankers or container ships. The simple operation of these infrastructures, dimensioned for the circulation of commodities and not humans, requires permanent dredging of large volumes. The environmental problem of large transport infrastructure goes beyond the type of energy used: it is, at its root, free and globalised trade. ‘The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing’ As both a material and ideological object, the motorway fixes certain political choices in the landscape. Millions of kilometres of road continue to be asphalted, widened and thickened around the world to favour cars and lorries. In France, more than 80 per cent of today’s sand and aggregate extraction is used for civil engineering works – the rest goes to buildings. Even if no more buildings, roads or other infrastructures were to be built, phenomenal quantities of sand and aggregates would still need to be extracted in order to maintain existing road networks. The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing, adding new structures such as wildlife crossings, more maintaining.  Rising traffic levels are always deemed positive by governments for a country’s economy and development. As Christopher Wells shows in his 2014 book Car Country: An Environmental History, car use becomes necessary in an environment where everything has been planned for the car, from the location of public services and supermarkets to residential and office areas. Similarly, when an entire economy is based on globalised trade and just‑in‑time logistics (to the point that many service economies could not produce their own personal protective equipment in the midst of a pandemic), the lorry and the container ship become vital.  The final stage in the life of a piece of motorway infrastructure is dismantling. Like the other stages, this one is not a natural outcome but the fruit of political choices – which should be democratic – regarding how we wish to use existing roads. Dismantling, which is essential if we are to put an end to the global extractivism of sand and aggregates, does not mean destruction: if bicycles and pedestrians were to use them instead, maintenance would be minimal. This final stage requires a paradigm shift away from the eternal adaptation to increasing traffic. Replacing cars and lorries with public transport and rail freight would be a first step. But above all, a different political and spatial organisation of economic activities is necessary, and ultimately, an end to globalised, just-in-time trade and logistics. In 1978, a row of cars parked at a shopping centre in Connecticut was buried under a thick layer of gooey asphalt. The Ghost Parking Lot, one of the first projects by James Wines’ practice SITE, became a playground for skateboarders until it was removed in 2003. Images of this lumpy landscape serve as allegories of the damage caused by reliance on the automobile Credit: Project by SITE Lead image: Some road damage is beyond repair, as when a landslide caused a large chunk of the Gothenburg–Oslo motorway to collapse in 2023. Such dramatic events remind us of both the fragility of these seemingly robust infrastructures, and the damage that extensive construction does to the planet. Credit: Hanna Brunlöf Windell / TT / Shutterstock 2025-06-03 Reuben J Brown Share
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  • State of Play June 2025: all announcements, trailers 

    Game reveals, release date confirmations, and new looks at titles coming to PlayStation in the near future: today’s State of Play packed a lot into its runtime. Whether you missed the show, want to rewatch it, or dig down into the individual announcements, this article has you covered. 

    Firstly, you can rewatch the full show below. Underneath that we highlight each of the games featured in the show with recaps of their announcement as well as their full trailers. We also have further details and insight by the game creators in a selection of dedicated PS Blog articles. 

    Play Video

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    Astro Bot 

    New levels are coming to Astro Bot this summer! Get ready for the challenge of five new Vicious Void Galaxy levels. They’ll require every bit of skill together to complete! And of course, these new levels will introduce their own Special Bots! And that’s not all: an updated smiley version of the Astro Bot Limited Edition DualSense wireless controller is set to launch later this year.

    Preview both the upcoming DualSense controller and the new PS5 levels in a PS Blog post from Team Asobi Studio Head Nicolas Doucet.

    Play Video

    Baby Steps

    The wonderfully weird walking sim has a release date as Baby Steps toddles onto PS5 September 8. Today’s new gameplay trailer further highlights the game’s unique traversal mechanics, as well as challenges its onesie-wearing protagonist Nate faces as he attempts to answer the call of nature. 

    Play Video

    Bloodstained: The Scarlet Engagement 

    The 2.5D side-scrolling action RPG returns with a new dark chapter. Explore the massive Ethereal Castle as two new heroes – Leo and Alex – join forces to tackle its fearsome inhabitants. You’ll be able to switch between the duo at the press of a button, leveraging each adventurer’s distinct abilities in order to survive. 

    505 Games dives further into the sequel’s gameplay mechanics and details what you can expect when you enter the castle’s halls when it launches on PS5 next year in a PS Blog post. 

    Play Video

    Cairn

    Climb like never before in survival-climber Cairn, which ascends onto PS5 November 5. Consider your path and climb anywhere on the mountain, managing your endurance and resources to survive. You’ll be able to hone your skills and test palm strength early, as a demo launches onto PlayStation Store today. 

    Cairn creator The Game Bakers breaks down its interactive take on alpinism in a tie-in PS Blog post. 

    Play Video

    Digimon Story: Time Stranger

    After being announced in the last State of Play this past February, Digimon Story: Time Stranger returns with a new trailer that digs into its story, reveals more of its vibrant characters and highlights the variety of Digimon growth and customization you can expect when the game launches October 3. 

    View and download image

    Download the image

    close
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    Everybody’s Golf Hot Shots 

    Teeing off on PS5 this September 5 is the return of the classic golfing series. Everybody’s Golf Hot Shots debuted a new gameplay trailer that revealed a surprise guest star: Pac-Man! The gaming icon will be available as an early unlockable character when you pre-order the game. 

    Play Video

    Final Fantasy Tactics – The Ivalice Chronicles

    Originally released in 1997 for PlayStation, Final Fantasy Tactics is known for its rich story and deep, strategic gameplay. This September 30 you can enjoy both when the strategy RPG returns on PS5 and PS4 in the form of Final Fantasy Tactics – The Ivalice Chronicles. This enhanced version adds fully voiced dialogue, optimized and updated UI, graphical improvements, and a number of other quality of life features

    Square Enix details what to expect, including the more accessible “Squire” difficulty setting, in a PS Blog post. 

    Play Video

    Ghost of Yōtei

    Today’s show announced a special State of Play episode dedicated to Ghost of Yōtei, coming your way soon. 

    Sucker Punch will guide you through an extended look at new and evolved gameplay mechanics, including exploration, combat, and much more. Mark your calendar: the episode airs this July. 

    Play Video

    Hirogami

    Hirogami is an origami-inspired 3D action platformer coming to PS5 on September 3. Explore a beautiful but fragile origami world as Hiro, a master of the art of ‘folding’, and take on animal forms to traverse the landscape, solve puzzles, overcome enemies, and save the realm from a deadly digital threat.

    Play Video

    007 First Light

    IO Interactive’s third-person action-adventure game 007 First Light third-person action-adventure game unveils a new James Bond origin story. Discover the events that lead a young maverick to become the best MI6 agent and the world’s most iconic spy when the game launches on PS5 next year.

    IO Interactive shares first details on the game, including its story and Bond’s background in a new PS Blog post. 

    Play Video

    Lumines Arise

    A brand-new, built from the ground up entry into the iconic puzzle series launches later this year on PS5 and features optional PS VR2 compatibility. Lumines Arise includes 30 flow state-inducing stages, including lush jungles, oceans, to more electronic frontiers like the bustling streets of Tokyo and the endless expanse of outer space. A new Burst mechanic amps up the timeless gameplay. 

    Enhance discusses the debut of its new title, talks Avatars and teases an upcoming demo in a new PS Blog post. 

    Play Video

    MARVEL Tōkon: Fighting Souls 

    PlayStation Studios, Arc System Works, and Marvel Games have joined forces to realize the latest in tag team fighters, MARVEL Tōkon: Fighting Souls! Experience the Marvel Universe like never before with reimagined characters and stages, a heart-pounding soundtrack, intuitive gameplay mechanics, and jaw-dropping visuals that will keep you on the edge of your seat. Whether this is your first fighting game or you are a veteran of the genre, Arc has incorporated gameplay controls and mechanics that are easy to pick up and play, and yet still offer the depth and versatility for high level competition. 

    Find out more in this PS Blog post. 

    Play Video

    Metal Gear Solid Delta: Snake Eater 

    Today’s trailer offered a closer look at how this remake has approached the fearsome adversaries that Naked Snake will face on his mission: The Cobra Unit. The new footage doesn’t just linger on the high stakes action you’ll face during the story campaign though. Konami also shares gameplay of Snake vs Monkey, which is also making its return when the game launches on PS5 this August 28. 

    Play Video

    Mortal Kombat Kollection

    Digital Eclipse partners with Warner Bros. Interactive Entertainment to bring Mortal Kombat: Legacy Kollection to PlayStation 4 and PlayStation 5 later this year. With multiple playable games from the early days of this groundbreaking fighting game series as well as interactive documentaries, Mortal Kombat: Legacy Kollection promises to be the most comprehensive, detailed look at the franchise’s history ever assembled.

    In a supporting PS Blog post, Digital Eclipse outlines the games included in the collection, and shares more information on the documentaries that’ll include Mortal Kombat co-creators Ed Boon and John Tobia, developers, actors and more. 

    Play Video

    Ninja Gaiden: Ragebound

    Ninja Gaiden: Ragebound, the new spectacular side-scrolling entry to the acclaimed series, releases on July 31 on PS5 and PS4. Honoring the franchise’s legacy, Ragebound modernises the unforgiving action-platforming formula with the fast-paced and exhilarating action The Game Kitchenis known for.

    Play Video

    Nioh 3 

    Koei Tecmo and developer Team Ninja announced Nioh 3 for PS5. In this dark fantasy action RPG, players can fight using two distinct combat styles: Samurai and Ninja. The Samurai style provides a gameplay experience similar to previous Nioh titles, while Ninja style excels in quick movements like dodging and aerial actions. Players will be able to switch between battle styles instantly at any time. Intrigued to know how they’ll work? You can find out today with a limited time demo that’ll be launching on PlayStation Store. 

    Keoi Tecmo shares more story and gameplay details about the game in an accompanying PS Blog post. 

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    PlayStation Plus 

    Along with Sword of the Sea coming August 19 as part of the Game Catalog lineup, there were new titles announced coming to PlayStation Plus. The PS2 version of immersive sci-fi sim Deus Ex joins Game Catalog June 17, Twisted Metal 3 and Twisted Metal 4 come to the PlayStation Plus Premium’s Classics range July 15. Later this summer, the original PlayStation versions of Resident Evil 2 and Resident Evil 3: Nemesis also come to  PlayStation Plus Premium’s Classics range.

    Play Video

    Pragmata

    Pragmata, Capcom’s new science fiction adventure, received a new gameplay trailer during today’s State of Play. This early peak of the game’s gameplay shows its unique twist of action and strategy, as in Pragmata, players must control its two protagonists, Hugh and Diana, at the same time to overcome the many obstacles you’ll face.

    Capcom shares more details of its latest IP, out 2026 on PS5, in an accompanying PS Blog post. 

    Play Video

    Project Defiant 

    Today State of Play saw the reveal of the first wireless fight stick custom designed by PlayStation. Codenamed Project Defiant, this new controller allows wireless play through PlayStation Link, or wired connection on PS5 or PC, and is set to launch next year. 

    Get your first full details on the fight stick in this PS Blog post. 

    Play Video

    Romeo is a Dead Man

    Romeo Stargazer is a man stuck between life and death who chases space-time’s most wanted fugitives as FBI special agent Dead Man. This newly revealed action title, created by Grasshopper Manufacture, launches on PS5 next year, and sees you use guns, swords and even enemies’ own powers against them to battle evil hordes. 

    How does a time paradox shattering the space-time continuum turn someone into an FBI special agent? Grasshopper Manufacture explainsin a new PS Blog post.  

    Play Video

    Sea of Remnants

    Meet a world of puppetfolk exploring the open sea and its secrets in oceanic action RPG Sea of Remnants, which sets sail for PS5. Form a specialised crew to answer any challenge that lies beyond the horizon, upgrade your ship to ride out any storm and return home with your spoils to Orbtopia, a pirate city that’ll evolve based on your swashbuckling decisions.  

    Joker Studio expands on the game’s punk aesthetic art style and delves deeper into its gameplay in an accompanying PS Blog post. 

    Play Video

    Silent Hill f

    Silent Hill f launches September 25 on PS5, and today’s State of Play trailer shows Shimizu Hinako’s perilous journey as the high schooler’s hometown is engulfed in fog, and the dangers within will have her fighting for her life. As a standalone spinoff, the game serves as an excellent introduction to the series. 

    “Find beauty in terror” – Konami explains the mission statement that shaped the game’s development in this PS Blog post. 

    Play Video

    Sword of the Sea

    Giant Squid is bringing its exhilarating, mythic surfing adventure Sword of the Sea to PS5 on August 19, with the game releasing as part of that month’s PlayStation Plus Game Catalog lineup. 

    In an accompanying PS Blog post, the studio outlines the game’s inspirations and merging those with its signature environmental design and atmospheric narrative style has resulted in a mythic surfing adventure unlike anything else.

    Play Video

    Thief VR: Legacy of Shadow 

    The legendary Thief franchise is reimagined for PlayStation VR2 in Thief VR: Legacy of Shadow, launching later this year. Play as Magpie, a cunning thief orphaned by Northcrest’s brutality and shaped by the streets and use PS VR2 mechanics to steal, evade, and outsmart the forces controlling The City. Move between shadows, and extinguish light sources with water arrows, hands or even a well-aimed breath to remain undetected.  

    Vertigo Games details how the franchise’s mechanics have been adapted to PS VR2 in this PS Blog post. 

    Play Video

    Tides of Tomorrow

    Road 96 creator DigixArt returns with an intriguing asynchronous multiplayer, oceanic adventure, coming to PS5 February 24, 2026. Tides of Tomorrow’s vibrant post-apocalyptic world interweaves your choices and a previous player’s decisions for a truly unique experience. You’ll see echoes of that player’s choices and actions, that will help you avoid traps, solve puzzles, investigate what happened before, or simply adapt based on the other player’s actions.

