Each day leading up through the 16th (the official day Half-Life 2 was launched), Ars Technica will be publishing a new article looking back at the game and its impact. Here's an excerpt from an article published today by Ars Technica's Kyle Orland: When millions of eager gamers first installed Half-Life 2 20 years ago, many, if not most, of them found they needed to install another piece of software alongside it. Few at the time could imagine that piece of companion software -- with the pithy name Steam -- would eventually become the key distribution point and social networking center for the entire PC gaming ecosystem, making the idea of physical PC games an anachronism in the process.

While Half-Life 2 wasn't the first Valve game released on Steam, it was the first high-profile title to require the platform, even for players installing the game from physical retail discs. That requirement gave Valve access to millions of gamers with new Steam accounts and helped the company bypass traditional retail publishers of the day by directly marketing and selling its games (and, eventually, games from other developers). But 2004-era Steam also faced a vociferous backlash from players who saw the software as a piece of nuisance DRM (digital rights management) that did little to justify its existence at the time. In honor of the anniversary, Orbifold Studios released a new Half-Life 2 RTX trailer. "[T]his is a remastering project that leverages the technologies of NVIDIA's RTX Remix and has the blessing of the original developer, Valve," reports Wccftech. "Orbifold Studios, a team of experienced modders, was founded specifically to bring this project to fruition." It's unclear when exactly this project will be finished.

Nvidia is also giving away a custom Half-Life 2 themed RTX 480 Super Founders Edition.

For decades, work has revolved around documents, spreadsheets, and slide decks. Word, Excel, PowerPoint; Pages, Numbers, Keynote; Docs, Sheets, Slides. Now Google is proposing to add another to that triumvirate: an app called Vids that aims to help companies and consumers make collaborative, shareable video more easily than ever. From a report: Google Vids is very much not an app for making beautiful movies... or even not-that-beautiful movies. It's meant more for the sorts of things people do at work: make a pitch, update the team, explain a complicated concept. The main goal is to make everything as easy as possible, says Kristina Behr, Google's VP of product management for the Workspace collaboration apps. "The ethos that we have is, if you can make a slide, you can make a video in Vids," she says. "No video production is required."

Based on what I've seen of Vids so far, it appears to be roughly what you'd get if you transformed Google Slides into a video app. You collect assets from Drive and elsewhere and assemble them in order -- but unlike the column of slides in the Slides sidebar, you're putting together a left-to-right timeline for a video. Then, you can add voiceover or film yourself and edit it all into a finished video. A lot of those finished videos, I suspect, will look like recorded PowerPoint presentations or Meet calls or those now-ubiquitous training videos where a person talks to you from a small circle in the bottom corner while graphics play on the screen. There will be lots of clip art-heavy product promos, I'm sure. But in theory, you can make almost anything in Vids. ou can either do all this by yourself or prompt Google's Gemini AI to make a first draft of the video for you. Gemini can build a storyboard; it can write a script; it can read your script aloud with text-to-speech; it can create images for you to use in the video. The app has a library of stock video and audio that users can add to their own Vids, too.

An anonymous reader quotes a report from the Washington Post: Burkey Belser, a graphic designer who created the ubiquitous nutrition facts label -- a stark rectangle listing calories, fat, sodium and other content information -- that adorns the packaging of nearly every digestible product in grocery stores, died Sept. 25 at his home in Bethesda, Md. He was 76. The cause was bladder cancer, said his wife Donna Greenfield, with whom he founded the Washington, D.C., design firm Greenfield/Belser.

Mr. Belser's nutrition facts label -- rendered in bold and light Helvetica type -- was celebrated as a triumph of public health and graphic design when it debuted in 1994 following passage of the Nutrition Labeling and Education Act. Although some products had previously included nutritional information, there was no set standard, and the information was of little public health value in helping consumers make better food choices. The new law, drafted as obesity and other diet-related illnesses were surging, required mandatory food labels with nutrients presented in the context of a healthy 2,000-calorie-a-day diet.

Writing in a journal published by the Professional Association for Design, Massimo Vignelli, the renowned Italian designer, called Mr. Belser's creation a "clean testimonial of civilization, a statement of social responsibility, and a masterpiece of graphic design." The Food and Drug Administration chose Mr. Belser to design the nutrition label following his success creating the black and yellow energy guide label for appliances. Once dubbed the "Steve Jobs of information design," Mr. Belser's fondness for exceedingly simple design perfectly suited him for a job that required stripping down nutritional facts to the bare essentials. The report proceeds to tell the tale of how Mr. Belser worked pro bono with his team to labor through three dozen iterations of the label, ultimately settling on "simplicity in itself."

