And the brand's founders, Ben Cohen and Jerry Greenfield, have also participated directly in protests. In April 2016, both were arrested at the US Capitol during the Democracy Awakening demonstrations against the influence of money in politics and restrictions on voting rights. More recently, Cohen was arrested in May 2025 during a US Senate protest over military aid to Israel and the humanitarian crisis in Gaza.

At this year's Paradigms conference in Croatia, in a talk exploring the power of brands to drive social change, chief marketing officer Jay Curley argued that businesses should do more than pay lip service to good causes. For the Vermont ice cream maker, activism is baked into the business, alongside the Cookie Dough.

But what happens when a brand gets it wrong, faces a backlash or risks alienating customers? And how do you choose which causes deserve your voice? We caught up with Curley to discuss why brands should stop sitting on the fence, why perfection shouldn’t stand in the way of progress, and how a little creativity can help change the world.

It seems the team wasn't fazed by the controversy one iota. Two years on, it's doubled down with a remixed design that takes the Third Reich resemblance even further. The memes didn't take long to arrive.

On social media, the Atlanta Falcons' new profile picture has been dubbed the "gridiron cross" and the "Bird Reich". "I read that the NFL wanted to conquer the world but I didn’t think they meant it so literally," one person comments on X.

The logo shows the previously used angular black falcon forming an 'F' shape over red, beige, black and cream vertical stripes. It's presumably intended as a temporary design just for this weekend, as the Falcons will play against the 49ers on Sunday wearing retro 1966-inspired uniforms, comprising red helmets, black jerseys and white pants.

To be fair to the Falcons, Nazi Germany never had a monopoly on birds of prey insignia (nor even the swastika, which had a long history before it was adopted by the Third Reich). The bald eagle is also a familiar piece of US iconography.

But after all the comments and ridicule during the last revival of the 1960s design two years ago, there's no way that the team didn't know what was coming this time around. And the addition of the vertical stripes only makes the resemblance to Nazi iconography more apparent, which it must have realised.

I'd be interested to hear from long-term Falcon fans about whether the same comparison was made when the team originally used this logo back in the 1960s. I guess that in those pre-social media days, people didn't pick apart graphic design in the same way they do today.

Even the best sports logos can generate controversy, and the Falcons logos aren't the most disturbing we've seen. That accolade goes to the old Red Sox logo. Meanwhile, the main Atlanta Falcons logo retains its place in our pick of the best NFL logos.

I'm here to argue that variant designs and fan posters are where it's at if you're looking for elite horror movie poster design. Among the recent sludge of formulaic black-and-red horror flick designs, consider these stunning designs your official spooky season palette cleanser.

01. An American Werewolf in London

• Buy the poster at Vice Press

Created by graphic designer and illustrator Grzegorz Domaradzki (a.k.a. Gabz), this Japanese variant poster for 'An American Werewolf in London' puts a dramatic spin on the minimalist original. Created in 2021, the intricate design is based on a pencil drawing and remastered in Adobe Photoshop. With ferocious illustration in spine-chilling detail, it's a prime example of how straying from minimalist design can bring a film to life.

02. Dracula

• Buy the poster at Hammer Films

A contemporary take on Terence Fisher's 1958 Dracula, this limited edition poster is a wonderful homage to Hammer's most iconic release. Created by legendary Swedish illustrator Robert Sammelin, the design captures the terror of the horror classic with bold freehand linework and hazy visuals that blur the line between dreams and nightmares.

03. The Shining

• Buy the poster at Bamalama Posters

Created as part of a limited edition run of custom hand-pulled silkscreen prints, this minimalist take on The Shining's iconic poster demonstrates how Kubrick's iconic cinematography has stood the test of time. Created by Inkcandy, the poster series is inspired by the 'Italian shot', taking its name from Sergio Leone's Italian-Western films – a cinematic trope featuring extreme close-ups of the eyes.

04. Pearl

• Check out the poster at A24

Commissioned by Pearl's Japanese distributor, Happinet Phantom Studios, this stunning poster created by Japanese artist Yuko Higuchi puts a soft, folk art spin on the film. Known for her surreal paintings and dreamlike illustrations, this gentle take on Pearl is a beautiful contrast to the film's violent horror.

05. Talk to Me

• Buy the poster at A24

Created by award-winning and published Illustrator Matt Ryan Tobin, this stunning illustrated poster for A24's Talk to Me pairs claustrophobic visuals with a stripped-back palette to create a wonderfully stylised design. The design earned high praise, seeing Tobin awarded a 2024 SILVER Clio.

06. Alien

• Buy the poster on Dom Bittner's website

This alternative poster for Ridley Scott's 1979 Alien is a beautifully frightening take on the iconic original design. Created by movie poster artist Dom Bittner, the hand-painted poster brings a whimsical quality to the classic horror – a wonderful contrast to the minimalist design of the franchise's posters.

Several brands have held their nerve in the face of the onslaught. Mars refused to entertain Tucker Carlson's fetish for the green M&M, the Jaguar rebrand is starting to make sense, and Bob's Red Mill seems to be sticking to its decision to 'kill off' Bob.

Alas, it seems a library in North Carolina didn't have such guts. Farmville Public Library has reportedly ditched the logo design it had been using for the past 14 years because three people complained that it looked a little bit like a rainbow, which apparently reminded them of gay people.

According to Farmville mayor Alex Joyner, the town's library changed its logo after three complaints were made to a town commissioner. I won't comment on the choice of typeface, but the mark itself was perfectly serviceable for a public library: it was cheerful, it stood out, and it obviously depicted a book rather than a weapon of LGBT propaganda.

The mayor himself has taken issue with the decision. He pointed out that the iconic television series Reading Rainbow had made said climatic phenomenon a “significant symbol of libraries across the entire US”. He also complained that the logo was changed “in the dead of night behind a curtain” with no opportunity for public comment.

“The library is a symbol of inclusion and is supposed to be welcome to all. For a handful of people to be able to decide who is welcomed and who is not here is unacceptable in my eyes,” he said, as reported by ABC.

I'd also point out that the logo's seven colours don't even reflect those of a rainbow or the Pride flag. It's clearly an open book, with each hue depicting a different page. It's a nice way to show that books can contain a wide array of knowledge on diverse subject matters, like how colours are used to depict different subjects in Trivial Pursuit. Although admittedly, Trivial Pursuit is very woke.

