Greetings, Travelers! We’re excited to announce that Genshin Impact Version Luna I, Song of the Welkin Moon: Segue, will be released on September 10. This update, which marks the beginning of the year-long Song of the Welkin Moon version series, will also introduce a major new region, Nod-Krai. The new version series will tie together past story clues and characters, answer some long-standing questions, and reveal more about the secrets of the moon. The stage for these events is Nod-Krai, a new self-governing region at the edge of Teyvat. Blessed by pure moonlight, Nod-Krai is a land rich with a unique and powerful energy which has attracted various individuals and factions, all with their own goals and ambitions which often lead them to conflict. However, it is also this very same energy that will be crucial to your journey, guiding you as you explore the region and solve its mysteries. View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image We invite all Travelers who have finished the Mondstadt Archon Quest “Prologue: Act III – Song of the Dragon and Freedom” to enter Nod-Krai. You can access the region via a Teleport Waypoint at its entrance. If you have also completed “Chapter I Act III – A New Star Approaches” in Liyue, you will be able to start the new Archon Quests in Nod-Krai immediately. Gather under the moonlight Moonlight pierces the haze, casting rippling shadows toward the unknown. To uncover a new Fatui scheme related to the “Ancient Moon’s Remnants,” Travelers must set sail from Natlan, heading north to the self-governing region of Nod-Krai located at the southernmost part of Snezhnaya. Nod-Krai is a land where an ancient elemental energy called Kuuvahki can be found. This unique power influences the lives of its people, but it also draws factions with competing goals, leading to constant conflict. Walk the paths of this land, Traveler, and see with your own eyes how these factions seek and harness this potent energy. In Version Luna I, Travelers can explore three distinct island areas within Nod-Krai. Your journey begins in Nasha Town, where the residents have woven the ancient energy of Kuuvahki into their everyday lives. Here, street signs hum with a gentle energy, and clever devices retain the traces of ancient power. Head west, and you will find the Clink-Clank Krumkake Craftshop, home to the whimsical inventors Aino and Ineffa. Continue westward and you will find yourself at Hiisi Island, where you will enter the lands of the Frostmoon Scions. The devotees here, who brook no blasphemy towards the moon, worship the moon goddess Kuutar while fiercely guarding the purity of their faith. Yet, in the shadows, unseen forces are stirring up a crisis. Further north along the coast, the Fatui’s Kuuvahki Experimental Design Bureau stands over ancient ruins. The Fatui have come here to build war engines fueled by Kuuvahki. You can choose to face them head-on or infiltrate quietly to uncover their secrets. As you explore Nod-Krai, you may also encounter the Wild Hunt, a dangerous force emerging from the Abyss that leaves a trail of destruction in its wake. Standing against this darkness are the Lightkeepers, an ancient order that defends the freedom and peace of the land. They carry special lanterns that change color to warn of the kind of danger that is coming. View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image Meanwhile, Columbina, who once served as the Fatui’s Damselette, has left them and is now lingering in her homeland of Nod-Krai. Here, she is revered as the Moon Maiden. Interestingly, the statues of the Idol of the New Moon found throughout Nod-Krai bear a striking resemblance to Columbina’s appearance before she joined the Fatui, hinting at her past identity. Now, she has her very own haven, the Sanctuary of the Silver Moon Court, located near Hiisi Island. Walk there by the moonlight, fulfill her requests, and you may earn her assistance on your journey. In the new Archon Quest, the Traveler will assist Lauma, the Moonchanter of the Frostmoon Scions. Join her to confront the Fatui and uncover the secrets behind their faith in the moon goddess. You will also see for yourself the unwavering resolve of the Lightkeepers as you fight alongside Flins, a warrior of their order, to defend the land. This adventure will also introduce you to new allies, such as the merchants of Nasha Town, while also presenting a menacing debut of the Fatui Harbinger Sandrone, the Marionette. Fight alongside new allies and unleash the power of the Moon In Nod-Krai, certain characters blessed by the moon can channel the ancient energy of Kuuvahki in combat through their Moon Wheels. This unique ability triggers special Lunar reactions. Both Lauma and Flins are among the characters who have this ability. As a Moonchanter of the Frostmoon Scions, Lauma listens to her people, soothes their worries, and safeguards their covenant with the land. Gentle, wise, and deeply connected to nature, she has earned the trust of her companions. Even the small creatures influenced by Kuuvahki seem to share this trust, approaching and interacting with her whenever she is near. Lauma can even transform into a cervitaur, allowing her to dash swiftly across the land. In battle, this 5-star Dendro Catalyst user can give her team a decisive edge