Interview
The production designer behind A24’s Beau Is Afraid knew that the Ari Aster film was going to leave people bewildered as soon as she started reading the script.
Suzume director Makoto Shinkai sees his latest film as an invitation to young theatergoers to build relationships with the past.
The monster hunting game gets a new cherry blossom fox just in time for spring.
Animation house Titmouse’s artists open up about participating in the studio’s 5 Second Night showcase.
Kirby developers Shinya Kumazaki and Tatsuya Kamiyama talk about the various shapes of Kirby and what we can learn from them.
Animation studio Titmouse’s annual showcase of shortform stories returns this month with a new batch of original cartoons created during artists’ time off.
‘What the genre needed was less constraints,’ explains Rod Humble.
Epic’s CEO, alongside executive VP Saxs Persson, talks about the future of virtual worlds and what needs to happen for the metaverse to really come to fruition.
Alumni have been leading a community project to design, crowdfund, and build a phone to fill the iPhone Mini’s shoes. All right under our noses.
The US Department of Transportation is making a big bet on smart city technology with the release of $94.8 million in federal funding. But in an interview, Secretary Buttigieg warned that not every project ‘is going to prove out.’
Even now, The Last of Us’ Troy Baker is still learning new things about the franchise’s characters, like cannibal cultist James from episode 8, When We Are in Need.
Nixing people of color in service to making a game ‘rooted in reality’ not only runs contrary to the game’s own goal of having broad appeal but also to the game’s own internal world-building.
‘One game that is close to how the whole game cycle works is the most recent God of War.’
Production designer Maya Sigel talks about creating an optimistic version of 1950s sci-fi, with cute bots and lots of superfluous gadgets.
As Super Nintendo World opens up in Los Angeles, the creator of Mario talks about getting back to his roots, and exploring new creative fields.
Director John Johanas explains how the rhythm action game was inspired by everything from Radiohead to the Dreamcast.
‘When I watched cartoons as a kid, there was a lot of serious orchestration. A lot of funk, a lot of R&B, and a lot of soul — all kinds of different styles of music. I wanted that for Moon Girl, too.’
HBO’s The Last of Us is a faithful adaptation, but co-creator Neil Druckmann and showrunner Craig Mazin say that the game’s story was truly made for TV.
‘It is terrifying. But I don’t know if there is any other way to go through life.’
Mike Uyama, who launched the first GDQ in his mother’s basement in 2009, is stepping away due to health reasons.
Production designer Alexandra Schaller talks about building a different, greener vision of the future.
Pedro Eustache’s viral performance at The Game Awards was just one of many such moments he’s had over his decades-long career.
Ahead of the premiere on HBO, the cast behind the fantasy series explains why the last season is the darkest and most complex to date.
An interview with Karen Levy, an associate professor of information science at Cornell, about her new book, Data Driven: Truckers, Technology, and the New Workplace Surveillance
Helicopters and gliders arrive in Microsoft Flight Simulator’s 40th Anniversary Update. Developers at Asobo and Microsoft have spent a lot of time getting the details right.
Darin Fisher has been working on browsers since practically the beginning. And he’s ready to finally build the one he’s been waiting for.
Nope director Jordan Peele and star Keke Palmer understand why nobody wants to be spoiled before a movie, even though some people definitely do
Lead combat designer Mihir Sheth explains how the team at Santa Monica Studio approached the PS5 sequel