• Get the ZiiGaat Seraphim for $259 at Amazon

Amongst the wave of IEMs to come out in 2026, I don't think I've been more excited about the look of an IEM than with the ZiiGaat Seraphim. And the more I found out about these beauties, the more excited I got about their sound.

Tuned by the consistently excellent Jay Audio, and combining two dynamic and three Knowles balanced armature drivers, the Seraphim promises a flagship-tier listening experience without – at $259 – the accompanying destruction to your wallet.

At this price point, they're not going to make my list of the best budget IEMs under $100, but there's every chance that they make my buying guide to the best IEMs under $500. Read on and see if they sound like the right option for you.

Sound profile

Overall sound: There was online chat about the Seraphim being a mini-Storm, but that's actually a bit of a red herring. I heard the Subtonic Storm at CanJam London, and from memory, it has much less emphasis on bass, noticeably fuller mids, and a significantly more nuanced, airy treble presentation overall. Instead, the Seraphim offers an exciting, contrasty sound with strong bass and a well-balanced treble. The mids are a little lean for me, and won't be for everyone, but if you're looking for sub-bass impact, these are your boyees!

Bass: The Seraphim uses an isobaric dual dynamic driver configuration that is meant to be good at delivering deep frequencies. I have no way of testing whether that's true, but what I can tell you is the sub-bass hits like a truck. In a good way.

Rather than bleeding into the lower midrange, the mid-bass remains tightly controlled, prioritising accuracy over bloated warmth. I really like this, as it provides a sense of bounce and grip texture, where bass guitar lines from Dry Cleaning's MySoul / Half Pint feel satisfying, while electronic kicks and 808s sound authoritative, separated, and just a blast to listen to.

However, this separation of upper bass and lower mids, while eliminating bleed, brings its own issues to the tuning...

Midrange: Again, if marketing materials are to be believed (they're not, they're not!!) the Seraphim's Knowles balanced armatures allow the midrange to lean toward a clean, analytical profile that slightly favours upper registers.

For me, the midrange has pros and cons. Higher register vocals, such as Neil Young on Tell Me Why, are forward and engaging, cutting through the arrangement with transparency. But the lower mids feel a tad lean, stripping some natural body and chest resonance from vocals, especially on the lower tones of Barry White on Can't Get Enough of Your Love.

Despite this minor honkiness on certain vocal tracks, the instrument separation is really good, making every piano plonk and acoustic guitar strum sharply defined. I think the upper mids are so balanced that overall the timbre of the Seraphim is good, and instruments sound 'right', on the whole (though this is definitely where the Seraphim falls down against the CrinEar Reference – see the comparison section below for more on that).

Treble: The treble response is probably the most impressive part of the Seraphim's tuning. It delivers a highly resolving, crisp presentation without harsh peaks. It just seems to be very well balanced, offering a well-extended presentation, with just enough air to bring sparkle but without the tiring glare that you often get with bright IEMs.

I hear plenty of micro-details and coupled with the massive sub-bass, you could call this a very exciting V-shape tuning. Now, there's no perfect tuning, and especially when it comes to treble, one person's subtle spotlight is another's midday sun aimed at your eyeballs, and I think the Seraphim's treble can get a little much. But that's only on music that's mixed bright, like Michael Jackson's Billie Jean or Lucinda Williams's Sweet Old World.

But on 80% of my music library, the treble is smooth and fatigue-free, allowing for long listening sessions.

Price & Competition

Price: At $259, the Seraphim sits in a competitive mid-fi price zone where consumers rightfully expect premium technicalities, durable accessories, and engaging tunings without glaring flaws.

And you get all of that with the Seraphim! It offers good detail retrieval, a thunderous sub-bass response, modular cable terminations, and a quality metal build that justifies its relatively modest asking price.

But how does it compare to the competition?

Vs CrinEar Reference

This is slightly unfair, as the Seraphim isn't going for the same style of tuning as the neutral Reference. Yet it's worth comparing, because at $350 the CrinEar Reference offers what I would describe as a far more sophisticated sound. There are lots of fun, exciting, contrasty, V-shaped IEMs out there, like the Seraphim. At the time of writing, there's only really one truly exceptional neutral IEM: The Reference.

When placing the Seraphim alongside the Reference, it's impossible to ignore the visual similarities. Aesthetically, the Seraphim is definitely trying to steal Crin’s lunch, mimicking the sleek metallic faceplates and minimalist shell contours. And Jay does it better! The Seraphim looks so much more engaging and visually interesting than the Reference's bland logo faceplate.