with a new Elemental Reaction: Lunar-Bloom. Once the Bloom reaction is triggered with Lauma on the team, she can convert it into a Lunar-Bloom reaction. This creates a valuable combat resource called Verdant Dew, which Lauma can then use to deal significant Lunar-Bloom damage with the potential for CRIT Hits. In combat, Lauma can periodically deal AoE Dendro DMG and further support the team by lowering enemies’ Dendro and Hydro RES. Her combat style is focused on collecting Verdant Dew from Lunar-Bloom reactions and converting it into more Lunar-Bloom damage. Flins is a 5-star Electro Polearm user known for his noble and aristocratic bearing. This veteran Lightkeeper who has long dedicated himself to defending Nod-Krai’s freedom and peace can even hear the whispers of the Wild Hunt while on exploration. In battle, Flins deals powerful Lunar-Charged DMG and can adjust his strategy on the fly. For situations that require multiple instances of Lunar-Charged DMG in a short period, he can use his standard Elemental Burst. In fast-paced, high-tempo combat, Flins can enter another state with his Elemental Skill which allows him to unleash a special Elemental Burst that costs less energy on a more frequent basis. In addition, Aino, the Whiz-Kid Mechanic, is a 4-star Hydro Claymore user who can be invited to the Traveler’s party for free via the new Archon Quest. In combat, Aino can also attack enemies with Hydro DMG. Beyond their roles in battle, these three new friends have their own day-to-day lives to live, and small, everyday joys to savor. With a new feature called Meeting Points, you can chat with them, help build these points throughout Nod-Krai, and unlock more of their stories by progressing through certain events. Visit the Clink-Clank Krumkake Craftshop where Aino and Ineffa are always hard at work, or step into the Frostmoon Enclave to read the legends among the Frostmoon Scions together with Lauma. Or, stop by Flins’s home to listen to the long-guarded tales of the Lightkeepers. In the first half of Version Luna I, Lauma will make her debut alongside a rerun for Nahida. The Chronicled Wish will also feature the return of several Sumeru characters. In the second half of the update, Flins, Yelan, and Aino will join the Event Wishes. Wander through the Moon-blessed land As you gaze at the sky as blue turns to black and the pale moon rises, you may wonder why this ancient energy attracts so many to its power. Traveler, when you enter Nod-Krai, you will find traces of Kuuvahki everywhere throughout the land. As you walk through Nod-Krai, you will notice strange objects shimmering with the power of Kuuvahki, typically glowing with either a red or blue unipolar field. These fields behave in a very curious way: two of the same color will push each other away, while different colors are drawn together. Step close enough to one of these fields, and you may enter an empowered state. In this state, you can solve puzzles, collect items, and even gain an advantage in combat. Sometimes, standing near a special field will even allow you to perform a special jump, revealing paths that would otherwise be out of reach. Nod-Krai is home to a special elemental creature with various forms known as the Kuuhenki. When you are near certain plants, like the Moonshine Violet, you can gain Kuuvahki energy, which allows you to harness the power of the Kuuhenki and move freely. In this state, you can drift near the mist patches in the area. Patches of a different color will draw you in, while patches of the same color will push you away. As the Kuuhenki glides through the air, it leaves behind bright trails called Moonlanes. Hitch a ride on these lanes to move quickly, switch paths, and interact with nearby objects. Deal wisely with the enemy The dangers and challenges of Nod-Krai are a constant reminder to the Traveler to act with caution. However, one should also be brave enough to face danger head-on at the same time. In the region’s other areas, you will encounter enemies that demand careful handling, as many are influenced by the ancient energy of Kuuvahki. For example, when you face the cave-dwelling boss, the Radiant Moonfly, you can temporarily boost your abilities by healing your HP to its maximum. Not all challenges involve fighting belligerent foes. You can hone your battle skills using Knuckle Duckle, a duck-shaped combat machine built by Aino. Effects like Electro-Charged or Lunar-Charged attacks can provide you with a combat efficiency boost. Interestingly, when Aino or Ineffa interacts with the machine, it can trigger extra dialogue options. You might even obtain special items that change their appearance. What’s more, there will also be more seasonal events and optimizations which will bring you bountiful rewards and make your adventure an easier one. In celebration of the fifth anniversary of Genshin Impact, we have prepared various gifts to thank our Travelers, including 10 Intertwined Fates, 1,600 Primogems, two exclusive gadgets, and a free 5-star standard banner character of your choice. Know that when you see the signs of the new moon, the story of Version Luna I is about to be unveiled. Let us set out for the new region, Nod-Krai, as we turn a new page in the story, and bask in its cold moonlight. #genshin #impact #version #luna #song