The culture war, it seems, has now become a war on colour. Next, we'll be banning box sets of the best coloured pencils. Apple's iconic rainbow logo would never be allowed today, and I'd be surprised if Google doesn't soon receive complaints too: it's workmark contains red, yellow, green and blue. At this rate, everyone is going to have to dress in black, and any splash of colour will become the ultimate act of rebellion.

There's a change.org petition calling for the library logo to be changed back. It currently has 331 signatures, over 100 times as many as the three complaints made against the original design.

A public meeting to discuss the controversy will be held at Farmville Town Hall on 2 November at 5:30pm.

From branding books to mindful practice guides, Radim's bestselling works have inspired creatives across the globe with his practical yet inspirational words. Yet another valuable curation of his industry knowledge, Daring Forever is a wonderfully human take on creative empowerment.

"‘Daring Forever’ begins at the edge of something – a blank page, a stage, a life we haven’t quite stepped fully into yet," the press release reads. "The rope feels unattached. The drop looks real. And still, something in us leans forward. The book is a love letter to that lean: to the body that carries us further than we believe it can, to the self we are still learning to accept, to the curiosity that refuses to sit still, and to the gratitude that brings us home to the present."

"After years of interviewing remarkable people, I noticed the same pattern. The ones doing the most daring work were often the most afraid. Nobody has it figured out, and that’s the point," Radim explains. “Your body is the vehicle, and you’re the driver. Most of us were never given the owner’s manual. This book is my attempt to write one.”

“Daring isn’t a personality trait reserved for the fearless. It’s a human capacity we all carry, and it’s never too late to use it,” he concludes.

Daring Forever is now available on Amazon in paperback, Kindle and audiobook form.

It' could be a game changer – not least for those who insist on listening to their music on speakers when they're sitting alone on a bus – and we can't wait to get our hands on a pair to see whether they're worthy of a place in our guide to the best wireless headphones.

• Get the TDM Neo for $249 at the TDM website

What's so new about the TDM Neo?

The TDM Neo's headline innovation is their simple twist mechanism that turns them from premium on-ear headphones into a compact, portable speaker. Revealed at IFA 2026, this unique design means you can use the same device when you're listening to music alone or sharing it with others.

That's more than just a party trick. To allow it to work, the Neo have a groundbreaking audio system comprising four 40mm drivers: two inward-facing headphone drivers and two outward-facing speaker drivers.

Together, these are intended to deliver balanced clarity when worn and energetic output when twisted into a speaker. TDM tells us that the headphones have a clean, detailed sound profile and that the speaker mode has impressive volume for a device that fits into the palm of your hand.

The TDM Neo use dual-mode Bluetooth 6.0 for wireless connectivity. Four buttons on the device control power, volume, and change modes between headphones and speakers. You can also control the functions with the customisable twist feature, adjusting the settings to twist to pause, power off to switch audio.

As for construction and comfort, the Neo has dual layer memory foam ear cushions and a headband cover made with soft vegan leather, intended to provide long lasting comfort. The headband is adjustable, and TDM claims over 200 hours of battery life in headphone mode and 16 hours in speaker mode. USB-C fast charge can deliver a full charge in three hours and an eight hour headphone playback period in just five minutes

We're looking forward to testing them. You can find out more at the TDM website.

Today, GameMaker is free for non-commercial projects, but selling a game requires a Professional licence, which costs $99.99 as a one-off payment. The developer platform has been used to make games including Spelunky, Deltarune and UFO 50. Read our GameMaker 'everything you need to know' explainer for more on what has been and can be made.

A GMRT runtime is the software that takes your code and makes it run on a computer or game console; think of it as the cogs that make everything work. Making it free is another step toward helping more people get into game development, since its mix of visual, low-code tools and a coding environment is easy to grasp.

Time to try GameMaker?

The announcement builds on the GMRT source-code access GameMaker revealed earlier this year, and every tier will include it. GameMaker says developers can explore the technology, adapt it to their projects, and potentially contribute. Professional licence holders will also get source access to the existing GMS2 runtime, and can keep selling games made with it.

Console exports are unchanged. Whichever runtime you use, you will still need an Enterprise licence and approved-developer status, and GameMaker says existing tier pricing stays the same. Our 5 tips to get started in GameMaker guide offers more advice on what you need to know.

GMRT is still in beta and rolling out across platforms, so check what it supports before you commit a project to it. Visit the GameMaker Blog for more details and updates.

Useful game design books:

Before Steam Next Fest wraps up on 26 October, I thought I'd hunt down some demos for games with a bit of Silver Pines retro horror. One thing I loved about the 2.5D survival horror game Silver Pines when I reviewed it was how it looked: a mix of retro survival horror with comic book noir environment design and pixel art design that made it feel like a lost 16-bit game that was channelling aspects of Silent Hill and Metroid design made popular in indies like Hollow Knight and Mio: Memories in Orbit.

Silver Pines is one of the year's best games, and a reminder that you don't need another Unreal Engine 5 tech demo to make a game look good. With Steam Next Fest currently overflowing with upcoming indie games, I've been looking for demos with more personality and a bit of that Silver Pines blend of unique art, nostalgia, and fresh horror ideas, just in time for Halloween.

Below are some of the best upcoming indie games with demos worth trying before Steam Next Fest ends on 26 October.

1. The House Before: a body-horror game where you play the house

Many horror games put you in a haunted house, but The House Before takes things a step further by making you the house. It's a weird, significant shift in perspective, the kind you find in indie horror movies like Presence.

This surreal body-horror adventure turns the building into something that resembles a living organism, with pipes becoming bones, tunnels acting like veins, and rooms taking on the qualities of internal organs. It's a wonderfully strange premise that gives the developers plenty of room to experiment with the game's visual language.

The art direction shifts as you play, which is another unique twist. Rather than sticking to a single visual style, the game uses those changes to make its world feel increasingly unfamiliar, and even the interface becomes part of the experience. It's the sort of idea that could easily become a gimmick, but when the visuals are doing so much of the storytelling, it makes sense to push them further.

The idea of playing as a house is odd enough to catch my attention, especially when the walls, pipes, and rooms are all part of the horror. I'd like to see how far the developers take it.

Download The House Before demo from Steam.

2. Derelikt: PS1-style sci-fi horror on a research station

I have a soft spot for games like Derelikt (and the quirky Grease Trap '99) that feel like they escaped from the original PlayStation, back when 3D graphics were still a novelty, and developers were figuring out how to build a convincing world from a handful of polygons and that 'wobble' textures used to affect when it all moved.