    Road 96 creator DigixArt introduces the oceanic nomads the Tidewalkers and breaks down the game’s unique mechanic in a new PS Blog post written by the studio. 
    #state #play #june #all #announcements
    State of Play June 2025: all announcements, trailers 
    Game reveals, release date confirmations, and new looks at titles coming to PlayStation in the near future: today’s State of Play packed a lot into its runtime. Whether you missed the show, want to rewatch it, or dig down into the individual announcements, this article has you covered.  Firstly, you can rewatch the full show below. Underneath that we highlight each of the games featured in the show with recaps of their announcement as well as their full trailers. We also have further details and insight by the game creators in a selection of dedicated PS Blog articles.  Play Video View and download image Download the image close Close Download this image Astro Bot  New levels are coming to Astro Bot this summer! Get ready for the challenge of five new Vicious Void Galaxy levels. They’ll require every bit of skill together to complete! And of course, these new levels will introduce their own Special Bots! And that’s not all: an updated smiley version of the Astro Bot Limited Edition DualSense wireless controller is set to launch later this year. Preview both the upcoming DualSense controller and the new PS5 levels in a PS Blog post from Team Asobi Studio Head Nicolas Doucet. Play Video Baby Steps The wonderfully weird walking sim has a release date as Baby Steps toddles onto PS5 September 8. Today’s new gameplay trailer further highlights the game’s unique traversal mechanics, as well as challenges its onesie-wearing protagonist Nate faces as he attempts to answer the call of nature.  Play Video Bloodstained: The Scarlet Engagement  The 2.5D side-scrolling action RPG returns with a new dark chapter. Explore the massive Ethereal Castle as two new heroes – Leo and Alex – join forces to tackle its fearsome inhabitants. You’ll be able to switch between the duo at the press of a button, leveraging each adventurer’s distinct abilities in order to survive.  505 Games dives further into the sequel’s gameplay mechanics and details what you can expect when you enter the castle’s halls when it launches on PS5 next year in a PS Blog post.  Play Video Cairn Climb like never before in survival-climber Cairn, which ascends onto PS5 November 5. Consider your path and climb anywhere on the mountain, managing your endurance and resources to survive. You’ll be able to hone your skills and test palm strength early, as a demo launches onto PlayStation Store today.  Cairn creator The Game Bakers breaks down its interactive take on alpinism in a tie-in PS Blog post.  Play Video Digimon Story: Time Stranger After being announced in the last State of Play this past February, Digimon Story: Time Stranger returns with a new trailer that digs into its story, reveals more of its vibrant characters and highlights the variety of Digimon growth and customization you can expect when the game launches October 3.  View and download image Download the image close Close Download this image Everybody’s Golf Hot Shots  Teeing off on PS5 this September 5 is the return of the classic golfing series. Everybody’s Golf Hot Shots debuted a new gameplay trailer that revealed a surprise guest star: Pac-Man! The gaming icon will be available as an early unlockable character when you pre-order the game.  Play Video Final Fantasy Tactics – The Ivalice Chronicles Originally released in 1997 for PlayStation, Final Fantasy Tactics is known for its rich story and deep, strategic gameplay. This September 30 you can enjoy both when the strategy RPG returns on PS5 and PS4 in the form of Final Fantasy Tactics – The Ivalice Chronicles. This enhanced version adds fully voiced dialogue, optimized and updated UI, graphical improvements, and a number of other quality of life features Square Enix details what to expect, including the more accessible “Squire” difficulty setting, in a PS Blog post.  Play Video Ghost of Yōtei Today’s show announced a special State of Play episode dedicated to Ghost of Yōtei, coming your way soon.  Sucker Punch will guide you through an extended look at new and evolved gameplay mechanics, including exploration, combat, and much more. Mark your calendar: the episode airs this July.  Play Video Hirogami Hirogami is an origami-inspired 3D action platformer coming to PS5 on September 3. Explore a beautiful but fragile origami world as Hiro, a master of the art of ‘folding’, and take on animal forms to traverse the landscape, solve puzzles, overcome enemies, and save the realm from a deadly digital threat. Play Video 007 First Light IO Interactive’s third-person action-adventure game 007 First Light third-person action-adventure game unveils a new James Bond origin story. Discover the events that lead a young maverick to become the best MI6 agent and the world’s most iconic spy when the game launches on PS5 next year. IO Interactive shares first details on the game, including its story and Bond’s background in a new PS Blog post.  Play Video Lumines Arise A brand-new, built from the ground up entry into the iconic puzzle series launches later this year on PS5 and features optional PS VR2 compatibility. Lumines Arise includes 30 flow state-inducing stages, including lush jungles, oceans, to more electronic frontiers like the bustling streets of Tokyo and the endless expanse of outer space. A new Burst mechanic amps up the timeless gameplay.  Enhance discusses the debut of its new title, talks Avatars and teases an upcoming demo in a new PS Blog post.  Play Video MARVEL Tōkon: Fighting Souls  PlayStation Studios, Arc System Works, and Marvel Games have joined forces to realize the latest in tag team fighters, MARVEL Tōkon: Fighting Souls! Experience the Marvel Universe like never before with reimagined characters and stages, a heart-pounding soundtrack, intuitive gameplay mechanics, and jaw-dropping visuals that will keep you on the edge of your seat. Whether this is your first fighting game or you are a veteran of the genre, Arc has incorporated gameplay controls and mechanics that are easy to pick up and play, and yet still offer the depth and versatility for high level competition.  Find out more in this PS Blog post.  Play Video Metal Gear Solid Delta: Snake Eater  Today’s trailer offered a closer look at how this remake has approached the fearsome adversaries that Naked Snake will face on his mission: The Cobra Unit. The new footage doesn’t just linger on the high stakes action you’ll face during the story campaign though. Konami also shares gameplay of Snake vs Monkey, which is also making its return when the game launches on PS5 this August 28.  Play Video Mortal Kombat Kollection Digital Eclipse partners with Warner Bros. Interactive Entertainment to bring Mortal Kombat: Legacy Kollection to PlayStation 4 and PlayStation 5 later this year. With multiple playable games from the early days of this groundbreaking fighting game series as well as interactive documentaries, Mortal Kombat: Legacy Kollection promises to be the most comprehensive, detailed look at the franchise’s history ever assembled. In a supporting PS Blog post, Digital Eclipse outlines the games included in the collection, and shares more information on the documentaries that’ll include Mortal Kombat co-creators Ed Boon and John Tobia, developers, actors and more.  Play Video Ninja Gaiden: Ragebound Ninja Gaiden: Ragebound, the new spectacular side-scrolling entry to the acclaimed series, releases on July 31 on PS5 and PS4. Honoring the franchise’s legacy, Ragebound modernises the unforgiving action-platforming formula with the fast-paced and exhilarating action The Game Kitchenis known for. Play Video Nioh 3  Koei Tecmo and developer Team Ninja announced Nioh 3 for PS5. In this dark fantasy action RPG, players can fight using two distinct combat styles: Samurai and Ninja. The Samurai style provides a gameplay experience similar to previous Nioh titles, while Ninja style excels in quick movements like dodging and aerial actions. Players will be able to switch between battle styles instantly at any time. Intrigued to know how they’ll work? You can find out today with a limited time demo that’ll be launching on PlayStation Store.  Keoi Tecmo shares more story and gameplay details about the game in an accompanying PS Blog post.  View and download image Download the image close Close Download this image PlayStation Plus  Along with Sword of the Sea coming August 19 as part of the Game Catalog lineup, there were new titles announced coming to PlayStation Plus. The PS2 version of immersive sci-fi sim Deus Ex joins Game Catalog June 17, Twisted Metal 3 and Twisted Metal 4 come to the PlayStation Plus Premium’s Classics range July 15. Later this summer, the original PlayStation versions of Resident Evil 2 and Resident Evil 3: Nemesis also come to  PlayStation Plus Premium’s Classics range. Play Video Pragmata Pragmata, Capcom’s new science fiction adventure, received a new gameplay trailer during today’s State of Play. This early peak of the game’s gameplay shows its unique twist of action and strategy, as in Pragmata, players must control its two protagonists, Hugh and Diana, at the same time to overcome the many obstacles you’ll face. Capcom shares more details of its latest IP, out 2026 on PS5, in an accompanying PS Blog post.  Play Video Project Defiant  Today State of Play saw the reveal of the first wireless fight stick custom designed by PlayStation. Codenamed Project Defiant, this new controller allows wireless play through PlayStation Link, or wired connection on PS5 or PC, and is set to launch next year.  Get your first full details on the fight stick in this PS Blog post.  Play Video Romeo is a Dead Man Romeo Stargazer is a man stuck between life and death who chases space-time’s most wanted fugitives as FBI special agent Dead Man. This newly revealed action title, created by Grasshopper Manufacture, launches on PS5 next year, and sees you use guns, swords and even enemies’ own powers against them to battle evil hordes.  How does a time paradox shattering the space-time continuum turn someone into an FBI special agent? Grasshopper Manufacture explainsin a new PS Blog post.   Play Video Sea of Remnants Meet a world of puppetfolk exploring the open sea and its secrets in oceanic action RPG Sea of Remnants, which sets sail for PS5. Form a specialised crew to answer any challenge that lies beyond the horizon, upgrade your ship to ride out any storm and return home with your spoils to Orbtopia, a pirate city that’ll evolve based on your swashbuckling decisions.   Joker Studio expands on the game’s punk aesthetic art style and delves deeper into its gameplay in an accompanying PS Blog post.  Play Video Silent Hill f Silent Hill f launches September 25 on PS5, and today’s State of Play trailer shows Shimizu Hinako’s perilous journey as the high schooler’s hometown is engulfed in fog, and the dangers within will have her fighting for her life. As a standalone spinoff, the game serves as an excellent introduction to the series.  “Find beauty in terror” – Konami explains the mission statement that shaped the game’s development in this PS Blog post.  Play Video Sword of the Sea Giant Squid is bringing its exhilarating, mythic surfing adventure Sword of the Sea to PS5 on August 19, with the game releasing as part of that month’s PlayStation Plus Game Catalog lineup.  In an accompanying PS Blog post, the studio outlines the game’s inspirations and merging those with its signature environmental design and atmospheric narrative style has resulted in a mythic surfing adventure unlike anything else. Play Video Thief VR: Legacy of Shadow  The legendary Thief franchise is reimagined for PlayStation VR2 in Thief VR: Legacy of Shadow, launching later this year. Play as Magpie, a cunning thief orphaned by Northcrest’s brutality and shaped by the streets and use PS VR2 mechanics to steal, evade, and outsmart the forces controlling The City. Move between shadows, and extinguish light sources with water arrows, hands or even a well-aimed breath to remain undetected.   Vertigo Games details how the franchise’s mechanics have been adapted to PS VR2 in this PS Blog post.  Play Video Tides of Tomorrow Road 96 creator DigixArt returns with an intriguing asynchronous multiplayer, oceanic adventure, coming to PS5 February 24, 2026. Tides of Tomorrow’s vibrant post-apocalyptic world interweaves your choices and a previous player’s decisions for a truly unique experience. You’ll see echoes of that player’s choices and actions, that will help you avoid traps, solve puzzles, investigate what happened before, or simply adapt based on the other player’s actions. Road 96 creator DigixArt introduces the oceanic nomads the Tidewalkers and breaks down the game’s unique mechanic in a new PS Blog post written by the studio.  #state #play #june #all #announcements
    BLOG.PLAYSTATION.COM
    State of Play June 2025: all announcements, trailers 
    Game reveals, release date confirmations, and new looks at titles coming to PlayStation in the near future: today’s State of Play packed a lot into its runtime. Whether you missed the show, want to rewatch it, or dig down into the individual announcements, this article has you covered.  Firstly, you can rewatch the full show below. Underneath that we highlight each of the games featured in the show with recaps of their announcement as well as their full trailers. We also have further details and insight by the game creators in a selection of dedicated PS Blog articles.  Play Video View and download image Download the image close Close Download this image Astro Bot  New levels are coming to Astro Bot this summer! Get ready for the challenge of five new Vicious Void Galaxy levels. They’ll require every bit of skill together to complete! And of course, these new levels will introduce their own Special Bots! And that’s not all: an updated smiley version of the Astro Bot Limited Edition DualSense wireless controller is set to launch later this year. Preview both the upcoming DualSense controller and the new PS5 levels in a PS Blog post from Team Asobi Studio Head Nicolas Doucet. Play Video Baby Steps The wonderfully weird walking sim has a release date as Baby Steps toddles onto PS5 September 8. Today’s new gameplay trailer further highlights the game’s unique traversal mechanics, as well as challenges its onesie-wearing protagonist Nate faces as he attempts to answer the call of nature.  Play Video Bloodstained: The Scarlet Engagement  The 2.5D side-scrolling action RPG returns with a new dark chapter. Explore the massive Ethereal Castle as two new heroes – Leo and Alex – join forces to tackle its fearsome inhabitants. You’ll be able to switch between the duo at the press of a button, leveraging each adventurer’s distinct abilities in order to survive.  505 Games dives further into the sequel’s gameplay mechanics and details what you can expect when you enter the castle’s halls when it launches on PS5 next year in a PS Blog post.  Play Video Cairn Climb like never before in survival-climber Cairn, which ascends onto PS5 November 5. Consider your path and climb anywhere on the mountain, managing your endurance and resources to survive. You’ll be able to hone your skills and test palm strength early, as a demo launches onto PlayStation Store today.  Cairn creator The Game Bakers breaks down its interactive take on alpinism in a tie-in PS Blog post.  Play Video Digimon Story: Time Stranger After being announced in the last State of Play this past February, Digimon Story: Time Stranger returns with a new trailer that digs into its story, reveals more of its vibrant characters and highlights the variety of Digimon growth and customization you can expect when the game launches October 3.  View and download image Download the image close Close Download this image Everybody’s Golf Hot Shots  Teeing off on PS5 this September 5 is the return of the classic golfing series. Everybody’s Golf Hot Shots debuted a new gameplay trailer that revealed a surprise guest star: Pac-Man! The gaming icon will be available as an early unlockable character when you pre-order the game.  Play Video Final Fantasy Tactics – The Ivalice Chronicles Originally released in 1997 for PlayStation, Final Fantasy Tactics is known for its rich story and deep, strategic gameplay. This September 30 you can enjoy both when the strategy RPG returns on PS5 and PS4 in the form of Final Fantasy Tactics – The Ivalice Chronicles. This enhanced version adds fully voiced dialogue, optimized and updated UI, graphical improvements, and a number of other quality of life features Square Enix details what to expect, including the more accessible “Squire” difficulty setting, in a PS Blog post.  Play Video Ghost of Yōtei Today’s show announced a special State of Play episode dedicated to Ghost of Yōtei, coming your way soon.  Sucker Punch will guide you through an extended look at new and evolved gameplay mechanics, including exploration, combat, and much more. Mark your calendar: the episode airs this July.  Play Video Hirogami Hirogami is an origami-inspired 3D action platformer coming to PS5 on September 3. Explore a beautiful but fragile origami world as Hiro, a master of the art of ‘folding’, and take on animal forms to traverse the landscape, solve puzzles, overcome enemies, and save the realm from a deadly digital threat. Play Video 007 First Light IO Interactive’s third-person action-adventure game 007 First Light third-person action-adventure game unveils a new James Bond origin story. Discover the events that lead a young maverick to become the best MI6 agent and the world’s most iconic spy when the game launches on PS5 next year. IO Interactive shares first details on the game, including its story and Bond’s background in a new PS Blog post.  Play Video Lumines Arise A brand-new, built from the ground up entry into the iconic puzzle series launches later this year on PS5 and features optional PS VR2 compatibility. Lumines Arise includes 30 flow state-inducing stages, including lush jungles, oceans, to more electronic frontiers like the bustling streets of Tokyo and the endless expanse of outer space. A new Burst mechanic amps up the timeless gameplay.  Enhance discusses the debut of its new title, talks Avatars and teases an upcoming demo in a new PS Blog post.  Play Video MARVEL Tōkon: Fighting Souls  PlayStation Studios, Arc System Works (Arc), and Marvel Games have joined forces to realize the latest in tag team fighters, MARVEL Tōkon: Fighting Souls! Experience the Marvel Universe like never before with reimagined characters and stages, a heart-pounding soundtrack, intuitive gameplay mechanics, and jaw-dropping visuals that will keep you on the edge of your seat. Whether this is your first fighting game or you are a veteran of the genre, Arc has incorporated gameplay controls and mechanics that are easy to pick up and play, and yet still offer the depth and versatility for high level competition.  Find out more in this PS Blog post.  Play Video Metal Gear Solid Delta: Snake Eater  Today’s trailer offered a closer look at how this remake has approached the fearsome adversaries that Naked Snake will face on his mission: The Cobra Unit. The new footage doesn’t just linger on the high stakes action you’ll face during the story campaign though. Konami also shares gameplay of Snake vs Monkey, which is also making its return when the game launches on PS5 this August 28.  Play Video Mortal Kombat Kollection Digital Eclipse partners with Warner Bros. Interactive Entertainment to bring Mortal Kombat: Legacy Kollection to PlayStation 4 and PlayStation 5 later this year. With multiple playable games from the early days of this groundbreaking fighting game series as well as interactive documentaries, Mortal Kombat: Legacy Kollection promises to be the most comprehensive, detailed look at the franchise’s history ever assembled. In a supporting PS Blog post, Digital Eclipse outlines the games included in the collection, and shares more information on the documentaries that’ll include Mortal Kombat co-creators Ed Boon and John Tobia, developers, actors and more.  Play Video Ninja Gaiden: Ragebound Ninja Gaiden: Ragebound, the new spectacular side-scrolling entry to the acclaimed series, releases on July 31 on PS5 and PS4. Honoring the franchise’s legacy, Ragebound modernises the unforgiving action-platforming formula with the fast-paced and exhilarating action The Game Kitchen (Blasphemous I & II) is known for. Play Video Nioh 3  Koei Tecmo and developer Team Ninja announced Nioh 3 for PS5. In this dark fantasy action RPG, players can fight using two distinct combat styles: Samurai and Ninja. The Samurai style provides a gameplay experience similar to previous Nioh titles, while Ninja style excels in quick movements like dodging and aerial actions. Players will be able to switch between battle styles instantly at any time. Intrigued to know how they’ll work? You can find out today with a limited time demo that’ll be launching on PlayStation Store.  Keoi Tecmo shares more story and gameplay details about the game in an accompanying PS Blog post.  View and download image Download the image close Close Download this image PlayStation Plus  Along with Sword of the Sea coming August 19 as part of the Game Catalog lineup (more on that further down), there were new titles announced coming to PlayStation Plus. The PS2 version of immersive sci-fi sim Deus Ex joins Game Catalog June 17, Twisted Metal 3 and Twisted Metal 4 come to the PlayStation Plus Premium’s Classics range July 15. Later this summer, the original PlayStation versions of Resident Evil 2 and Resident Evil 3: Nemesis also come to  PlayStation Plus Premium’s Classics range. Play Video Pragmata Pragmata, Capcom’s new science fiction adventure, received a new gameplay trailer during today’s State of Play. This early peak of the game’s gameplay shows its unique twist of action and strategy, as in Pragmata, players must control its two protagonists, Hugh and Diana, at the same time to overcome the many obstacles you’ll face. Capcom shares more details of its latest IP, out 2026 on PS5, in an accompanying PS Blog post.  Play Video Project Defiant  Today State of Play saw the reveal of the first wireless fight stick custom designed by PlayStation. Codenamed Project Defiant, this new controller allows wireless play through PlayStation Link, or wired connection on PS5 or PC, and is set to launch next year.  Get your first full details on the fight stick in this PS Blog post.  Play Video Romeo is a Dead Man Romeo Stargazer is a man stuck between life and death who chases space-time’s most wanted fugitives as FBI special agent Dead Man. This newly revealed action title, created by Grasshopper Manufacture, launches on PS5 next year, and sees you use guns, swords and even enemies’ own powers against them to battle evil hordes.  How does a time paradox shattering the space-time continuum turn someone into an FBI special agent? Grasshopper Manufacture explains (kinda) in a new PS Blog post.   Play Video Sea of Remnants Meet a world of puppetfolk exploring the open sea and its secrets in oceanic action RPG Sea of Remnants, which sets sail for PS5. Form a specialised crew to answer any challenge that lies beyond the horizon, upgrade your ship to ride out any storm and return home with your spoils to Orbtopia, a pirate city that’ll evolve based on your swashbuckling decisions.   Joker Studio expands on the game’s punk aesthetic art style and delves deeper into its gameplay in an accompanying PS Blog post.  Play Video Silent Hill f Silent Hill f launches September 25 on PS5, and today’s State of Play trailer shows Shimizu Hinako’s perilous journey as the high schooler’s hometown is engulfed in fog, and the dangers within will have her fighting for her life. As a standalone spinoff, the game serves as an excellent introduction to the series.  “Find beauty in terror” – Konami explains the mission statement that shaped the game’s development in this PS Blog post.  Play Video Sword of the Sea Giant Squid is bringing its exhilarating, mythic surfing adventure Sword of the Sea to PS5 on August 19, with the game releasing as part of that month’s PlayStation Plus Game Catalog lineup.  In an accompanying PS Blog post, the studio outlines the game’s inspirations and merging those with its signature environmental design and atmospheric narrative style has resulted in a mythic surfing adventure unlike anything else. Play Video Thief VR: Legacy of Shadow  The legendary Thief franchise is reimagined for PlayStation VR2 in Thief VR: Legacy of Shadow, launching later this year. Play as Magpie, a cunning thief orphaned by Northcrest’s brutality and shaped by the streets and use PS VR2 mechanics to steal, evade, and outsmart the forces controlling The City. Move between shadows, and extinguish light sources with water arrows, hands or even a well-aimed breath to remain undetected.   Vertigo Games details how the franchise’s mechanics have been adapted to PS VR2 in this PS Blog post.  Play Video Tides of Tomorrow Road 96 creator DigixArt returns with an intriguing asynchronous multiplayer, oceanic adventure, coming to PS5 February 24, 2026. Tides of Tomorrow’s vibrant post-apocalyptic world interweaves your choices and a previous player’s decisions for a truly unique experience. You’ll see echoes of that player’s choices and actions, that will help you avoid traps, solve puzzles, investigate what happened before, or simply adapt based on the other player’s actions. Road 96 creator DigixArt introduces the oceanic nomads the Tidewalkers and breaks down the game’s unique mechanic in a new PS Blog post written by the studio. 
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  • We Build the LEGO Harry Potter Monster Book of Monsters: An Iconic Book That Actually Chomps

