Quentin Tarantino 4K Blu-ray Deals Kill Bill Vol. 1 & 2, Pulp Fiction, Inglourious Basterds, and more. See at Amazon Amazon has limited-time deals on the 4K Blu-ray editions of Kill Bill Vol. 1 and Kill Bill Vol. 2. The acclaimed Quentin Tarantino saga starring Uma Thurman finally made its way to 4K Blu-ray earlier this year alongside Jackie Brown. All three movies come with 4K UHD, Blu-ray, and Digital editions as well as making-of documentaries and a bunch of other special features.Amazon also has several other Tarantino movies on 4K Blu-ray for cheap, including Pulp Fiction, Once Upon a Time In Hollywood, Reservoir Dogs, and Inglourious Basterds. Arrow Video's recently released 4K edition of Inglourious Basterds is also available for a nice discount, and Amazon still has copies of its exclusive Pulp Fiction: 30th Anniversary Collector's Edition.Continue Reading at GameSpot

IntroductionHi everyone, I'm Leandro Grasso, a 3D Environment Artist from Sicily. My journey into 3D art began after the COVID period, sparked by my passion for landscape photography. Recently, I completed a mentorship with Jeremy Cerisy, during which I significantly improved my environment creation skills. I learned a lot and was able to apply that knowledge to my most recent project. As a freelance artist, I've contributed to a couple of NDA projects, and I'm currently working on an environment for an indie video game scheduled for release later this year. PlanningUnder the direction of my mentor, I scouted for real-life locations and imagined how they could be interpreted for a video game environment, rather than starting from a concept. My main goal was to improve my skills in creating destroyed environments, learning how to handle damaged walls, cracked pavements, and abandoned objects.So, I decided to create an old abandoned asylum in Germany and added a crashed World War I aircraft to introduce new challenges and storytelling opportunities. Through this combination, I aimed to study destruction while also suggesting a narrative about what might have happened at the site after the crash. Below, you can see some of the references I used for the asylum and how I planned it. Blockout & CompositionI started with a simple blockout in Unreal Engine 5. While building the blockout, I frequently used the mannequin to ensure proper proportions. Once the basic layout was in place, I placed several cameras to find the best compositions and give the environment the right sense of depth, especially considering the limited space available for movement.After that, I exported the entire blockout to Blender and began dividing it into different pieces to plan out the modules and props. I was able to properly plan these elements after creating an advanced blockout, where I also applied some basic textures to see how the environment reacted to different colors and materials.Asset Production WorkflowOnce the blockout was complete, I started modeling the modular pieces based on the needs of the environment. I created modules of various sizes, ranging from 1 to 4 meters, for the main elements like simple walls. For more complex parts, such as the stair walls, I took a different approach and created larger, non-repeating modules.Speaking of modules, I want to highlight the destroyed wall caused by the aircraft crash. I used a Boolean operation to cut out the damaged section of the wall and the wood. After that, I created individual bricks and placed them along the broken edges to add more realism and detail. Connected to that wall, the modular stairs I created were designed to fit the ideal layout of a game level. To maintain the correct proportions, I used the default stairs in Unreal as a reference and then modeled them in Blender.As for the railing, to save time, I first broke it down into main components and created instances of those pieces. Once the entire railing was modeled and the UVs were ready, I made the instances real so I could unwrap all the pieces in one go. After unwrapping, I moved the UV islands randomly to introduce variation during the texturing phase.For the vegetation, I used assets from Quixel Megascans. Since the pack didn’t include vertical vegetation, I sourced a different ivy asset that contained vertical elements. I removed the leaves and kept only the branches.Then, using a particle system, I added the correct leaves onto the vertical branches, scattering them only at the tips by using a vertex group. Here are the vertical assets I created, with a small detail asset shown in the top left.Regarding the assets, I didn't use high-to-low poly baking in this project. Instead, I modeled everything in mid-poly to save time while still maintaining good visual quality.One of the biggest challenges was modeling the destroyed World War I aircraft. As a junior artist, it was my first time working on a damaged vehicle. I began by modeling the aircraft fully intact and then manually destroyed it piece by piece to achieve a more realistic and intentional look. To guide me through the process, I looked to industry professionals for inspiration. I found some amazing vehicle models by Pavlo Panchenko for S.T.A.L.K.E.R. 2: Heart of Chornobyl on ArtStation. Being able to study his work helped me a lot, not just technically, but also in defining the artistic direction for my own piece.Last but not least, I wanted to talk about the broken glass pieces I