PC players are nowadays seeing a lot of console-exclusive ports make their way to Steam and various launchers. This is great news for anyone who's felt like they've been missing out without owning a console, and it's clear that the lines between console and PC are beginning to blur, especially concerning Microsoft and its desire to port its impressive games library to both ecosystems. PC Game Pass has made things even more lucrative, and many series once thought console-locked forever are receiving PC versions. #upcoming #game #releases #ampamp #beyond

Email us at PSPodcast@sony.com! Subscribe via Apple Podcasts, Spotify, or download here Hey, everybody! Kristen, Tim, and I are back this week to discuss taking up the mantle of Big Boss in Metal Gear Solid Delta: Snake Eater, soul surfing in Sword of the Sea, the biggest news stories of the week, and more. Stuff We Talked About Next week’s release highlights: Metal Eden | PS5 Hirogami | PS5 Hell Is Us | PS5 Hollow Knight: Silksong | PS5, PS4 Cronos: The New Dawn | PS5 Everybody’s Golf: Hot Shots | PS5 NBA 2K26 | PS5, PS4 Romeo is a Dead Man sneak peek — New info on combat and puzzles, along with the major story beats of its ludicrous narrative. Helldivers 2 update — Enter the Terminid Hive Worlds and battle underground monsters when the Dust Devils Premium Warbond lands September 4. Lumines Live release date  — Try out the limited-time demo for PS5 to experience the new multiplayer mode and more before the game launches on November 11. GT7 1.62 update  — Add the sleek Chevrolet Corvette CX to your collection and other eye candy with the latest batch of new vehicles. No Man’s Sky Voyagers update  — Customizable multi-crew starships are now available. Cruise the galaxy as a unit and face new challenges.. New Judas details  — See how your decisions impact gameplay and other insights from Creative Director Ken Levine. Skate hands-on  — Play Early Access starting September 16 for free and explore San Vansterdam and its many choice spots. Shinobi: Art of Vengeance dev interview  — Learn what steps were taken to create a modern take on the classic action platformer The Cast View and download image Download the image close Close Download this image Kristen Zitani –  Senior Content Communications Specialist, SIE View and download image Download the image close Close Download this image Tim Turi – Content Communications Manager, SIE View and download image Download the image close Close Download this image O’Dell Harmon Jr. – Content Communications Specialist, SIE Thanks to Dormilón for our rad theme song and show music. #official #playstation #podcast #episode #silence