    LEGO has released a ton of new Harry Potter sets for June, but perhaps the most quirky and delightful build in the bunch is the Chomping Monster Book of Monsters set. It's a recreation of the iconic book we first see in the third Harry Potter filmand it absolutely looks the part. More importantly, though, it actually chomps.Out June 1Chomping Monster Book of Monstersat LEGOThe new Monster Book of Monsters set has a lot of cool details on the outside that made it fun to put together, but it's what on the inside that makes it fun to play with after. LEGO provided IGN with a copy of the set for a test build and I got the chance to put it together myself. At only 518 pieces, I was able to build the whole thing in one evening before I went to bed and had my nephews playing with it the next morning.We Build the LEGO Harry Potter Monster Book of MonstersSet #76449 is actually the second iteration of the LEGO Monster Book of Monsters. The first rendition was a Gift with Purchase, called The Monster Book of Monsters, released back in 2020 with a lot fewer pieces and a more simplistic style. The newer Chomping Monster Book of Monsters looks a lot more realistic and includes actual chomping action. It also includes a Neville Longbottom minifigure that is holding a much smaller version of the book. It's a fairly easy build, but it was fun to put together and the chomping action was a nice touch.The build is split up into four sections and you get one bag of LEGO bricks for each part. You start by putting together your little Neville Longbottom minifigure. He has two different face options to chooose from, so you can make him either smiley or terrified. I decided to go with smiley and placed him near the pieces as I put together everything else. The first part of the build is basically putting together the framework for the book.This is the longest step in the whole process and it admittedly takes quite a bit of time until it really starts looking like something. You're building what will later become the chassis that your little chomping motor and wheels will later sit in, so it's important you get everything facing the right direction. It really helped me that you use red bricks to indicate the back and blue bricks for the front or I definitely would have made a mistake along the way.It doesn't actually resemble anything like a monster book until you start adding some of the exterior pieces. There are light brown panels with a ridge that will look like pages once you're finished putting them together. The dark brown pointy pieces you add on the front and sides are what really start making it look like what you see on the box. You'll also add smooth panels on the back of each rectangle that will eventually fit together to form the entire base of the book.The one thing I didn't particularly enjoy about this build was how repetitive it felt to build both sides of the book itself. There were some small differences between the top and the bottom of the book, but for the most part the build felt exactly the same. So it ended up being a bit repetitive to have to do basically the same step twice. That being said, it was extremely satisfying when I finally got to be able to connect the two halves at the spine. You thread a few long pieces through the back hinge and suddenly you've got what looks to be a hollowed out book.The next portion of this build is where it really started to become fun. Once you're done with the overall structure, you move on to building the cover of the book. You start out with a series of large flat brown pieces that form the base of your cover. These are held together by two long flat pieces that are also thankfully color coordinated to indicate which side is up. Once you have the base assembled, you start adding all of the cool little details that bring the set to life. This includes the actual title of the book as well as the beady little eyes and spikey little feelers.Once you snap the cover onto the top of your book frame, it starts looking like a legit Monster Book of Monsters. And while the cover is really the turning point, it's all of the additional details you add on after this that start to give it an air of life. As you build the frame and the cover of the book you will have added a bunch of what appear to be little LEGO arms near the front pages. These will become the holders for the book's spiny little teeth. There are twelve of these in total and once they're snapped in you can articulate them in whatever direction feels right.The larger teeth get added after that, which is when it starts to look like it could actually chomp you. The instructions tell you to add one set of teeth at a time, but I decided to build them both first and add them all at once for dramatic effect. When all of the teeth are attached, you'll have what looks to be a Monster Book of Monsters that's actually capable of doing some chomping.The final step of this set is the most interesting part. At this point you've built a fairly realistic monster book, but it's still an empty shell waiting for some internal components to get it running. Now you essentially have to build a working pull-back car that you place inside so it can get to chomping on its own.The motorized aspect of this build is pretty straightforward, but it's a nice break from all of the detail work I had just done to be suddenly building a little wheeled car. It was also really fun to see how well the little car I'd just built snapped into place on the inside of the book itself.After I fully put everything together, I immediately tried out the rolling chomping action. It's a neat trick that turns what looks like a display set into an actual toy you can play with. The roll-back mechanism only goes so far back, so it doesn't actually roll that far, but the chomping action makes up for the lack of distance. As it moves forward you can actually hear the teeth clacking together. I had both of my younger nephews play with the set afterwards and they enjoyed playing with it almost as much as l did. The gimmick wears off fairly quickly after you've done it a few times, but afterwards you still have a really cool looking set you can display somewhere.The price of the set is fairly reasonable at placing it well below some of the most expensive sets on the market right now. Any of the franchise-specific sets that come out are always going to be more expensive than a non-franchise set with a similar number of pieces, and this has consistently remained true for all LEGO Harry Potter sets. All-in-all, it's a set I'd recommend to any fan of Harry Potter and LEGO. It's a fun and simple build you can knock out in an afternoon, and the finished product would make for a great Harry Potter gift you can display on a shelf or your desk.LEGO Harry Potter Chomping Book of Monsters, Set #76449, retails for and it is composed of 518 pieces. It is available at the LEGO Store beginning on June 1, 2025.
    #build #lego #harry #potter #monster
    We Build the LEGO Harry Potter Monster Book of Monsters: An Iconic Book That Actually Chomps
    LEGO has released a ton of new Harry Potter sets for June, but perhaps the most quirky and delightful build in the bunch is the Chomping Monster Book of Monsters set. It's a recreation of the iconic book we first see in the third Harry Potter filmand it absolutely looks the part. More importantly, though, it actually chomps.Out June 1Chomping Monster Book of Monstersat LEGOThe new Monster Book of Monsters set has a lot of cool details on the outside that made it fun to put together, but it's what on the inside that makes it fun to play with after. LEGO provided IGN with a copy of the set for a test build and I got the chance to put it together myself. At only 518 pieces, I was able to build the whole thing in one evening before I went to bed and had my nephews playing with it the next morning.We Build the LEGO Harry Potter Monster Book of MonstersSet #76449 is actually the second iteration of the LEGO Monster Book of Monsters. The first rendition was a Gift with Purchase, called The Monster Book of Monsters, released back in 2020 with a lot fewer pieces and a more simplistic style. The newer Chomping Monster Book of Monsters looks a lot more realistic and includes actual chomping action. It also includes a Neville Longbottom minifigure that is holding a much smaller version of the book. It's a fairly easy build, but it was fun to put together and the chomping action was a nice touch.The build is split up into four sections and you get one bag of LEGO bricks for each part. You start by putting together your little Neville Longbottom minifigure. He has two different face options to chooose from, so you can make him either smiley or terrified. I decided to go with smiley and placed him near the pieces as I put together everything else. The first part of the build is basically putting together the framework for the book.This is the longest step in the whole process and it admittedly takes quite a bit of time until it really starts looking like something. You're building what will later become the chassis that your little chomping motor and wheels will later sit in, so it's important you get everything facing the right direction. It really helped me that you use red bricks to indicate the back and blue bricks for the front or I definitely would have made a mistake along the way.It doesn't actually resemble anything like a monster book until you start adding some of the exterior pieces. There are light brown panels with a ridge that will look like pages once you're finished putting them together. The dark brown pointy pieces you add on the front and sides are what really start making it look like what you see on the box. You'll also add smooth panels on the back of each rectangle that will eventually fit together to form the entire base of the book.The one thing I didn't particularly enjoy about this build was how repetitive it felt to build both sides of the book itself. There were some small differences between the top and the bottom of the book, but for the most part the build felt exactly the same. So it ended up being a bit repetitive to have to do basically the same step twice. That being said, it was extremely satisfying when I finally got to be able to connect the two halves at the spine. You thread a few long pieces through the back hinge and suddenly you've got what looks to be a hollowed out book.The next portion of this build is where it really started to become fun. Once you're done with the overall structure, you move on to building the cover of the book. You start out with a series of large flat brown pieces that form the base of your cover. These are held together by two long flat pieces that are also thankfully color coordinated to indicate which side is up. Once you have the base assembled, you start adding all of the cool little details that bring the set to life. This includes the actual title of the book as well as the beady little eyes and spikey little feelers.Once you snap the cover onto the top of your book frame, it starts looking like a legit Monster Book of Monsters. And while the cover is really the turning point, it's all of the additional details you add on after this that start to give it an air of life. As you build the frame and the cover of the book you will have added a bunch of what appear to be little LEGO arms near the front pages. These will become the holders for the book's spiny little teeth. There are twelve of these in total and once they're snapped in you can articulate them in whatever direction feels right.The larger teeth get added after that, which is when it starts to look like it could actually chomp you. The instructions tell you to add one set of teeth at a time, but I decided to build them both first and add them all at once for dramatic effect. When all of the teeth are attached, you'll have what looks to be a Monster Book of Monsters that's actually capable of doing some chomping.The final step of this set is the most interesting part. At this point you've built a fairly realistic monster book, but it's still an empty shell waiting for some internal components to get it running. Now you essentially have to build a working pull-back car that you place inside so it can get to chomping on its own.The motorized aspect of this build is pretty straightforward, but it's a nice break from all of the detail work I had just done to be suddenly building a little wheeled car. It was also really fun to see how well the little car I'd just built snapped into place on the inside of the book itself.After I fully put everything together, I immediately tried out the rolling chomping action. It's a neat trick that turns what looks like a display set into an actual toy you can play with. The roll-back mechanism only goes so far back, so it doesn't actually roll that far, but the chomping action makes up for the lack of distance. As it moves forward you can actually hear the teeth clacking together. I had both of my younger nephews play with the set afterwards and they enjoyed playing with it almost as much as l did. The gimmick wears off fairly quickly after you've done it a few times, but afterwards you still have a really cool looking set you can display somewhere.The price of the set is fairly reasonable at placing it well below some of the most expensive sets on the market right now. Any of the franchise-specific sets that come out are always going to be more expensive than a non-franchise set with a similar number of pieces, and this has consistently remained true for all LEGO Harry Potter sets. All-in-all, it's a set I'd recommend to any fan of Harry Potter and LEGO. It's a fun and simple build you can knock out in an afternoon, and the finished product would make for a great Harry Potter gift you can display on a shelf or your desk.LEGO Harry Potter Chomping Book of Monsters, Set #76449, retails for and it is composed of 518 pieces. It is available at the LEGO Store beginning on June 1, 2025. #build #lego #harry #potter #monster
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    We Build the LEGO Harry Potter Monster Book of Monsters: An Iconic Book That Actually Chomps
    LEGO has released a ton of new Harry Potter sets for June, but perhaps the most quirky and delightful build in the bunch is the Chomping Monster Book of Monsters set. It's a recreation of the iconic book we first see in the third Harry Potter film (The Prisoner of Azkaban) and it absolutely looks the part. More importantly, though, it actually chomps.Out June 1Chomping Monster Book of Monsters$59.99 at LEGOThe new Monster Book of Monsters set has a lot of cool details on the outside that made it fun to put together, but it's what on the inside that makes it fun to play with after. LEGO provided IGN with a copy of the set for a test build and I got the chance to put it together myself. At only 518 pieces, I was able to build the whole thing in one evening before I went to bed and had my nephews playing with it the next morning.We Build the LEGO Harry Potter Monster Book of MonstersSet #76449 is actually the second iteration of the LEGO Monster Book of Monsters. The first rendition was a Gift with Purchase (set #30628), called The Monster Book of Monsters, released back in 2020 with a lot fewer pieces and a more simplistic style. The newer Chomping Monster Book of Monsters looks a lot more realistic and includes actual chomping action. It also includes a Neville Longbottom minifigure that is holding a much smaller version of the book. It's a fairly easy build, but it was fun to put together and the chomping action was a nice touch.The build is split up into four sections and you get one bag of LEGO bricks for each part. You start by putting together your little Neville Longbottom minifigure. He has two different face options to chooose from, so you can make him either smiley or terrified. I decided to go with smiley and placed him near the pieces as I put together everything else. The first part of the build is basically putting together the framework for the book.This is the longest step in the whole process and it admittedly takes quite a bit of time until it really starts looking like something. You're building what will later become the chassis that your little chomping motor and wheels will later sit in, so it's important you get everything facing the right direction. It really helped me that you use red bricks to indicate the back and blue bricks for the front or I definitely would have made a mistake along the way.It doesn't actually resemble anything like a monster book until you start adding some of the exterior pieces. There are light brown panels with a ridge that will look like pages once you're finished putting them together. The dark brown pointy pieces you add on the front and sides are what really start making it look like what you see on the box. You'll also add smooth panels on the back of each rectangle that will eventually fit together to form the entire base of the book.The one thing I didn't particularly enjoy about this build was how repetitive it felt to build both sides of the book itself. There were some small differences between the top and the bottom of the book, but for the most part the build felt exactly the same. So it ended up being a bit repetitive to have to do basically the same step twice. That being said, it was extremely satisfying when I finally got to be able to connect the two halves at the spine. You thread a few long pieces through the back hinge and suddenly you've got what looks to be a hollowed out book.The next portion of this build is where it really started to become fun. Once you're done with the overall structure, you move on to building the cover of the book. You start out with a series of large flat brown pieces that form the base of your cover. These are held together by two long flat pieces that are also thankfully color coordinated to indicate which side is up. Once you have the base assembled, you start adding all of the cool little details that bring the set to life. This includes the actual title of the book as well as the beady little eyes and spikey little feelers.Once you snap the cover onto the top of your book frame, it starts looking like a legit Monster Book of Monsters. And while the cover is really the turning point, it's all of the additional details you add on after this that start to give it an air of life. As you build the frame and the cover of the book you will have added a bunch of what appear to be little LEGO arms near the front pages. These will become the holders for the book's spiny little teeth. There are twelve of these in total and once they're snapped in you can articulate them in whatever direction feels right.The larger teeth get added after that, which is when it starts to look like it could actually chomp you. The instructions tell you to add one set of teeth at a time, but I decided to build them both first and add them all at once for dramatic effect. When all of the teeth are attached, you'll have what looks to be a Monster Book of Monsters that's actually capable of doing some chomping.The final step of this set is the most interesting part. At this point you've built a fairly realistic monster book, but it's still an empty shell waiting for some internal components to get it running. Now you essentially have to build a working pull-back car that you place inside so it can get to chomping on its own.The motorized aspect of this build is pretty straightforward, but it's a nice break from all of the detail work I had just done to be suddenly building a little wheeled car. It was also really fun to see how well the little car I'd just built snapped into place on the inside of the book itself.After I fully put everything together, I immediately tried out the rolling chomping action. It's a neat trick that turns what looks like a display set into an actual toy you can play with. The roll-back mechanism only goes so far back, so it doesn't actually roll that far, but the chomping action makes up for the lack of distance. As it moves forward you can actually hear the teeth clacking together. I had both of my younger nephews play with the set afterwards and they enjoyed playing with it almost as much as l did. The gimmick wears off fairly quickly after you've done it a few times, but afterwards you still have a really cool looking set you can display somewhere.The price of the set is fairly reasonable at $60, placing it well below some of the most expensive sets on the market right now. Any of the franchise-specific sets that come out are always going to be more expensive than a non-franchise set with a similar number of pieces, and this has consistently remained true for all LEGO Harry Potter sets. All-in-all, it's a set I'd recommend to any fan of Harry Potter and LEGO. It's a fun and simple build you can knock out in an afternoon, and the finished product would make for a great Harry Potter gift you can display on a shelf or your desk.LEGO Harry Potter Chomping Book of Monsters, Set #76449, retails for $59.99, and it is composed of 518 pieces. It is available at the LEGO Store beginning on June 1, 2025.
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  • Post-Album Release, Miley Cyrus Is Probably Hanging at This DREAMY Horse Farm