created. I made them in ZBrush, starting with a random image of broken glass I found on Google. I brought the image into Photoshop, converted it to black and white, and increased the contrast to make the cracks more visible.Then, I imported the image into ZBrush, subdivided a plane several times, and used the image as a mask. I hid the unnecessary parts and deleted them, keeping only the masked glass shapes. After that, I decimated the mesh to reach an acceptable polycount, imported it into Blender, and created the UVs. All UVs were unwrapped in Blender. I used Texel Density Checker to set a texel density of 512 px/m with a texture size of 2048. For this project, I used three UV channels: the first for the RGB mask, the second for tileable textures, to maintain high quality during the texturing phase, and the third for additional normal maps where needed. This setup allowed me to reuse the same textures, such as metal, rust, and wood, across both modules and assets. I also used RGB masks for the assets, so the UV islands were specifically packed into that channel.TexturingFor the texturing, I wanted to experiment with a workflow I hadn't tried before. The entire project was textured using Vertex Painting, RGB Masks, and tileable textures. I didn't use any unique baked textures.Tilable textures allowed me to maintain high quality even on large modules and props. Vertex Painting was used to add variation across surfaces, while RGB Masks provided additional layers of variation, especially on props. I also used decals and normal edge decals to add extra detail and break up the surfaces further.Below, you can see my master material setup, which includes Parallax, Vertex Color blending with a HeightLerp node, and RGB Mask blending using a simple Lerp node. All the textures used in my environment were sourced from Quixel Megascans, except for two tileable textures that I created specifically for this project. I made these two textures from scratch in Substance 3D Designer.I'd like to talk about my stained glass and explain how I achieved the final result. First, I took a photo of a real stained glass window from the actual location. Using the Warp tool in Photoshop, I straightened the image and then exported it.Next, I imported it into Blender and began modeling the metal framework that separates the glass pieces. Once that was complete, I rendered the shape in orthographic view with a black background and a white emissive material applied to the metal. I then cleaned up the render in Photoshop and brought it into Substance 3D Designer, where I used it as a mask to create the final stained glass texture. Once my textures were ready, I used a pre-made master material from the Advanced Glass Material Pack, free on FAB, and customized it to suit the needs of my stained glass.For the normal edge decals, I improved my workflow compared to my previous project by sculpting four different corner variations. Once the sculpts were complete, I imported them separately and baked them in Substance 3D Painter to avoid halos on the edges of the bakes. This approach allowed me to skip any cleanup in Photoshop. I only used Photoshop to combine all the baked corners into a single normal texture, as shown below. Last but not least, I'm really happy with how this decal turned out in the project. When I saw it in the main reference, I immediately knew I wanted to include it in my environment.I imported the reference image into Photoshop, straightened it using the Warp tool, and used the Clone  Stamp and Content-Aware Fill to fix some damaged areas. Then, I took a screenshot of the wall in Unreal Engine with only the albedo visualization enabled, and used it in Photoshop as the base layer for the mural. I tweaked the blending modes to extract imperfections from the albedo texture and created a custom mask with brush strokes to blend the mural naturally into the wall. This is the result. CompositionWhen it comes to composition, my background in photography helped me a lot with setting up cameras. I defined a few key shots early on and added more as the environment progressed and came together. Since I was working on an indoor scene, I chose to use a wide-angle lens to capture more of the space, and also included a zoomed-in shot, like the one of the wheelchair, to create a stronger sense of depth.To support the composition, I scattered various details throughout the environment, such as debris, papers,  small pieces of glass, and other elements to enhance storytelling and realism.LightingFor the lighting, I used an add-on for Unreal Engine called Ultra Dynamic Sky to give the scene a natural base lighting pass. After that, I added Rectlights to emphasize certain areas of the environment, slightly tweaking their indirect lighting bounces.I also placed some ivy in front of the spotlights to fake subtle shadow patterns and add more visual interest. For color grading, I used a LUT. I first rendered a single frame and imported it into DaVinci Resolve, where I applied a LUT I liked. Once I was happy with the result, I copied the settings to the RGBTable16x1 texture, which starts with a neutral look by default. For the final render, I exported the project in EXR format using PIZ Multilayer compression, with Spatial Sample Count set to 1 and Temporal Sample Count set to 64. I also used a Warm Up Count of 120 for both the Render and Engine to ensure the exposure