"There's a harmony about it, and the presentation has no extraneous components to it," Belser told The Washington Post. "The words are left and right justified, which gave it a kind of balance. There was no grammatical punctuation like commas or periods or parentheses that would slow the reader down."

He compared the finished product -- which he later adapted to over-the-counter drugs -- to the Apple iPod. "The detail is so important that you wouldn't even notice it and if you didn't notice it's a sign that it succeeded," he said. "I don't know if anybody's heart beats faster when they see nutrition facts, but they sense a pleasure that they get the information they need."

An anonymous reader quotes a report from TechCrunch: Cartridges and discs used to be how you got the latest games, but that's been changing as downloads have become more convenient and reliable. But some people prefer the sure thing: a physical copy, so they can play offline or with a bad connection. To them, Activision says "qq": the Call of Duty: Modern Warfare II disc is basically just a link to a 150-gigabyte download. Now, to be fair, games that size don't fit neatly on even high capacity Blu-ray discs, which for distribution purposes max out at around 50 gigs. Not that we haven't seen multi-disc games before (I never finished Final Fantasy VIII because the final disc was scratched someday, Edea), but clearly Activision decided it wasn't worth the bother in this case. [...] Far from having the full game on it, the disc is almost completely empty. This 72-megabyte app is basically just an authenticator and shell that initiates the enormous download process. I'd be willing to bet that most of those 72 megabytes are 4K video files of logos. There's even a pre-order steelbook bonus (that's a metal case for the disc and anything else it comes with). Players may be disappointed to find that this fancy reinforced packaging protects nothing of value.

Obviously there is great waste entailed in the production of perhaps millions of discs (though the numbers are likely much lower than they used to) for no reason. But waste is endemic in consumerism. The bait and switch of it is the galling thing -- that Activision is taking the worst of both worlds. There's literally no point in even providing a physical version of the software if none of the reasons for doing so are fulfilled by it. It's the equivalent of the next season of Stranger Things coming on a disc that just loads up Netflix and starts streaming. Why bother? It's worth asking whether Activision could have built a version of the game that fit on a disc at all. Considering how proudly they've been advertising the realism of the graphics, probably not. A single 4K texture unit, say for a building front or character model, may be scores of megabytes, and any AAA game will have countless such textures. Meanwhile the audio and video assets also have to fit on there, and they can only be compressed so far before they degrade.

Syd Mead, the artistic director on Blade Runner says Tesla's new Cybertruck "has completely changed the vocabulary of the personal truck market design."

Or, for another perspective, "Tesla's Cybertruck looks weird... like, really weird," wrote Toni Sacconaghi, a senior equity research analyst at the global asset management firm AllianceBernstein. "Add a little bit of dirt, and you could even say it gives off a retro-future vibe a la Mad Max."

That's from a Market Insider article citing Wall Street analysts they say "aren't buying the futuristic design of Tesla's new electric pickup truck." For example, Dan Levy of Credit Suisse, who wrote "amid the radical design for Cybertruck, it's somewhat unclear to us who the core buyer will be." "We do not see this vehicle in its current form being a success," Jeffrey Osborne of Cowen wrote in a note on Friday, adding that he doesn't see the Tesla brand or the Cybertruck design "resonating with existing pickup truck owners...."

Still, the Cybertruck's design wasn't unanimously disliked by Wall Street. The design "will be a hit with the company's fanatic EV installed base globally as Musk & Co. are clearly thinking way out of the box on this model design," Dan Ives of Wedbush wrote in a Friday note....

[And] "While styling will always be subjective, we believe the unique and futuristic design will resonate with consumers, leading to solid demand," Jed Dorsheimer of Canaccord Genuity wrote in a Friday note.
The article also quotes Toni Sacconaghi of Bernstein as saying that the "really futuristic, like cyberpunk Blade Runner" design "is too bad, because its on-paper specs are insane."

But IGN reports there's another group commenting enthusiastically on the Cybertruck's looks: gamers. Unlike anything else we've seen from Musk's line of vehicles before, the Tesla truck resembles something you'd see in an old video game set in the future or sci-fi flick from the late '90s to the early 2000s.