    Miley Cyrus has gone from Disney darling to music industry icon in a matter of two decades, and fans have watched in awe as the 32-year-old fine-tuned her sound in that time. Her anticipated ninth album, Something Beautiful, drops Friday, May 30, and rumor has it that the singer is considering getting back on tour. But where does Cyrus go when she needs to decompress? We’re breaking down her real estate portfolio below.Related StoriesA Starter Home in Studio City Courtesy of Google MapsCyrus bought her first property following the success of her third album, Can’t Be Tamed, in 2011. The five-bedroom, seven-bathroom ranch home was a million investment and a strategic move, as the home is located in Studio City, just two miles outside Toluca Lake, where her family resided. Cyrus still owns the gated 4,948 square foot property that boasts modern design details, such as skylights and floor-to-ceiling glass sliding doors. There are also relaxation-coded amenities: a saltwater pool, an at-home spa, and a yoga room on-site. A Horse Farm in Hidden HillsCourtsey of Google MapsYou can take the girl out of Tennessee, but you can’t take Tennessee out of the girl. Cyrus grew up on a farm in Nashville, and in 2015, the rising star bought a 5.5-acre horse ranch in Hidden Hills. Was the purchase a nod to her country roots? We like to think so. Cyrus bought the property for about million. It boasted 6,000 square feet of living space and a one-acre riding ring. The main house featured five bedrooms, five and a half bathrooms, and a 1,000-bottle wine cellar, while its outdoor amenities included a pool, spa, fireplace, built-in barbeque, fruit and vegetable garden, plus a vineyard. A Mid-century Home in MalibuCourtsey of Google MapsCyrus’s hit song Malibu is an ode to the home she and Liam Hemsworth shared in the beachy city. Cyrus bought the 1,385 square-foot two-story humble abode for million in 2016 and built a rainbow-colored recording studio on the property. It was surrounded by trees and tropical plants alike, giving it a private feel from the exterior, and an open floor plan for easy socializing indoors. Highlighted features of the home include high ceilings, glass doors leading out to the backyard, and a private balcony off the primary bedroom. Outdoor amenities were modest compared to Cyrus’s other properties and included a jacuzzi, gazebo, and two-car garage. A Farmhouse Ranch in TennesseeCourtsey of Google MapsIn 2017, Cyrus put down roots in her home state of Tennessee. The singer spent million on the 33.5-acre property, which featured a 7,000 square-foot ranch-style main house, complete with a wrap-around porch, lofted ceilings, multiple fireplaces, and reclaimed wood flooring.A Mansion in Hidden HillsCourtsey of Team SorrentinoFollowing her split from Hemsworth in January 2020, Cyrus moved into a six-bedroom, six-bathroom mansion in Hidden Hills, paying roughly million for her bachelorette pad. The artist teamed up with her mother and interior designer, Trish Cyrus, as well as designer Mat Sanders, to make the space feel more “Miley.” The finishing touches included a leopard-printed glam room, a psychedelic-themed music studio, and a Gucci tiger-wallpapered powder room. The premises also boast a lagoon-inspired swimming pool and an outdoor kitchen. A Manor in MalibuCourtsey of Google MapsCyrus made her return to Malibu in 2022 with her most expensive real estate purchase to date: a million six-bedroom, six-and-a-half-bathroom mansion. The home was originally built in 1999 but has undergone renovations in recent years. The interior is refreshed with white paint and hardwood flooring, stone tile, a formal dining room, and a spacious living room complete with a fireplace and an adjacent billiard room. Outdoor entertainment includes a patio and a heated pool.Follow House Beautiful on Instagram and TikTok.
    #postalbum #release #miley #cyrus #probably
    Post-Album Release, Miley Cyrus Is Probably Hanging at This DREAMY Horse Farm
    Miley Cyrus has gone from Disney darling to music industry icon in a matter of two decades, and fans have watched in awe as the 32-year-old fine-tuned her sound in that time. Her anticipated ninth album, Something Beautiful, drops Friday, May 30, and rumor has it that the singer is considering getting back on tour. But where does Cyrus go when she needs to decompress? We’re breaking down her real estate portfolio below.Related StoriesA Starter Home in Studio City Courtesy of Google MapsCyrus bought her first property following the success of her third album, Can’t Be Tamed, in 2011. The five-bedroom, seven-bathroom ranch home was a million investment and a strategic move, as the home is located in Studio City, just two miles outside Toluca Lake, where her family resided. Cyrus still owns the gated 4,948 square foot property that boasts modern design details, such as skylights and floor-to-ceiling glass sliding doors. There are also relaxation-coded amenities: a saltwater pool, an at-home spa, and a yoga room on-site. A Horse Farm in Hidden HillsCourtsey of Google MapsYou can take the girl out of Tennessee, but you can’t take Tennessee out of the girl. Cyrus grew up on a farm in Nashville, and in 2015, the rising star bought a 5.5-acre horse ranch in Hidden Hills. Was the purchase a nod to her country roots? We like to think so. Cyrus bought the property for about million. It boasted 6,000 square feet of living space and a one-acre riding ring. The main house featured five bedrooms, five and a half bathrooms, and a 1,000-bottle wine cellar, while its outdoor amenities included a pool, spa, fireplace, built-in barbeque, fruit and vegetable garden, plus a vineyard. A Mid-century Home in MalibuCourtsey of Google MapsCyrus’s hit song Malibu is an ode to the home she and Liam Hemsworth shared in the beachy city. Cyrus bought the 1,385 square-foot two-story humble abode for million in 2016 and built a rainbow-colored recording studio on the property. It was surrounded by trees and tropical plants alike, giving it a private feel from the exterior, and an open floor plan for easy socializing indoors. Highlighted features of the home include high ceilings, glass doors leading out to the backyard, and a private balcony off the primary bedroom. Outdoor amenities were modest compared to Cyrus’s other properties and included a jacuzzi, gazebo, and two-car garage. A Farmhouse Ranch in TennesseeCourtsey of Google MapsIn 2017, Cyrus put down roots in her home state of Tennessee. The singer spent million on the 33.5-acre property, which featured a 7,000 square-foot ranch-style main house, complete with a wrap-around porch, lofted ceilings, multiple fireplaces, and reclaimed wood flooring.A Mansion in Hidden HillsCourtsey of Team SorrentinoFollowing her split from Hemsworth in January 2020, Cyrus moved into a six-bedroom, six-bathroom mansion in Hidden Hills, paying roughly million for her bachelorette pad. The artist teamed up with her mother and interior designer, Trish Cyrus, as well as designer Mat Sanders, to make the space feel more “Miley.” The finishing touches included a leopard-printed glam room, a psychedelic-themed music studio, and a Gucci tiger-wallpapered powder room. The premises also boast a lagoon-inspired swimming pool and an outdoor kitchen. A Manor in MalibuCourtsey of Google MapsCyrus made her return to Malibu in 2022 with her most expensive real estate purchase to date: a million six-bedroom, six-and-a-half-bathroom mansion. The home was originally built in 1999 but has undergone renovations in recent years. The interior is refreshed with white paint and hardwood flooring, stone tile, a formal dining room, and a spacious living room complete with a fireplace and an adjacent billiard room. Outdoor entertainment includes a patio and a heated pool.Follow House Beautiful on Instagram and TikTok. #postalbum #release #miley #cyrus #probably
    WWW.HOUSEBEAUTIFUL.COM
    Post-Album Release, Miley Cyrus Is Probably Hanging at This DREAMY Horse Farm
    Miley Cyrus has gone from Disney darling to music industry icon in a matter of two decades, and fans have watched in awe as the 32-year-old fine-tuned her sound in that time. Her anticipated ninth album, Something Beautiful, drops Friday, May 30, and rumor has it that the singer is considering getting back on tour. But where does Cyrus go when she needs to decompress? We’re breaking down her real estate portfolio below.Related StoriesA Starter Home in Studio City Courtesy of Google MapsCyrus bought her first property following the success of her third album, Can’t Be Tamed, in 2011. The five-bedroom, seven-bathroom ranch home was a $3.9 million investment and a strategic move, as the home is located in Studio City, just two miles outside Toluca Lake, where her family resided. Cyrus still owns the gated 4,948 square foot property that boasts modern design details, such as skylights and floor-to-ceiling glass sliding doors. There are also relaxation-coded amenities: a saltwater pool, an at-home spa, and a yoga room on-site. A Horse Farm in Hidden HillsCourtsey of Google MapsYou can take the girl out of Tennessee, but you can’t take Tennessee out of the girl. Cyrus grew up on a farm in Nashville, and in 2015, the rising star bought a 5.5-acre horse ranch in Hidden Hills. Was the purchase a nod to her country roots? We like to think so. Cyrus bought the property for about $5.5 million. It boasted 6,000 square feet of living space and a one-acre riding ring. The main house featured five bedrooms, five and a half bathrooms, and a 1,000-bottle wine cellar, while its outdoor amenities included a pool, spa, fireplace, built-in barbeque, fruit and vegetable garden, plus a vineyard. A Mid-century Home in MalibuCourtsey of Google MapsCyrus’s hit song Malibu is an ode to the home she and Liam Hemsworth shared in the beachy city. Cyrus bought the 1,385 square-foot two-story humble abode for $2.5 million in 2016 and built a rainbow-colored recording studio on the property. It was surrounded by trees and tropical plants alike, giving it a private feel from the exterior, and an open floor plan for easy socializing indoors. Highlighted features of the home include high ceilings, glass doors leading out to the backyard, and a private balcony off the primary bedroom. Outdoor amenities were modest compared to Cyrus’s other properties and included a jacuzzi, gazebo, and two-car garage. A Farmhouse Ranch in TennesseeCourtsey of Google MapsIn 2017, Cyrus put down roots in her home state of Tennessee. The singer spent $5.8 million on the 33.5-acre property, which featured a 7,000 square-foot ranch-style main house, complete with a wrap-around porch, lofted ceilings, multiple fireplaces, and reclaimed wood flooring.A Mansion in Hidden HillsCourtsey of Team SorrentinoFollowing her split from Hemsworth in January 2020, Cyrus moved into a six-bedroom, six-bathroom mansion in Hidden Hills, paying roughly $5 million for her bachelorette pad. The artist teamed up with her mother and interior designer, Trish Cyrus, as well as designer Mat Sanders, to make the space feel more “Miley.” The finishing touches included a leopard-printed glam room, a psychedelic-themed music studio, and a Gucci tiger-wallpapered powder room. The premises also boast a lagoon-inspired swimming pool and an outdoor kitchen. A Manor in MalibuCourtsey of Google MapsCyrus made her return to Malibu in 2022 with her most expensive real estate purchase to date: a $7.9 million six-bedroom, six-and-a-half-bathroom mansion. The home was originally built in 1999 but has undergone renovations in recent years. The interior is refreshed with white paint and hardwood flooring, stone tile, a formal dining room, and a spacious living room complete with a fireplace and an adjacent billiard room. Outdoor entertainment includes a patio and a heated pool.Follow House Beautiful on Instagram and TikTok.
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  • DreamPark raises $1.1M to transform real-world spaces into mixed-reality theme parks