Derelikt taps into that era with its retro sci-fi horror aesthetic, sending you to investigate a research station on a mysterious planetoid. Naturally, things don't go particularly well, and before long you're dealing with missing scientists, hostile environments and a growing understanding things are going to get bad before they get better.

There's also something refreshing about a game that understands how much you can do with lighting, composition and a few well-placed shadows, and this, along with Blighten, below on this list, offer that kind of unease simple but atmospheric design can deliver. You don't always need to see every little detail to be unsettled by what's lurking around the next corner.

If you grew up with PS1 horror games, or just enjoy the aesthetic of a lost 1990s sci-fi adventure, give this one a go.

Download the Derelikt demo on Steam.

3. The Road of Dust and Sorrow: anime-style pixel survival horror

I'm always interested in pixel art that gets the details right, like Warhammer 40,000: Boltgun 2, which nails that '90s shooter aesthetic, and The Road of Dust and Sorrow, which shows similar attention to detail and turns it into wonderfully grim places to explore. This upcoming survival-horror game follows Katherine and her daughter Ava through a post-apocalyptic world where a miracle crop has turned people into flesh-hungry creatures called Dusters.

The game's setting is filled with abandoned streets, ransacked buildings, and strange vegetation creeping back across the ruins. Katherine has bigger problems than the scenery, mind you, as she scavenges supplies, fights off Dusters, and tries to keep her daughter Ava safe.

That mother-and-daughter relationship is what sets the game apart from a straightforward 2.5D zombie adventure. Ava is more than someone to rescue at the end of a level; she's the reason Katherine keeps going, even when the world around them has become a pretty horrible place.

The game draws on '90s survival-horror classics like Resident Evil and Silent Hill, so it hits that Silver Pines DNA, but its detailed anime-like pixel art gives the ruined world its own character. The new Steam Next Fest demo is twice as long as the previous version and includes the entire first act, so there's plenty to get stuck into before the full game arrives on 3 December.

Download the The Road of Dust and Sorrow demo on Steam.

4. Anomalith: Showa-era liminal horror

Retro horror has become a crowded corner of the indie scene, but Anomalith caught my attention for its Japanese period influences and use of liminal spaces, that in a way reminds me of the excellent Motorslice.

Anomalith follows a girl searching for her missing friend in a world warped by strange anomalies, drawing on Showa-era Japanese aesthetics to create something that feels caught between a familiar place and an unpleasant dream. The idea behind horror like this, and it's a reason Backrooms works so well, is the walls don't need to be covered in blood to make you feel uneasy – the sense of dislocation is what gives it an eerie edge.

Games that use a recognisable visual language and then start messing with it have a particular appeal. A corridor, a building, or an everyday object can become unsettling simply because it doesn't behave as you'd expect, it's why I loved aspects of Control Resonant so much, and the retro presentation gives Anomalith a distinctive identity of its own.

It's also a good fit if you enjoy horror that leaves you to work things out rather than explaining every little detail. Sometimes the most effective thing a game can do is give you a familiar place, then make you question everything you see.

Download the Anomalith demo on Steam.

5. Blighten: PS1-inspired survival horror shooter

Another PS1-inspired 3D world, Blighten embraces the way those technical limitations often forced developers to think carefully about what the player could see, and what they couldn't and explores how to redo that for modern gamers.

If you like your horror games with a bit of old-school grit and the kind of item juggling found in the Resident Evil games, Blighten is worth a look. It's a retro-styled survival horror shooter, with the sort of throwback presentation that will appeal to anyone who misses the rougher edges of the genre's PS1-era heyday.

Retro inspired graphics can give a game an immediacy that gets lost when everything is rendered in perfect detail, and there's a certain charm to seeing developers embrace that design idea. A rough texture, a blocky character model or an awkwardly lit room can become part of the experience and a way to build an uneasy atmosphere, one designed around nostalgia as much as horror imagery.

I'm always interested in games that understand this, particularly when the visual style has a purpose beyond making screenshots look nostalgic. Blighten is worth investigating if you're after another upcoming horror game that takes its cues from an earlier generation.

Download the Blighten demo on Steam.

6. Hyperarousal: psychological horror in Italy’s Camonica Valley

Hyperarousal has a nasty trick up its sleeve. This upcoming psychological horror adventure lets you stab tattoos on your own arm to reveal things hidden from ordinary sight, which seems a risky move when you're already dealing with ancestral nightmares (and if, like me, you hate needles and sharp, pointy things).

Set in Italy's Camonica Valley, a real place famous for its prehistoric rock art, the game follows Garlo as he returns to his family home looking for peace and quiet. That doesn't last long, as he becomes caught up in his ancestors' memories, travelling between the present day and different periods in the valley's history.

Hypervision, that bit where you stab yourself to see clues, is the game's strangest idea. By stabbing three ritual tattoos, Garlo can reveal hidden messages, sounds and routes through the world, but using them makes it harder to tell reality from memory and hallucination.

The real-life Camonica Valley has an estimated 8,000 years of human history etched into its rocks, making this Alps location an unusual, inspired setting for a horror game, giving Hyperarousal something more tangible to draw on than the usual abandoned hospital or haunted mansion.

Download the Hyperarousal demo on Steam.

There’s a Nothing Headphone (1) Pro and a Bambu Lab A2L printer up for grabs for each category winner, but how do you make a design stand out from the crowd? Bambu Lab has shared five tips for getting your entry right, from coming up with an original idea to making sure other people can actually print and use it.

It's a good brand tie-up too, especially since I discovered in my CMF Speaker S review that Nothing is embracing 3D printing to enable device customisation. Bambu Lab has become a leading brand that makes 3D printing easier and builds some of the best 3D printers. Read Bambu's tips below, gather ideas, and enter this year's Let's Make It challenge.

Download am STL file of the Nothing Headphone (1) for reference.

Bambu Lab printers to buy:

It's not a new phenomenon by any means, as games like Fallout have similarly revived classics like The Ink Spots' "I Don't Want to Set the World on Fire". It goes to show how the best video games have the power to influence pop culture way beyond the confines of the screen.

Released in 1976, Devil Woman is considered one of Cliff's 'edgier' tunes, which is why the sudden virality of the song amuses me. I suspect many new fans will be surprised to discover his wider discography, featuring the Eurovision hit "Congratulations" and the festive ballad "Mistletoe and Wine".