Welcome back to another edition of Patch Notes, here on my secondsub-in for its usual author, senior news editor Chris Kerr. This week, we had more layoff news, unfortunately, this time hitting studios like Embracer-owned Crystal Dynamics and Rec Room. Crystal Dynamics, in particular, is suffering its third round of layoffs since being snatched up by Embracer in 2022.Elsewhere, we have some news on Switch 2 development kits, union efforts for many folks working on the Diablo franchise, Atari snatched up a couple of interesting older Ubisoft properties, and we ponder the creative core of  weirdo indie social games.Report: Nintendo reportedly withholds Switch 2 dev kits, directs devs toward OG Switch development insteadVia Game Developer/Digital Foundry // Freshly returned from Gamescom, Digital Foundry senior staff writer and video editor John Linneman spoke with "a lot of developers" that said they're unable to get Switch 2 development kits. The demand is there: plenty of teams want to be crafting games for the Switch 2, but they are reportedly being told to ship for the original Switch and rely on the new console's backward compatibility features.Atari Acquires Ubisoft IP, Including Child of Eden, Grow Home, Cold FearRelated:Via This Week in Video Games // Atari snatched up a number of intriguing Ubisoft properties this week, including the how-on-earth-was-this-a-whole-decade-ago climber Grow Home and its sequel Grow Up, Child of Eden, Cold Fear, and I am Alive. In the post, Atari VP of new business Deborah Papiernik said “Atari has a rich gaming legacy and deep appreciation for these classic titles... We’re excited to see how they’ll evolve and connect with players in fresh, meaningful ways.”Embracer studio Crystal Dynamics is laying off more staffVia Game Developer // As noted above, news of yet another round of layoffs at Tomb Raider studio Crystal Dynamics came in hot this week. Game Developer contributing news editor Diego Arguello writes "This is the third round of layoffs since Embracer Group acquired the studio in 2022. As Embracer issued an absurd number of mass layoffs, project cancellations, and divestments across its portfolio, Crystal Dynamics conducted job cuts in 2023 and early this year.450 Diablo developers vote to unionize under CWAVia  Game Developer // Senior editor Bryant Francis covered the news today with one of my favorite opening lines in Game Developer news history: "The forces of hell are unionizing. Today the Communication Workers of America has announced that over 450 game developers at Blizzard Entertainment who work on the Diablo series have voted to unionize under the CWA."Related:What developers can learn from the indie social co-op games topping the Steam chartsVia Game Developer // In this interview piece from news columnist Nicole Carpenter, the core appeal and breakout success of "weirdo social games"is examined in great detail by some of the folks working in the genre today. #nintendo039s #stinginess #switch #dev #kits

Over a dozen Spider-Man games had been released before it, but 25 years later, Neversoft and Activision’s Spider-Man is perhaps historically one of the most formative and enduring in terms of its boundless charm and lasting impact. Indeed, this Spider-Man, one of many games to stick solely with the character’s name, was the birth of a new age for Marvel video games and enjoyed its momentous heyday with immediate sequels, as well as a playable cameo for this iteration of the wall-crawler in X-Men: Mutant Academy 2. #years #later #you #can #only

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 #designing #atmospheric #wwi #plane #crash

According to EA, the Battlefield 6 play test is the biggest beta in Battlefield's history in terms of players. Research firm Oppenheimer estimated that the beta reached more than 20 million people. However, a "substantial number" of those fans may have been playing Battlefield 6 with the minimum recommended specs.Battlefield 6 technical director Christian Buhl made that assertion during an interview with Eurogamer. Buhl also noted that EA and DICE planned from the beginning to ensure that players using lower-end hardware would still receive a comparable experience to those on high-end machines."Min spec is certainly one of our most important specs ... it's super important from both a commercial and business perspective," said Buhl. "We want as many people as possible playing the game ... We did a lot of analysis, we did tests on the game on a wide range of hardware above and below our minimum and recommended specs. We figured out what we can hit, what we need to hit from a business perspective, and that was to capture a wide audience on PC. It's been super critical."Continue Reading at GameSpot #many #battlefield #fans #played #beta