    DreamPark, the creator of what it calls “the world’s largest downloadable mixed realitytheme park,” said it has raised million in seed funding.
    The investment will accelerate DreamPark’s mission to make Earth worth playing again by transforming ordinary spaces into extraordinary adventures through mixed reality technology. I got a demo of the game in Yerba Buena Park in San Francisco and it made me smile. It also made me think it was part of a pretty good plan to convince property owners to get more out of their entertainment venues.
    But we’ll get to that in a bit. Long Journey Ventures led the investment round, with participation from Founders Inc.
    The company is the brainchild of Aidan Wolf, CEO of DreamPark; Kevin Habich, cofounder; and cofounder Brent Bushnell. They came up with the idea while working at Two-Bit Circus, a zany entertainment venue in Los Angeles run by Bushnell. Bushnell encouraged the idea, incubated it and became a cofounder.
    The DreamPark founders: Brent Bushnell, Aidan Wolf and Kevin Habich.
    Positioned at the forefront of mixed reality innovation, DreamPark said it is capturing a significant early advantage in the global XRlive event market, valued at billion in 2024 and projected to surge to billion by 2034 at a 48.7% compound annual growth rate. This explosive growth trajectory presents an opportunity that DreamPark’s technology and business model are uniquely designed to address, the company said.
    “We’re building the world’s largest theme park – one that exists everywhere and is accessible to everyone. We want to make getting out to play worthwhile again,” said Bushnell. “This investment allows us to expand our footprint of access points across the country rapidly, develop partnerships with premium IP holders, and continue enhancing our technology to deliver magical experiences that bring people back to real-world spaces.”
    Bushnell is the eldest son of Atari cofounder Nolan Bushnell. And the younger Bushnell knows the costs of investing in physical properties, as he runs Two-Bit Circus in downtown Los Angeles. It’s built inside a physical warehouse, and Bushnell’s company has to pay for that property — even weathering the pandemic. But with DreamPark, he can reinvigorate a physical venue without investing anything in a new property. By contrast, a new virtual reality entertainment venue can cost more than million to open.
    Hands-on demo
    DreamPark foundes in Yerba Buena Gardens park in San Francisco.
    Wolf and Habich, and Bushnell’s sister Alyssa Bushnell, showed me the DreamPark virtual theme park in San Francisco in the park near the Metreon building. There was a concert going on at the time and it was very noisy. But the game worked fine anyway.
    Looking down at my feet, Wolf said the QR code on the mat on the groun was an “access point.” That’s where you can scan and enter the virtual world. The company is still building a front end for distributing the headsets, but people will be able to bring their mixed-reality headsets from home and play the same content.
    “We’re setting these up all over,” Wolf said. “Once an area is mapped, it’s there and you just show up and play. The big difference here is that DreamParks are places. They exist in the real world.”
    Don’t be surprised if you see people doing this soon.
    The mapped area was around 50,000 square feet in the park, so it was a pretty big game space. Soon, the company will break into 100,000 square feet for the game with another update. That’s about 10 times the restricted size of Meta’s VR headsets.
    “We’re going way past the usual limits,” Wolf said. “I think this fundamentally changes what mixed reality means. Now it’s not this living room experience bound to the couch. It’s an actual world to walk around and explore and touch. Once we get people there, we’re gonna really see that cognitive shift, where now augmented realityis something I can go out and experience, like enjoying a concert.”
    The cofounders gave me a headset to wear. The first one didn’t work, but a second one functioned fine. It was a modified Meta Quest 3 headset that was locked down so it would play just the DreamPark game. It took a short time to load and then I looked through the headset. Thanks to the outward-facing cameras, I was able to see the park in mixed reality. That meant I didn’t trip over anything as I walked around.
    I held the headset to my forehead and looked around. I could see a Mario-like set of bricks floating in the air, and floating virtual coins along the physical path. I started walking around and picking up the coins and tapping the bricks to collect points in the game. I didn’t go where there were people lying on the grass, but I didn’t manage to navigate to some lava pits in the middle of the park. The founders pointed out that far away from me, on the Carnaval concert stage, there was a boss. Normally, if there was no concert, I could have waltzed over to that location and engaged in a boss fight.
    DreamPark overlaid on the Third Street Promenade in Santa Monica, California.
    The graphics were rudimentary, 8-bit style, and yet I didn’t mind it at all due to the novelty of seeing them overlaid on the real world. Still, I was reluctant to go walking in the lava pits, as that was a bad idea in the virtual world and I somehow felt like it would be a bad idea to walk there in the physical world.
    “Our graphics are more cartoonish, but our Wizard theme has a more realistic look,” Wolf said. “We’re creating four theme parks.”
    One of them is a sci-fi Crash Course, which is an obstacle course. And DreamPark is working with a partner as well. There’s one with a psychedelic theme and one that is ambient fun.
    It’s easy to turn the experience into a multiplayer game. You can, for instance, race around the park and complete a timed experience in competition with your friends.
    The appeal of a virtual overlay on the real world
    DreamPark mixes the virtual and real worlds.
    DreamPark transforms physical locations into immersive mixed-reality environments through its network of access points: physical markers, like QR codes, that, when scanned with a Meta Quest 3 headset or mobile device, unlock digital overlays on real-world spaces. The company has already established successful installations at Santa Monica’s Third Street Promenade and The LA County Fair, with planned expansions in Seattle, Orange County and several expos and corporate events.
    It’s pretty cheap to create new locations. All they really have to do is scan an area, overlay a digital game filled with simple games, and then drop a mat with a QR code on the property so people can scan it and start playing the game. For property owners, this means they can draw people back to their location, getting them to re-engage with the place because people want to play a digital game at the physical place. It’s a way to enhance the value of a physical property, using virtual entertainment.
    Bushnell pitched the idea for DreamPark on CNBC’s Shark Tank television show. The sharks didn’t go for it, but the publicity from the show helped surface investors, Bushnell said..
    “As a longtime investor, I have seen countless pitches promising to merge the digital and physical worlds, and DreamPark is the first that truly delivers on the real-world metaverse,” said Cyan Banister, cofounder and general partner at Long Journey Ventures, in a statement. “Aidan is a visionary builder of immersive systems, and Brent is a pioneer in playful public spaces, making them the perfect team to make emerging tech feel human, accessible, and unforgettable. They’ve cracked the code on location-based AR, delivering a 10x experience that’s as magical as it’s scalable. This isn’t just immersive entertainment; it’s a whole new category.”
    The funding comes when retail landlords and event venues seek innovative solutions to drive foot traffic and increase engagement. While typical VR venues cost over million to build, DreamPark delivers a fully immersive, multiplayer experience that pays for itself in its first month of revenue.
    DreamPark in Santa Monica.
    “Our capital expense is like one of a hundredth of our competitors, which is amazing. And then this lets us move astronomically faster than everyone else. I kind of believe in a Nintendo philosophy, which is, they take antiquated technology, but they use it in a new way that makes it valuable. We’re using access points,” Wolf said.
    There’s no construction or permanent infrastructure required. It’s a radically more affordable way to turn underused spaces into high-impact destinations.
    “We’re not just creating engaging content, we’re building a platform that revitalizes communities by giving people a reason to gather, play, and connect in physical spaces in real life,” said Wolf. “DreamPark bridges the digital and physical worlds, creating a new category of play where the magic of virtual worlds enhances real-life connections. We’re reimagining what’s possible when the spaces around us become canvases for shared adventure and imagination.”
    The seed funding will support DreamPark’s aggressive expansion plans, including deploying access points across new locations, launching partnerships with major IP holders to create branded theme park experiences, and expanding the company’s fleet of rental Meta Quest 3 headsets units nationwide.
    DreamPark is growing the development team to accelerate content creation and platform capabilities. DreamPark’s leadership team brings deep experience from companies including Two-Bit Circus, Smiley Cap, and SNAP, Inc., positioning them to execute their ambitious vision of creating the infrastructure for worldwide mixed-reality entertainment.
    Where it’s going
    What alien technology is this?
    Bushnell said the team has been working for around two years. But the founders have been involved with AR for more than a decade. They showed up at Two-Bit Circus and started making mixed-reality games, which take into account physical reality as a game space. There are about 10 contractors in the company working on content.
    They found that players are happy to wear the headsets for 30 minutes at a time, particularly when they are playing with friends.
    “We see ourselves more as a tech company than like a location based entertainment company. We hope to stay small as a core team while still reaching millions or billions of people,” Wolf said.The games are in a private alpha testing phase now.
    “I would say that the headset we currently have in our hands is the exact headset we need to bring this to the masses. So the nice part about the company we’re building is we aren’t waiting for some like watershed moment,” Wolf said. “We’re not waiting for anything now. We’re just getting it into lots of places where people already congregate.”DreamPark is coming out with an app that will let users scan their local park and then start using that space as a level, Wolf said. But DreamPark itself will create partnerships with some of the best places itself and get permission to do the game on the properties.
    At Two-Bit Circus, for instance, DreamPark could extend the entertainment into the outdoor parking lot, giving more square footage for entertainment.
    Bushnell had a great moment when he was playing an AR game with drift racing on a racetrack in the Two-Bit Circus parking lot. He noted that mixed reality doesn’t have the Achilles Heel of VR, which is that it makes half the people nauseous.
    “That was really the moment that broke my brain for mixed reality,” he said. “We were on actual drift bikes, pedaling around collecting coins. And I went twice around that thing, chasing after somebody else on a drift bike. And, you know, my heart rate was at 150. And I was just absolutely going bananas. And I took the headset off, and all that world that had motivated me to pedal my ass off was gone. It just really felt like this is not just going to change entertainment. This is going to change therapy and fitness and learning.”
    Bushnell said so many other kinds of entertainment are based on deploying huge amounts of capital. But this kind of theme park could be up and running in a matter of minutes. Bushnell believes people will be happy to buy tickets to get a chance to play. He said his four-year-old kid loves it, as does his 82-year-old father.
    DreamPark is adding virtual entertainment to real venues.
    To me, it felt a bit like the beginning of the world of Cyberpunk 2077, while Bushnell said it reminded him of the Korean drama, The Memories of Alhambra, where people wear contact lenss displays and have an adventure overlaid on real streets.
    “These are beautiful places naturally. Let’s augment them with a little more cool storytelling, and you’re off and running,” Bushnell said. “The world is lonely and isolated, We think of this a path to being social again, getting people out in public. And we want to invite landlords of all stripes to host DreamParks.”