Devil Woman's sudden surge in popularity highlights the wider ways we discover new music. Whether it's a viral TikTok sound or a gaming score, these hits get new context, and suddenly a song once confined to the discomfort of an awkward family gathering becomes a mysterious (dare I say sexy?) soundtrack.

GTA VI is already permeating the cultural zeitgeist, taking over social media with viral memes – hey, we got a Cliff Richard revival before GTA VI... The excited response to its latest ad takeover in Miami proves that the game is the most hyped release we've seen in decades, and with graphics that good, it shouldn't come as a surprise.

A lot of people new to Laika have expressed surprise at how incredibly clean the animation looks for stop motion. If you're wondering what all the fuss is about, I highly recommend watching the behind-the-scenes video below. It provides an insight into just how big an accomplishment it was to make the movie by hand.

If you're inspired, see our guides to the best laptops for animation and the best animation software.

Wildwood is an adaptation of the 2011 children's fantasy novel written by Colin Meloy of The Decemberists and illustrated by Carson Ellis. The first book in The Wildwood Chronicles trilogy follows two seventh-graders, Prue and Curtis, as they enter the magical Impassable Wilderness in Portland, Oregon, to rescue their kidnapped baby brother.

True to Laika's signature animation style, the film combines traditional stop‑motion with CGI enhancements (check out how Laika animates water). That creates a smooth, polished aesthetic while Laika's process of animating on ones creates very fluid motion.

Certain scenes have sparked debates on social media with some people believing that digital 3D models must have been used. Take the cages in the clip in the post below. The way they move while the characters also move has some people refusing to believe that they were physical models.

But here's the evidence.

3D printing is a key part of Laika's workflow, and this is what allows the studio to create such precise and detailed models. They used 142,000 3D-printed faces with voxel printing for subsurface scattering. Every distinct facial expression, emotion, and mouth shape is individually 3D-printed, and tiny magnets are rigged between the puppet's solid body and face plates that are swapped frame by frame while also manually moving elements like the eyeballs and eyelids.

The puppets have a rig called a jetpack attached to their back with knobs and turnbuckles for making minute tilt and rotation movements quickly. Some puppets have inflatables called breathers inside them, which could be adjusted with a key to make the puppets look like they're breathing.

To learn more about the making of the movie, check out the Art of Wildwood art book published by Rizzoli Universe.

The original Tomb Raider was released for the Sega Saturn in Europe and Japan on 25 October, 1996. The North American release came a month later alongside the version for the original PlayStation. To commemorate the birth of an icon, Crystal Dynamics has released a series of Tomb Raider 30 wallpapers showing the evolution of Lara Croft over the ages.

The main Tomb Raider anniversary artwork fits eight incarnations of the intrepid archaeologist Lara Croft, from her original dual-pistol-wielding low-poly appearance to the more grounded and vulnerable Lara of Survivor and the new Lara Croft from Legacy of Atlantis, which is being developed with Flying Wild Hog, and Tomb Raider: Catalyst, which is coming further ahead in 2028.

Some fans will be disappointed by the apparent snub of Underworld Lara, but the pieces artwork captures well how Lara has evolved over the years, and how she's remained unmistakably Lara despite the changes to her appearance and character as technology has permitted developers to hone their vision.

The 1996 Lara design continues to provide the basis for the character today despite the ability to make her look more realistic. PlayStation 2-era Legend, Anniversary, and Underworld introduced smoother geometry and more expressive animation, while the Survivor trilogy pushed the detail and realism, with each leap adding more polygons, texture, as well as nuance to Lara's character.

Crystal Dynamics has also released a new illustration commissioned from artist Inna Vjuzhanina as part of the Tomb Raider anniversary celebrations. Available in multiple formats. The piece brings together Toby Gard and Core Design's Lara Croft from the 1996 debut, originally made of just a few hundred polygons, alongside the character design from the upcoming games developed in Unreal Engine 5.

She's not THIS old, but there's some cool Lara Croft pixel art too..

One of the aspects of Lara's appearance that's evolved most dramatically is her hair. In the first two games, it was made from big polygons, not we have precise strands made from overlapping semi-transparent texture that mimic real clumps of hair. Her skin too. Subsurface scattering makes skin look more real, in changing light while blend shapes can form thousands of natural-looking facial expressions.

3D printing a real model of Lara's body allowed developers to get real-world clothes tailor made, which could then be scanned to bring into the games.

You can download the anniversary artwork and wallpapers from Crystal Dynamics via Flickr.

Tomb Raider: Legacy of Atlantis will be released on 12 February, 2027. Pre-orders are live now on the PlayStation Store and via Steam and Xbox.

Also check out the Tomb Raider gear store for anniversary merchandise, from glasses to swimwear.

Inspired? See our guide to the best laptops for game development.

It's frustrating, because although you should never pay attention to the comments on the internet (like, ever), the idea someone thinks you "cheated" is actually more upsetting than if they simply didn't like it.

The only silver lining is that at least you can reassure yourself it happens to everyone. Even, it seems, to some of the world's biggest pop stars.

Last Friday, Olivia Rodrigo released the video for her remix of ‘Expectations’ featuring Chappell Roan, in which the two singers send up retro TV game shows, with Talking Heads frontman David Byrne playing the host. Around the three-minute mark, there's a very brief animated sequence featuring cartoon versions of the two young women.

The internet got to work examining the footage, as the internet tends to do, and concluded that generative AI must have been involved. There was plenty of "evidence" in the eyes of these keyboard Miss Marples.

In the normal run of things, you'd have then expected a series of formal denials from the musicians and their representatives. All of which would have merely fuelled the rage and conspiracy theories, and the whole thing might have rumbled on for months.

Show your workings

Instead, something different happened: the work was simply shown. Rodrigo’s official fan account, LiviesHQ, shared a behind-the-scenes clip with the caption: “BTS of the hand-drawn characters, 2D & 3D animation, and analog TV screens used to create the retro graphics of the ‘Expectations’ music video.”

This is not a lengthy, step-by-step documentary, more of a quick sizzle reel. But nonetheless, you can clearly see rough character sketches, 3D animation in progress and how an analogue approach provided the lo-fi feel.

According to Rolling Stone magazine, graphic designer Jack Harrison led the analogue treatment. The art team created the animations in 2D and 3D software, loaded the files onto a Windows Vista PC (ask your dad), then filmed the screen with a high-res camera. In other words, they put a lot of work into making the sequence look clunky and old-fashioned.