Of course, gamers all over the internet couldn't help themselves from sharing images, making memes, and drawing comparisons to look-alikes we've seen in games, TV shows, and movies... According to the internet, the Tesla Cybertruck either hasn't finished rendering yet or is made of some very dated graphics. Either way, it takes us back to the days where we got to experience the famous low-poly Lara Croft.

AMD CEO Lisa Su today unveiled news about its chips and graphics processors that will increase pressure on competitors Intel and Nvidia, both in terms of pricing and performance. From a report: All new third-generation Ryzen CPUs, the first with 7-nanometer desktop chips, will go on sale on July 7. The showstopper of Su's keynote was the announcement of AMD's 12-core, 24-thread Ryzen 9 3900x chip, the flagship of its third-generation Ryzen family. It will retail starting at $499, half the price of Intel's competing Core i9 9920X chipset, which is priced at $1,189 and up. The 3900x has 4.6 Ghz boost speed and 70 MB of total cache and uses 105 watts of thermal design power (versus the i9 9920x's 165 watts), making it more efficient. AMD says that in a Blender demo against Intel i9-9920x, the 3900x finished about 18 percent more quickly. Starting prices for other chips in the family are $199 for the 6-core, 12-thread 3600; $329 for the 8-core, 16-thread Ryzen 3700x (with 4.4 Ghz boost, 36 MB of total cache and a 65 watt TDP); and $399 for the 8-core, 16-thread Ryzen 3800X (4.5 Ghz, 32MB cache, 105w).

According to "several real-world tests and synthetic benchmarks," the new iPhone XS and XS Max, equipped with the world's first 7-nanometer A12 Bionic processor, are the world's fastest smartphones, reports Tom's Guide. They even significantly outperform Qualcomm's Snapdragon 845 chip. From the report: Geekbench 4 is a benchmark that measures overall performance, and no other phone comes close to Apple's new handsets on this test. The iPhone Xs notched 11,420, and the iPhone Xs Max hit 11,515. The older iPhone X scored 10,357, so that's about an 11 percent improvement. There's a lot more distance between the new iPhones and Android flagships. The fastest Android phone around, the OnePlus 6, scored 9,088 on Geekbench 4 with its 8GB of RAM, while the Galaxy Note 9 reached 8,876.

To test real-world performance, we use the Adobe Premiere Clips app to transcode a 2-minute 4K video to 1080p. The iPhone X was miles ahead last year with a time of just 42 seconds. This time around, the iPhone XS and iPhone XS Max knocked it down further to 39 seconds. The Galaxy S9+ took 2 minutes and 32 seconds to complete the task, and that's the fastest we've seen from an Android phone. The OnePlus 6 finished in 3:45, and the LG G7 ThinQ took 3:16. One good way to measure real-world performance is to see how long it takes for a phone to load demanding apps. Because the phones have the same processor for this round, we just used the iPhone Xs Max and put it up against the iPhone X and the Galaxy Note 9. The iPhone XS Max was faster every time, including a 15-second victory in Fortnite over the Note 9 and 3-second win in Asphalt 9. The phones were closer in Pokemon Go but the iPhone XS Max still came out on top. The new iPhones did lag behind the competition in the 3DMark Slingshot Extreme test, which measures graphics performance by evaluating everything from rendering to volumetric lighting. The iPhone XS Max and iPhone X received scores of 4,244 and 4,339, respectively, while the OnePlus 6 received a score of 5,124.

As for the GFXBench 5 test, the iPhone XS Max achieved 1,604.7 frames on the Aztec Ruins portion of the test, and 1,744.44 frames in the Car Chase test," reports Tom's Guide. "The Note 9 was far behind at 851.7 and 1,103 frames, respectively. However, the Galaxy S9+ edged past the iPhone XS Max on this test."

Isao Takahata, co-founder of the prestigious Japanese animator Studio Ghibli, which stuck to a hand-drawn "manga" look in the face of digital filmmaking, has died. He was 82. From a report: Takahata started Ghibli with Oscar-winning animator Hayao Miyazaki in 1985, hoping to create Japan's Disney. He directed "Grave of the Fireflies," a tragic tale about wartime childhood, and produced some of the studio's films, including Miyazaki's 1984 "Nausicaa of the Valley of the Wind," which tells the horror of environmental disaster through a story about a princess. Takahata died Thursday of lung cancer at a Tokyo hospital, the studio said in a statement Friday.