was correctly stabilized from the beginning of the render. Additionally, I applied several console variables to improve the final image quality. ConclusionAnd here we are at the end. This project was one of my portfolio pieces developed under the mentorship of Jeremy Cerisy, who helped me a lot with his feedback and really opened my mind to how to approach level and environment creation. It took me about three and a half months to complete.Even though I aimed to work more efficiently on this environment, I still lost a lot of time at the beginning, mainly because I wasn’t sure which workflow to use for texturing, what I needed to create from scratch, and what I could reuse across the scene. In the end, it became a learning-by-doing process, constantly planning and adapting as I added new techniques I was picking up along the way. One thing I really enjoyed was understanding the connection between level design and environment art, it's fascinating to create a space that not only looks good but also serves gameplay. I learned a lot from this project, but one of the most valuable lessons was this: don't waste too much time on tiny details players will never notice, instead, focus on the overall composition and visual impact, especially from the player's point of view.My advice to anyone starting out in environment art is to stay organized in every phase, especially when it comes to setting personal deadlines. Otherwise, there’s a real risk of dragging the project out much longer than necessary. As a junior artist, I know how tough the industry can feel, especially with all the layoffs in recent months, but don't lose faith. That moment when you get hired will come, as long as you keep putting in the effort and continue creating.Lastly, I want to thank my mentor, Jeremy Cerisy, for guiding me through this project with his invaluable feedback. A special thanks also goes to Alberto Casu, Alex Gallucci, and Andrea Siviero for their extra feedback during my spare time. And finally, thank you to everyone who made it this far and showed interest in my project!Leandro Grasso, 3D Environment ArtistInterview conducted by Emma Collins

Path of Exile 2's next update The Third Edict is set to add a whole new act, region, and plenty of other new content to the game--but it's the new asynchronous trading system that really has players excited. Grinding Gear Games has shown off the system's new in-game market browser, just days out from the update drop.GGG explains in the video that the in-game trade browser wasn't quite ready to be shown off when the studio did its initial content drop for The Third Edict, but it's now ready to go. The in-game market browser works similarly to PoE 2's official trade website, allowing players to search for items they want in the player-to-player trade system. The new asynchronous trade system means the seller no longer has to be online for a trade to take place--buyers can now purchase it directly from the seller's Hideout. The seemingly simple feature brings a major quality-of-life improvement for PoE 2 players, simplifying what was previously a fairly involved, multi-step process into an easier task. The asynchronous trade system is set to come to the original Path of Exile in future too, provided its integration into PoE 2 goes smoothly.Continue Reading at GameSpot

For too long, we’ve waited and watched as The Gloom expands to swallow more innocent star systems. For too long, we’ve let the Terminds wreak havoc on our colonies, our cities, our homes. The Terminids have pushed into our territory for long enough. Now, with new recruits trained and ready, it’s time to push into unknown territory. Into the Unjust comes to Helldivers 2 on September 2. Play Video Enter the Gloom It’s finally time to discover what lies behind the Gloom shroud enveloping these planets we call Hive Worlds. Prepare your squad to disappear into the fog and discover new dangers, from towering structures built by Terminids to what horrors lurk beneath the planet surfaces.  Into the heart of darkness Deep underground lies a labyrinth of cave tunnels that twist and turn, infested with the Hive Lung that seems to be the force that produces the thickening fog that makes up the Gloom. Because of the nature of the caves, your Super Destroyer won’t be able to give you full support. It’ll be your team alone against the horror. Terrors above and below What little intelligence we have on the Gloom contains information about a new subterranean species of Terminid Warriors, Bile Spewers, and Chargers that, when they detect a threat, will burrow underground and begin moving toward prey. Once close enough, they erupt from the ground and attack. It doesn’t stop there. The Gloom has mutated the Terminids even further, into grotesque monsters like the Dragonroach: a menace in the sky that dives unsuspecting Helldivers and rains down burning bile. Our reports indicate that there are even greater, more terrifying creatures lying in wait on Hive Worlds, Helldiver. You must find them and take them out. Taking back Hive Worlds The Helldivers will also face brand new challenges while liberating Hive Worlds, like escorting a mobile oil rig. Helldivers must defend the rig from attacks while it traverses the treacherous Hive World terrain to the next drill site, where it will extract oil. Meanwhile in the underground, you’ll be forced to locate and destroy the