It's early June, which means it's time for a ton of video game events! Rising from the ashes of E3, Geoff Keighley's Summer Game Fest is now the premium gaming event of the year, just inching ahead of… Geoff Keighley's Game Awards in December. Unlike the show it replaced, Summer Game Fest is an egalitarian affair, spotlighting games from AAA developers and small indies across a diverse set of livestreams. SGF 2025 includes 15 individual events running from June 3-9 — you can find the full Summer Game Fest 2025 schedule here — and we're smack dab in the middle of that programming right now. We're covering SGF 2025 with a small team on the ground in LA and a far larger group of writers tuning in remotely to the various livestreams. Expect game previews, interviews and reactions to arrive over the coming days (the show's in-person component runs from Saturday-Monday), and a boatload of new trailers and release date announcements in between. Through it all, we're collating the biggest announcements right here, with links out to more in-depth coverage where we have it, in chronological order. Tuesday, June 3 State of Unreal: The Witcher IV and Fortnite AI Epic hitched its wagon to SGF this year, aligning its annual developer Unreal Fest conference, which last took place in the fall of 2024, with the consumer event. The conference was held in Orlando, Florida, from June 2-5, with well over a hundred developer sessions focused on Unreal Engine. The highlight was State of Unreal, which was the first event on the official Summer Game Fest schedule. Amid a bunch of very cool tech demos and announcements, we got some meaningful updates on Epic's own Fortnite and CD PROJEKT RED's upcoming The Witcher IV. The Witcher IV was first unveiled at The Game Awards last year, and we've heard very little about it since. At State of Unreal, we got a tech demo for Unreal Engine 5.6, played in real time on a base PS5. The roughly 10-minute slot featured a mix of gameplay and cinematics, and showed off a detailed, bustling world. Perhaps the technical highlight was Nanite Foliage, an extension of UE5's Nanite system for geometry that renders foliage without the level of detail pop-in that is perhaps the most widespread graphical aberration still plaguing games today. On the game side, we saw a town filled with hundreds of NPCs going about their business. The town itself wasn't quite on the scale of The Witcher III's Novigrad City, but nonetheless felt alive in a way beyond anything the last game achieved. It's fair to say that Fortnite's moment in the spotlight was… less impressive. Hot on the heels of smooshing a profane Darth Vader AI into the game, Epic announced that creators will be able to roll their own AI NPCs into the game later this year. Wednesday, June 4 PlayStation State of Play: Marvel Tōkon, Silent Hill f and the return of Lumines Another company getting a headstart on proceedings was Sony, who threw its third State of Play of the year onto the Summer Game Fest schedule a couple days ahead of the opening night event. It was a packed stream by Sony's standards, with over 20 games and even a surprise hardware announcement. The most time was given to Marvel Tōkon: Fighting Souls, a new PlayStation Studios tag fighter that fuses Marvel Superheroes with anime visuals. It's also 4 versus 4, which is wild. It's being developed by Arc System Works, the team perhaps best known for the Guilty Gear series. It's coming to PS5 and PC in 2026. Not-so-coincidentally, Sony also announced Project Defiant, a wireless fight stick that'll support PS5 and PC and arrive in… 2026. Elsewhere, we got a parade of release dates, with concrete dates for Sword of the Sea (August 19) Baby Steps (September 8) and Silent Hill f (September 25). We also got confirmation of that Final Fantasy Tactics remaster (coming September 30), an an all-new... let's call it aspirational "2026" date for Pragmata, which, if you're keeping score, was advertised alongside the launch of the PS5. Great going, Capcom! Rounding out the show was a bunch of smaller announcements. We heard about a new Nioh game, Nioh 3, coming in 2026; Suda51's new weirdness Romeo is a Dead Man; and Lumines Arise, a long-awaited return to the Lumines series from the developer behind Tetris Effect. Thursday, June 5 Diddly squat There were absolutely no Summer Game Fest events scheduled on Thursday. We assume that's out of respect for antipodean trees, as June 5 was Arbor Day in New Zealand. (It's probably because everyone was playing Nintendo Switch 2.) Friday, June 6 Summer Game Fest Live: Resident Evil Requiem, Stranger Than Heaven and sequels abound It's fair to say that previous Summer Game Fest opening night streams have been… whelming at best. This year's showing was certainly an improvement, not least because there were exponentially fewer mobile game and MMO ads littering the presentation. Yes, folks tracking Gabe Newell's yacht were disappointed that Half-Life 3 didn't show up, and the Silksong crowd remains sad, alone and unloved, but there were nonetheless some huge announcements. Perhaps the biggest of all was the "ninth" (Zero and Code Veronica erasure is real) Resident Evil game. Resident Evil Requiem is said to be a tonal shift compared to the last game, Resident Evil Village. Here's hoping it reinvigorates the series in the same way Resident Evil VII did following the disappointing 6. We also heard more from Sega studio Ryu Ga Gotoku about Project Century, which seems to be a 1943 take on the Yakuza series. It's now called Stranger Than Heaven, and there's a (literally) jazzy new trailer for your consideration. Outside of those big swings, there were sequels to a bunch of mid-sized games, like Atomic Heart, Code Vein and Mortal Shell, and a spiritual sequel of sorts: Scott Pilgrim EX, a beat-em-up that takes the baton from the 2010 Ubisoft brawler Scott Pilgrim vs. the World: The Game. There were countless other announcements at the show, including: Troy Baker is the big cheese in Mouse: P.I. for Hire Here's a silly puppet boxing game you never knew you needed Killer Inn turns Werewolf into a multiplayer action game Out of Words is a cozy stop-motion co-op adventure from Epic Games Lego Voyagers is a co-op puzzle game from the studio behind Builder's Journey Mina the Hollower, from the makers of Shovel Knight, arrives on Halloween Wu-Tang Clan's new game blends anime with Afro-surrealism Day of the Devs: Blighted, Snap & Grab, Blighted and Escape Academy II As always, the kickoff show was followed by a Day of the Devs stream, which focused on smaller projects and indie games. You can watch the full stream here. Escape Academy has been firmly on our best couch co-op games list for some time, and now it's got a sequel on the way. Escape Academy 2: Back 2 School takes the same basic co-op escape room fun and expands on it, moving away from a level-select map screen and towards a fully 3D school campus for players to explore. So long as the puzzles themselves are as fun as the original, it seems like a winner.  