He was fully aware of how the floating sumie-brush sketches of faint pastel in his works stood as a stylistic challenge to Hollywood's computer-graphics cartoons. In a 2015 interview with The Associated Press, Takahata talked about how Edo-era woodblock-print artists like Hokusai had the understanding of Western-style perspective and the use of light, but they purposely chose to depict reality with lines, and in a flat way, with minimal shading. "Pom Poko", a movie released in 1994, is often considered the best work of Takahata. The New York Times described it as, "a comic allegory about battling packs of tanuki (Japanese raccoon dogs) joining forces to fight human real estate developers. It's earthy and rollicking in a way that his co-founder's films aren't." In an interview with Wired in 2015, when Takahata was asked what he felt about people regarding him as the heart of Studio Ghibli. "Now you've both finished your final films, what are your feelings on Ghibli's legacy and reputation?, the interviewer asked. Takahata said, "I'm not sure I can respond in any meaningful way. What Hayao Miyazaki has built up is the greatest contribution. The existence of that thick trunk has allowed leaves to unfurl and flowers to bloom to become the fruitful tree that is Studio Ghibli."

Further reading: Isao Takahata's stark world of reality (The Japan Times).

Graphics card manufacturer Nvidia made almost $10 billion dollars in the last fiscal year, that's up 41 percent from the previous period. The GPU company broke the news to its investors in a conference call on Thursday, and said that video games such as Star Wars: Battlefront II and Playerunknown's Battlegrounds as well as the unprecedented success of the Nintendo Switch led to the record profits. That and cryptocurrency. From a report: Graphics cards are the preferred engine of today's cryptocurrency miners. It's led to a shortage of the GPUs, a spike in their prices, and record profits for the company that manufactures them. "Strong demand in the cryptocurrency market exceeded our expectations," Nvidia chief financial officer Colette Kress told investors during its earnings call yesterday. "We met some of this demand with a dedicated board in our OEM business and some was met with our gaming GPUs." But Nvidia is having trouble keeping up with the demand and it's recommended retailers put gamers ahead of cryptocurrency miners while supply is limited. Kress acknowledged the shortage on the call and reaffirmed Nvidia's commitment to gamers. "While the overall contribution of cryptocurrency to our business remains hard to quantify, we believe it was a higher percentage of revenue than the prior quarter," she said. "That said, our main focus remains on our core gaming market as cryptocurrency trends will likely remain volatile." When Kress finished her statement and opened up the line to questions, the first question was about cryptocurrency. "Is crypto being modeled more conservatively?" An investor from Evercore asked. "We model crypto approximately flat," said Jensen Huang, Nvidia's chief executive officer.

You asked, he answered!

Raspberry Pi founder and CEO Eben Upton has responded to questions submitted by Slashdot readers. Read on for his answers.

The days of two developers making games in a shed are over, an article on The Guardian says. Spend any time with your grandparents and at some stage the age-old phase "they don't make them like they use to" will pop up as nostalgia gets the better of them. Usually it's just the rose-tinted glasses talking, but for video games it's a fact: they quite literally don't make them like they used to. Back in the 1980s, when the industry was in its infancy, games were often created by two-person teams consisting of one programmer and one artist. In the 1990s, sprites gave way to 3D modelling, and development teams mushroomed in size, hoovering up specialists in disciplines across animation, level design, character modelling and artificial intelligence. Today, creating the most advanced, triple-A games has become too big a task for a single developer leading to the rise of what is best described as a modular approach, where different developers work on different parts of a single game. The article adds: One developer that is pioneering the modern modular approach is no spring chicken. Set up in 1984, Newcastle-based Reflections swiftly established a reputation for bringing cutting-edge graphics to side-scrollers such as Shadow of the Beast and the gloriously named Brian the Lion. It then morphed into a driving-game specialist, thanks primarily to the Destruction Derby and Driver franchises. French publisher Ubisoft acquired the studio in 2006, expanding its remit way beyond its previous practice of churning out a new Driver game every three years or so. Reflections is crafting the vehicle components of the upcoming Watch Dogs 2 and Ghost Recon Wildlands and has just finished the Underground downloadable content (DLC) pack for The Division. It's finishing Grow Up, the sequel to 2015's Grow Home -- ironically, a small, innovative download game made by a 90s-style 10-person team.

samzenpus writes: The Apple product event just finished, read below for the highlights.

Last Thursday you had a chance to ask Linus Torvalds about programming, hardware, and all things Linux. You can read his answers to those questions below. If you'd like to see what he had to say the last time we sat down with him, you can do so here.

