Dans la ville côtière de Bou Ismail, la famille de Zahia a été brisée par une tragédie. La vie de cette femme algérienne a basculé […] L’article Quand une traversée illégale coûte deux filles à une mère algérienne : le récit déchirant de Zahia

Textiles account for 5% of landfill space—and clothing made with polyester can take up to 200 years to decompose. Massachusetts tackled the problem by banning disposal of clothing and fabrics in 2022. And Infinite Threads, a spinoff of the Undergradu

IntroductionHi everyone! My name is Oleh Yakushev, and I'm a 3D Artist from Ukraine. My journey into 3D began just three years ago, when I was working as a mobile phone salesperson at a shopping mall. In 2022, during one slow day at work, I noticed a colleague learning Python. We started talking about life goals. I told him I wanted to switch careers, to do something creative, but programming wasn't really my thing.He asked me a simple question: "Well, what do you actually enjoy doing?"I said, "Video games. I love video games. But I don't have time to learn how to make them, I've got a job, a family, and a kid."Then he hit me with something that really shifted my whole perspective."Oleh, do you play games on your PlayStation?"I said, "Of course."He replied, "Then why not take the time you spend playing and use it to learn how to make games?"That moment flipped a switch in my mind. I realized that I did have time, it was just a matter of how I used it. If I really wanted to learn, I could find a way. At the time, I didn't even own a computer. But where there's a will, there's a way: I borrowed my sister's laptop for a month and started following beginner 3D tutorials on YouTube. Every night after work, once my family went to sleep, I'd sit in the kitchen and study. I stayed up until 2 or 3 AM, learning Blender basics. Then I'd sleep for a few hours before waking up at 6 AM to go back to work. That's how I spent my first few months in 3D, studying every single night.3D completely took over my life. During lunch breaks, I watched 3D videos, on the bus, I scrolled through 3D TikToks, at home, I took 3D courses, and the word "3D" just became a constant in my vocabulary.After a few months of learning the basics, I started building my portfolio, which looks pretty funny to me now. But at the time, it was a real sign of how committed I was. Eventually, someone reached out to me through Behance, offering my first freelance opportunity. And thatэs how my journey began, from mall clerk to 3D artist. It's been a tough road, full of burnout, doubts, and late nights... but also full of curiosity, growth, and hope. And I wouldn't trade it for anything.The Stitch ProjectI've loved Stitch since I was a kid. I used to watch the cartoons, play the video games, and he always felt like such a warm, funny, chill, and at the same time, strong character. So once I reached a certain level in 3D, I decided to recreate Stitch.Back then, my skills only allowed me to make him in a stylized cartoonish style, no fur, no complex detailing, no advanced texturing, I just didn't have the experience. Surprisingly, the result turned out pretty decent. Even now, I sometimes get comments that my old Stitch still looks quite cute. Though honestly, I wouldn't say that myself anymore. Two years have passed since I made that first Stitch, it was back in 2023. And in 2025, I decided it was time to challenge myself.At that point, I had just completed an intense grooming course. Grooming always intimidated me, it felt really complex. I avoided it on commercial projects, made a few failed attempts for my portfolio, and overall tried to steer clear of any tasks where grooming was required. But eventually, I found the strength to face it.I pushed myself to learn how to make great fur, and I did. I finally understood how the grooming system works, grasped the logic, the tools, and the workflow. And after finishing the course, I wanted to lock in all that knowledge by creating a full personal project from scratch.So my goal was to make a character from the ground up, where the final stage would be grooming. And without thinking too long, I chose Stitch.First, because I truly love the character. Second, I wanted to clearly see my own progress over the past two years. Third, I needed to put my new skills to the test and find out whether my training had really paid off.ModelingI had a few ideas for how to approach the base mesh for this project. First, to model everything completely from scratch, starting with a sphere. Second, to reuse my old Stitch model and upgrade it.But then an idea struck me: why not test how well AI could handle a base mesh? I gathered some references and tried generating a base mesh using AI, uploading Stitch visuals as a guide. As you can see from the screenshot, the result was far from usable. So I basically ended up doing everything from scratch anyway.So, I went back to basics: digging through ArtStation and Pinterest, collecting references. Since over the last two years, I had not only learned grooming but also completely changed my overall approach to character creation, it was important for me to make a more detailed model, even if much of it would be hidden under fur.The first Stitch was sculpted in Blender, with all the limitations that come with sculpting in it. But since then, I've leveled up significantly and switched to more advanced tools. So this second version of Stitch was born in ZBrush. By the time I started working on this Stitch, ZBrush had already become my second main workspace. I've used it to deliver tons of commercial projects, I work in it almost daily, and most of my portfolio was created using this tool. I found some great reference images showing Stitch's body structure. Among them were official movie references and a stunning high-poly model created by Juan Hernández, a version of Stitch without fur. That model became my primary reference for sculpting.Truth is, Stitch's base form is quite simple, so blocking out the shape didn't take too long. When blocking, I use Blender in combination with