This fits neatly with what Olivia told The Hollywood Reporter earlier this month. “I would never use AI in any of my music,” she said. “Absolutely no. Hard line on that. The closest I’d ever got is that once, me and [producer] Dan [Nigro] were like, ‘God, I wonder what ideas ChatGPT would have for an Olivia Rodrigo title,’ and they’re all f**king awful.”

What the backlash to the 'Expectations' video proved, though, is that it doesn't matter how many times you deny using AI, some people won't believe you.

Keep the receipts

So here's my key takeaway. Whether you're a team working for a global superstar or a freelance designer in your bedroom, the most important thing is to record your process.

Keep all your sketches and working files for a project, even the stuff that didn't work and that you later discarded. Make screen recordings of work you do on your computer, and take photos of anything physical you make. Then if anyone kicks off online, just provide the evidence.

Olivia didn’t get drawn into a slanging match. She just shared a short clip that let the work speak for itself, and moved on. It’s a sad state of affairs when creatives have to prove they’re human. But if we have to do it, at least we can do it in style.

George Lucas, the filmmaker behind Star Wars and the recent opener of the Lucas Museum of Narrative Art, offers a useful way to look at this: it’s less about chasing success than about learning to live with the possibility of getting it wrong.

“Failure is another word for experience” is how Lucas put it in a 2013 interview with the US National Endowment for the Arts. He went further, explaining that creating something new means doing things with a high potential for failure, particularly when nobody has done them before. You try something, it doesn’t work, and you use what you’ve learned to try again.

The Star Wars creator says failure can teach you important lessons

It sounds obvious, but it’s surprisingly easy to forget when you’re making art, designing something or trying to find your own style. We see the finished work, the polished portfolio, the film that made it to the screen, but not the weeks, months or years of experiments and failed ideas that got there. LAIKA’s Wildwood production designer, Nelson Lowry, knows that, as he explained in our piece on why making mistakes is part of the creative process.

Lucas also made an important distinction between experimenting for yourself and working for someone else. In the same interview, he talked about making small films he could afford to fail at, without worrying about the financial consequences. When others invest money in your work, he said, it becomes harder to be truly creative if you know you have to please someone.

That pressure will sound familiar to anyone making work for clients, social media or an audience with expectations. It’s tempting to stick with what you know will work, especially on a deadline or when you're trying to satisfy a brief. But if every experiment has to succeed, how do you ever find out what you’re capable of? Stage designer and artist Es Devlin has a similar approach, deliberately pushing into unfamiliar territory because, as she explains in her thoughts on making work without knowing the rules, that’s often where the interesting ideas begin.

George Lucas identifies why wrong ideas can be right

Lucas’s advice isn’t that failure feels good, or that every bad idea is secretly brilliant. It’s that getting something wrong gives you information you didn’t have before. And if you’re stuck trying to make every detail perfect, Salvador Dalí’s rather useful reminder about the impossibility of perfection makes a good companion read.

So the next time a drawing, design or creative project goes sideways, don't bin the whole thing just yet. Have a look at what went wrong. There might be something useful in there.

Explore the Lucas Museum art book

Ever since my son became a soccer fan and started playing video games, there’s been an annual fall ritual that he and his friends celebrate. Whenever the new “FIFA” comes out – it’s been called EA FC since 2023 – they lock themselves away for an entire weekend and game, for 48 hours nonstop.

This year, the whole thing turned into a real extravaganza – something was different, better, faster, more thrilling: it was the new EAFC27. Indeed it’s more than just a game. And it comes with a brand design that breaks boundaries. Karun Agimal — Creative Director at DixonBaxi, the agency behind the new look – puts it this way: EAFC is a brand that isn’t simply played. It’s lived.

The London- and LA-based studio DixonBaxi have become famous as the masterminds behind the brand identities of Formula 1 (F1), Roblox and, more recently, Everton FC (among other great projects). In their brand design for EAFC27, they have now combined their precise understanding of gaming and sports culture in a single project (conmpare it here to the other great rebrands of the decade so far).

But first things first

Until 2023, the world-famous soccer game with 1 billion (!) active users was still called FIFA. When EA Sports’ partnership with the FIFA organization ended after 30 years, a comprehensive rebranding and renaming to EAFC took place, supported by London‘s Uncommon Creative Studios. The triangular logo used since then is reminiscent of the floating cursor that has appeared above the controlled players in gameplay for decades.

Building on this strong branding concept, DixonBaxi has now created a holistic and customisable brand universe that leaves traditional TV sports conventions far behind – a look straight outta TikTok & Twitch. As part of the redesign, the triangle was transformed into a free-form shape capable of taking on a wide variety of context-specific visual interpretations. The new visual identity combines an iconic symbol with a graphic treatment that creates an immersive experience and becomes part of users’ cultural interpretation. And that interpretation is as diverse as the world EAFC plays in.

From campaign to culture

Agimal points out: »FC couldn’t just belong to the players already inside it. We needed an identity that reflected the different playstyles, ages and backgrounds that make up the game today. One that could lead the conversation around the most loved sport on the planet. The world’s game. We built a brand system that could move from campaign to culture. Not a fixed identity, but a system designed to move. Giving us the licence to pull harder on culture, respond to it and become part of it.

A brand people can make their own

The new EAFC identity is a prime example of how branding should be conceived and implemented in 2026 — because it answers one of the most important questions brand managers must ask themselves today: How can I enable my users to make my brand their own and view their very own personal version of my brand as part of their culture? As far as the gaming and sports communities are concerned, this has truly been achieved. My son approves.

Inspired by traditional Asian apothecaries and their tools, I wanted to create something with a striking contrast between the dark, monochromatic setting of an old, serious apothecary and the vibrant team within it.

To strengthen the storytelling, I enjoy adding comedic moments, like this nervous child being held back by the monkey during a doctor’s visit (if you need to build your own art setup, see our guides to the best drawing tablets or the best laptops for drawing).

This article originally appeared in ImagineFX. Subscribe to ImagineFX to never miss an issue. Print and digital subscriptions are available.

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With dedicated Nvidia graphics cards, both of these laptops cater to creators as much as gamers. The 5a has you covered for photo editing, 2D design work and content creation, while the Legion Pro i7 has the internals for heavier video editing and 3D rendering workflows as well as AAA gaming with RTX 5080 graphics and 32GB RAM.

There are another couple of deals I'd recommend considering if you don't need quite as much power or if you're looking for a lighter device for travel. See below for the details. For more options, see our guides to the best laptops for video editing based on our own reviews. For cheaper laptops, see our guide to the best budget laptops for graphic design students.