يا جماعة الخير، اليوم عندي لكم خبر رهيب عن معمارية تخلط بين التاريخ والحداثة! 🌟 شفتوا كيفاش HENN قاموا بإعادة إحياء مسرح أوغسبورغ التاريخي في ألمانيا؟ المشروع يشمل "glass drape facade" اللي تضفي لمسة عصرية وراقية، مع إضافة مبنيين جداد. يعني، كيفاش يمزجوا بين القديم والجديد بطريقة رائعة! بالتأكيد، هذا شيء يخلينا نفكر في كيفية دمج التراث مع الابتكار في بلادنا. كي شفت الصور، حسيت بروحي في عالم خيالي! 😍 عندي فضول، واش رايكم في هذي التحولات المعمارية؟ هل شفتوا مشاريع مماثلة عندنا؟ لازم نفتحوا عقولنا ونشوفوا الإمكانيات اللي تقدر تعطيها لنا التكنولوجيا والابتكار. https://www.designboom.com/architecture/glass-drape-facade-henn-historic-augsburg-theater-germany-08-29-2025/ #معمارية #ابتكار #تاريخ #ألمانيا #تصميم

يا جماعة، واش راكم؟ 😄 حبيت نشارك معاكم تجربة جديدة من Gamescom 2025 على لعبة "Romeo Is A Dead Man" اللي طورها فريق Grasshopper Manufacture. المدير سُودا51 كان حاب يخلي تطوير اللعبة ممتع بقدر ما هي اللعبة نفسها! يعني، اللعبة مليانة أكشن وغموض، وفيها أسلوب فني متنوع ورائع. 🎮✨ لما جربتها، حسيت كأني داخل عالم غريب مليء بالزومبي و الوحوش، والقتال كان سريع وحماسي! تقدر تستخدم أسلحة مختلفة، وكل وحدة منها تحس بيها. بصراحة، أعجبتني الطريقة اللي سُودا51 يخلي كل واحد في الفريق يعبر عن رأيو وأفكارو في تطوير اللعبة. 🤔 كل التفاصيل هادي تخليني متحمس أكثر لتجربة اللعبة لما تطلق العام الجاي! https://gameinformer.com/gamescom-2025/2025/08/25/romeo-is-a-dead-man-has-so-many-art-styles-because-suda51-wanted-artists #لعبة #RomeoIsAD

💬 السلام عليكم، أصدقائي! شفتو الفيديو الجديد على الجزيرة حول المستشار الألماني فريدريش ميرتس؟ 🚨 في الفيديو، يتكلم ميرتس عن قرارهم بعدم إرسال الأسلحة لإسرائيل بسبب الهجمات على غزة اللي تركت أثار خطيرة على المدنيين، وهذا غير مقبول بالنسبة له. الوضع في غزة مؤلم بزاف، والأطباء والصحافيين كاينين في خطر كبير. شخصياً، ما نقدرش نتخيل العذاب اللي يعيشوه الناس هناك. حبيت نشارك هذا الفيديو لأنو يفتح لنا عيوننا على الواقع الصعب اللي يعاني منه المدنيون في المناطق المتأثرة بالحروب. ما ننسوش أن الموضوع يحتاج لتفكير عميق وواعي مننا كمجتمع، ونكونوا على دراية بالأحداث التي تلمس الإنسانية في كل مكان. https://www.youtube.com/watch?v=Bl4zLBeLHdw #غزة #حرب_غزة #الإنسانية #Germany #عالم_مترابط

As of the latest update, there are 23 quests in Schedule 1, the first three of which are part of the game's prologue. The rest of them take part in the Hyland Point area, where players will encounter many interesting characters as they set about creating their criminal empires. #all #missions #schedule #quest #list