Semblance studio Nyamakop is back with new jam called Relooted, a heist game with a unique twist. As in the real world, museums in the West are full of items plundered from African nations under colonialism. Unlike the real world, in Relooted the colonial powers have signed a treaty to return these items to their places of origin, but things aren't going to plan, as many artifacts are finding their way into private collections. It's your job to steal them back. The British Museum is quaking in its boots. Here are some of the other games that caught our eye: Snap & Grab is No Goblin's campy, photography-based heist game Please, Watch the Artwork is a puzzle game with eerie paintings and a sad clown Bask in the grotesque pixel-art beauty of Neverway Pocket Boss turns corporate data manipulation into a puzzle game Tire Boy is a wacky open-world adventure game you can tread all over The rest: Ball x Pit, Hitman and 007 First Light After Day of the Devs came Devolver. Its Summer Game Fest show was a little more muted than usual, focusing on a single game: Ball x Pit. It's the next game from Kenny Sun, an indie developer who previously made the sleeper hit Mr. Sun's Hatbox. Ball x Pit is being made by a team of more than half a dozen devs, in contrast to Sun's mostly solo prior works. It looks like an interesting mashup of Breakout and base-building mechanics, and there's a demo on Steam available right now. Then came IOI, the makers of Hitman, who put together a classic E3-style cringefest, full of awkward pauses, ill-paced demos and repetitive trailers. Honestly, as someone who's been watching game company presentations for two decades or so, it was a nice moment of nostalgia.  Away from the marvel of a presenter trying to cope with everything going wrong, the show did have some actual content, with an extended demo of the new James Bond-themed Hitman mission, an announcement that Hitman is coming to iOS and table tops, and a presentation on MindsEye, a game from former GTA producer Leslie Benzies that IOI is publishing.  Saturday-Sunday: Xbox and much, much more Now you're all caught up. We're expecting a lot of news this weekend, mostly from Xbox on Sunday. We'll be updating this article through the weekend and beyond, but you can find the latest announcements from Summer Game Fest 2025 on our front page.This article originally appeared on Engadget at https://www.engadget.com/gaming/everything-new-at-summer-game-fest-2025-marvel-tokon-resident-evil-requiem-and-more-185425995.html?src=rss

to a T – what a strange thing to happen (Annapurna Interactive) Having your arms stuck in a permeant T-pose leads to a wonderfully surreal narrative adventure, in this new indie treat from Katamari creator Keita Takahashi. Keita Takahashi seems to be a very nice man. We met him back in 2018, and liked him immensely, but we’re genuinely surprise he’s still working in the games industry. He rose to fame with the first two Katamari Damacy games but after leaving Bandai Namco his assertion that he wanted to leave gaming behind and design playgrounds for children seemed like a much more obvious career path, for someone that absolutely doesn’t want to be stuck making sequels or generic action games. That’s certainly not been his fate and while titles like Noby Noby Boy and Wattam were wonderfully weird and inventive they weren’t the breakout hits that his bank balance probably needed. His latest refusal to toe the line probably isn’t destined to make him a billionaire either, but we’re sure that was never the point of to a T. Instead, this is just a relentlessly sweet and charming game about the evils of bullying and the benefits of being nice to people. It’s frequently surreal and ridiculous, but also capable of being serious, and somewhat dark, when it feels the need. Which given all the signing giraffes is quite some accomplishment. The game casts you as a young schoolkid whose arms are permanently stuck in a T-pose, with both stretched out 90° from his torso. If you’re waiting for an explanation as to why then we’re afraid we can’t tell you, because your character (who you can customise and name as you see fit, along with his dog) doesn’t know either. You find out eventually and the answer is… nothing you would expect. This has all been going on for a while before the game starts, as you’re by now well used to sidling through doors and getting your dog to help you dress. You’re also regularly bullied at school, which makes it obvious that being stuck like this is just a metaphor for any difference or peculiarity in real-life. Although the specific situations in to a T are fantastical, including the fact that the Japanese village you live in is also populated by anthropomorphic animals (most notably a cadre of food-obsessed giraffes), its take on bullying is surprisingly nuanced and well written. There’re also some fun songs that are repeated just enough to become unavoidable earworms. The problem is that as well meaning as all this is, there’s no core gameplay element to make it a compelling video game. You can wander around talking to people, and a lot of what they say can be interesting and/or charmingly silly, but that’s all you’re doing. The game describes itself as a ‘narrative adventure’ and that’s very accurate, but what results is the