Hive Lung in an effort to stem the spread of the Gloom. There are also new optional and sub-objectives available, too. It’s going to take all your determination and teamwork to stop the infestation from spreading any further and liberate the Hive Worlds. Get ready to dive Into the Unjust1 on September 2, Helldivers. Introducing the Dust Devils Premium Warbond We’re not sending you to a Hive World without the best gear we have to offer, Helldiver. The Ministry of Defense has fast-tracked the deployment of the Dust Devils Warbond2, which will ensure survival in the harshest conditions these worlds can throw your way. Weapons and Stratagems Dust Devils comes with a hefty offering of one primary weapon, a new throwable, and three unique stratagems that will aid in clearing the air–and all the bugs–on Hive Worlds. AR-2 CoyoteYou can hunt in packs or go by your lonesome with this assault rifle that features incendiary ammunition. But be warned: this coyote is wild. G-7 PineappleThis cluster frag grenade might look like a cute and unassuming fruit, but it’ll have the bugs in absolute pieces. S-11 SpeargunA true big game hunter’s companion. The S-11 fires heavy-duty projectiles that release a cloud of gas on impact. EAT-700 Expendable NapalmHeat up the planet with this single-use missile that contains napalm cluster bombs. MS-11 Solo SiloThe long-range power of a missile in a new convenient package. Calls down a Hellpod-sized missile silo with a single, ultra-powerful missile and a handheld targeting remote. Armors, Capes, and more Whether you’re crouched behind craggy boulders, waiting for your moment to spring a trap on unsuspecting Terminids or marching in formation with your squad to intimidate them, they’ll look the part. Both feature the Desert Stormer passive, which grants resistance to fire, gas, acid, and arc, as well as providing a throw range increase to the bearer. You’ll also receive capes, player cards, an emote and player title, and a new pattern for your vehicles and Hellpods. DS-42 Federation’s BladeCaptures the essence of armies marching through the desert sands. Wear with the Rightful occupier cape and player card for a polished look. DS-191 ScorpionLook like a true nomadic warrior in this desert-proof draped set, pairs perfectly with the Windswept Wayfinder cape and player card. Title: Burier of Heads Emote: Raider’s Cheer Pattern: “Rattlesnake” for vehicles and Hellpods Arm your fighters against the perils that await them on Hive Worlds and beyond! The Dust Devils Premium Warbond launches on September 4. 1Gameplay requires internet access and paid for PlayStation® Plus membership (sold separately) on PS5. PlayStation Plus membership subject to recurring subscription fee taken automatically until cancellation. Age Restrictions apply. Full terms: play.st/psplus-usageterms. 2 Requires base game, paid purchase of Super Credits, and game progression to unlock.

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

After a long, busy day, you boot up your gaming device but don’t quite feel like diving into an intense session. Instead, you open a broadcast of one of your favorite streamers and spend the evening laughing at commentary, reacting to unexpected moments, and just enjoying your time with fellow gamers. Sounds familiar?This everyday scenario perfectly captures the way live streaming platforms like Twitch, YouTube Gaming, or Kick have transformed the gaming experience — turning gameplay into shared moments where gamers broadcast in real-time while viewers watch, chat, learn, and discover new titles.What started as friends sharing gameplay clips has exploded into a multi-billion-dollar ecosystem where streamers are popular creators, viewers build communities around shared experiences, and watching games has become as popular as playing them. But how did streaming become such a powerful force in gaming – and what does it mean for players, creators, and the industry alike? Let’s find out!Why Do Gamers Love Streaming?So why are millions of gamers spending hours every week watching others play instead of jumping into a game themselves? The answer isn’t just one thing – it’s a mix of entertainment, learning, connection, and discovery that makes live streaming uniquely compelling. Let’s break it down.Entertainment at Your Own PaceSometimes, you just want to relax. Maybe you’re too mentally drained to queue up for ranked matches or start that complex RPG quest. Streaming offers the perfect low-effort alternative – the fun of gaming without needing to press a single button. Whether it's high-stakes gameplay, hilarious commentary, or unpredictable in-game chaos, streams let you enjoy all the excitement while kicking back on the couch, grabbing a snack, or chatting in the background.Learning and Skill DevelopmentStreaming isn’t just for laughs – it’s also one of the best ways to level up your own gameplay. Watching a skilled streamer handle a tricky boss fight, execute high-level strategies, or master a game’s mechanics can teach you far more than a dry tutorial ever could. Many gamers tune in specifically to study routes, tactics, builds, or even to understand if a game suits their playstyle before buying it. Think of it as education, but way more fun.Social Connection and CommunityOne of the most powerful draws of live streaming is the sense of community. Jumping into a stream isn’t like watching TV – it’s like