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    #dreampark #raises #11m #transform #realworld
    DreamPark raises $1.1M to transform real-world spaces into mixed-reality theme parks
    DreamPark, the creator of what it calls “the world’s largest downloadable mixed realitytheme park,” said it has raised million in seed funding. The investment will accelerate DreamPark’s mission to make Earth worth playing again by transforming ordinary spaces into extraordinary adventures through mixed reality technology. I got a demo of the game in Yerba Buena Park in San Francisco and it made me smile. It also made me think it was part of a pretty good plan to convince property owners to get more out of their entertainment venues. But we’ll get to that in a bit. Long Journey Ventures led the investment round, with participation from Founders Inc. The company is the brainchild of Aidan Wolf, CEO of DreamPark; Kevin Habich, cofounder; and cofounder Brent Bushnell. They came up with the idea while working at Two-Bit Circus, a zany entertainment venue in Los Angeles run by Bushnell. Bushnell encouraged the idea, incubated it and became a cofounder. The DreamPark founders: Brent Bushnell, Aidan Wolf and Kevin Habich. Positioned at the forefront of mixed reality innovation, DreamPark said it is capturing a significant early advantage in the global XRlive event market, valued at billion in 2024 and projected to surge to billion by 2034 at a 48.7% compound annual growth rate. This explosive growth trajectory presents an opportunity that DreamPark’s technology and business model are uniquely designed to address, the company said. “We’re building the world’s largest theme park – one that exists everywhere and is accessible to everyone. We want to make getting out to play worthwhile again,” said Bushnell. “This investment allows us to expand our footprint of access points across the country rapidly, develop partnerships with premium IP holders, and continue enhancing our technology to deliver magical experiences that bring people back to real-world spaces.” Bushnell is the eldest son of Atari cofounder Nolan Bushnell. And the younger Bushnell knows the costs of investing in physical properties, as he runs Two-Bit Circus in downtown Los Angeles. It’s built inside a physical warehouse, and Bushnell’s company has to pay for that property — even weathering the pandemic. But with DreamPark, he can reinvigorate a physical venue without investing anything in a new property. By contrast, a new virtual reality entertainment venue can cost more than million to open. Hands-on demo DreamPark foundes in Yerba Buena Gardens park in San Francisco. Wolf and Habich, and Bushnell’s sister Alyssa Bushnell, showed me the DreamPark virtual theme park in San Francisco in the park near the Metreon building. There was a concert going on at the time and it was very noisy. But the game worked fine anyway. Looking down at my feet, Wolf said the QR code on the mat on the groun was an “access point.” That’s where you can scan and enter the virtual world. The company is still building a front end for distributing the headsets, but people will be able to bring their mixed-reality headsets from home and play the same content. “We’re setting these up all over,” Wolf said. “Once an area is mapped, it’s there and you just show up and play. The big difference here is that DreamParks are places. They exist in the real world.” Don’t be surprised if you see people doing this soon. The mapped area was around 50,000 square feet in the park, so it was a pretty big game space. Soon, the company will break into 100,000 square feet for the game with another update. That’s about 10 times the restricted size of Meta’s VR headsets. “We’re going way past the usual limits,” Wolf said. “I think this fundamentally changes what mixed reality means. Now it’s not this living room experience bound to the couch. It’s an actual world to walk around and explore and touch. Once we get people there, we’re gonna really see that cognitive shift, where now augmented realityis something I can go out and experience, like enjoying a concert.” The cofounders gave me a headset to wear. The first one didn’t work, but a second one functioned fine. It was a modified Meta Quest 3 headset that was locked down so it would play just the DreamPark game. It took a short time to load and then I looked through the headset. Thanks to the outward-facing cameras, I was able to see the park in mixed reality. That meant I didn’t trip over anything as I walked around. I held the headset to my forehead and looked around. I could see a Mario-like set of bricks floating in the air, and floating virtual coins along the physical path. I started walking around and picking up the coins and tapping the bricks to collect points in the game. I didn’t go where there were people lying on the grass, but I didn’t manage to navigate to some lava pits in the middle of the park. The founders pointed out that far away from me, on the Carnaval concert stage, there was a boss. Normally, if there was no concert, I could have waltzed over to that location and engaged in a boss fight. DreamPark overlaid on the Third Street Promenade in Santa Monica, California. The graphics were rudimentary, 8-bit style, and yet I didn’t mind it at all due to the novelty of seeing them overlaid on the real world. Still, I was reluctant to go walking in the lava pits, as that was a bad idea in the virtual world and I somehow felt like it would be a bad idea to walk there in the physical world. “Our graphics are more cartoonish, but our Wizard theme has a more realistic look,” Wolf said. “We’re creating four theme parks.” One of them is a sci-fi Crash Course, which is an obstacle course. And DreamPark is working with a partner as well. There’s one with a psychedelic theme and one that is ambient fun. It’s easy to turn the experience into a multiplayer game. You can, for instance, race around the park and complete a timed experience in competition with your friends. The appeal of a virtual overlay on the real world DreamPark mixes the virtual and real worlds. DreamPark transforms physical locations into immersive mixed-reality environments through its network of access points: physical markers, like QR codes, that, when scanned with a Meta Quest 3 headset or mobile device, unlock digital overlays on real-world spaces. The company has already established successful installations at Santa Monica’s Third Street Promenade and The LA County Fair, with planned expansions in Seattle, Orange County and several expos and corporate events. It’s pretty cheap to create new locations. All they really have to do is scan an area, overlay a digital game filled with simple games, and then drop a mat with a QR code on the property so people can scan it and start playing the game. For property owners, this means they can draw people back to their location, getting them to re-engage with the place because people want to play a digital game at the physical place. It’s a way to enhance the value of a physical property, using virtual entertainment. Bushnell pitched the idea for DreamPark on CNBC’s Shark Tank television show. The sharks didn’t go for it, but the publicity from the show helped surface investors, Bushnell said.. “As a longtime investor, I have seen countless pitches promising to merge the digital and physical worlds, and DreamPark is the first that truly delivers on the real-world metaverse,” said Cyan Banister, cofounder and general partner at Long Journey Ventures, in a statement. “Aidan is a visionary builder of immersive systems, and Brent is a pioneer in playful public spaces, making them the perfect team to make emerging tech feel human, accessible, and unforgettable. They’ve cracked the code on location-based AR, delivering a 10x experience that’s as magical as it’s scalable. This isn’t just immersive entertainment; it’s a whole new category.” The funding comes when retail landlords and event venues seek innovative solutions to drive foot traffic and increase engagement. While typical VR venues cost over million to build, DreamPark delivers a fully immersive, multiplayer experience that pays for itself in its first month of revenue. DreamPark in Santa Monica. “Our capital expense is like one of a hundredth of our competitors, which is amazing. And then this lets us move astronomically faster than everyone else. I kind of believe in a Nintendo philosophy, which is, they take antiquated technology, but they use it in a new way that makes it valuable. We’re using access points,” Wolf said. There’s no construction or permanent infrastructure required. It’s a radically more affordable way to turn underused spaces into high-impact destinations. “We’re not just creating engaging content, we’re building a platform that revitalizes communities by giving people a reason to gather, play, and connect in physical spaces in real life,” said Wolf. “DreamPark bridges the digital and physical worlds, creating a new category of play where the magic of virtual worlds enhances real-life connections. We’re reimagining what’s possible when the spaces around us become canvases for shared adventure and imagination.” The seed funding will support DreamPark’s aggressive expansion plans, including deploying access points across new locations, launching partnerships with major IP holders to create branded theme park experiences, and expanding the company’s fleet of rental Meta Quest 3 headsets units nationwide. DreamPark is growing the development team to accelerate content creation and platform capabilities. DreamPark’s leadership team brings deep experience from companies including Two-Bit Circus, Smiley Cap, and SNAP, Inc., positioning them to execute their ambitious vision of creating the infrastructure for worldwide mixed-reality entertainment. Where it’s going What alien technology is this? Bushnell said the team has been working for around two years. But the founders have been involved with AR for more than a decade. They showed up at Two-Bit Circus and started making mixed-reality games, which take into account physical reality as a game space. There are about 10 contractors in the company working on content. They found that players are happy to wear the headsets for 30 minutes at a time, particularly when they are playing with friends. “We see ourselves more as a tech company than like a location based entertainment company. We hope to stay small as a core team while still reaching millions or billions of people,” Wolf said.The games are in a private alpha testing phase now. “I would say that the headset we currently have in our hands is the exact headset we need to bring this to the masses. So the nice part about the company we’re building is we aren’t waiting for some like watershed moment,” Wolf said. “We’re not waiting for anything now. We’re just getting it into lots of places where people already congregate.”DreamPark is coming out with an app that will let users scan their local park and then start using that space as a level, Wolf said. But DreamPark itself will create partnerships with some of the best places itself and get permission to do the game on the properties. At Two-Bit Circus, for instance, DreamPark could extend the entertainment into the outdoor parking lot, giving more square footage for entertainment. Bushnell had a great moment when he was playing an AR game with drift racing on a racetrack in the Two-Bit Circus parking lot. He noted that mixed reality doesn’t have the Achilles Heel of VR, which is that it makes half the people nauseous. “That was really the moment that broke my brain for mixed reality,” he said. “We were on actual drift bikes, pedaling around collecting coins. And I went twice around that thing, chasing after somebody else on a drift bike. And, you know, my heart rate was at 150. And I was just absolutely going bananas. And I took the headset off, and all that world that had motivated me to pedal my ass off was gone. It just really felt like this is not just going to change entertainment. This is going to change therapy and fitness and learning.” Bushnell said so many other kinds of entertainment are based on deploying huge amounts of capital. But this kind of theme park could be up and running in a matter of minutes. Bushnell believes people will be happy to buy tickets to get a chance to play. He said his four-year-old kid loves it, as does his 82-year-old father. DreamPark is adding virtual entertainment to real venues. To me, it felt a bit like the beginning of the world of Cyberpunk 2077, while Bushnell said it reminded him of the Korean drama, The Memories of Alhambra, where people wear contact lenss displays and have an adventure overlaid on real streets. “These are beautiful places naturally. Let’s augment them with a little more cool storytelling, and you’re off and running,” Bushnell said. “The world is lonely and isolated, We think of this a path to being social again, getting people out in public. And we want to invite landlords of all stripes to host DreamParks.” GB Daily Stay in the know! Get the latest news in your inbox daily Read our Privacy Policy Thanks for subscribing. Check out more VB newsletters here. An error occured. #dreampark #raises #11m #transform #realworld
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    DreamPark raises $1.1M to transform real-world spaces into mixed-reality theme parks
    DreamPark, the creator of what it calls “the world’s largest downloadable mixed reality (XR) theme park,” said it has raised $1.1 million in seed funding. The investment will accelerate DreamPark’s mission to make Earth worth playing again by transforming ordinary spaces into extraordinary adventures through mixed reality technology. I got a demo of the game in Yerba Buena Park in San Francisco and it made me smile. It also made me think it was part of a pretty good plan to convince property owners to get more out of their entertainment venues. But we’ll get to that in a bit. Long Journey Ventures led the investment round, with participation from Founders Inc. The company is the brainchild of Aidan Wolf, CEO of DreamPark; Kevin Habich, cofounder; and cofounder Brent Bushnell. They came up with the idea while working at Two-Bit Circus, a zany entertainment venue in Los Angeles run by Bushnell. Bushnell encouraged the idea, incubated it and became a cofounder. The DreamPark founders (left to right): Brent Bushnell, Aidan Wolf and Kevin Habich. Positioned at the forefront of mixed reality innovation, DreamPark said it is capturing a significant early advantage in the global XR (extended reality) live event market, valued at $3.6 billion in 2024 and projected to surge to $190.3 billion by 2034 at a 48.7% compound annual growth rate (CAGR). This explosive growth trajectory presents an opportunity that DreamPark’s technology and business model are uniquely designed to address, the company said. “We’re building the world’s largest theme park – one that exists everywhere and is accessible to everyone. We want to make getting out to play worthwhile again,” said Bushnell. “This investment allows us to expand our footprint of access points across the country rapidly, develop partnerships with premium IP holders, and continue enhancing our technology to deliver magical experiences that bring people back to real-world spaces.” Bushnell is the eldest son of Atari cofounder Nolan Bushnell. And the younger Bushnell knows the costs of investing in physical properties, as he runs Two-Bit Circus in downtown Los Angeles. It’s built inside a physical warehouse, and Bushnell’s company has to pay for that property — even weathering the pandemic. But with DreamPark, he can reinvigorate a physical venue without investing anything in a new property. By contrast, a new virtual reality entertainment venue can cost more than $1 million to open. Hands-on demo DreamPark foundes in Yerba Buena Gardens park in San Francisco. Wolf and Habich, and Bushnell’s sister Alyssa Bushnell, showed me the DreamPark virtual theme park in San Francisco in the park near the Metreon building. There was a concert going on at the time and it was very noisy. But the game worked fine anyway. Looking down at my feet, Wolf said the QR code on the mat on the groun was an “access point.” That’s where you can scan and enter the virtual world. The company is still building a front end for distributing the headsets, but people will be able to bring their mixed-reality headsets from home and play the same content. “We’re setting these up all over,” Wolf said. “Once an area is mapped, it’s there and you just show up and play. The big difference here is that DreamParks are places. They exist in the real world.” Don’t be surprised if you see people doing this soon. The mapped area was around 50,000 square feet in the park, so it was a pretty big game space. Soon, the company will break into 100,000 square feet for the game with another update. That’s about 10 times the restricted size of Meta’s VR headsets. “We’re going way past the usual limits,” Wolf said. “I think this fundamentally changes what mixed reality means. Now it’s not this living room experience bound to the couch. It’s an actual world to walk around and explore and touch. Once we get people there, we’re gonna really see that cognitive shift, where now augmented reality (AR) is something I can go out and experience, like enjoying a concert.” The cofounders gave me a headset to wear. The first one didn’t work, but a second one functioned fine. It was a modified Meta Quest 3 headset that was locked down so it would play just the DreamPark game. It took a short time to load and then I looked through the headset. Thanks to the outward-facing cameras, I was able to see the park in mixed reality. That meant I didn’t trip over anything as I walked around. I held the headset to my forehead and looked around. I could see a Mario-like set of bricks floating in the air, and floating virtual coins along the physical path. I started walking around and picking up the coins and tapping the bricks to collect points in the game. I didn’t go where there were people lying on the grass, but I didn’t manage to navigate to some lava pits in the middle of the park. The founders pointed out that far away from me, on the Carnaval concert stage, there was a boss. Normally, if there was no concert, I could have waltzed over to that location and engaged in a boss fight. DreamPark overlaid on the Third Street Promenade in Santa Monica, California. The graphics were rudimentary, 8-bit style, and yet I didn’t mind it at all due to the novelty of seeing them overlaid on the real world. Still, I was reluctant to go walking in the lava pits, as that was a bad idea in the virtual world and I somehow felt like it would be a bad idea to walk there in the physical world. “Our graphics are more cartoonish, but our Wizard theme has a more realistic look,” Wolf said. “We’re creating four theme parks.” One of them is a sci-fi Crash Course, which is an obstacle course. And DreamPark is working with a partner as well. There’s one with a psychedelic theme and one that is ambient fun. It’s easy to turn the experience into a multiplayer game. You can, for instance, race around the park and complete a timed experience in competition with your friends. The appeal of a virtual overlay on the real world DreamPark mixes the virtual and real worlds. DreamPark transforms physical locations into immersive mixed-reality environments through its network of access points: physical markers, like QR codes, that, when scanned with a Meta Quest 3 headset or mobile device, unlock digital overlays on real-world spaces. The company has already established successful installations at Santa Monica’s Third Street Promenade and The LA County Fair, with planned expansions in Seattle, Orange County and several expos and corporate events. It’s pretty cheap to create new locations. All they really have to do is scan an area, overlay a digital game filled with simple games, and then drop a mat with a QR code on the property so people can scan it and start playing the game. For property owners, this means they can draw people back to their location, getting them to re-engage with the place because people want to play a digital game at the physical place. It’s a way to enhance the value of a physical property, using virtual entertainment. Bushnell pitched the idea for DreamPark on CNBC’s Shark Tank television show. The sharks didn’t go for it, but the publicity from the show helped surface investors, Bushnell said. (The Bushnell family is going to appear at Augmented World Expo in Long Beach, California, in June). “As a longtime investor, I have seen countless pitches promising to merge the digital and physical worlds, and DreamPark is the first that truly delivers on the real-world metaverse,” said Cyan Banister, cofounder and general partner at Long Journey Ventures, in a statement. “Aidan is a visionary builder of immersive systems, and Brent is a pioneer in playful public spaces, making them the perfect team to make emerging tech feel human, accessible, and unforgettable. They’ve cracked the code on location-based AR, delivering a 10x experience that’s as magical as it’s scalable. This isn’t just immersive entertainment; it’s a whole new category.” The funding comes when retail landlords and event venues seek innovative solutions to drive foot traffic and increase engagement. While typical VR venues cost over $1 million to build, DreamPark delivers a fully immersive, multiplayer experience that pays for itself in its first month of revenue. DreamPark in Santa Monica. “Our capital expense is like one of a hundredth of our competitors, which is amazing. And then this lets us move astronomically faster than everyone else. I kind of believe in a Nintendo philosophy, which is, they take antiquated technology, but they use it in a new way that makes it valuable. We’re using access points,” Wolf said. There’s no construction or permanent infrastructure required. It’s a radically more affordable way to turn underused spaces into high-impact destinations. “We’re not just creating engaging content, we’re building a platform that revitalizes communities by giving people a reason to gather, play, and connect in physical spaces in real life,” said Wolf. “DreamPark bridges the digital and physical worlds, creating a new category of play where the magic of virtual worlds enhances real-life connections. We’re reimagining what’s possible when the spaces around us become canvases for shared adventure and imagination.” The seed funding will support DreamPark’s aggressive expansion plans, including deploying access points across new locations, launching partnerships with major IP holders to create branded theme park experiences, and expanding the company’s fleet of rental Meta Quest 3 headsets units nationwide. DreamPark is growing the development team to accelerate content creation and platform capabilities. DreamPark’s leadership team brings deep experience from companies including Two-Bit Circus, Smiley Cap, and SNAP, Inc., positioning them to execute their ambitious vision of creating the infrastructure for worldwide mixed-reality entertainment. Where it’s going What alien technology is this? Bushnell said the team has been working for around two years. But the founders have been involved with AR for more than a decade. They showed up at Two-Bit Circus and started making mixed-reality games, which take into account physical reality as a game space. There are about 10 contractors in the company working on content. They found that players are happy to wear the headsets for 30 minutes at a time, particularly when they are playing with friends. “We see ourselves more as a tech company than like a location based entertainment company. We hope to stay small as a core team while still reaching millions or billions of people,” Wolf said.The games are in a private alpha testing phase now. “I would say that the headset we currently have in our hands is the exact headset we need to bring this to the masses. So the nice part about the company we’re building is we aren’t waiting for some like watershed moment,” Wolf said. “We’re not waiting for anything now. We’re just getting it into lots of places where people already congregate.”DreamPark is coming out with an app that will let users scan their local park and then start using that space as a level, Wolf said. But DreamPark itself will create partnerships with some of the best places itself and get permission to do the game on the properties. At Two-Bit Circus, for instance, DreamPark could extend the entertainment into the outdoor parking lot, giving more square footage for entertainment. Bushnell had a great moment when he was playing an AR game with drift racing on a racetrack in the Two-Bit Circus parking lot. He noted that mixed reality doesn’t have the Achilles Heel of VR, which is that it makes half the people nauseous. “That was really the moment that broke my brain for mixed reality,” he said. “We were on actual drift bikes, pedaling around collecting coins. And I went twice around that thing, chasing after somebody else on a drift bike. And, you know, my heart rate was at 150. And I was just absolutely going bananas. And I took the headset off, and all that world that had motivated me to pedal my ass off was gone. It just really felt like this is not just going to change entertainment. This is going to change therapy and fitness and learning.” Bushnell said so many other kinds of entertainment are based on deploying huge amounts of capital. But this kind of theme park could be up and running in a matter of minutes. Bushnell believes people will be happy to buy tickets to get a chance to play. He said his four-year-old kid loves it, as does his 82-year-old father. DreamPark is adding virtual entertainment to real venues. To me, it felt a bit like the beginning of the world of Cyberpunk 2077, while Bushnell said it reminded him of the Korean drama, The Memories of Alhambra, where people wear contact lenss displays and have an adventure overlaid on real streets. “These are beautiful places naturally. Let’s augment them with a little more cool storytelling, and you’re off and running,” Bushnell said. “The world is lonely and isolated, We think of this a path to being social again, getting people out in public. And we want to invite landlords of all stripes to host DreamParks.” GB Daily Stay in the know! Get the latest news in your inbox daily Read our Privacy Policy Thanks for subscribing. Check out more VB newsletters here. An error occured.
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  • What's New to Watch on Hulu and Disney+ Streaming This Week (May 24-30)