sort of barely interactive experience that makes a Telltale game seem like Doom by comparison. There are some short little mini-games, like cleaning your teeth and eating breakfast, but the only goal beyond just triggering story sequences is collecting coins that you can spend on new outfits. This is gamified quite a bit when you realise your arms give you the ability to glide short distances, but it’s still very basic stuff. One chapter also lets you play as your dog, trying to solve an array of simple puzzles and engaging in very basic platforming, but while this is more interactive than the normal chapters it’s still not really much fun in its own right. More Trending Everything is all very charming – the cartoonish visuals are reminiscent of a slightly more realistic looking Wattam – but none of it really amounts to very much. The overall message is about getting on with people no matter their differences, but while that doesn’t necessarily come across as trite it’s also not really the sort of thing you need a £15 video game, with zero replayability, to tell you about. It also doesn’t help that the game can be quite frustrating to play through, making it hard to know what you’re supposed to do next, or where you’re meant to be going. The lack of camera controls means it’s hard to act on that information even if you do know what destination you’re aiming for, either because the screen is too zoomed in, something’s blocking your view, or you keep getting confused because the perspective changes. As with Wattam, we don’t feel entirely comfortable criticising the game for its failings. We’ll take a game trying to do something new and interesting over a workmanlike sequel any day of the week – whether it succeeds or not – but there’s so little to the experience it’s hard to imagine this fitting anyone to a T. to a T review summary In Short: Charming, silly, and occasionally profound but Keita Takahashi’s latest lacks the gameplay hook of Katamari Damacy, even if it is surprisingly well written. Pros: Wonderfully and unashamedly bizarre, from the premise on down. A great script, that touches on some dark subjects, and charming visuals and music. Cons: There’s very little gameplay involved and what there is, is either very simple or awkward to control. Barely five hours long, with no replayability. Score: 6/10 Formats: PlayStation 5 (reviewed), Xbox Series X/S, and PCPrice: £15.49Publisher: Annapurna InteractiveDeveloper: uvulaRelease Date: 28th May 2025Age Rating: 7 Who knew giraffes were so good at making sandwiches (Annapurna Interactive) Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter. To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy

“Magnetic” (2025), oil on canvas, 23.62 × 23.62 inches. All images courtesy of the artist and DCG Contemporary, shared with permission In Surreal Portraits, Rafael Silveira Tends to the Garden of Consciousness May 29, 2025 Art Kate Mothes With scenic vistas for faces, blossoms for eyes, or nothing but coral above the shoulders, Rafael Silveira’s surreal portraits summon aspects of human consciousness that span the spectrum of the wonderful and the weird. The Brazilian artist describes his work as “a profound dive into the human mind,” merging flowers, landscapes, and uncanny hybrid features into visages that channel humor with a slightly sinister undertone. Silveira’s forthcoming solo exhibition, Agricultura Cósmica at DCG Contemporary, traverses “the fertile terrain of the subconscious,” the gallery says. “With a nod to pop surrealism and the uncanny, his work imagines the mind as a garden where thoughts are seeds and images (are) the wildflowers that sprout.” “PLEEESE” (2025), oil on canvas, 23.62 × 23.62 inches Silveira works predominantly in oil, using panel or canvas as a surface and occasionally surrounding his works with ornate, hand-carved wooden frames. The sculptural details of the frames, like an anatomical heart in “Eyeconic Couple” or an all-seeing eye topping “A Crocância do Tempo” — “the crunchiness of time” in Portuguese — read like talismans. Many of Silveira’s compositions begin with a traditional head-and-shoulders portrait composition as a starting point, but instead of skin we see a distant horizon, like in “Magnetic,” or a figure’s head supplanted by a stalk of coral or a column of fire. Other pieces omit the human outline altogether in amusing arrangements of vivid flowers, which suggest wide eyes and addled expressions. While human forms shed their emotional autonomy as they converge with their surroundings, the flora in works like “OMG” and “PLEEESE” are a profusion of awe and desire. Agricultura Cósmica opens in London on June 12 and continues through July 10. The show runs concurrently alongside an exhibition titled Plural by embroidery artist Flavia Itiberê. See more on the artist’s website and Instagram. “Eyeconic Couple” (2025), oil on panel and hand-carved frame, 15.75 × 35.43 inches “Inside Out” (2025), oil on canvas, 35.4 x 31.5 inches “A Crocância do Tempo” (2025), oil on panel and hand-carved frame, 35.4 x 31.5 inches “The Artifice of Eternity” (2025), oil on canvas, 23.62 × 31.5 inches “OMG” (2025), oil on canvas, 23.62 × 23.62 inches “Paixão Ardente” (2025), oil on panel and hand-carved frame, 35.4 x 31.5 inches “The Roots of Reality” (2025), oil on canvas, 35.4 x 31.5 inches Next article