ZBrush:I work with primary forms in ZBrushThen check proportions in BlenderFix mistakes, tweak volumes, and refine the silhouetteSince Stitch's shape isn't overly complex, I broke him down into three main sculpting parts:The body: arms, legs, head, and earsThe nose, eyes, and mouth cavityWhile planning the sculpt, I already knew I'd be rigging Stitch, both body and facial rig. So I started sculpting with his mouth open (to later close it and have more flexibility when it comes to rigging and deformation).While studying various references, I noticed something interesting. Stitch from promotional posters, Stitch from the movie, and Stitch as recreated by different artists on ArtStation all look very different from one another. What surprised me the most was how different the promo version of Stitch is compared to the one in the actual movie. They are essentially two separate models:Different proportionsDifferent shapesDifferent texturesEven different fur and overall designThis presented a creative challenge, I had to develop my own take on Stitch's design. Sometimes I liked the way the teeth were done in one version, in another, the eye placement, in another, the fur shape, or the claw design on hands and feet.At first, considering that Stitch is completely covered in fur from head to toe, sculpting his underlying anatomy seemed pointless. I kept asking myself: "Why sculpt muscles and skin detail if everything will be hidden under fur anyway?"But eventually, I found a few solid answers for myself. First, having a defined muscle structure actually makes the fur grooming process easier. That's because fur often follows the flow of muscle lines, so having those muscles helps guide fur direction more accurately across the character's body.Second, it's great anatomy practice, and practice is never a waste. So, I found a solid anatomical reference of Stitch with clearly visible muscle groups and tried to recreate that structure as closely as possible in my own sculpt.In the end, I had to develop a full visual concept by combining elements from multiple versions of Stitch. Through careful reference work and constantly switching between Blender and ZBrush, I gradually, but intentionally, built up the body and overall look of our favorite fluffy alien.Topology & UVsThroughout the sculpting process, I spent quite a bit of time thinking about topology. I was looking for the most balanced solution between quality and production time. Normally, I do manual retopology for my characters, but this time, I knew it would take too much time, and honestly, I didn't have that luxury.So I decided to generate the topology using ZBrush's tools. I split the model into separate parts using Polygroups, assigning individual groups for the ears, the head, the torso, the arms, the legs, and each of Stitch's fingers.With the Polygroups in place, I used ZRemesher with Keep Groups enabled and smoothing on group borders. This gave me a clean and optimized mesh that was perfect for UV unwrapping.Of course, this kind of auto-retopology isn't a full substitute for manual work, but it saved me a huge amount of time, and the quality was still high enough for what I needed. However, there was one tricky issue. Although Stitch looks symmetrical at first glance, his ears are actually asymmetrical. The right ear has a scar on the top, while the left has a scar on the bottomBecause of that, I couldn't just mirror one side in ZBrush without losing those unique features. Here's what I ended up doing: I created a symmetrical model with the right ear, then another symmetrical model with the left ear. I brought both into Blender, detached the left ear from one model, and attached it to the body of the other one. This way, I got a clean, symmetrical base mesh with asymmetrical ears, preserving both topology and detail. And thanks to the clean polygroup-based layout, I was able to unwrap the UVs with nice, even seams and clean islands.When it came to UV mapping, I divided Stitch into two UDIM tiles:The first UDIM includes the head with ears, torso, arms, and legs.The second UDIM contains all the additional parts: teeth, tongue, gums, claws, and nose (For the claws, I used overlapping UVs to preserve texel density for the other parts)Since the nose is one of the most important details, I allocated the largest space to it, which helped me to better capture its intricate details.As for the eyes, I used procedural eyes, so there was no need to assign UV space or create a separate UDIM for texturing them. To achieve this, I used the Tiny Eye add-on by tinynocky for Blender, which allows full control over procedural eyes and their parameters.This approach gave me high-quality eyes with customizable elements tailored exactly to my needs. As a result of all these steps, Stitch ended up with a symmetrical, optimized mesh, asymmetrical ears, and the body split across two UDIMs, one for the main body and one for the additional parts.TexturingWhen planning Stitch's texturing, I understood that the main body texture would be fairly simple, with much of the visual detail enhanced by the fur. However, there were some areas that required much more attention than the rest of the body. The textures for Stitch can be roughly divided into several main parts:The base body, which includes the primary color of his fur, along with additional shading like a lighter tone on the front (belly) and a darker tone on the back and napeThe nose and ears, these zones, demanded separate focusAt the initial texturing/blocking stage, the ears looked too cartoony, which didn’t fit the style I wanted. So, I decided to push them towards a more realistic look. This involved removing bright colors, adding more variation in the roughness map, introducing variation in the base color, and making the ears visually more natural, layered, and textured on the surface. By combining smart materials and masks, I achieved the effect of "living" ears, slightly dirty and looking as natural as possible.The nose was a separate story. It occupies a significant part of the face and thus