entering a room full of people who love the same games you do. Chatting with fellow viewers, sharing reactions in real-time, tossing emotes into the chaos, and getting shoutouts from the streamer – it all creates a sense of belonging. For many, it’s a go-to social space where friendships, inside jokes, and even fandoms grow.Discovery of New Games and TrendsEver found a game you now love just because you saw a streamer play it? You’re not alone. Streaming has become a major discovery engine in gaming. Watching creators try new releases, revisit cult classics, or spotlight lesser-known indies helps players find titles they might never encounter on their own. Sometimes, entire genres or games blow up because of a few well-timed streams (Among Us, Vampire Survivors, Only Up! – all made big by streamers).Together, these draws have sparked a whole new kind of culture – gaming communities with their own languages, celebrities, and shared rituals.Inside Streaming CultureStreaming has created something unique in gaming: genuine relationships between creators and audiences who've never met. When Asmongold reacts to the latest releases or penguinz0 delivers his signature deadpan commentary, millions of viewers don't just watch – they feel like they're hanging out with a friend. These streamers have become trusted voices whose opinions carry real weight, making gaming fame more accessible than ever. Anyone with personality and dedication can build a loyal following and become a cultural influencer.If you've ever watched a Twitch stream, you've witnessed chat culture in action – a chaotic river of emotes, inside jokes, and reactions that somehow make perfect sense to regulars. "KEKW" expresses laughter, "Poggers" shows excitement, and memes spread like wildfire across communities. The chat itself becomes entertainment, with viewers competing to land the perfect reaction at just the right moment. These expressions often escape their stream origins, becoming part of the broader gaming vocabulary.For many viewers, streams have become part of their daily routine – tuning in at the same time, celebrating milestones, or witnessing historic gaming moments together. When a streamer finally beats that impossible boss, the entire community shares in the victory. These aren't just individual entertainment experiences — they're collective memories where thousands can say "I was there when it happened," creating communities that extend far beyond gaming itself.How Streamers Are Reshaping the Gaming IndustryWhile players tune in for fun and connection, behind the scenes, streaming is quietly reshaping how the gaming industry approaches everything from marketing to game design. What started as casual gameplay broadcasts is now influencing major decisions across studios and publishers.The New Marketing Powerhouse. Traditional game reviews and advertising have taken a backseat to streamer influence. A single popular creator playing your game can generate millions of views and drive massive sales overnight – just look at how Among Us exploded after a few key streamers discovered it, or how Fall Guys became a phenomenon through streaming momentum. Publishers now prioritize getting their games into the hands of influential streamers on launch day, knowing that authentic gameplay footage and reactions carry more weight than any trailer or review. Day-one streaming success has become make-or-break for many titles.Designing for the Stream. Developers are now creating games with streaming in mind. Modern titles include built-in streaming tools, spectator-friendly interfaces, and features that encourage viewer interaction like chat integration and voting systems. Games are designed to be visually clear and exciting to watch, not just play. Some developers even create "streamer modes" that remove copyrighted music or add special features for streamers. The rise of streaming has birthed entirely new genres — party games, reaction-heavy horror titles, and social deduction games all thrive because they're inherently entertaining to watch.The Creator Economy Boom. Streaming has created entirely new career paths and revenue streams within gaming. Successful streamers earn through donations, subscriptions, brand partnerships, and revenue sharing from platform-specific features like Twitch bits or YouTube Super Chat. This has spawned a massive creator economy where top streamers command six-figure sponsorship deals, while publishers allocate significant budgets to influencer partnerships rather than traditional advertising. The rise of streaming has also fueled the growth of esports, where pro players double as entertainers – drawing massive online audiences and blurring the line between competition and content.Video Game Streaming in NumbersWhile it’s easy to feel the impact of streaming in daily gaming life, the numbers behind the trend tell an even more powerful story. From billions in revenue to global shifts in viewer behavior, game streaming has grown into a massive industry reshaping how we play, watch, and connect. Here’s a look at the data driving the movement.Market Size & GrowthIn 2025, the global Games Live Streaming market is projected to generate $15.32 billion in revenue. By 2030, that figure is expected to reach $18.92 billion, growing at an annual rate of 4.32%.The average revenue per user (ARPU) in 2025 stands at $10.51, showing consistent monetization