Diego Argüello, Contributing Editor, News, GameDeveloper.comAugust 26, 20253 Min ReadImage via Rec RoomDeveloper Rec Room, the team behind the namesake user-generated contentdriven social game, has laid off "about half" its staff.Announced yesterday via the official site, CEO and co-founder Nick Fajt wrote that both he and CCO and co-founder Cameron Brown made the decision, which they called a "business necessity based on the financial trajectory of the company" that doesn't reflect on the individuals affected."This is not a reflection on the talent or dedication of those departing—we wish we could keep every one of them," reads the announcement. "I’m gonna say that again, to make it clear this isn’t just 'one of those things you say in a layoff message'. We TRULY wish we could keep every one of these people on the team. But we can't. This is a reflection of the tough reality we face as a business and the change needed to give Rec Room a chance to thrive in the years ahead."According to the post, the laid off workers will continue to be paid for the next three months, receive health benefits for the next six months, and have the option to keep their laptop or desktop computer. Rec Room didn't specify how many people were affected.'The writing on the wall became very clear'Back in December 2021, Rec Room raised million for its social platform, bringing the company's lifetime raised funds to around million. According to Brown, the team invested "heavily in creation tools across PC, VR, consoles, and mobile," but the reality "has been harsh." The CEO claims the mobile and console versions never got to the point where "those devices were good for building stuff." Some of the efforts to bridge the gap, including the Maker AI tool, frustrated the studio's "more impactful creators." Related:At the same time, the lower-powered devices still fostered "millions of pieces of content," which reportedly put a strain on the team that had to come up with procedures to review it all. "Making all this run across every device was a massive technical challenge and burden. While our most skilled creators optimized their content cleverly, most creators didn’t—couldn’t, really, because we didn’t provide them with the necessary tooling."Last month, Fajt announced that Rec Room hit a "record-breaking month" for UGC sales thanks to the creations from players, with creator token earnings from room and Watch store sales increasing 47 percent year-over-year."We deliberately started with a small group of creators as the Avatar Studio tool is still in the early stages," Fajt wrote at the time. "All of the early joiners helped us iron out the workflow and onboarding, providing feedback on how to improve our systems and processes. With creators already finding success, we’re ready to expand."Related:Today's announcement continues by saying that supporting the aforementioned scope stretched the team thin, and began to "dig a financial hole that was getting larger every day." The CEO says the studio has been stuck in an "uncomfortable middle ground" during the past few years, wondering whether to keep pushing the internal UGC vision while potentially increasing the frustration of players and the team, or scale back the vision by cutting the team in half."Both paths were painful," Brown wrote. "But ultimately we got to a point where it was clear that staying the course meant low growth, a high burn rate, and no clear path forward. In a word: Unsustainable. The writing on the wall became very clear."Looking forward, Brown says the team will focus on "empowering our very best creators" and "ensuring Rec Room is a great experience for our players.""For those leaving—you will always be part of the Rec Room story," Brown wrote as a closing note about the layoffs. "We thank you for everything, and wish you the best for your next chapter. For those staying—we know this sucks. We know this hurts. Thank you for pushing forward with us—we have hard work ahead, but with a new focus we believe strongly in the future we can build together."Related:Game Developer has reached out to Rec Room for clarification on the number of workers affected. about:Top StoriesLayoffs & Studio ClosuresAbout the AuthorDiego ArgüelloContributing Editor, News, GameDeveloper.comDiego Nicolás Argüello is a freelance journalist and critic from Argentina. Video games helped him to learn English, so now he covers them for places like The New York Times, NPR, Rolling Stone, and more. He also runs Into the Spine, a site dedicated to fostering and supporting new writers, and co-hosted Turnabout Breakdown, a podcast about the Ace Attorney series. He’s most likely playing a rhythm game as you read this.See more from Diego ArgüelloDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like #developer #rec #room #lays #off