draws a lot of attention. While studying references, I noticed that the shape and texture of the nose vary a lot between different artists. Initially, I made it dog-like, with some wear and tear around the nostrils and base.For a long time, I thought this version was acceptable. But during test renders, I realized the nose needed improvement. So I reworked its texturing, aiming to make it more detailed. I divided the nose texture into four main layers:Base detail: Baked from the high-poly model. Over this, I applied a smart skin material that added characteristic bumps.Lighter layer: Applied via a mask using the AO channel. This darkened the crevices and brightened the bumps, creating a multi-layered effect.Organic detail (capillaries): In animal references, I noticed slight redness in the nose area. I created another AO-masked layer with reddish capillaries visible through the bumps, adding depth and realism.Softness: To make the nose visually softer, like in references, I added a fill layer with only height enabled, used a paper texture as grayscale, and applied a blurred mask. This created subtle dents and wrinkles that softened the look.All textures were created in 4K resolution to achieve maximum detail. After finishing the main texturing stage, I add an Ambient Occlusion map on the final texture layer, activating only the Color channel, setting the blend mode to Multiply, and reducing opacity to about 35%. This adds volume and greatly improves the overall perception of the model.That covers the texturing of Stitch’s body. I also created a separate texture for the fur. This was simpler, I disabled unnecessary layers like ears and eyelids, and left only the base ones corresponding to the body’s color tones.During grooming (which I'll cover in detail later), I also created textures for the fur's clamps and roughness. In Substance 3D Painter, I additionally painted masks for better fur detail.FurAnd finally, I moved on to the part that was most important to me, the very reason I started this project in the first place. Fur. This entire process was essentially a test of my fur grooming skills. After overcoming self-doubt, I trusted the process and relied on everything I had learned so far. Before diving into the grooming itself, I made sure to gather strong references. I searched for the highest quality and most inspiring examples I could find and analyzed them thoroughly. My goal was to clearly understand the direction of fur growth, its density and volume, the intensity of roughness, and the strength of clumping in different areas of Stitch's body.To create the fur, I used Blender and its Hair Particle System. The overall approach is similar to sculpting a high-detail model: work from broad strokes to finer details. So, the first step was blocking out the main flow and placement of the hair strands.At this point, I ran into a challenge: symmetry. Since the model was purposefully asymmetrical (because of the ears and skin folds), the fur couldn't be mirrored cleanly. To solve this, I created a base fur blocking using Hair Guides with just two segments. After that, I split the fur into separate parts. I duplicated the main Particle System and created individual hair systems for each area where needed.In total, I broke Stitch's body into key sections: head, left ear, right ear, front torso, back torso, arms, hands, upper and lower legs, toes, and additional detailing layers. The final fur setup included 25 separate particle systems.To control fur growth, I used Weight Paint to fine-tune the influence on each body part individually. This separation gave me much more precision and allowed full control over every parameter of the fur on a per-section basis.The most challenging aspect of working with fur is staying patient and focused. Detail is absolutely critical because the overall picture is built entirely from tiny, subtle elements. Once the base layer was complete, I moved on to refining the fur based on my references.The most complex areas turned out to be the front of the torso and the face. When working on the torso, my goal was to create a smooth gradient, from thick, clumped fur on the chest to shorter, softer fur on the stomach.Step by step, I adjusted the transitions, directions, clumps, and volumes to achieve that look. Additionally, I used the fur itself to subtly enhance Stitch's silhouette, making his overall shape feel sharper, more expressive, and visually engaging.During fur development, I used texture maps to control the intensity of the Roughness and Clump parameters. This gave me a high degree of flexibility, textures drove these attributes across the entire model. In areas where stronger clumping or roughness was needed, I used brighter values; in zones requiring a softer look, darker values. This approach allowed for fine-tuned micro-level control of the fur shader and helped achieve a highly realistic appearance in renders.The face required special attention: the fur had to be neat, evenly distributed, and still visually appealing. The biggest challenge here was working around the eye area. Even with properly adjusted Weight Paint, interpolation sometimes caused strands to creep into the eyes.I spent a lot of time cleaning up this region to get an optimal result. I also had to revisit certain patches that looked bald, even though interpolation and weight painting were set correctly, because the fur didn't render properly there. These areas needed manual fixing.As part of the detailing stage, I also increased the number of segments in the Hair Guides.While the blocking phase only used two segments, I went up to three, and in some cases even five, for more complex regions. This gave me much more control over fur shape and flow.The tiniest details really matter, so I added extra fur layers with thinner, more chaotic strands extending slightly beyond the main silhouette. These micro-layers significantly improved the texture depth and boosted the overall realism.Aside from the grooming itself, I paid special attention to the fur material setup, as the shader plays