across platforms.China remains the single largest market, expected to bring in $2.92 billion this year alone.Source: Statista Market Insights, 2025Viewership & Daily HabitsThe number of users in the live game streaming market is forecast to hit 1.8 billion by 2030, with user penetration rising from 18.6% in 2025 to 22.6% by the end of the decade.In 2023, average daily time spent watching game streams rose to 2.5 hours per user, up 12% year-over-year — a clear sign of streaming becoming part of gamers’ daily routines.Sources: Statista Market Insights, 2025; SNS Insider, 2024What People Are WatchingThe most-watched games on Twitch include League of Legends, GTA V, and Counter-Strike — all regularly topping charts for both viewers and streamers.When it comes to creators, the most-streamed games are Fortnite, Valorant, and Call of Duty: Warzone, showing a strong overlap between what streamers love to broadcast and what audiences enjoy watching.In Q1 2024, Twitch users spent over 249 million hours watching new game releases, while total gaming-related content reached around 3.3 billion hours.Sources: SullyGnome, 2025; Statista, 2025Global Trends & Regional PlatformsChina’s local platforms like Huya (31M MAU) and Douyu (26.6M MAU) remain key players in the domestic market.In South Korea, following Twitch’s 2023 exit, local services like AfreecaTV and newcomer Chzzk have positioned themselves as alternatives.Meanwhile, Japan and Europe continue to see steady engagement driven by strong gaming scenes and dedicated fan communities.Source: Statista, 2025Event Livestreaming Hits New HighsNintendo Direct was the most-watched gaming showcase in 2024, with an average minute audience of 2.6 million.The 2024 Streamer Awards drew over 645,000 peak viewers, highlighting how creator-focused events now rival traditional game showcases.Source: Statista, 2025As game streaming continues to evolve, its role in the broader gaming ecosystem is becoming clearer. It hasn’t replaced traditional gameplay – instead, it’s added a new dimension to how people engage with games, offering a space for connection, discovery, and commentary. For players, creators, and industry leaders alike, streaming now sits alongside playing as a core part of the modern gaming experience – one that continues to grow and shift with the industry itself.

IntroductionHi! My name is Pavel Vorobyev, and I'm a 19-year-old 3D Artist specializing in texturing and weapon creation for video games. I've been working in the industry for about 3 years now. During this time, I've had the opportunity to contribute to several exciting projects, including Arma, DayZ, Ratten Reich, and a NEXT-GEN sci-fi shooter (currently under NDA). Here's my ArtStation portfolio.My journey into 3D art began in my early teens, around the age of 13 or 14. At some point, I got tired of just playing games and started wondering: "How are they actually made?" That question led me to explore game development. I tried everything – level design, programming, game design – but it was 3D art that truly captured me.I'm entirely self-taught. I learned everything from YouTube, tutorials, articles, and official documentation, gathering knowledge piece by piece. Breaking into the commercial side of the industry wasn't easy: there were a lot of failures, no opportunities, and no support. At one point, I even took a job at a metallurgical plant. But I kept pushing forward, kept learning and improving my skills in 3D. Eventually, I got my first industry offer – and that's when my real path began.Today, I continue to grow, constantly experimenting with new styles, tools, and techniques. For me, 3D isn't just a profession – it's a form of self-expression and a path toward my dream. My goal is to build a strong career in the game industry and eventually move into cinematic storytelling in the spirit of Love, Death & Robots.Astartes YouTube channelI also want to inspire younger artists and show how powerful texturing can be as a creative tool. To demonstrate that, I'd love to share my personal project PU – Part 1, which reflects my passion and approach to texture art.In this article, I'll be sharing my latest personal project – a semi-realistic sci-fi helmet that I created from scratch, experimenting with both form and style. It's a personal exploration where I aimed to step away from traditional hyperrealism and bring in a touch of artistic expression.Concept & Project IdeaThe idea behind this helmet project came from a very specific goal – to design a visually appealing asset with rich texture variation and achieve a balance between stylization and realism. I wanted to create something that looked believable, yet had an artistic flair. Since I couldn't find any fitting concepts online, I started building the design from scratch in my head. I eventually settled on creating a helmet as the main focus of the project. For visual direction, I drew inspiration from post-apocalyptic themes and the gritty aesthetics of Fallout and Warhammer 40,000.Software & Tools UsedFor this project, I used Blender, ZBrush, Substance 3D Painter, Marmoset Toolbag 5, Photoshop, and RizomUV. I created the low-poly mesh in Blender and developed the concept and high-poly sculpt in ZBrush. In Substance 3D Painter, I worked on the texture concept and final texturing. Baking and rendering were done in Marmoset Toolbag, and I used Photoshop for some