Today's best laptop deals for creatives

It’s one half of a free update for Dispatch Deluxe Edition owners, out now on PC (Steam), PS5, Nintendo Switch/Switch 2, and Xbox Series X/S, and the other half is Commentary Mode, with more than 16 hours of cast and crew talking you through the episodes.

What’s in the Dispatch anniversary update?

The commentaries include two tracks, one for the cast and one for the crew, with different choices unlocking different commentary, and you can switch it on over the top of Storyboard Mode.

So you can sit and watch a scene in its scrappiest form while somebody who worked on it explains why it ended up looking the way it did. Aaron Paul (Breaking Bad, BoJack Horseman), Laura Bailey (The Last of Us Part II, Critical Role) and Erin Yvette (Hades II, The Wolf Among Us) are among the cast voices, and they’re talking about bringing the characters to life, which is a nice thing to hear while you’re looking at the version of those characters that hadn’t been animated yet.

What Storyboard Mode shows about how Dispatch was made

I’d be wary of expecting a full production breakdown, because the idea is the animatics themselves and playing them. But for anyone who draws, animates, or storyboards for a living, seeing where a gag gets its timing or a reaction shot gets an extra beat before anyone’s spent a fortune finishing it is a more dynamic way to see a game's scaffolding than doomscrolling ArtStation. We previously went behind the scenes of Dispatch, exploring how AdHoc used Unreal Engine, previsualisation and cinematic tools to bring its superhero workplace comedy to life.

Nick Herman, Co-Creative Director on Dispatch and COO of AdHoc Studio, put it this way: "Dispatch was only possible because of folks who believed in it enough to show up and do their best work. In our industry, it's often really hard to showcase those people and how the development process actually works, but fortunately our game is very weird and specific and affords us some unique opportunities."

Dispatch Deluxe Edition price and who gets the update

Standard Edition owners aren’t left out and can access these neat extras, though the Deluxe upgrade costs $10.99 and includes a digital art book and four digital comics. I think that's good value. Herman says the idea was to give people more ways into a game that’s become part of their lives, "whether that’s playing alongside the cast and crew, experiencing the entire game in its original storyboards, or hanging out together IRL at the wildest version of a Dispatch concert our finance team would sign off on".

The rest of the celebration releases are for people who’d like something to take home. Those four digital comics are now getting a physical release as a complete set, with covers that join up into one big battle scene, and the first 1,000 orders on the AdHoc store get a numbered collector’s card. T-shirts and hoodies feature artwork by art director Derek Stratton, originally made for the three-record soundtrack vinyl set exclusive to Lost In Cult, and they also include 100 signed Stratton album-art posters.

Lost In Cult is also behind Dispatch: Design Works, a hardcover making-of book and collectable box with interviews from the cast and developers, though there’s no date yet, only an alert sign-up on the Lost In Cult site. For another look at the thought that goes into building a game's visual identity, read how the team behind Dustborn created its comic-book-inspired art style, turning a deliberately stylised look into part of the storytelling.

Dispatch mobile release date and price

If you haven't played Dispatch, there’s a new phone version releasing on iOS and Android on 9 December, rebuilt for touch and vertical play, with PC support via Google Play Games. The first four episodes are free, and the full game is $19.99, with Google Play pre-registration and App Store pre-orders coming soon. If you're still looking for something new to play, our pick of the best hidden-gem indie games of 2025 also features Dispatch, alongside other games worth seeking out.

And the music is going live too: on Thursday, 3 December, AdHoc and Banter Events are putting on a one-night soundtrack show at AVALON Hollywood in Los Angeles, featuring composer Andrew Arcadi and the SDN Company Band, joined by THOT SQUAD, Bershy, Primer, Caroline Kingsbury, and Fartbarf. Tickets go to AdHoc email subscribers first, and Herman describes it as “the wildest version of a Dispatch concert our finance team would sign off on”, which tells you most of what you need to know about the tone.

Fred Again and NEST Acoustics created a short musical composition, which was played through an underwater transducer, resulting in physical vibrations and ripples. These were in turn used to animate a delightful new identity that looks like the ultimate expression of Apple's Liquid Glass aesthetic.

The months-long project involved building a custom rig and software to control the transducer which played Fred Again's mnemonic sound (which also serves as a new sonic logo for Apple Music).

Apple's video case study (above) is a treat, revealing just how hand-made the identity really was. The company set out to create "music, made visible", and the liquid-based process was clearly as mesmerising as it was intricate. The result is a visual identity that feels both playful and visceral, much like the bold new Apple Music wordmark we first encountered earlier this month.

The only question is how the overall identity will translate to the most important part of Apple Music: the app itself. Sure, the liquified animation will look fantastic in music videos and ads, and the mnemonic will sound great in the same context. But from what we've seen of the actual new Apple Music icon, very little of that creative expression has made its way to the nuts and bolts of the daily Apple Music experience.

Indeed, the new black-and-white Apple Music icon, first glimpsed in iOS 27.2, has been described as 'boring' and even 'miserable' – and now that we've seen how gorgeous Apple Music can look as a brand, users are wondering where that magic is in the app. "This is a genuinely exciting rebrand that has translated HORRIBLY to the elements most of us interact with - the Home Screen icon, the navigation bar and other in-app elements," one Redditor comments, while another adds, "So they have all these gorgeous colours for changing an Icon to black and white?"

As for the app itself, Apple seems to have simply stripped out the previous red accents, with text accents now blue, and the 'Favourite' star now yellow.

We can but hope that the dull black-and-white logo is a placeholder, and a splashier design for the app and icon are on the way. But for now, we're looking at a beautiful brand with a not-so-beautiful app.

Demonstrating that sometimes pipeline accidents can inspire useful devices (see our guides to the best laptop for animation and the best rendering software), the funny in-joke looks completely in place in the magical world of Hexe.

As posted on X by Disney Animation rendering engineer Yining Karl Li, Hexed shows what looks like a bugged render where the pipeline failed to export teenage witch Billie Doe's skin, or a visibility flag was broken. Normally, that would be consigned to the bloopers folder, but in Hexed magic world, this now became an intentional animation technique that works.

"At every studio I've worked at, there's always a folder somewhere that everyone saves bad renders and animation/sim goofs in, and boy howdy you should see some of the stuff in there. It'll never see the light of day, but every one of those folders is a comedy goldmine," Yining adds.