a critical role in the final visual quality of the render. It's not enough to simply plug a color texture into a Principled BSDF node and call it done.I built a more complex shader, giving me precise control over various attributes. For example, I implemented subtle color variation across individual strands, along with darkening near the roots and a gradual brightening toward the tips. This helped add visual depth and made the fur look significantly more natural and lifelike.Working on the fur took up nearly half of the total time I spent on the entire model. And I'm genuinely happy with the result, this stage confirmed that the training I've gone through was solid and that I’m heading in the right direction with my artistic development.Rigging, Posing & SceneOnce I finished working on the fur, I rendered several 4K test shots from different angles to make sure every detail looked the way I intended. When I was fully satisfied with the results, it was time to move on to rigging.I divided the rigging process into three main parts:Body rig, for posing and positioning the characterFacial rig, for expressions and emotionsEar rig, for dynamic ear controlRigging isn't something I consider my strongest skill, but as a 3D generalist, I had to dive into many technical aspects of it. For the ears, I set up a relatively simple system with several bones connected using inverse kinematics (IK). This gave me flexible and intuitive control during posing and allowed for the addition of dynamic movement in animation.For facial rigging, I used the FaceIt add-on, which generates a complete facial control system for mouth, eyes, and tongue. It sped up the process significantly and gave me more precision. For the body, I used the ActorCore Rig by NVIDIA, then converted it to Rigify, which gave me a familiar interface and flexible control over poses.Posing is one of my favorite stages, it's when the character really comes to life. As usual, it started with gathering references. Honestly, it was hard to pick the final poses, Stitch is so expressive and full of personality that I wanted to try hundreds of them. But I focused on those that best conveyed the spirit and mood of the character. Some poses I reworked to fit my style rather than copying directly. For example, in the pose where Stitch licks his nose, I added drool and a bit of "green slime" for comedic effect. To capture motion, I tilted his head back and made the ears fly upward, creating a vivid, emotional snapshot.Just like in sculpting or grooming, minor details make a big difference in posing. Examples include: a slight asymmetry in the facial expression, a raised corner of the mouth, one eye squinting a little more than the other, and ears set at slightly different angles.These are subtle things that might not be noticed immediately, but they’re the key to making the character feel alive and believable.For each pose, I created a separate scene and collection in Blender, including the character, specific lighting setup, and a simple background or environment. This made it easy to return to any scene later, to adjust lighting, reposition the character, or tweak the background.In one of the renders, which I used as the cover image, Stitch is holding a little frog.I want to clearly note that the 3D model of the frog is not mine, full credit goes to the original author of the asset.At first, I wanted to build a full environment around Stitch, to create a scene that would feel like a frame from a film. But after carefully evaluating my skills and priorities, I decided that a weak environment would only detract from the strength of the character. So I opted for a simple, neutral backdrop, designed to keep all the focus on Stitch himself.Rendering, Lighting & Post-ProcessingWhen the character is complete, posed expressively, and integrated into the scene, there's one final step: lighting. Lighting isn't just a technical element of the scene — it’s a full-fledged stage of the 3D pipeline. It doesn't just illuminate; it paints. Proper lighting can highlight the personality of the character, emphasize forms, and create atmosphere.For all my renders, I rely on the classic three-point lighting setup: Key Light, Fill Light, and Rim Light.While this setup is well-known, it remains highly effective. When done thoughtfully, with the right intensity, direction, and color temperature, it creates a strong light-shadow composition that brings the model to life. In addition to the three main lights, I also use an HDRI map, but with very low intensity, around 0.3, just enough to subtly enrich the ambient light without overpowering the scene.Once everything is set, it's time to hit Render and wait for the result. Due to hardware limitations, I wasn’t able to produce full animated shots with fur. Rendering a single 4K image with fur took over an hour, so I limited myself to a 360° turnaround and several static renders.I don't spend too much time on post-processing, just basic refinements in Photoshop. Slight enhancement of the composition, gentle shadow adjustments, color balance tweaks, and adding a logo. Everything is done subtly, nothing overprocessed. The goal is simply to support and enhance what’s already there.Final ThoughtsThis project has been an incredible experience. Although it was my second time creating Stitch (the first was back in 2023), this time the process felt completely different at every stage. And honestly, it wasn't easy.But that was exactly the point: to challenge myself. To reimagine something familiar, to try things I'd never done before, and to walk the full journey from start to finish. The fur, the heart of this project, was especially meaningful to me. It’s what started it all. I poured a lot into this model: time, effort, emotion, and even doubts. But at the same time, I brought all my knowledge, skills, and experience into it.This work became a mirror of my progress from 2023 to 2025. I can clearly see how far I've come, and that gives me the motivation to keep going. Every hour of learning and practice paid off, the results speak for themselves. This model was created for my portfolio. I don't plan to use it commercially, unless, of course, a studio actually wants to license it for a new film (in that case, I'd be more than happy!)It's been a long road: challenging, sometimes exhausting, but above all inspiring and exciting. I know there's still a lot to learn. Many things to study, improve, and polish to perfection. But I'm already on that path, and I'm not stopping.Oleh Yakushev, 3D Character ArtistInterview conducted by Gloria Levine