adjustments to the bake. UV unwrapping was handled in RizomUV.Modeling & RetopologyI began the development process by designing the concept based on my earlier references – Fallout and Warhammer 40,000. The initial blockout was done in ZBrush, and from there, I started refining the shapes and details to create something visually engaging and stylistically bold.After completing the high-poly model, I moved on to the long and challenging process of retopology. Since I originally came from a weapons-focused background, I applied the knowledge I gained from modeling firearms. I slightly increased the polycount to achieve a cleaner and more appealing look in the final render – reducing visible faceting. My goal was to strike a balance between visual quality and a game-ready asset.UV Mapping & BakingNext, I moved on to UV mapping. There's nothing too complex about this stage, but since my goal was to create a game-ready asset, I made extensive use of overlaps. I did the UVs in Rizom UV. The most important part is to align the UV shells into clean strips and unwrap cylinders properly into straight lines.Once the UVs were done, I proceeded to bake the normal and ambient occlusion maps. At this stage, the key is having clean UVs and solid retopology – if those are in place, the bake goes smoothly. Texturing: Concept & WorkflowNow we move on to the most challenging stage – texturing. I aimed to present the project in a hyperrealistic style with a touch of stylization. This turned out to be quite difficult, and I went through many iterations. The most important part of this phase was developing a solid texture concept: rough decals, color combinations, and overall material direction. Without that foundation, it makes no sense to move forward with the texturing. After a long process of trial and error, I finally arrived at results I was satisfied with.Then I followed my pipeline:1. Working on the base materials2. Storytelling and damage3. Decals4. Spraying, dust, and dirtWorking on the Base MaterialsWhen working on the base materials, the main thing is to work with the physical properties and texture. You need to extract the maximum quality from the generators before manual processing. The idea was to create the feeling of an old, heavy helmet that had lived its life and had previously been painted a different color. To make it battered and, in a sense, rotten.It is important to pay attention to noise maps – Dirt 3, Dirt 6, White Noise, Flakes – and add the feel of old metal with custom Normal Maps. I also mixed in photo textures for a special charm. PhototextureCustom Normal Map TextureStorytelling & DamageGradients play an important role in the storytelling stage. They make the object artistically dynamic and beautiful, adding individual shades that bring the helmet to life.Everything else is done manually. I found a bunch of old helmets from World War II and took alpha damage shots of them using Photoshop. I drew the damage with alphas, trying to clearly separate the material into old paint, new paint, rust, and bare metal.I did the rust using MatFX Rust from the standard Substance 3D Painter library. I drew beautiful patterns using paint in multiply mode – this quickly helped to recreate the rust effect. Metal damage and old paint were more difficult: due to the large number of overlaps in the helmet, I had to carefully draw patterns, minimizing the visibility of overlaps.DecalsI drew the decals carefully, sticking to the concept, which added richness to the texture.Spray Paint & DirtFor spray paint and dirt, I used a long-established weapon template consisting of dust particles, sand particles, and spray paint. I analyzed references and applied them to crevices and logical places where dirt could accumulate.Rendering & Post-ProcessingI rendered in Marmoset Toolbag 5 using a new rendering format that I developed together with the team. The essence of the method is to simulate "RAW frames." Since Marmoset does not have such functions, I worked with the EXR 32-BIT format, which significantly improves the quality of the render: the shadows are smooth, without artifacts and broken gradients. I assembled the scene using Quixel Megascans. After rendering, I did post-processing in Photoshop utilizing Filter Camera Raw. Conclusion & Advice for BeginnersThat's all. For beginners or those who have been unsuccessful in the industry for a long time, I advise you to follow your dream and not listen to anyone else. Success is a matter of time and skill! Talent is not something you are born with; it is something you develop. Work on yourself and your work, put your heart into it, and you will succeed!Pavel Vorobiev, Texture ArtistInterview conducted by Gloria Levine

Console release date confirmed.Coffee Stain Studios has announced a console port of its massively popular sci-fi factory-building game, Satisfactory.Developed in early access on PC for years, the game hit its 1.0 launch in 2024, and now, it's coming

Mech-ing a living.Publisher Annapurna Interactive and developer Dinogod have finally announced a release date for Bounty Star, a game announced back in 2022.Combining mech-based action with serene farming and base building, the game launches 23rd Oct