    Whether you subscribe to them individually or as part of a bundle deal, Disney+ and Hulu both have a lot to offer streaming fans. Disney has the ultra-popular Marvel and Star Wars franchises, represented this month by the latest Captain America flick, while Hulu brings the heat with tons of original shows and movies from around the world, coupled with American TV shows from network partners. There's a lot to watch, with new stuff added every day, so we picked out the three best choices for the last week of May, and the full list of TV shows and movies coming to the streaming services below.This Week on Hulu and Disney+: PCMag's Picks The Seed of the Sacred FigThe latest movie from acclaimed Iranian director Mohammad Rasoulof, The Seed of the Sacred Fig received a Special Jury Award at Cannes following an over 12-minute standing ovation after its screening. Set against the backdrop of the 2022 protests against Iran's authoritarian government, the plot follows newly appointed judge Iman, who quickly learns that he wasn't given a promotion to find the truth, but rather to rubber-stamp verdicts from the regime. He becomes increasingly paranoid and unhinged, with his family becoming a target.Director: Mohammad RasoulofCast: Soheila Golestani, Missagh Zareh, Mahsa RostamiGenre: DramaRating: PG-13IMDb Rating: 7.6/10Captain America: Brave New WorldSam Wilson's first solo feature as the new Captain America was a mixed bag, with praise going to the lead performances but a general consensus of it not living up to the high points of the struggling Marvel Cinematic Universe. Captain America: Brave New World is definitely still worth a watch when it premieres on Disney+, though, as it sets up some plotlines that we'd see play out in Thunderbirds, as well as future big adventures.Directors: Julius OnahCast: Anthony Mackie, Harrison Ford, Shira HaasGenre: ComedyRating: PG-13IMDb Rating: 5.7/10AdultsFX does solid young adult comedy, and AdultsDirectors: Anu Valia, Jason Woliner, Jonathan KriselCast: Malik Elassal, Lucy Freyer, Jack InnanenGenre: ComedyRating: TV-MANew TV Shows and Movies Coming to Disney+ This WeekMay 24Doctor Who - Season 2, Episode 6May 25Captain America: Brave New WorldMay 28Me & Winnie the Pooh - Season 2, 6 episodesPlaydate with Winnie the Pooh - Season 2, 5 episodesRecommended by Our EditorsNew TV Series and Shows Coming to Hulu This WeekMay 24BBQ Brawl: Flay V. Anderson V. Burrell - Season 4Bizarre Foods with Andrew Zimmern - Season 3Fixer Upper: Welcome Home - Season 1Gold Rush - Season 1Homestead Rescue - Season 12May 27Re: Zero - Season 1Tower of God - Season 1Tsukimichi: Moonlit Fantasy - Season 1May 29Adults - Season 1New Movies Coming to Hulu This WeekMay 25How to Please a WomanMay 27The Seed of the Sacred FigMay 29The SilencingMay 30Into the DeepRickey Smiley: Untitled
    #what039s #new #watch #hulu #disney
    What's New to Watch on Hulu and Disney+ Streaming This Week (May 24-30)
    Whether you subscribe to them individually or as part of a bundle deal, Disney+ and Hulu both have a lot to offer streaming fans. Disney has the ultra-popular Marvel and Star Wars franchises, represented this month by the latest Captain America flick, while Hulu brings the heat with tons of original shows and movies from around the world, coupled with American TV shows from network partners. There's a lot to watch, with new stuff added every day, so we picked out the three best choices for the last week of May, and the full list of TV shows and movies coming to the streaming services below.This Week on Hulu and Disney+: PCMag's Picks The Seed of the Sacred FigThe latest movie from acclaimed Iranian director Mohammad Rasoulof, The Seed of the Sacred Fig received a Special Jury Award at Cannes following an over 12-minute standing ovation after its screening. Set against the backdrop of the 2022 protests against Iran's authoritarian government, the plot follows newly appointed judge Iman, who quickly learns that he wasn't given a promotion to find the truth, but rather to rubber-stamp verdicts from the regime. He becomes increasingly paranoid and unhinged, with his family becoming a target.Director: Mohammad RasoulofCast: Soheila Golestani, Missagh Zareh, Mahsa RostamiGenre: DramaRating: PG-13IMDb Rating: 7.6/10Captain America: Brave New WorldSam Wilson's first solo feature as the new Captain America was a mixed bag, with praise going to the lead performances but a general consensus of it not living up to the high points of the struggling Marvel Cinematic Universe. Captain America: Brave New World is definitely still worth a watch when it premieres on Disney+, though, as it sets up some plotlines that we'd see play out in Thunderbirds, as well as future big adventures.Directors: Julius OnahCast: Anthony Mackie, Harrison Ford, Shira HaasGenre: ComedyRating: PG-13IMDb Rating: 5.7/10AdultsFX does solid young adult comedy, and AdultsDirectors: Anu Valia, Jason Woliner, Jonathan KriselCast: Malik Elassal, Lucy Freyer, Jack InnanenGenre: ComedyRating: TV-MANew TV Shows and Movies Coming to Disney+ This WeekMay 24Doctor Who - Season 2, Episode 6May 25Captain America: Brave New WorldMay 28Me & Winnie the Pooh - Season 2, 6 episodesPlaydate with Winnie the Pooh - Season 2, 5 episodesRecommended by Our EditorsNew TV Series and Shows Coming to Hulu This WeekMay 24BBQ Brawl: Flay V. Anderson V. Burrell - Season 4Bizarre Foods with Andrew Zimmern - Season 3Fixer Upper: Welcome Home - Season 1Gold Rush - Season 1Homestead Rescue - Season 12May 27Re: Zero - Season 1Tower of God - Season 1Tsukimichi: Moonlit Fantasy - Season 1May 29Adults - Season 1New Movies Coming to Hulu This WeekMay 25How to Please a WomanMay 27The Seed of the Sacred FigMay 29The SilencingMay 30Into the DeepRickey Smiley: Untitled #what039s #new #watch #hulu #disney
    ME.PCMAG.COM
    What's New to Watch on Hulu and Disney+ Streaming This Week (May 24-30)
    Whether you subscribe to them individually or as part of a bundle deal, Disney+ and Hulu both have a lot to offer streaming fans. Disney has the ultra-popular Marvel and Star Wars franchises, represented this month by the latest Captain America flick, while Hulu brings the heat with tons of original shows and movies from around the world, coupled with American TV shows from network partners. There's a lot to watch, with new stuff added every day, so we picked out the three best choices for the last week of May, and the full list of TV shows and movies coming to the streaming services below.This Week on Hulu and Disney+: PCMag's Picks The Seed of the Sacred Fig (May 27)The latest movie from acclaimed Iranian director Mohammad Rasoulof, The Seed of the Sacred Fig received a Special Jury Award at Cannes following an over 12-minute standing ovation after its screening. Set against the backdrop of the 2022 protests against Iran's authoritarian government, the plot follows newly appointed judge Iman, who quickly learns that he wasn't given a promotion to find the truth, but rather to rubber-stamp verdicts from the regime. He becomes increasingly paranoid and unhinged, with his family becoming a target.Director: Mohammad RasoulofCast: Soheila Golestani, Missagh Zareh, Mahsa RostamiGenre: DramaRating: PG-13IMDb Rating: 7.6/10Captain America: Brave New World (May 28)Sam Wilson's first solo feature as the new Captain America was a mixed bag, with praise going to the lead performances but a general consensus of it not living up to the high points of the struggling Marvel Cinematic Universe. Captain America: Brave New World is definitely still worth a watch when it premieres on Disney+, though, as it sets up some plotlines that we'd see play out in Thunderbirds, as well as future big adventures.Directors: Julius OnahCast: Anthony Mackie, Harrison Ford, Shira HaasGenre: ComedyRating: PG-13IMDb Rating: 5.7/10Adults (May 29)FX does solid young adult comedy, and AdultsDirectors: Anu Valia, Jason Woliner, Jonathan KriselCast: Malik Elassal, Lucy Freyer, Jack InnanenGenre: ComedyRating: TV-MANew TV Shows and Movies Coming to Disney+ This WeekMay 24Doctor Who - Season 2, Episode 6May 25Captain America: Brave New WorldMay 28Me & Winnie the Pooh - Season 2, 6 episodesPlaydate with Winnie the Pooh - Season 2, 5 episodesRecommended by Our EditorsNew TV Series and Shows Coming to Hulu This WeekMay 24BBQ Brawl: Flay V. Anderson V. Burrell - Season 4Bizarre Foods with Andrew Zimmern - Season 3Fixer Upper: Welcome Home - Season 1Gold Rush - Season 1Homestead Rescue - Season 12May 27Re: Zero - Season 1Tower of God - Season 1Tsukimichi: Moonlit Fantasy - Season 1May 29Adults - Season 1New Movies Coming to Hulu This WeekMay 25How to Please a Woman (2022)May 27The Seed of the Sacred Fig (2024)May 29The Silencing (2020)May 30Into the Deep (2024)Rickey Smiley: Untitled (2025)
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  • My colleagues are all women. A female work environment has a lot of perks, but there's one thing I really don't like.

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    2025-05-22T09:05:02Z

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    Kate Collins has worked on an all-female nonprofit team since starting a new job in 2024.
    In the past, she's worked in male-dominated media workplaces with rigid, then lenient, boundaries.
    Collins says that an all-female team brings both a supportive culture and blurred work-life lines.

    When I walked into work last year on my birthday, there was an envelope with my name written in cursive on my desk. I was less than three months into a new job and hadn't announced my birthday. Being an introvert, a slight discomfort rose as I opened the envelope.The discomfort dissipated as I read the personalized messages written by my colleagues. I was grateful for the simple gesture; this was the first time I received a birthday card at work. A few months later, I returned from my honeymoon to find another thoughtful card and a wedding-decorated desk.My colleagues' acknowledgment of these milestones is proof that after a midlife pivot, I've landed somewhere good. The all-female leadership and team where I work prioritize the organization's mission by fostering a kind, encouraging atmosphere for clients and employees.While I see the perks, I've also experienced some downsides to an all-female workplace.I started my career in offices with boundariesI entered the workforce during an era when professionalism stressed a clear delineation between work and personal lives. In the offices of the media companies where I worked as a photojournalist and reporter, employees refrained from divulging details of their outside lives. I welcomed these boundaries.By the mid-2010s, successive rounds of layoffs in my industry resulted in a less diverse workplace. Management became mostly men who I remember using sports analogies, mansplaining, and all-caps emails — controlling tactics that diminished my sense of worth.A decade later, bias issues forced the last media company I worked for to adopt policies stressing safe, inclusive workplaces. The personal became political, and the movement to normalize almost everything took hold. Before long, a workplace culture emerged where revealing intimate personal information was commonplace.Yet there still wasn't a shift away from the male-dominated culture. Many of my female colleagues who survived layoffs exited the industry. Before long, I was planning my own exit strategy.
    It was difficult to separate myself from a profession I once loved For a few years, I worked on reinventing myself by expanding my skill set through classes and freelance work. I was eventually offered an environmental communications position. While the job didn't last, it launched me into the nonprofit sector.I live in a region with many nonprofits. The local nonprofits I'm most familiar with are primarily led and staffed by smart women passionate about helping others. This isn't surprising, as studies concerning the differences in personality traits have found that women are more nurturing, tender-minded, and altruistic more often and to a greater extent than men — traits necessary to do lower-paid, sometimes emotionally taxing work.When I started nonprofit work, I felt acknowledged and supportedI started my current communications manager position in early 2024. Since transitioning to nonprofit work, I've experienced how an all-female team can promote a kinder, more collaborative workplace. Have an idea for something not in your job title? Share it. Need help with a project? There are always offers to assist, even for projects requiring time outside normal schedules.There's also the celebration of achievements. Our leader frequently shares our team and individual accomplishments publicly. She gifted us with bright yellow smiley face bells to ring when we complete a difficult project. After years without recognition of my professional achievements, it feels good to have my contributions acknowledged.The professional respect ingrained in our office culture extends beyond job tasks. If we come in late or leave early for an appointment or emergency, we can do so without advance approval. Leadership even encourages us to take personal days when we're feeling stressed.This kind, empathic leadership style trickles down. Recently one of my coworkers was out for a few days with the flu. Knowing she lives alone, we reached out with "get well soon" texts and offered to pick up her prescription and deliver it to her home.There are also challengesWhile working in an all-female office has been a positive change, certain aspects can be trying. There's inherent pressure to participate in optional group activities such as weekly team lunches and afternoon walks, which can be stressful for someone who cherishes alone time like me.Recently, a mandatory retreat escalated into a cold plunge. Voiced statements about not liking cold water were countered with emails about "team building." Days before, a colleague said that she couldn't partake due to a medical issue.In the end, a few of us watched the cold plunge through the window of a warm house. I was already nervous about an overnight cabin retreat. I wasn't fond of the planned kayaking and swimming, but I also didn't want to hurt the feelings of my colleagues planning it.The blurring of lines between work and play can also result in unexpected workplace tension. When a new colleague joined our team recently, she misinterpreted the relaxed atmosphere as "any topic goes." While I appreciate an informal office, some of the topics she discussed made me uncomfortable. I eventually spoke up about my new colleague's crudeness, and the issue was addressed.I question whether the easing of professional manners has veered too far off-trackI wonder if a single-sex environment contributes to this. I wonder if my colleague would've acted differently around male colleagues and if a male would've been terminated for similar behavior around female coworkers.I'm not looking to leave my job. If I ever return to a workplace with both men and women, I'll bring what I'm learning about collaboration, kindness, and celebrating achievements with me.Kate Collins is a writer and nonprofit communications professional. She lives in Ithaca, New York, with her husband, stepson, and two foster dogs.
    #colleagues #are #all #women #female
    My colleagues are all women. A female work environment has a lot of perks, but there's one thing I really don't like.
    Getty Images 2025-05-22T09:05:02Z d Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Kate Collins has worked on an all-female nonprofit team since starting a new job in 2024. In the past, she's worked in male-dominated media workplaces with rigid, then lenient, boundaries. Collins says that an all-female team brings both a supportive culture and blurred work-life lines. When I walked into work last year on my birthday, there was an envelope with my name written in cursive on my desk. I was less than three months into a new job and hadn't announced my birthday. Being an introvert, a slight discomfort rose as I opened the envelope.The discomfort dissipated as I read the personalized messages written by my colleagues. I was grateful for the simple gesture; this was the first time I received a birthday card at work. A few months later, I returned from my honeymoon to find another thoughtful card and a wedding-decorated desk.My colleagues' acknowledgment of these milestones is proof that after a midlife pivot, I've landed somewhere good. The all-female leadership and team where I work prioritize the organization's mission by fostering a kind, encouraging atmosphere for clients and employees.While I see the perks, I've also experienced some downsides to an all-female workplace.I started my career in offices with boundariesI entered the workforce during an era when professionalism stressed a clear delineation between work and personal lives. In the offices of the media companies where I worked as a photojournalist and reporter, employees refrained from divulging details of their outside lives. I welcomed these boundaries.By the mid-2010s, successive rounds of layoffs in my industry resulted in a less diverse workplace. Management became mostly men who I remember using sports analogies, mansplaining, and all-caps emails — controlling tactics that diminished my sense of worth.A decade later, bias issues forced the last media company I worked for to adopt policies stressing safe, inclusive workplaces. The personal became political, and the movement to normalize almost everything took hold. Before long, a workplace culture emerged where revealing intimate personal information was commonplace.Yet there still wasn't a shift away from the male-dominated culture. Many of my female colleagues who survived layoffs exited the industry. Before long, I was planning my own exit strategy. It was difficult to separate myself from a profession I once loved For a few years, I worked on reinventing myself by expanding my skill set through classes and freelance work. I was eventually offered an environmental communications position. While the job didn't last, it launched me into the nonprofit sector.I live in a region with many nonprofits. The local nonprofits I'm most familiar with are primarily led and staffed by smart women passionate about helping others. This isn't surprising, as studies concerning the differences in personality traits have found that women are more nurturing, tender-minded, and altruistic more often and to a greater extent than men — traits necessary to do lower-paid, sometimes emotionally taxing work.When I started nonprofit work, I felt acknowledged and supportedI started my current communications manager position in early 2024. Since transitioning to nonprofit work, I've experienced how an all-female team can promote a kinder, more collaborative workplace. Have an idea for something not in your job title? Share it. Need help with a project? There are always offers to assist, even for projects requiring time outside normal schedules.There's also the celebration of achievements. Our leader frequently shares our team and individual accomplishments publicly. She gifted us with bright yellow smiley face bells to ring when we complete a difficult project. After years without recognition of my professional achievements, it feels good to have my contributions acknowledged.The professional respect ingrained in our office culture extends beyond job tasks. If we come in late or leave early for an appointment or emergency, we can do so without advance approval. Leadership even encourages us to take personal days when we're feeling stressed.This kind, empathic leadership style trickles down. Recently one of my coworkers was out for a few days with the flu. Knowing she lives alone, we reached out with "get well soon" texts and offered to pick up her prescription and deliver it to her home.There are also challengesWhile working in an all-female office has been a positive change, certain aspects can be trying. There's inherent pressure to participate in optional group activities such as weekly team lunches and afternoon walks, which can be stressful for someone who cherishes alone time like me.Recently, a mandatory retreat escalated into a cold plunge. Voiced statements about not liking cold water were countered with emails about "team building." Days before, a colleague said that she couldn't partake due to a medical issue.In the end, a few of us watched the cold plunge through the window of a warm house. I was already nervous about an overnight cabin retreat. I wasn't fond of the planned kayaking and swimming, but I also didn't want to hurt the feelings of my colleagues planning it.The blurring of lines between work and play can also result in unexpected workplace tension. When a new colleague joined our team recently, she misinterpreted the relaxed atmosphere as "any topic goes." While I appreciate an informal office, some of the topics she discussed made me uncomfortable. I eventually spoke up about my new colleague's crudeness, and the issue was addressed.I question whether the easing of professional manners has veered too far off-trackI wonder if a single-sex environment contributes to this. I wonder if my colleague would've acted differently around male colleagues and if a male would've been terminated for similar behavior around female coworkers.I'm not looking to leave my job. If I ever return to a workplace with both men and women, I'll bring what I'm learning about collaboration, kindness, and celebrating achievements with me.Kate Collins is a writer and nonprofit communications professional. She lives in Ithaca, New York, with her husband, stepson, and two foster dogs. #colleagues #are #all #women #female
    WWW.BUSINESSINSIDER.COM
    My colleagues are all women. A female work environment has a lot of perks, but there's one thing I really don't like.
    Getty Images 2025-05-22T09:05:02Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Kate Collins has worked on an all-female nonprofit team since starting a new job in 2024. In the past, she's worked in male-dominated media workplaces with rigid, then lenient, boundaries. Collins says that an all-female team brings both a supportive culture and blurred work-life lines. When I walked into work last year on my birthday, there was an envelope with my name written in cursive on my desk. I was less than three months into a new job and hadn't announced my birthday. Being an introvert, a slight discomfort rose as I opened the envelope.The discomfort dissipated as I read the personalized messages written by my colleagues. I was grateful for the simple gesture; this was the first time I received a birthday card at work. A few months later, I returned from my honeymoon to find another thoughtful card and a wedding-decorated desk.My colleagues' acknowledgment of these milestones is proof that after a midlife pivot, I've landed somewhere good. The all-female leadership and team where I work prioritize the organization's mission by fostering a kind, encouraging atmosphere for clients and employees.While I see the perks, I've also experienced some downsides to an all-female workplace.I started my career in offices with boundariesI entered the workforce during an era when professionalism stressed a clear delineation between work and personal lives. In the offices of the media companies where I worked as a photojournalist and reporter, employees refrained from divulging details of their outside lives. I welcomed these boundaries.By the mid-2010s, successive rounds of layoffs in my industry resulted in a less diverse workplace. Management became mostly men who I remember using sports analogies, mansplaining, and all-caps emails — controlling tactics that diminished my sense of worth.A decade later, bias issues forced the last media company I worked for to adopt policies stressing safe, inclusive workplaces. The personal became political, and the movement to normalize almost everything took hold. Before long, a workplace culture emerged where revealing intimate personal information was commonplace.Yet there still wasn't a shift away from the male-dominated culture. Many of my female colleagues who survived layoffs exited the industry. Before long, I was planning my own exit strategy. It was difficult to separate myself from a profession I once loved For a few years, I worked on reinventing myself by expanding my skill set through classes and freelance work. I was eventually offered an environmental communications position. While the job didn't last, it launched me into the nonprofit sector.I live in a region with many nonprofits. The local nonprofits I'm most familiar with are primarily led and staffed by smart women passionate about helping others. This isn't surprising, as studies concerning the differences in personality traits have found that women are more nurturing, tender-minded, and altruistic more often and to a greater extent than men — traits necessary to do lower-paid, sometimes emotionally taxing work.When I started nonprofit work, I felt acknowledged and supportedI started my current communications manager position in early 2024. Since transitioning to nonprofit work, I've experienced how an all-female team can promote a kinder, more collaborative workplace. Have an idea for something not in your job title? Share it. Need help with a project? There are always offers to assist, even for projects requiring time outside normal schedules.There's also the celebration of achievements. Our leader frequently shares our team and individual accomplishments publicly. She gifted us with bright yellow smiley face bells to ring when we complete a difficult project. After years without recognition of my professional achievements, it feels good to have my contributions acknowledged.The professional respect ingrained in our office culture extends beyond job tasks. If we come in late or leave early for an appointment or emergency, we can do so without advance approval. Leadership even encourages us to take personal days when we're feeling stressed.This kind, empathic leadership style trickles down. Recently one of my coworkers was out for a few days with the flu. Knowing she lives alone, we reached out with "get well soon" texts and offered to pick up her prescription and deliver it to her home.There are also challengesWhile working in an all-female office has been a positive change, certain aspects can be trying. There's inherent pressure to participate in optional group activities such as weekly team lunches and afternoon walks, which can be stressful for someone who cherishes alone time like me.Recently, a mandatory retreat escalated into a cold plunge. Voiced statements about not liking cold water were countered with emails about "team building." Days before, a colleague said that she couldn't partake due to a medical issue.In the end, a few of us watched the cold plunge through the window of a warm house. I was already nervous about an overnight cabin retreat. I wasn't fond of the planned kayaking and swimming, but I also didn't want to hurt the feelings of my colleagues planning it.The blurring of lines between work and play can also result in unexpected workplace tension. When a new colleague joined our team recently, she misinterpreted the relaxed atmosphere as "any topic goes." While I appreciate an informal office, some of the topics she discussed made me uncomfortable. I eventually spoke up about my new colleague's crudeness, and the issue was addressed.I question whether the easing of professional manners has veered too far off-trackI wonder if a single-sex environment contributes to this. I wonder if my colleague would've acted differently around male colleagues and if a male would've been terminated for similar behavior around female coworkers.I'm not looking to leave my job. If I ever return to a workplace with both men and women, I'll bring what I'm learning about collaboration, kindness, and celebrating achievements with me.Kate Collins is a writer and nonprofit communications professional. She lives in Ithaca, New York, with her husband, stepson, and two foster dogs.
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  • Mubien's YouTube Shopping: Art Direction & Motion Design