MDA Champion and Award-Winning News Anchor Mike Bush Hosts 39th year of KSDK NBC’s “Show of Strength” live from Grants Farm in St. Louis on August 31 from 8-10pm CT; Over 370 Fill the Boot events will take place with fire fighters raising funds in co

Metal Gear Solid Delta: Snake Eater, launching August 28 on PlayStation 5, is a remake of the 2004 PlayStation 2 classic, Metal Gear Solid 3: Snake Eater. I had a conversation with the developers during a Tokyo press event to discuss the upcoming remake and its development process.  ​​ Faithfully replicating the thrill and impact of the original PlayStation Blog: How important was it to your team to create a game that stayed true to the original? Noriaki Okamura (Metal Gear Series Producer): We began this project with the intention of bringing a 20-year-old game to the present day. While we updated the graphics and certain game mechanics to ensure today’s players could fully enjoy the experience, we wanted to stay true to the original as much as possible. What challenges did your team face during development, and what specific adjustments were implemented? Okamura: I had no intention of altering the original story, so I insisted that we can just update the game graphics. Korekado disagreed and warned me that that approach will not work, but I initially had the team re-create the game just with new character models. Although the graphics improved, they appeared doll-like and unrealistic, so I finally realized that my plan was inadequate. Yuji Korekado (Creative Producer): We began by reworking the animation and game mechanics. We implemented animation programming that didn’t exist two decades ago to make the game more realistic, but that also meant we couldn’t reproduce the original game mechanics. Metal Gear is a stealth game, so it’s crucial for players to be able to make precise movements. We put in a lot of effort to replicate the same feel as the original, while maintaining realism. Are there any areas of the game that you wanted to recreate as faithfully as possible? Korekado: We made sure that the jungle looked as realistic as possible. We devoted a lot of time modeling every fine detail like leaves, grass, and moss covering the ground. Since the perspective shifts along with the character’s movements, players will get a closer look at the ground when they’re crouching or crawling. To make sure the environment was immersive from every angle, we carefully crafted every element with great precision. ​​ Have any enhancements been made compared to the original PS2 version? Korekado: We enhanced the visuals to be more intuitive. Thanks to increased memory and much faster speeds the user experience has improved significantly, including faster transitions to the Survival Viewer or having a quick menu to swap uniforms. On top of that, the audio improvements are remarkable. Sound absorption rates vary depending on the materials of the walls and floors, which allows players to detect enemies behind walls or nearby animals intuitively. In areas like caves and long corridors, unique echo parameters help distinguish different environments, which I think is a major advancement for stealth gameplay. Extra content for players to enjoy diverse gameplay The remake features Fox Hunt, a new online multiplayer mode. Why did you include this in the game instead of Metal Gear Online (MGO)? Yu Sahara (Fox Hunt Director): The remake features significantly enhanced graphics, so we explored various online modes that aligned with these improvements. We decided to focus on stealth, sneaking, and survival, since those are also the key pillars of the main game. We landed on a concept that is based on hide-and-seek, that is classic Metal Gear, while also being reminiscent of the stealth missions featured in the earlier MGO. Can players earn rewards by playing the Fox Hunt mode? Sahara: While there are no items that can be transferred to the main game, players can unlock rewards like new camouflage options by playing Fox Hunt multiple times. Were there any challenges or specific areas of focus while remaking Snake vs Monkey mode? Taiga Ishigami (Planner): Our main goal was to make Pipo Monkey even more charming, cute, and entertaining. We developed new character actions, including the “Gotcha!” motion, and each animation and sound effect were carefully reviewed to ensure it captured Pipo Monkey’s personality. If anything felt off, we made changes right away. I heard the new Snake vs Monkey mode features an Astro Bot collab. Ishigami: Yes, a couple of bots from the Astro Bot game will make an appearance, and you can capture them just like the Pipo Monkeys. Capturing these bots isn’t required to finish the levels, but you’ll receive unique rewards if you do. Depending on the level, either a standard bot or a Pipo Monkey bot will be hidden away, so be sure to keep an eye out for them. ​​ Do you have any final words for new players as well as longtime fans of the original game? Okamura: I rarely cry when playing games, but I remember bawling my eyes out while playing the original Metal Gear Solid 3. The development of Metal Gear Solid Delta: Snake Eater was driven by our goal to faithfully capture the impact and thrill that players felt two decades ago. Metal Gear Solid 3 is the ultimate example of storytelling in games, and having dreamed of making a game like this, I now feel a sense of fulfillment. I hope everyone enjoys the story as much as I do. Metal Gear Solid Delta: Snake Eater arrives on PS5 on August 28.  Read a new hands-on report with the game.