“Decoy Boy.” All images © Michael Ezzell, shared with permission In ‘The Junior Classic,’ Michael Ezzell Builds an Uncanny World from Vintage Books May 27, 2025 ArtIllustration Kate Mothes It’s not too often that a high school art project morphs into a through-line in an artist’s professional practice, but for illustrator and printmaker Michael Ezzell, that’s exactly how his ongoing series The Junior Classic was born. Tearing pages from vintage books, he experiments with a range of media, compositional elements, and narratives that then inspire further paintings and prints. “When I was starting out, I would just paint over the text of the page and create something brand new from some mundane book I had,” Ezzell tells Colossal. “Eventually, it evolved into using the page’s illustration or ornate chapter headings as a jumping-off point for what I would create on the page.” “Cloudmaker” Among many others, Ezzell especially graviates toward illustrations in the Alice in Wonderland series, originally drawn by Sir John Tenniel and reimagined during subsequent decades by more than half a dozen other artists like Mabel Lucie Attwell, Gwynedd M. Hudson, Maria L. Kirk, and even Salvador Dalí. “I’ve gotten my book-hunting more down to a science now,” the artist says. “I look for weird and obscure manuals or children’s books with lots of pictures or funky text formatting. Anything that could have strange connotations when taken out of context is what I’m drawn to.” He approaches each page’s inherent qualities—a printed phrase or a small drawing—like a prompt or a call-and-response, which taps into a refreshingly different kind of problem-solving than working on a large, blank canvas. Ezzell is particularly interested in world-building and immersive stories, and his motifs and characters take cues from tarot, Surrealism, playing cards, and early-20th-century fashion. The title of the series nods to a set of 10 books titled The Junior Classics, first published in 1912, which were intended for young readers as a counterpart to the Harvard Classics series. The Junior Classic consists of more than 400 pieces (and growing), and Ezzell is currently working on his own tarot deck, which in turn is inspiring more narrative possibilities. See more on the artist’s website and Instagram. “Two Rivers” “Now Here” “Three Phases of Mitsy Diller” “Mind Over Matter” “Love Makes the World Go Down” “The Escapist” “The Great Cassino” “The Duchess” Next article

It’s only fitting that Austin-based hospitality group Bunkhouse Hotels should dub its new Houston locale, Hotel Saint Augustine, after Saint Augustine. The fourth-century theologian was canonized as the patron saint of printing because of his extensive writings on and early dissemination of the catholic faith. The new locale situates near the Menil Drawing Institute. Augustus Chapman Allen was one of the founders of the Texas metropolis in which there’s an abundance of Saint Augustine grass. Though references to surrounding history and ecology abound, the hotel forms as an inward-facing urban retreat, tastefully outfitted with near monastery-like qualities juxtaposed by pops of contemporary color and texture. Award-winning local architecture firm Lake Flato programmed Hotel Saint Augustine as a cluster of five two-story structures that reflect the proportioning of the neighborhood but that also delineate a series of cloistral courtyards. The open air porches that connect these decidedly modernist buildings imbue the destination with a residential feel. Lushly planted gardens emerge from these voids as they give way to meandering pathways. Fellow Texas firm Ten Eyck teamed up with the John Fairey Garden to cultivate a series of complementary plants for the site: eyelash sage, dwarf rock palm, and blue rabbit’s foot fern. New York and Wyoming-based interiors practice Post Company – in collaboration with Bunkhouse’s internal design team – outfitted the interiors with the same duality in mind. Drawing inspiration from the notable art museums – mostly named for the influential de Menil family – the scheme champions a clever yet not bombastic intermixing of old and new elements; a touch of surrealism. Tying together a carefully sourced selection of distinctive furnishings is a tightly curated program of minimalist artworks. With different lounge and retail display vignettes demarcated by soaring sheer curtains, the main lobby takes on the appearance of what one might imagine as a collector’s home. A burled walnut and Calacatta Viola marble reception desk plays off of bright red lacquered shelves with glowing back-lit panels. Deep blue walls and ceilings, as well as dark black glazed ceramic tile floors in the adjoining bar, helps hotel guests and hospitality visitors escape the bustling city right outside. Antique mirror panels help extend the verdant greenery of the internal gardens indoors. When it comes to dining and drinking options, Augustine Lounge and Listening Room are joined by the Michelin Guide-recommended Bar Bludorn. Premiere all-day restaurant, Perseid – named in honor of Houston’s long history as an epicenter of space exploration – is a quintessential neighborhood bistro. Throughout this offering, ombre dipped wall treatments and hand painted, texturally abstracted murals help to scale down the space. Art Deco inspired pendants hang above. The 71 suites comprise a diverse range of accommodations: from the compact 200-square-foot Petite Queen guest rooms to the Ateliers with private outdoor spaces. Monochromatic blues, deep reds, sages, and mustards delimit the bed while the same approach to furnishings found in the public areas carries through. The difference: much richer velvet drapes juxtapose dark ebonized wood oak flooring. Oversized sculptural luminaires skew the more intimate scale of these suites. “Honoring Houston’s artistic and cultural heritage, Saint Augustine alludes to the legacy of John and Dominique de Menil, who were tastemakers, art collectors, and human rights activists that shaped the city into the cultural nexus it is today,” says Tenaya Hills, Bunkhouse Hotels’ senior vice president of design and development. “In line with our ethos of creating community-driven experiences, Hotel Saint Augustine will also celebrate Houston’s history of unexpected pairings and cutting-edge culture through programming and partnerships, and plans to partner with neighboring non-profits to build lasting relationships with organizations working to further responsible growth in Houston,” says Hills. What: Hotel Saint Augustine Where: Houston, Texas How much: Rooms start at $300 Design draws: An urban retreat made up of separate buildings with cloister-like courtyards and lush greenery. Eclectic yet cohesive interiors that at once honor the cultural clout of the surroundings and allow guests to retreat for a while. Book it: Hotel Saint Augustine Go virtually on vacation with more design destinations right here. Photography by Nicole Franzen and Julie Soefer.