Hello everyone! Before unveiling what we’ve prepared for PC players when Lost Soul Aside hits PC and PS5 on August 29, I want to share the journey that brought us here. Play Video Behind the scenes – Meet the team and the journey behind the game What began as a solo prototype has grown through years of iteration, the incredible support of the China Hero Project, and the encouragement of a passionate community into the full-scale action RPG you see today. In our new Behind-the-Scenes developer video, you’ll meet the talented team at Ultizero Games and hear, in our own words, about the passion, challenges, and breakthroughs that shaped every strike, combo, and boss encounter. It’s an inside look at the creative process that brought Lost Soul Aside from a single idea to the game we can’t wait for you to play. Play Video From our story to your screen – the PC experience As we approach launch, I’m excited to share that Lost Soul Aside is now in its final polishing stage for PC—releasing worldwide alongside the PlayStation 5 version. We’ve worked hard to ensure that PC players enjoy a true next-generation experience, and we’ve prepared four special features unique to the platform. These enhancements take full advantage of PC hardware so you can experience the game at its best, and I’m thrilled to finally reveal them to you. Full DualSense controller support Connect your DualSense controller via USB-C or Bluetooth (note: full functionality requires USB-C) and enjoy native support—no extra drivers needed. Adaptive Triggers: Each weapon and mechanism delivers unique resistance curves for a tactile, responsive feel. Haptic Feedback: From the clash of steel to explosive impacts and the rush of running through water, every vibration is precision-tuned to match the on-screen action.Just plug in and play. 4K + HDR visuals  Experience Lost Soul Aside in native 4K (3840×2160) resolution with multi-monitor support for maximum immersion. High Dynamic Range (HDR) brings out deep shadow details and vibrant neon highlights, delivering stunning contrast—“one glance, and your soul is hooked.” Ray Tracing  Ray-Traced Reflections: Crystal-clear water surfaces, polished armor, and metallic weapons reflect their surroundings in real time. Ray-Traced Global Illumination: Sunlight breaking through clouds and neon glow diffusing through the air add incredible depth to every scene. Ray-Traced Shadows: High-resolution, soft shadows shift naturally with light, enhancing realism in both exploration and combat.All ray-tracing effects are optimized with DLSS 4, FSR, and Frame Generation, ensuring smooth 4K 60 FPS gameplay—even on more modest hardware.   PlayStation account linking — Cross-Platform Trophy Sync When you first launch the game, you’ll have the option to link your PlayStation Network account. Once connected, all achievements earned on PC will sync instantly with your PlayStation Network profile—and vice versa. It’s truly “unlock once, show off everywhere”—your Platinum Trophy journey continues seamlessly across platforms. Wondering if your PC can handle Lost Soul Aside? Here are the system requirements: PC Specs for Lost Soul AsideMinimumRecommendedHighHigh (RT On)Ultra (RT On)GPUNVIDIA GTX 1060 / AMD RX 5500 XTNVIDIA RTX 2060 / AMD RX 5700 XTNVIDIA RTX 3070 / AMD RX 6800 XTNVIDIA RTX 4080s / AMD RX 7900 XTNVIDIA RTX 5070 TiCPUIntel i5-10400 / AMD Ryzen 5 3600Intel i5-10400 / AMD Ryzen 5 3600Intel i7-11700 / AMD Ryzen 7 5700XIntel i7-11700 / AMD Ryzen 7 5700XIntel i7-13700K / AMD Ryzen 7 7800XRAM16 GB16 GB16 GB16 GB16 GBOSWin 10/11 64-bitWin 10/11 64-bitWin 10/11 64-bitWin 10/11 64-bitWin 10/11 64-bitStorage80 GB SSD80 GB SSD80 GB SSD80 GB SSD80 GB SSD The PC version of Lost Soul Aside launches August 28 at 5pm PDT / August 29 at 8am CST (Beijing) and is now available for pre-purchase on Steam and the Epic Games Store. Lock in your platform and brace for the ultimate fusion of razor-sharp action and next-gen audiovisuals! Lost Soul Aside PlayStation 5 Pro enhancements I know many of you are excited to experience Lost Soul Aside on PlayStation 5 Pro, so I’m happy to share what we’ve done to make the most of its powerful hardware.  On PS5 Pro, you’ll be able to play in dynamic 4K with enhanced ray-traced reflections, shadows, and global illumination, bringing every scene to life with incredible depth and realism. We’ve also taken advantage of the Pro’s boosted GPU to push higher texture quality, more detailed particle effects, and even faster loading through the ultra-fast SSD. Additionally, players will benefit from a higher and more stable frame rate, ensuring fluid, responsive gameplay even in the most intense battles. The result is smoother combat, sharper visuals, and an even more immersive adventure from start to finish. I want to thank all of you for your patience and support throughout this journey. It’s been many years in the making, and every step has been driven by your passion for Lost Soul Aside. Whether you choose to play on PC, PlayStation 5, or PlayStation 5 Pro, my hope is that you’ll feel the heart, detail, and care we’ve poured into every moment. The launch is just the beginning, and I can’t wait to see your reactions, your gameplay clips, and your stories from this world we’ve built together. See you at launch!

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.

IT'S HAPPENING.Team Cherry's "special announcement" gave us what we were all hoping for, Hollow Knight: Silksong will launch on 4th September.The reveal gave us a closer look at the gameplay, showcasing the "lethal acrobatic action", "vast handcrafte