MojoKid writes "NVIDIA officially took the wraps off of its Tegra Note mobile platform a few weeks back. If you're unfamiliar with the Tegra Note, it's a 7", Android-based tablet, powered by NVIDIA's Tegra 4 SoC. The Tegra Note 7 also marks NVIDIA's second foray into the consumer electronics market, with an in-house designed product; NVIDIA's SHIELD Android gaming device was the first out of the gate earlier this year. Though Tegra Note 7 on the surface may appear to be just another 7-inch slate, sporting a 1280X720 display, it does have NVIDIA's proprietary passive stylus technology on board, very good sounding speakers and an always on HDR camera. It's also one of the fastest Android tablets on the market currently, in the benchmarks. Unlike in NVIDIA's SHIELD device, the Tegra 4 SoC is passively cooled in Tegra Note 7 and is crammed into a thin and light 7" tablet form factor. As a result, the SoC can't hit peak frequencies quite as high as the SHIELD (1.8GHz vs. 1.9GHz), but that didn't hold the Tegra Note 7 back very much. In a few of the CPU-centric and system level tests, the Tegra Note 7 finished at or near the head of the pack, and in the graphics benchmarks, its 72-core GeForce GPU competed very well, and often allowed the $199 Tegra Note 7 to outpace much more expensive devices."

Phopojijo writes "A monitor redraws itself top to bottom because of how the electron guns in CRT monitors used to operate. VSync was created to align the completed frames, computed by a videocard, to the start of each monitor draw; without it, midway through a monitor's draw process, a break (horizontal tear) would be visible on screen between the two time-slices of animation. Pixels on LCD monitors do not need to wait for above lines of pixels to be drawn, but they do. G-Sync is a technology from NVIDIA to make monitor refresh rates variable. The monitor will time its draws to whenever the GPU is finished rendering. A scene which requires 40ms to draw will have a smooth 'framerate' of 25FPS instead of trying to fit in some fraction of 60 FPS." NVIDIA also announced support for three 4k displays at the same time. That resolution would be 11520×2160.

An anonymous reader sends this excerpt from a post by Xiph.org's Monty Montgomery: "Xiph.Org has been working on Daala, a new video codec for some time now, though Opus work had overshadowed it until just recently. With Opus finalized and much of the mop-up work well in hand, Daala development has taken center stage. I've started work on 'demo' pages for Daala, just like I've done demos of other Xiph development projects. Daala aims to be rather different from other video codecs (and it's the first from-scratch design attempt in a while), so the first few demo pages are going to be mostly concerned with what's new and different in Daala. I've finished the first 'demo' page (about Daala's lapped transforms), so if you're interested in video coding technology, go have a look!"

Nushio writes "Continuing with the Liberated Pixel Cup coverage: The Art Competition recently finished, and the code portion of the Liberated Pixel Cup has begun. There are some pretty awesome tilesets and assets available for game makers to use, and still plenty of time to make Free Software Games." Entries are due by July 31st. Any Slashdot readers planning on giving it a shot?

mikejuk writes "Are we getting closer to really effective volumetric 3D display technology? A new display, designed in Russia, uses cold fog and a laser projector to create a volumetric 3D image that you can touch. A tracking device (no, it's not a Kinect) is used to detect the user's hand and moves the virtual objects in response. There have been cold fog 3D displays before, but this one has a reasonable resolution and looks near to being a finished product that could be on sale soon. Estimated price? Between $4000 and $30,000."

MojoKid writes "The Adler Planetarium has finished a major two-year upgrade project that's replaced the facility's forty year-old Zeiss Mark VI projector with a 'Digital Starball' system designed by Global Immersion Ltd. The new digital system is powered by an array of NVIDIA Quadro GPUs. The specs behind the system are impressive. The 71-foot dome of the Grainger Sky Theater now contains a score of military-grade projectors with an 8kx8k resolution. The final 64 megapixel image is generated by an array of 42 NVIDIA Quadro GPUs and offers an unprecedented degree of real-time modeling horsepower. The planetarium's model of the universe was created in part from high-definition photos captured around the world and via the Hubble telescope."

jkavalier writes "I've been asked to prepare a short course (50 hours) of video game development to Fine Arts students. That means people with little-to-no technical skills, and hopefully, highly creative individuals. By the end of it, I would like to have finished 1-3 very basic minigames. I'm considering Unity 3D, Processing, and even Scratch. How would you approach teaching such a course? What do you think is the best tool/engine/environment for such a task?"