Hello, my name is Oleksandr, I’m a Senior UX/UI Designer at Ubisoft. At Games Gathering Kyiv ’24, I gave a presentation titled “Layers of Player Experience. Why is everyone on the team a UXer”. This article is a supplement and an alternative form of that presentation.Tutorials Menu in The Last of Us Part IITo have an experience, we first need a user (player). As a result, users interact with the product and gain that experience.A game is a tool — a generator of experiences, emotions, and memories for the audience. And that’s why games are bought, loved and hated. It is for the experience they provide. Exceptions, when we tend to accumulate: we buy games during some Steam sale, so we will never launch them.You can’t design an experience; you can design a product through which people gain an experience. That is, our Figma prototype is UI, and as soon as we let people use it. They share thoughts, impressions, expectations, feelings… this is UX. And even memes talk about it.UX MemesOur goal is not a game, but the player’s experience. I came across a thought that stood out to me:“The Game Direction is the concrete manifestation of the Target Game Experience and is the first thing you should aim for. This makes game development a sort of “reverse-engineering process”At the moment, in the essence of UX, and in our context of Player Experience, I have identified 4 layers-components that influence the perception of the product.UX LayersFunctionalityLet’s start with the first one: functionality is the basic and most objective part. It answers the question: Does the game work properly?For example, does it meet such requirements as load time, memory usage, number of frames per second (FPS), etc. In an ideal world, there are no crashes, friezes, softlocks (inability to progress in the game, although the game technically works), servers can withstand a large number of players, excellent optimization for different platforms and adaptation for input/output devices, various edge cases, Poka-yoke protection, etc. are also considered and covered. And of course, it affects the audience experience. Some critical moments can make the game completely unplayable, while others become memes.Assassin’s Creed UnityUsabilityThe next level is usability — it defines how easy and convenient the product is to use.The main task of this area is to minimize cognitive (attention, memory, …) and physical (muscles, vision, hearing, fine motor skills…) loads during interaction. In many products and services, teams aim to track and remove all friction and difficulties users may face. In games, however, we look for and remove only those obstacles that are not there by design (intended challenge).For example, in the VR shooter Half Life Alyx, reloading is implemented as follows: you need to press a button on the controller to eject the empty magazine from the weapon, then reach back to grab a new one and carefully install it. From a usability perspective, this is not ideal, requiring a certain physical dexterity, and it would technically be simpler to assign these actions to a single button. But this would reduce the challenge in the game, the immersion in the world, and would likely not improve the overall gaming experience.Half Life AlyxOn the other hand, if players get lost in the menu, cannot perform the actions they need, do not understand why their character dies every time, fails a mission, or cannot master a certain mechanic due to lack of and poor tutorials. Something definitely needs to be done about this. Otherwise, players may feel frustrated — like the game is being unfair or not entirely honest with them.Usability in games relies on the same methods and research as other software development. Covers the following sections and disciplines:Interaction Design, IxDVisual DesignHeuristics, for example Jakob Nielsen’s in gamesPlatform Guidelines (PC, Xbox, PS, Switch, Steam Deck…)Accessibility Standards: Web Content Accessibility Guidelines (WCAG) and Xbox Accessibility Guidelines (XAG)Primary research:Card sorting (information architecture development)Moderated and unmoderated usability tests (find interaction issues in a product at the current stage of development)Eye-tracking (heat maps)A/B testing (can say which of 2 solutions works better, but won’t say why)Secondary research:Market and competitor analysis (definition of patterns, interaction standards, glossary of terms…)Open source data analysis (streams, articles, social networks, forums…)Closed source data analysis (telemetry)Usability is an important aspect of a game. Moreover, even for the entire platform or industry. The market is full of direct and indirect competitors (apps, streaming, social networks…), all fighting for our time and attention.Let’s look at the Quick Resume function on Xbox Series, which allows you to instantly switch between multiple games, preserving their state, like Alt-Tab between windows. Moreover, thanks to it, after turning off the console, players can continue the game exactly from where they left off, just by pressing one button:I press the Xbox logo on the gamepad → the console turns on → the TV automatically turns on via HDMI-CEC and selects the HDMI console source → the console launches the last session game → I get into the game exactly where I stopped.This greatly simplifies interaction, reduces the number of steps for players to reach Value, and bypasses competitors, as the operating system screen of the TV often contains preview sections for Netflix, YouTube, etc. Our brain already finds this action, playing a game, more appealing because it requires less effort.In the book “Show Your Work” by Austin Kleon, author of the bestsellers “Steal Like an Artist” and “Show Your Work”, writes:“Your attention is one of the most valuable things you have, so everyone wants to steal it from you.”https://medium.com/media/d464918f88fb6d2a57eeedab67211cc7/hrefAestheticsLet’s go further — there’s a branch of philosophy called aesthetics. It’s the study of sensory, non-utilitarian ways of understanding the world, a critical reflection on art, culture, and nature.In our field, aesthetics relates to the physical and digital form of the product. It encompasses sensory aspects such as appearance, sound, tactility, taste, and smell. Accordingly, I have identified 5 types of aesthetics:VisualMusic/AuditoryTactileTasteScentVisual AestheticsIt doesn’t always mean “beautiful”, “pleasant to the eye”. It’s about how the game looks… what impressions it evokes because of this. It can be “beautiful” as is usually considered, and “ugly”, “terrible”, or even “disgusting”, “repulsive”. Each game has its own proportion, somewhere more beauty — the Ori series, Ghost of Tsushima, Just Dance, … Somewhere ugliness, horror, and disgust — Scorn, Resident Evil, Dead Space, Little Nightmares…It’s the same in art — just look at the works of Zdzisław Beksiński, H.R. Giger, or Ukrainian artist Ivan Marchuk, the founder of the plentanism technique.Paintings by Zdzislaw BeksinskiPaintings “Awakening” and “Sorrow” by Ivan MarchukAesthetics should correspond to the game’s setting and lore, support immersion in this fictional world. An interesting unique visual style is another way to stand out in the market. For