Blender 4.5 introduces a major update to the grid fill tool, which now handles complex geometries more effectively and produces cleaner results. Source

C’est un moment émouvant pour une petite fille algérienne qui a réussi à marcher pour la première fois, sans assistance, grâce à l’expertise égyptienne dans […] L’article Du Caire à l’Algérie, les premiers pas de Maria font le tour du web [VIDÉO] est apparu en premier sur .

I’m Mateusz Tomaszkiewicz, Creative Director at Rebel Wolves, working on The Blood of Dawnwalker — a story-driven, open-world RPG set in 14th-century Europe. We recently showcased a closer look at the gameplay at gamescom and wanted to share some of the exciting new details with you. Entering the narrative sandbox You play as Coen, the game’s protagonist and the titular Dawnwalker. While the exact circumstances remain a mystery, an attempt to turn Coen into a vampire fails. As a result, he exists between two worlds — human during the day, vampire at night. This duality sits at the heart of the gameplay, with each form offering distinct skills and abilities. Most quests can be approached during either day or night, creating significantly different experiences. One of the key mechanics is what we call the “narrative sandbox.” Once the prologue concludes, you have 30 days and nights to rescue Coen’s family from Brencis, a centuries-old vampire and former Roman senator, and his inner circle. Only major actions move the clock forward, and you’re always informed how much time an activity will consume. Roaming the open world does not advance time, giving you the freedom to explore without pressure. Time works more like a currency than a countdown. What truly defines the narrative sandbox is the freedom it gives you to shape the story on your own terms. Quests can be completed in any order, skipped entirely, or even never discovered at all depending on your choices. Many characters can be killed, with their absence reshaping events and relationships. There are often multiple paths to achieve the same goal, and even inaction is a choice — one the world around Coen will recognize and respond to. The result is a deeply reactive narrative structure that encourages experimentation and makes every playthrough unique. Human by day. Vampire by night. The newly revealed quest takes place on day eight of Coen’s journey. By then, several quests have been completed and Coen is visibly more powerful. We first see him at night, navigating the capital city of Svartrau and using vampiric abilities like Shadowstep — a short-range teleport that lets him instantly reposition. It’s invaluable not only in combat, allowing him to flank enemies or close the gap on patrolling guards, but also for exploration and stealth. With Shadowstep, Coen can reach scaffolding high on the cathedral’s walls, leap between rooftops, or slip into otherwise inaccessible balconies and ledges, opening up new routes and opportunities to approach objectives. Combat remains fluid and dynamic, blending physical strength with supernatural powers. His vampire form isn’t overpowered, but it adds a distinct tactical layer. The quest involves infiltrating the city’s cathedral, where Coen encounters Xanthe — an ancient Greek vampire and Brencis’ most powerful ally. To show how time of day affects gameplay, we then reload a save to experience a daytime version of the quest. This time, the goal is to locate the legendary sword of Saint Mihai, the cathedral’s patron. In his human form, Coen leans more on swordplay and dark human magic, unavailable as a vampire. Combat is fast and responsive, with directional attacks and flexible blocking. You can block easily with a single button or use directional input for more precision and control, accommodating both story-focused players and those seeking a challenge. Fighting the living, the dead, and everything In between Once the enemies are defeated, Coen enters Svartrau during the day. The streets are bustling with life — townsfolk fill the squares, merchants trade goods, and ambient conversations hint at the uneasy coexistence under vampire rule. After roaming the vibrant streets, Coen goes to the cathedral. Inside, we witness a chilling ritual called the Blood Baptism, one of Brencis’ ways of twisting existing traditions to maintain control. After a tense dialogue sequence that nearly exposes Coen, the sword quest resumes. This leads to a battle with Muron, a creature born from a failed vampire transformation. Unlike Coen, Muron does not become a Dawnwalker but a wild, unstable monster with unpredictable powers. Another hex in Coen’s arsenal – Compel Soul – allows Coen to speak with the dead, helping him uncover clues and eventually locate a hidden crypt believed to hold the sword. What he finds is far more disturbing: Saint Mihai, once revered, had been entombed alive after villagers discovered he was also a Dawnwalker. Starved during the day and regenerating