    05/18 — 2025

    by abduzeedo

    Mubien's art direction & motion design for YouTube Shopping. See their vibrant, playful 3D visual system in action.
    Ever wondered how a giant like YouTube keeps its new ventures feeling fresh and genuinely engaging for its audience? It's often down to sharp branding and smart design. Take YouTube Shopping, their affiliate program helping creators and brands earn by sharing products their audience will love. To bring its visual identity to life, particularly for key events like the 'Holiday House' creator gathering, YouTube turned to the creative studio Mubien.  
    Crafting a Dynamic Brand Experience
    Mubien was tasked with a comprehensive design challenge: to produce a wide range of materials, including a main presentation and several key motion pieces. The core mission was to capture the spirit of the YouTube Shopping brand while layering in a fresh, dynamic feel. Ultimately, the aim was to shape an engaging visual system that would elevate the content and make the overall experience more memorable and fun for everyone involved.  
    Art Direction: Vibrant, Playful, and 3D
    So, how did Mubien approach this? Their art direction skillfully blended 3D elements, a vibrant color palette, and playful icons. This strategy created a visual language that is both sophisticated and approachable. The team, including Art Directors Daniel Iglesias, Javier Ochoa, and Carlos Almagro, developed a system that feels cohesive and energetic.    
    You can see this design philosophy in action across multiple touchpoints. The stage design for presentations is clean and modern, using soft lighting and the prominent YouTube Shopping logo to create an inviting atmosphere. The attention to detail shines in items like event name badges, featuring clear typography for names like "Park Hye-min MAKEUP ARTIST" and friendly icons like a heart or shopping bag, all attached to striking red lanyards.  
    Even laptop stickers with slogans like "Shop. Watch. Connect." and distinct, colorful icons were part of the branding suite, making the brand tangible and shareable. A product interface mock-up, showcasing a bright blue kettlebell with a clear "-20%" discount, demonstrates how this visual style translates effectively to the user experience itself. These elements, often featuring energetic reds, teals, and yellows, consistently reinforce the YouTube Shopping identity.  
    Motion Design: Bringing Icons and Ideas to Life
    While strong art direction sets the stage, motion design is what truly injects dynamism. The motion work, led by Daniel Iglesias and Paula Iglesias, was pivotal in adding that "fresh, dynamic layer" to the YouTube Shopping brand.    
    Imagine those playful icons and 3D shapes—hearts, shopping bags, stars, and smileys—not just as static images, but animating, bouncing, and transitioning smoothly. The visuals captured on the large screen in the provided materials give us a glimpse of this lively approach, with icons appearing to float and interact in a 3D space. These motion pieces were undoubtedly key to making presentations and informational content far more captivating than traditional static displays. For an event like 'Holiday House,' where creators explore new program features, such engaging motion design helps to simplify complex information and build excitement.  
    A Cohesive System Across All Touchpoints
    The strength of Mubien's work lies in its consistency. The visual system wasn't confined to event materials or internal presentations; it was designed to extend outward. An outdoor advertisement mock-up proclaiming, "Shop the Trends. Straight from YouTube," perfectly captures the brand’s direct and contemporary appeal, utilizing the established visual cues and a friendly, relatable face.  
    This cohesive approach, evident from large-scale stage graphics down to small branded items like keychainsand extending to public-facing ads, is what builds a robust and memorable brand identity. Mubien, working alongside agencies Workshop Built and Wildcatter LA, successfully forged a visual world for YouTube Shopping. It feels inherently part of the YouTube ecosystem yet refreshingly distinct.  
    Design That Connects
    What can we take away from this? Mubien's project for YouTube Shopping is a fantastic illustration of how considered art direction and purposeful motion design can transform a program into an experience. The blend of vibrant colors, tactile 3D elements, and universally friendly icons, all animated with a light touch, makes the concept of shopping on YouTube feel accessible and exciting. It’s a reminder that thoughtful design creates connections, simplifies messages, and ultimately, makes interactions more enjoyable.  
    Want to see more of their thoughtful design solutions?
    Explore the full project and more from Mubien at: /
    Art direction and motion design artifacts
    #mubien039s #youtube #shopping #art #direction
    Mubien's YouTube Shopping: Art Direction & Motion Design
    05/18 — 2025 by abduzeedo Mubien's art direction & motion design for YouTube Shopping. See their vibrant, playful 3D visual system in action. Ever wondered how a giant like YouTube keeps its new ventures feeling fresh and genuinely engaging for its audience? It's often down to sharp branding and smart design. Take YouTube Shopping, their affiliate program helping creators and brands earn by sharing products their audience will love. To bring its visual identity to life, particularly for key events like the 'Holiday House' creator gathering, YouTube turned to the creative studio Mubien.   Crafting a Dynamic Brand Experience Mubien was tasked with a comprehensive design challenge: to produce a wide range of materials, including a main presentation and several key motion pieces. The core mission was to capture the spirit of the YouTube Shopping brand while layering in a fresh, dynamic feel. Ultimately, the aim was to shape an engaging visual system that would elevate the content and make the overall experience more memorable and fun for everyone involved.   Art Direction: Vibrant, Playful, and 3D So, how did Mubien approach this? Their art direction skillfully blended 3D elements, a vibrant color palette, and playful icons. This strategy created a visual language that is both sophisticated and approachable. The team, including Art Directors Daniel Iglesias, Javier Ochoa, and Carlos Almagro, developed a system that feels cohesive and energetic.     You can see this design philosophy in action across multiple touchpoints. The stage design for presentations is clean and modern, using soft lighting and the prominent YouTube Shopping logo to create an inviting atmosphere. The attention to detail shines in items like event name badges, featuring clear typography for names like "Park Hye-min MAKEUP ARTIST" and friendly icons like a heart or shopping bag, all attached to striking red lanyards.   Even laptop stickers with slogans like "Shop. Watch. Connect." and distinct, colorful icons were part of the branding suite, making the brand tangible and shareable. A product interface mock-up, showcasing a bright blue kettlebell with a clear "-20%" discount, demonstrates how this visual style translates effectively to the user experience itself. These elements, often featuring energetic reds, teals, and yellows, consistently reinforce the YouTube Shopping identity.   Motion Design: Bringing Icons and Ideas to Life While strong art direction sets the stage, motion design is what truly injects dynamism. The motion work, led by Daniel Iglesias and Paula Iglesias, was pivotal in adding that "fresh, dynamic layer" to the YouTube Shopping brand.     Imagine those playful icons and 3D shapes—hearts, shopping bags, stars, and smileys—not just as static images, but animating, bouncing, and transitioning smoothly. The visuals captured on the large screen in the provided materials give us a glimpse of this lively approach, with icons appearing to float and interact in a 3D space. These motion pieces were undoubtedly key to making presentations and informational content far more captivating than traditional static displays. For an event like 'Holiday House,' where creators explore new program features, such engaging motion design helps to simplify complex information and build excitement.   A Cohesive System Across All Touchpoints The strength of Mubien's work lies in its consistency. The visual system wasn't confined to event materials or internal presentations; it was designed to extend outward. An outdoor advertisement mock-up proclaiming, "Shop the Trends. Straight from YouTube," perfectly captures the brand’s direct and contemporary appeal, utilizing the established visual cues and a friendly, relatable face.   This cohesive approach, evident from large-scale stage graphics down to small branded items like keychainsand extending to public-facing ads, is what builds a robust and memorable brand identity. Mubien, working alongside agencies Workshop Built and Wildcatter LA, successfully forged a visual world for YouTube Shopping. It feels inherently part of the YouTube ecosystem yet refreshingly distinct.   Design That Connects What can we take away from this? Mubien's project for YouTube Shopping is a fantastic illustration of how considered art direction and purposeful motion design can transform a program into an experience. The blend of vibrant colors, tactile 3D elements, and universally friendly icons, all animated with a light touch, makes the concept of shopping on YouTube feel accessible and exciting. It’s a reminder that thoughtful design creates connections, simplifies messages, and ultimately, makes interactions more enjoyable.   Want to see more of their thoughtful design solutions? Explore the full project and more from Mubien at: / Art direction and motion design artifacts #mubien039s #youtube #shopping #art #direction
    ABDUZEEDO.COM
    Mubien's YouTube Shopping: Art Direction & Motion Design
    05/18 — 2025 by abduzeedo Mubien's art direction & motion design for YouTube Shopping. See their vibrant, playful 3D visual system in action. Ever wondered how a giant like YouTube keeps its new ventures feeling fresh and genuinely engaging for its audience? It's often down to sharp branding and smart design. Take YouTube Shopping, their affiliate program helping creators and brands earn by sharing products their audience will love. To bring its visual identity to life, particularly for key events like the 'Holiday House' creator gathering, YouTube turned to the creative studio Mubien.   Crafting a Dynamic Brand Experience Mubien was tasked with a comprehensive design challenge: to produce a wide range of materials, including a main presentation and several key motion pieces. The core mission was to capture the spirit of the YouTube Shopping brand while layering in a fresh, dynamic feel. Ultimately, the aim was to shape an engaging visual system that would elevate the content and make the overall experience more memorable and fun for everyone involved.   Art Direction: Vibrant, Playful, and 3D So, how did Mubien approach this? Their art direction skillfully blended 3D elements, a vibrant color palette, and playful icons. This strategy created a visual language that is both sophisticated and approachable. The team, including Art Directors Daniel Iglesias, Javier Ochoa, and Carlos Almagro, developed a system that feels cohesive and energetic.   (Image Suggestion: A collage featuring the stage design from page 3, the name badges and stickers from page 4, and the keychain on page 7.)   You can see this design philosophy in action across multiple touchpoints. The stage design for presentations is clean and modern, using soft lighting and the prominent YouTube Shopping logo to create an inviting atmosphere. The attention to detail shines in items like event name badges, featuring clear typography for names like "Park Hye-min MAKEUP ARTIST" and friendly icons like a heart or shopping bag, all attached to striking red lanyards.   Even laptop stickers with slogans like "Shop. Watch. Connect." and distinct, colorful icons were part of the branding suite, making the brand tangible and shareable. A product interface mock-up, showcasing a bright blue kettlebell with a clear "-20%" discount, demonstrates how this visual style translates effectively to the user experience itself. These elements, often featuring energetic reds, teals, and yellows, consistently reinforce the YouTube Shopping identity.   Motion Design: Bringing Icons and Ideas to Life While strong art direction sets the stage, motion design is what truly injects dynamism. The motion work, led by Daniel Iglesias and Paula Iglesias, was pivotal in adding that "fresh, dynamic layer" to the YouTube Shopping brand.   (Image Suggestion: The motion graphics still from the screen on page 5. If possible, an animated GIF showcasing these types of animations would be even better.)   Imagine those playful icons and 3D shapes—hearts, shopping bags, stars, and smileys—not just as static images, but animating, bouncing, and transitioning smoothly. The visuals captured on the large screen in the provided materials give us a glimpse of this lively approach, with icons appearing to float and interact in a 3D space. These motion pieces were undoubtedly key to making presentations and informational content far more captivating than traditional static displays. For an event like 'Holiday House,' where creators explore new program features, such engaging motion design helps to simplify complex information and build excitement.   A Cohesive System Across All Touchpoints The strength of Mubien's work lies in its consistency. The visual system wasn't confined to event materials or internal presentations; it was designed to extend outward. An outdoor advertisement mock-up proclaiming, "Shop the Trends. Straight from YouTube," perfectly captures the brand’s direct and contemporary appeal, utilizing the established visual cues and a friendly, relatable face.   This cohesive approach, evident from large-scale stage graphics down to small branded items like keychains [Page 7] and extending to public-facing ads, is what builds a robust and memorable brand identity. Mubien, working alongside agencies Workshop Built and Wildcatter LA, successfully forged a visual world for YouTube Shopping. It feels inherently part of the YouTube ecosystem yet refreshingly distinct.   Design That Connects What can we take away from this? Mubien's project for YouTube Shopping is a fantastic illustration of how considered art direction and purposeful motion design can transform a program into an experience. The blend of vibrant colors, tactile 3D elements, and universally friendly icons, all animated with a light touch, makes the concept of shopping on YouTube feel accessible and exciting. It’s a reminder that thoughtful design creates connections, simplifies messages, and ultimately, makes interactions more enjoyable.   Want to see more of their thoughtful design solutions? Explore the full project and more from Mubien at: https://mubien.com/portfolio/youtube-shopping/ Art direction and motion design artifacts
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