example, the creators of Cuphead were inspired by the aesthetics of 1930s cartoons, surrealism, and the jazz era.CupheadThe game is known for its distinctive crafted animation and soundtracks, which make it recognizable and stand out among others. The loud title of the marketing book “Differentiate or Die” comes to mind.In design and development, there is often a challenge: to find a balance between functionality, convenience, and aesthetics. You can overdo it with visual effects, animations, which will reduce performance and optimization. Get carried away with graphic elements, and this will add “visual noise”, lower readability, and accordingly, worsen usability.This dilemma is present in other subject areas as well. For example, chess sets. Pieces can be extremely detailed, made of expensive materials, but not very usable because players confuse their roles due to a certain unique, non-standard appearance. These obstacles do not contribute to the game and can ruin the entire experience, especially if the mistake leads to critical consequences in the match. Or take industrial design: for some time, Apple devices did not have as many ports/interfaces as their competitors’ devices. That is, for the sake of aesthetics, they neglect certain convenience and practicality. Maybe too convenient things form “convenient” people? ;)Auditory AestheticsIt greatly influences the atmosphere, emotions, and mood of the players. These include all the sounds that accompany the game: soundtracks, ambient sounds, sound design, dialogues, dubbing, and more. This has a significant impact on the gaming experience, even down to the goosebumps.This game component can be reflected in other products, such as vinyl records. It offers a new experience for users, providing auditory, tactile, and visual aesthetics.Alan Wake 2 Vinyl RecordsTactile AestheticsThese refer to the sensations related to physical perception during the game — from how we interact with peripheral devices.A few examples: gamepad vibration (Haptic Feedback), Dual Sense adaptive triggers, steering wheel and pedals, special gloves or suits with tactile feedback. All this serves to provide greater immersion and inform about the game state.Special game editions with additional materials, such as 3D models, figurines, maps, or other items from the game world, can also be considered part of tactile aesthetics. This adds a physical aspect to the game interaction experience, can enhance the sense of involvement and value for players. It provides a certain tactile contact with the game universe, even when our PC or console is turned off due to a power outage.S.T.A.L.K.E.R. 2: Heart of Chornobyl Ultimate EditionTaste AestheticsHmm, can we try a game by taste? “Of course!” — marketing and business will joyfully exclaim. But no one will force us to gnaw on consoles or game discs. The approach is more gentle and courteous.So, on the shelves of grocery stores, we’ll find Nuka-Cola from the Fallout universe, Butterbeer, or Beans with different flavors from the Potterverse. The line between the game world and reality is blurring, and here we enter the realm of product placement: Calorie Mate (energy bars popular in Japan) appear in Metal Gear Solid, Monster Energy drinks in Death Stranding, and Nonstop in S.T.A.L.K.E.R..Nuka-Cola from the Fallout universeScent AestheticsI began exploring this topic and discovered GameScent — a device that reacts to game events such as shooting, explosions, racing, storms, and forests, releasing corresponding smells. It’s a form of 4D gaming, an attempt to expand the gaming experience to another sense. But I think we should be careful with this — who knows what it might emit when burning cannabis fields in Far Cry 3.GameScentBut in fact, if we delve deeper, we can think about certain new niches. The Moth and Rabbit perfume brand, founded in 2016, is known for its unique approach. They create unisex perfumes inspired by movies and stories, such as Parasite, The Lobster, La Haine, and The Color of Pomegranates. The focus is not only on the scent but also on the emotional and sensory experience.I feel like perfumers and marketers could easily craft fragrance concepts for games like GTA, RDR2, or The Last of Us… Thus adding a new dimension of experience for the audience. I will share my own associations — what perfumes remind me of different parts of Far Cry.FUN (Engagement)Now we have reached the core, the center that creates the desire to use this or that entertainment product. You can fix bugs, work on optimization, improve usability, and create aesthetics as much as you want. However, if a game has no fun, it is not interesting to play, and it is most likely doomed to fail.There is an expression Usable yet Useless. Because many products appear on the market that don’t find their purpose, have no value for the customers. And of course, we know a lot of such examples among published games. Or those that were canceled in development because the team never found the “FUN recipe” in practice. That said, projects can also be canceled for many other reasons — finances, the market, team issues, tech limitations, shifting priorities, or strategic decisions…Well, fun is a rabbit hole — a vast and complex topic that touches many areas. A person’s impression of it is individual, personal, and subjective.“We are not many standard selves, but many different universes” — Vasyl Symonenko.Making a game that works for everyone is possible (Functionality). Making a game that is interesting and liked by everyone — I don’t think so. Here, I will try to describe certain components of fun as simply as possible.MotivationAgain, it’s not easy because there is no single theory of motivation. But the dominant framework, which is also described in management books, is the self-determination theory (SDT). It suggests that our motivation comes from both intrinsic drivers (internal desires) and extrinsic drivers (external rewards).Let’s start with the three intrinsic ones:Competence is a need to feel successful, skilled, and to see yourself progress and develop. It’s about growth and providing players with the right level of challenge to showcase their skills. Competence is one of the key drivers. A nice real-life example would be when you give a riddle to your friends. Time passes, and they don’t want you to give them the answer — they want to solve it themselves to experience the feeling of “We did it!”Autonomy is a need for self-expression, to feel that you have an impact, that your choices matter. This is a certain level of freedom in the game, the ability to customize characters, their belongings, make decisions, participate in dialogues that change the further course of events…Relatedness is a need to have meaningful social connections, whether through cooperation or competition, because we are social beings. Accordingly, these are all kinds of coop or competitive modes in online or offline game mods.Extrinsic drivers are external rewards. Ideally, they also immerse and help progress, providing some recognition, feedback on the players’ competence. Goals and rewards should be meaningful to the players (make sense, have value, logical justification).More on player motivation in this talk by Celia Hodent, former