at night, Mihai slowly lost his sanity. When freed, he attacks Coen using the full range of Dawnwalker abilities. If you find him at night instead, Mihai appears in his vampire form, offering an entirely different encounter. The nearly 50-minute demo offers an extended look at The Blood of Dawnwalker’s design — from its dual gameplay loop and time-based structure to its focus on player agency and narrative depth. There is no single path through this story, and every decision, including inaction, shapes the journey. Slated for release in 2026, The Blood of Dawnwalker aims to deliver rich storytelling, immersive combat, and an open world where narrative truly takes the lead. The Blood of Dawnwalker is coming to PlayStation 5 in 2026; wishlist it now to stay updated and be among the first to step into Coen’s journey!

Innovative GF-PET compound delivers dimensional accuracy, thermal stability, and accessible shape compensation data for high-performance tooling applications Innovative GF-PET compound delivers dimensional accuracy, thermal stability, and accessible

Microsoft Excel is testing a new AI-powered function that can automatically fill cells in your spreadsheets, which is similar to the feature that Google Sheets rolled out in June. You would use the “COPILOT” function followed by a natural language pr

temporary land art installation arranges soft volumes for pause and reflection. The post air-filled sandbag installation by gregory orekhov creates soft circular barricade in france appeared first on designboom | architecture & design magazine.

It’s not quite the designated Spooky Season yet, but there’s something about hot summer nights that makes the thought of body-chilling horror hit much harder. Fortunately for fans of the creepy, bloody, and frightening, there are noteworthy PS5 horror games on their way that’ll stick around in your nightmares. Still, true terror is a year-round experience. So, we’ll be looking at releases further forward as well—into the 2025 Halloween season, and even further beyond into the harsh, unforgiving winter months of 2026. Steel yourselves, players, because between atmospheric indies, classic reimaginings, and blockbuster sequels, the next several months will offer a harvest of the finest frights. Play Video Killing Floor 3 Release Date: July 24, 2025Developer: Tripwire InteractivePublisher: Tripwire Interactive Sometimes, all you can do in the face of massive, encroaching horror is fight back with the biggest, baddest weapons and the bravest companions that you can. Gather a group of up to four friends (or play solo, if you’re brave) and take the role of one of six different types of specialists to lay waste to the hordes of monstrous Zeds. The enhanced M.E.A.T. (Massive Evisceration and Trauma) system makes every shot, slice, and stab interact with enemies and the environment in realistic, satisfying detail. Play Video Cronos: The New Dawn Release Date: September 5, 2025Developer: Bloober TeamPublisher: Bloober Team Time comes for us all eventually, but in the future of Cronos, it looks like humanity’s time is almost up. Surviving the attacks of the hideous, once-human terrors of this bleak future and ensuring their remains are incinerated before they merge into bigger threats is already a challenge, but the only glimmer of hope seems even more impossible: extracting the souls of those involved in The Change from decades ago into the future. As these souls aid and augment you, they also haunt you. Will you be able to endure an ordeal that transcends time? Play Video Dying Light: The Beast Release Date: September 19, 2025Developer: TechlandPublisher: Techland Kyle Crane, the protagonist of the original Dying Light, has a grudge—he’s still dealing with the aftereffects of years of unethical experimentation on his body. He’s left as something not quite human, but not quite undead, and he wants revenge on the Baron who did this to him. The monstrous hordes infesting the once-scenic Castor Woods aren’t going to make this easy for him, either—especially once the sun sets and they get really vicious. It’s up to you to use all of Kyle’s abilities to survive solo or in up to four-player co-op play. Play Video Silent Hill f Release Date: September 25, 2025Developer: NeoBards EntertainmentPublisher: Konami Digital Entertainment The all-time great horror series re-invents itself with a new setting, but keeps all of the psychological horror you know and love. Travel back to the ’60s in fog-filled Ebisugaoka, Japan, where young Hinako Shimizu’s ordinary schoolgirl life has been taking some very disturbing turns. Famed visual novel writer Ryukishi07 has developed a setting and narrative that combines the classic atmosphere and madness of the Silent Hill series with the best of Japanese horror traditions. Longtime series fans and newcomers alike won’t want to miss this one. Play Video Little Nightmares 3 Release Date: October 10, 