Hexed will be released on 25 November. The movie's art book is coming out on 28 December.

"There's this mechanic in Bloodborne where you can knock on a door and an NPC will tell you some lore, or you can listen at a window and get a bit more of the backstory that way," writer-director Alicia Contestabile tells me. "That sparked this idea for a game that would be about eavesdropping, knocking on doors, and talking to people in this mysterious village. And I thought, why wouldn't they come outside to talk to you? Oh, you must be the monster!"

How Bloodborne inspired Hunter’s Moon

While she admits to struggling but being engrossed by FromSoftware's hardcore game, and wanted to make a "smaller tourist version" that would be accessible but still atmospheric, the core inspiration of Hunter's Moon actually came from a book by author and modern-day practising witch Pam Grossman called Waking the Witch, which delves into the history and culture of witches.

"I happened to be reading it, and I had that lightning bolt moment: 'Oh, the monster is a witch, and there's a witch hunt happening,'" she adds. This led to further research of the witch hunts that took place in the early modern period, including the East Anglian Witch Trials led by self-styled 'Witchfinder General' Matthew Hopkins, whose methods would also be used in the infamous Salem witch trials.

The real witch hunts behind the game

In creating a first-person historical narrative game where "the horror are the people", the team consciously subverted the stereotypical representation of witches in media, where they are treated as magical figures or, in video games, as a supernatural power fantasy like Bayonetta or 1666: Amsterdam.

"I wanted to treat this history in a way that was true to what happened," Contestabile explains. "The hunters are just men. And the truth is that the people who put others on trial and sent them to their deaths were just people. They just deeply, deeply believed that witchcraft was real."

Building a 17th-century Yorkshire village

That focus on realism includes creating an authentic 17th-century Yorkshire village, with its own hamlets, surrounded by forests and moors. With 48 voice actors playing around 100 roles, it comes close to simulating the size of a small village from that time, and the team used Behaviour Designer, a Unity tool for designing sophisticated NPC AI behaviour. Yet it's also deliberately juxtaxposed by giving Hunter's Moon a stylised art direction that's part immersive theatre and part stop-motion puppet animation.

Set on the night of the Hunter's Moon, the witch hunt has a festival atmosphere, with villagers dressed like mummers and wearing masks. Given the game's first-person perspective, this art choice naturally suited the team's limitations, as the team never exceeded 10 people at any stage of production.

Why Hunter’s Moon uses stop-motion-style puppets

"I've always really been drawn towards stop-motion animation for a really long time, such as the films of Laika; they're really beautiful and go against this race to have the most realistic graphics and highest FPS," Contestabile explains. It can also be a great way to go with a more lo-fi approach, as she recalls her previous role as producer on The Stanley Parable Ultra Deluxe, where the team used 3D figures with 2D faces.

She adds: "I thought we can do this in a way that is still evocative and still feels good to play. We don't need to complicate matters by adding facial animation if you know it's a dark night, the hunters are in shadow, the mummers have masks on, and the villagers are obscured by the windows. This allowed us to focus on a more rudimentary style of animation."

Funding new IP in a risk-averse industry

Having pitched Hunter's Moon back in 2020, at the height of COVID, she's grateful PlayStation took a chance on the project with a new studio, though she also laments the current landscape, when funding is becoming much harder to come by. "There's a real lack of risk-taking lately with the kinds of projects that are being financed," she says. "It seems that everything is based on already-existing IPs, and as a creative person, I really love to see new IPs."

With that in mind, Contestabile's long-term plan includes possibly adapting Hunter's Moon for other media, much like how PlayStation is also leveraging its back catalogue of franchises. Given her background in film, including writing the original story as a screenplay, a film or series seems like a logical next step. That said, she has more immediate plans once the game launches: "I've been saying to everyone that I'm going to lie down and take a really long nap when the game is out. I need a big holiday."

Hunter's Moon releases on PS5 at midnight UTC on 26 October.

I would often go back and forth with parts of the piece by using the exclusion layer over it. This allowed me to attempt something a little different every time. The exclusion layer is also great for atmosphere, resetting your values and unifying your colour a little bit if you feel you went too far on your contrast range too early (if you need to build your own art setup, see our guides to the best drawing tablets or the best laptops for drawing).

This article originally appeared in ImagineFX. Subscribe to ImagineFX to never miss an issue. Print and digital subscriptions are available.

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Other games franchises have the most legitimate claim to being part of the moment. The new trailer for Shrek 2 Remastered shows the right way to do it with its fun parody opening. Other brands have managed to forge a visual connection with the game of the decade through subtle, knowing winks. But some attempts to ape the GTA art style feel like the kind of lazy trendjacking that's more likely to attract ridicule than admiration.

There are bound to be many more when the 17 November comes around. That makes it worth remembering that an AI-generated vaporwave graphic isn't a guaranteed ticket to brand cool.

GTA didn't invent the Art Deco-inspired neon-noir Miami Vice aesthetic, and it doesn't have a monopoly over tropical gradients. But if you show your brand or product in saturated neon pinks and oranges right now, it's clear what you want to be associated with.

Like Barbie or Squid Game, GTA 6 has become a cultural reference point far beyond its original medium. The trailers have reached audiences on a scale associated with major film, music and entertainment launches. Tapping into that could allow non-endemic brands to be part of the moment, if it feels genuine.

Rockstar has very limited real-world collaborations, including with Miami Heat for merchandise and Oakley for the GTA 6 Collector's Edition. But brands as varied as Hyundai, JBL and Axe have sought to capitalise on the hype by mimicking Grand Theft Auto VI’s art style.

"How do you do, fellow gamers?"

It's a natural fit for cars and bikes, although we have the situation where real-world vehicles now wish they were in-game vehicles. Mobile phone networks and deodorant? Erm...

A lot of 'GTA-style' branding appearing on social media drifts close to lazy imitation, like last year's AI Ghibli trend. Everyone is doing it, so we had better do it too. But if every brand posts purple-orange gradients, palm trees and GTA-style character portraits, the aesthetic becomes exhausted within weeks, and it won't win any brand equity if it doesn't feel authentic.

Audiences are good at spotting opportunism. When brands with no previous connection to gaming culture suddenly appear to be claiming to be part of the GTA VI phenomenon, people call them out. Unlike Rockstar's art, a lot the trendjacking relies heavily on AI-generated imagery, risking even stronger opprobrium.