Director of User Experience at Epic Games.EmotionEmotions are very important, they affect our perception, decision-making and memory — the more emotional the experience, the better we will remember it. Here I have highlighted:Immersion, which is also shaped by aesthetics.The feeling of the game — 3C (Camera, Characters and Controls)Linking Narrative (how the story is presented) — Story (what happens in the game world) — Plot (how it is revealed to the players)Surprises and new content: locations, seasons, tournaments, modes, etc.So to speak, we ride the emotional roller coaster. In any case, it is better in the game than in life. So as not to complain like Chris Isaak in the song Wicked Game “What a wicked game you play to make me feel this way”.FlowThe state of flow, a concept introduced by psychologist Mihaly Csikszentmihalyi, occurs at the appropriate level of challenge and skills. The mental state in which a person is fully engaged in what they are doing is a feeling of focus, concentration, and success during the activity. Flow can occur during various activities such as sports, work, daily life, creativity, and others.State of FlowThe main components and conditions in a game are:Difficulty curve — the level of challenges, “match of skills and challenges”Learning curve — onboarding players and step-by-step distributed tutorials (learn by doing);Pacing — a rhythm of stress and rest. The best rest is a change of activity.The state of flow is so captivating that we lose track of time.Ethical Aspects and ResponsibilityThis is about the conscious and unconscious use of deceptive design patterns (aka Dark), to increase business revenue. It is an exploitation of our biases and perception. Some companies have lawsuits regarding these decisions in certain countries.There is also a book written in a simple, concise form “Hooked: How to Build Habit-Forming Products” — Nir Eyal, Ryan Hoover. It allowed me to look at various products, services from a different angle and notice, recognize their methods of engagement.Summary about FunIn the book “A Theory of Fun for Game Design” by Raph Koster, there is a phrase “Learning is the drug”. The feeling of fun is the brain’s emotional reaction to learning. Even curiosity is enjoyable in itself, which is why we dislike spoilers — or at least, part of us does.Just as in games we solve puzzles, learn combos, scripts, and timings for further progress, so is it in life. A cat that drops things from the table for its learning (or just to annoy) or scientists trying to solve the mystery of the universe. Our brain always wants to find a pattern, a cause-and-effect relationship, to create structure in chaos. And as soon as it finds it, it becomes uninteresting and boring. As Dua Lipa sings in her song “New Rules”, “Now I’m standin’ back from it, I finally see the pattern.”Brand ConnectionWe can combine these layers and add another one around that also affects the game’s perception by the audience and its loyalty. This is the company’s brand, its philosophy, position, previous experience with its products and services. As well as personal brand: Neil Druckmann (The Last of Us), Dan & Sam Houser (GTA), Hideo Kojima (Death Stranding), etc.https://medium.com/media/f9db10894c4401ea10cc154898d1c065/hrefTeamEach of these components of the Game UX is handled by specific teams and stakeholders. In the image below, I have only indicated a part of the job titles that came to mind. In game development, especially for large projects, there are significantly more roles, and the credits are proof of that. Management is responsible for effective coordination and cooperation of these teams. Moreover, the R&D process of the game is impossible without the support of other company departments — HR, infrastructure, operational team, finance, etc.UX Layers & TeamAll these layers-components are closely interconnected, influencing and depending on each other. People from “Fun” tell we need a game world without seams and loading, while people from “Functionality”, having studied this issue, say that at the moment it is impossible, or requires additional resources, technologies. The search for a solution, a compromise is ongoing.Although my main focus is usability and aesthetics. It is necessary to collaborate with a large number of different teams. For example, when I worked on the High Contrast Mode feature, I first aligned with the Game Design team and then shared prototypes with the Render team, which made its implementation possible. All these layers-components are important for players’ experiences.On the FinalA game can bring not just fun, but also a deeper experience, raising and revealing important themes. It is an important medium for exploring social, ethical, and psychological issues. Games evoke emotions and empathy, allowing players to experience stories, situations that raise questions about morality, responsibility, and human values.Valiant HeartsWe love games with all their advantages and disadvantages. After all, there are no perfect products, as they are created by imperfect people, and perhaps a bit by hallucinating AI.“There is a crack in everything, that’s how the light gets in.” — Leonard Cohen, Anthem.Thank you!Why is everyone on the team a UXer? Layers of player experience was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.

A New Exhibition Brings Fresh Recognition to a Groundbreaking But Largely Forgotten Surrealist At London’s Tate Britain, a major retrospective takes a long look at the work of Margaret Ithell Colquhoun Connections between the natural world, the divine and the erotic were a favorite theme for Colquhoun, who described Earth Process, 1940, as an “image from a half-conscious experience.” Tate, presented by the National Trust 2016. © Tate. Photo © Tate (Sam Day) British artist and writer Margaret Ithell Colquhoun was a pioneer of Surrealist “automatism,” creating images from charcoal shavings or letting her unconscious take charge of a pen. Such methods had a “divinatory power,” she explained, comparing them to “the practices of clairvoyants who use … tea leaves and coffee grounds to set in motion their telepathic faculty.” While she traveled in the same circles as household names like Salvador Dalí, Colquhoun broke with Surrealism in 1940 to focus on the occult, a move that may have contributed to her relative obscurity by the time of her death in 1988. This month, however, a major retrospective of Colquhoun’s work will open at London’s Tate Britain, after a stint at the museum’s Cornwall branch. It’s the first since her rediscovery by a new generation of artists drawn to her explorations of women’s sexuality, spirituality and the natural world. “Over the years I have followed the path blazed by Colquhoun,” writes the British artist Linder Sterling, in an essay about the show, and felt “her encouragement from beyond the grave.”    Gorgon, Ithell Colquhoun, 1946. Private Collection © Spire Healthcare, © Noise Abatement Society, © Samaritans Ages of Man, Ithell Colquhoun, 1944. Tate, Presented by the National Trust 2016, accessioned 2022 © Tate. Photo © Tate (Joe Humphrys) Alcove, Ithell Colquhoun, 1946. Private Collection © Spire Healthcare, © Noise Abatement Society, © Samaritans Subscribe to Smithsonian magazine now for just $19.99 This article is a selection from the June 2025 issue of Smithsonian magazine Get the latest Travel & Culture stories in your inbox. More about: Art Art History Artists Modern Art Surrealism