2025 Developer: SuperMassive GamesPublisher: Bandai Namco Games The cult classic horror adventure game returns with a new duo of adventurers and a new realm of terror. Two youths, Low and Alone, find themselves in the Nowhere—a world that exists beyond human sleep and is filled with the abominations of our unconscious. Using Low’s bow and Alone’s wrench, you’ll need to figure out how to navigate this wasteland and conquer its threats. You won’t have to face these nightmares alone, however, as Little Nightmares 3 offers co-op play in a series first. Play Video Crisol: Theater of Idols Release Date: 2025Developer: Vermila StudiosPublisher: Blumhouse Games In the alternate-universe Spain of Crisol, faith and folklore have melded to create a realm of twisted devotion and idolatry. As the warrior Gabriel, you have been sent to the accursed island of Tormentosa, where wicked cults hold demonic ceremonies and beautiful yet horrifying graven images move in a mockery of life. Your blood acts as both your life force and your weapon ammunition, adding a terrifying twist to already intense combat. In the end, how will your blood be shed? Play Video Resident Evil Requiem Release Date: February 27, 2026Developer: CapcomPublisher: Capcom Ahh, Raccoon City, how we’ve missed you. The ninth entry in the trailblazing survival horror series goes back to where it all began, bringing back some classic storyline threads along with it. FBI intelligence analyst Grace Ashcroft takes the starring role this time around. Her mother was murdered while looking for information on the mysterious Wrenwood Hotel, leading Grace into a life of her own investigation. When Grace revisits the Raccoon City incidents, what will she discover? Resident Evil Requiem is due out in February 2026, and we can’t think of a better anniversary celebration. Play Video Reanimal Release Date: 2026Developer: Tarsier StudiosPublisher: THQ Nordic Familial bonds are put to the test in Reanimal. Two young orphans are put through a living hell on a dark, isolated island, facing both mutated monstrosities and representations of their own trauma. Local and online co-op allows you and a companion to fight your way through this oppressive world together, and a dynamic camera designed to constantly ratchet up the fear and tension will keep you on your toes throughout. Play Video End of Abyss Release Date: 2026Developer: Section 9Publisher: Epic Games Deep underground lies a seemingly abandoned complex—but a strange message has emerged from its forgotten depths. The technician Cel goes down to investigate the source of the signal, only to encounter a dim, claustrophobic world of tunnels, eerie glows, and aggressive creatures that appear to be both organic and mechanical. The top-down perspective of End of Abyss allows for players to feel the weight of the atmosphere and the tension of exploration, as the mystery beckons them ever deeper. Play Video Directive 8020 Release Date: 2026Developer: SuperMassive GamesPublisher: SuperMassive Games Tau ceti f looked like a potential new home for humanity. Then the ship Cassiopeia crashed there, and our assumptions were proven extremely wrong. The latest in the Dark Pictures horror game anthology series, Directive 8020 puts five heroes with few defenses on an unfamiliar planet, where they’re pursued by a shapeshifting organism. The Turning Points feature allows players to rewind back to pivotal scenes and make different choices to see new outcomes, but will you have it in you to make the hardest choices of all? Play Video ILL Release Date: To be announcedDeveloper: Team Clout/MundfishPublisher: Team Clout A mysterious fort in a desolate world acts as the setting for the highly-anticipated horror-action game ILL. The narrative will draw you in, but the encounters will leave you shaking. As you explore the fort’s halls, you’ll come face-to-face with some truly unsettling creatures that look and move as though they were torn directly from your nightmares. You’ll need to use your limited resources wisely, wielding and crafting weapons before tearing the freaks apart in physics-driven, ultra-gory combat. Play Video Clive Barker’s Hellraiser: Revival Release Date: To be announcedDeveloper: Saber InteractivePublisher: Saber Interactive Hellraiser: Revival is a single-player, first-person action survival horror experience that will put you into the dark world of Clive Barker’s twisted imagination. Play as Aidan, the protagonist in the story who must fight with various melee and ranged weapons, and use the mystical powers of the Genesis Configuration to take down unholy enemies.  Finding a way to survive your bargain with the infamous Pinhead and help your girlfriend Sunny escape is never as simple as it seems in a world filled with Cenobites, cultists, deviants, and the realm of torture and pain that is the Labyrinth.   *Release dates shown are correct at time of publish but subject to change.