In the posts above, someone calls Burger King a "parasite". Axe's juxtaposition of 'Vice' and 'City' is causing confusion about whether it's an official collaboration. "Who invited him?" and "Bro, you're not in GTA 6", are regular comments recurring on many of the posts.

There's also the fact that GTA is an adult-oriented game that involves violent crime. The public can generally understand that a brand inspired by Vice City colours isn't endorsing criminal behaviour, but it's not always a comfortable association.

For years, many mainstream advertisers treated games differently from film and television. A violent HBO drama could be prestige entertainment, while a mature-rated game could be considered risky.

"If this were any other game or situation, you would be 'we don’t associate our brand with violence', but because you know this is the biggest $$$$$$ maker you are buying in," someone tells Hyundai.

"Crazy how before GTA 6, car companies hated the idea of their cars being represented in a violent game. Now with how huge GTA 6 [is], car companies wish their cars were in GTA. Lets be real the only thing that changes the tone is money," someone lectures BMW.

With the journey to Leonida fast approaching, the strongest brand connections won't imitate GTA art in a flood of forgettable neon-pink posts but seek to reinterpret the underlying themes of escapism, freedom, excess and glamorous Americana. Brands should aim to say "We understand the moment" not "Look everyone, we just discovered gaming."

Season one is hosted by chef and entrepreneur José Andrés, who has a genuine passion for filmmaking and animation. He has voiced characters in Disney’s Firebuds and Netflix’s Green Eggs & Ham, and has collaborated with Marvel and DC on comics. The series goes behind the scenes with designers, makers, artists, filmmakers, and innovators to show the creativity, determination, and technology behind their work, and it presents Autodesk as a technology partner that enables it.

Episode one, The Making of The Cat in the Hat, features Carloni and fellow writer-director Erica Rivinoja, animator Marek Kochout, central supervisor Jessica Killiam, VFX supervisor Matt Waters and production designer Aidan Sugano.

How was The Cat in the Hat made in just two years?

Warner Bros. Pictures Animation completed its first full-length feature in two years, an accelerated timeline for an animated production of this scale. Teams worked across Los Angeles, multiple cities in India, Montreal and London.

The filmmakers developed stylistically distinct environments: the real world, the whimsical world of Dr. Seuss and three further worlds tied to the film’s characters. The story also expands on the book, exploring what happens after it ends and where the Cat goes after leaving the house.

Rivinoja says: “The exciting thing about animation is that it can do so much more than other types of filmmaking.”

Autodesk Maya, long an industry-standard tool for 3D animation, served as the film's creative hub, used for everything from modelling environments to animating expressive character performances. Autodesk says its flexibility gave artists room to explore different visual styles and push creative boundaries.

For Kochout, Maya is the way into the characters. “It’s essential,” he says. “I have no other way of touching these characters other than through Maya. It’s my porthole into the marionette. This is my tool.”

How Flow Production Tracking kept teams on track

Autodesk Flow Production Tracking managed the entire production. “We use Flow Production Tracking to track the entire movie, so you can find a variety of different things in here,” says Killiam. “We have our assets, all of the characters, the environments, the props.”

RV in Flow Production Tracking let teams review assets across cities and iterate on multiple versions. PIX, now part of Autodesk Flow Capture, helped teams share clips across departments and with external reviewers, supporting collaboration throughout production.

The Cat in the Hat cast, plot and release date

Bill Hader stars as the Cat, alongside Matt Berry, Quinta Brunson, Xochitl Gomez, Giancarlo Esposito, and America Ferrera. Directed by Rivinoja and Carloni, it follows the Cat on his toughest assignment yet for the I.I.I.I. (Institute for the Institution of Imagination and Inspiration, LLC): cheering up siblings Gabby and Sebastian, who are struggling after a move to a new town. Creative Bloq has previously looked at the vibrant animation style in the film’s trailer.

The film arrives in cinemas and IMAX across North America on 6 November 2026, and internationally from 4 November. Episode one of Made to Make is now available on YouTube with more behind the scenes documentaries planned in the series.

But by putting one of my favourite retro games, Pac-Man, on one of its autonomous snow-clearing machines, Yarbo has made me want one. I can't really explain why, other than that watching a giant yellow arcade character trundle around the driveway eating snow is more appealing than watching a normal snow blower do its thing, or plodding around myself with a shovel.

What is the Yarbo x Pac-Man snow blower?

The Yarbo x Pac-Man machine is a limited-edition version of the company's Y40 Core and Snow Blower Gen 2, bringing the familiar arcade look to a machine that can navigate a designated area and clear snow without you having to stand outside in the cold. It uses tracked movement, RTK-GPS positioning, and intelligent path planning, plus a two-stage snow-throwing system designed to tackle everything from light cover to deep, wet snow. It can also recharge and pick up where it left off, something I can't say for myself after five minutes with a shovel.

Serious machinery sits beneath the nostalgia, but the Pac-Man bit makes me stop and look. Yarbo could have sold this as another expensive bit of outdoor tech, with all the usual talk of automation and saving time, but instead it's given the thing a character most of us recognise from an arcade cabinet, an old console or that period when games were something you played in the pub while waiting for your food. It's the sort of instantly recognisable design that makes Pac-Man one of gaming's most memorable logos.

Yarbo x Pac-Man price and availability

The full system costs $6,399 and is available through Yarbo's website and Amazon. It's not coming to the UK, at least for now. Buy an eligible system between 22 October and 2 November, and you'll also get a plough blade thrown in, a rather practical extra for a machine dressed up as a video game character.

Pac-Man celebrated its 45th anniversary last year, and here in the UK we could run around a real maze in a very British bit of in-real-life lunacy. The character has spent decades escaping the maze and has turned up in just about everything, from unexpected design Easter eggs to the odd Pac-Man Google Doodle that can swallow an entire morning. A robotic snow blower is still a fairly unexpected destination, though, and I'm curious how many people will look at this and start imagining one in their own garden.

Why Pac-Man branding works

That's the funny thing about nostalgia branding. Brands are increasingly using nostalgia to hook us, and I can see why it works here. I don't need this machine, I don't have the weather for it, and I can't imagine ever making a sensible argument for spending that much money on one.

But make it look like Pac-Man, and suddenly I'm picturing it scooting around the driveway, chomping through snow while I watch from the warmth indoors. Now give me a Kirby robot that hoovers up cut grass, and let's really see where this tech game's branding can go.

Take a look at limited edition Yarbo x Pac-Man.