To design the interiors of this six-story town house in Chelsea, Amy Kolker of Jane Street Projects looked to very specific people and places for inspiration. One was the Maison de Verre in Paris, a steel-and-glass residence that was unthinkably modern at the time of its construction in 1932, and another was Adolf Loos, an Austro Hungarian architect who rejected adornment but embraced luxurious materials, sometimes covering entire rooms in marble or mahogany.As a longtime set designer and visual display expert for couture labels and luxury retailers, Kolker developed an extensive design vocabulary. When a friend approached her about transforming the interiors of white-walled residence spanning nearly 8,000 square feet, Kolker dug deep into her decorative repertoire. “This was my big debut as an interior designer,” she says. “And it was quite a bit of space to work with.” It helped that her friend (and now client), James Haslam, a filmmaker and co-owner of the David Armstrong Archive, was also knowledgeable about the history of design, so the two were able to riff off each other.Near the entrance is a vintage console by J. Wade Beam for Brueton. The vase is Lalique. A peek into the elevator of the six-story home, with millwork by The New Motor and Dedar fabric walls. Haslam cites diverse influences—from the stark surrealism of David Lynch to the poetic maximalism of Lorenzo Mongiardino—when it comes to interiors. “I think it’s about emotion and storytelling, and putting that into a white-box town house was the goal,” he says. “Amy went with me; she really delivered.”From the outset, Kolker knew the home had to have saturated, moody colors and had to evoke an old-world ambience, set sometime between the 1930s and 1970s. On the ground level, she ripped out the existing white ceramic floors and added terra-cotta tiles sealed in black epoxy, creating a dramatic dark canvas. She then painted the steel of the towering industrial windows facing the garden a deep red, echoing the black-and-red palette of the aforementioned Maison de Verre. This section of the home, often used for entertaining, includes a brass-topped bar backed by a band of mirrors and low-slung Vladimir Kagan sectional sofas upholstered in gray velour. Floor-to-ceiling sheer ivory curtains add softness to the space. Behind them, in the garden, is a newly planted thicket of bamboos (a detail inspired by Halston’s house on the Upper East Side, as seen on a magazine spread from 1977). “You get to have this view of greenery when you open the curtains, and also these dappled shadows against the walls,” Kolker says.These shelves, on a mezzanine that overlooks the ground-floor living room and garden, were inspired by the library at the Maison de Verre in Paris. The oval table is by Karl Springer. In this parlor, on the third level, we see two Charlotte Perriand LC5 chairs and two Milo Baughman Parsons chairs on a Leslie Doris Blau carpet inspired by Marion Dorn. “It wanted it to feel eclectic and collected,” Kolker says of the room. Up two levels, past a mezzanine with a library overlooking the double-height windows, is an operatic eat-in kitchen. Its walls are covered in glossy emerald green tiles that go all the way to the ceiling, and the countertops, made of rosso levanto marble, have deep burgundy tones with white veins. The contrast is dazzling. In the center of the space is a Louis XV dining table paired with vintage Thonet chairs upholstered in a green gauffrage velvet and a French Art Deco glass pendant. “It’s an eclectic story of timeless furniture,” Kolker says. “It’s a rich, luxurious kitchen.”On that same level is a parlor used as a media room, with a television hidden behind a sheath of blue curtains, dark navy walls, ceilings to match, and a monolithic floor-to-ceiling marble fireplace flanked by gilded mirrors. This is the room influenced by Loos and his penchant for symmetry and paneling.Haslam, whose family owns the Haslam Sports Group, was so pleased with the results that he asked Kolker to design his home in Miami. “She knows her stuff,” he says. “And I was impressed by her ability to go outside of her own style.” Kolker has since established her interior design studio and taken on new clients—but none quite like her first. “A lot of people want a ‘safe’ home, but James is extremely creative,” she says. “It was an incredible experience.”The exterior of the town house, which spans six stories and is almost 8,000 square feet. Kolker worked with AlphaCraft Construction on the renovations of the home. The style of the main living room at this six-story town house, designed by Amy Kolker of Jane Street Projects, was inspired by the Maison de Verre in Paris, an icon of early modern architecture featuring towering steel-framed glass panes. A four-piece sectional sofa by Vladimir Kagan was paired with a coffee table from Maison Lancel. Kolker and Haslam came across these glossy green tiles at Artistic Tile and knew right away they wanted them for the kitchen walls. “It’s a whole collaboration of elements that just turned it into this masterpiece,” says the designer of the space, furnished with a marble-top Louis XV table, vintage Thonet chairs, and a Persian rug. A corner of the garden-level living room featuring an octagonal marble-top table with a vintage base by Eric Maville. The wheeled side chairs were found at Fat Chance, a design gallery in Los Angeles. The mirror behind this brass-topped bar, which was designed by Office Of Things, reflects the dappled shadows coming in from the garden. A 1930s brass and waxed white paper lamp designed by Niels Rasmussen Thykier sits atop the bar. A parlor used as a media room, with a television hidden behind a sheath of blue curtains, dark navy walls, ceilings to match, and a monolithic floor-to-ceiling marble fireplace flanked by gilded mirrors. This room was influenced by architect and designer Adolf Loos, who had penchant for symmetry and paneling. “The primary bedroom was a dark space, and I loved the idea of doing cut-grid mirrors and letting the light bounce off them,” says Kolker of the mirrored wall above the fireplace in the bedroom’s seating area. The marble coffee table was custom made; the club chairs are vintage pieces from the 1970s. In the primary bedroom, a stainless-steel-and-burl-wood cabinet from Brueton, made in 1978. The rug, depicting a horse, is Tibetan. Paonazzo Arabescato marble covers most of the surfaces in the primary bathroom. The vanity hardware is from Waterwork’s Henry line. Black limestone floor tiles from Paris Ceramics complement the look of the Paonazzo Arabescato walls. One of the guest bedrooms has a vintage French tapestry by André Minaux above the bed. The side tables are from Avery & Dash Collections. A guest bedroom, with a custom burl-wood headboard and linens from Bed Threads. The sconces are vintage, designed by George Nelson and Daniel Lewis for Koch & Lowy. On the rooftop, wrought-iron patio chairs. The landscape design is by When in Bloom.