As mentioned, the sound is totally different. Where Crinacle goes for strict neutrality, emphasising natural vocal timbre and a smooth yet full midrange, the Seraphim leans heavily into a more flash, fun, V-shaped profile. It aggressively pushes that thunderous ten-decibel sub-bass slam and analytical treble, trading tonal purity for excitement and flair. And sometimes that's what I want! Most of the time, I get plenty excited by the balanced brilliance of the Reference.

Another area the Reference wins in is comfort. For me, the longer, deeper fit means a better seal is achieved quicker than with the Seraphim.

Vs Binary EP321

Pitting the Seraphim against the Binary EP321 is more of a fair fight. First of all, at $310 the Binary EP321 is more comparable price-wise. It's also a visually interesting IEM with its multi-coloured, reflective faceplate.

Sound-wise, it's a bright IEM with enough sub-bass and mid-bass to justify the 'exciting' descriptor. I think it does mid-bass better than the Seraphim, and with its extra treble, there's more detail in that bass with the EP321.

Most important for me, the EP321 is less lean in the lower mids, injecting much-needed warmth and thicker vocals that the Seraphim can lack. As mentioned, the Binary EP321 provides more treble energy thanks to its MEMS driver (says the marketing), meaning ultra-high frequencies are achieved with blinding speed.

Ultimately, if you crave physical sub-bass impact, grab the Seraphim, but if you prioritise airy treble and natural lower mids, the EP321 wins out easily. For me, I'd always go for the EP321 over the Seraphim.

Build & comfort

ZiiGaat has fully embraced sturdy metal shells, providing an understated faceplate design that feels solid without being heavy. Although I've read online that some people don't like the thin cable, I'm a fan of it! After all, when was it decided that thick = great quality?! It wraps easily and avoids annoying microphonics entirely, which are major plusses for me.

In terms of ergonomics, the robust nozzles create a rather noticeably shallow fit, so I couldn't use my favourite Juzear eartips, as I wasn't able to get a proper seal, and instead I used the new rounder tips that came with the Dunu Vitruvian IEMs, which are longer. I still had issues with achieving a seal when swapping them with other IEMs for comparisons, but I don't expect many people will be doing that, and once I got the seal, it stayed, so I don't want to overstate it.

The Seraphim is mid-sized and I find them very comfortable when fitted. This makes them a good choice for long daily commutes or extended listening sessions at your desk without any noticeable fatigue.

Should you buy it?

I'm confident that the ZiiGaat Seraphim will be many people's idea of perfect in an IEM. Their tuning is ideal for audiophiles wanting visceral sub-bass impact combined with pristine detail retrieval. EDM fans and gamers will get on with them, with its punchy dynamics and superior imaging. They also look stand-out-beautiful, and though that's not enough by itself, it's a hell of a big plus in my book. After all, my favourite IEM is the CrinEar Reference, but I far prefer the look of the Seraphim!

Listeners seeking lush, thick male vocals should look elsewhere, as the lean lower mids will prove frustrating. However, despite a few subjective quirks, it remains an incredibly competent hybrid monitor, and I really liked it for the vast majority of my music library.

This is the biggest Adobe Black Friday deal we've seen for several years. You can get all of the Creative Cloud desktop apps, mobile apps and services for just $29.99 per month for a year in the US (down from $69.99). That includes Photoshop for digital art and image editing, Lightroom for photo editing, Premiere for video and Illustrator for vector art and graphic design. It's still the industry-standard package for professional creatives, and if you're in the US.

The Adobe Black Friday discount extends to the students and teachers plan, which is reduced by 77% to $15.99 for the first year. Pricing in other regions varies but often with similar discounts. Here are the details. In the UK, the price is reduced from £66.49 to £28.49 per month.

While there's a lot of competition in creative software today (see our guides to the best graphic design software and the best digital art software), we think Adobe's Creative Cloud still has the edge.

It's convenient to have a complete ecosystem of apps that integrate into multitool workflows, especially now that an increasing number of artists and designers are working across various media, from 2D design to motion graphics and video. Adobe also works continually on developing new tools and features to add to the suite, as we saw in the Adobe Sneaks 2026 presentation at the Adobe Max conference in Miami this past week. That means regular updates that add new tools, keeping the software ahead of the competition.

Following a successful 2024 Kickstarter and two years of intensive engineering, creative tech studio CircuitMess is finally shipping its officially licensed Rick and Morty Butter Bot. And yes, theoretically, it will be able to pass you the butter. Better yet, it rolls around on rubber caterpillar tracks delivering deadpan commentary about the futility of its own existence. Yes please!

However, even though this grumpy little companion looks like the product of some of the best 3D printers out there, it will set you back $349. Yeah, it's for the ultra-fans only.

What is my purpose?

Inspired by a two-second gag from the intro of an Rick and Morty episode, Butter Bot started life as a cult Kickstarter project backed by 2,715 eager fans ($441,349 pledged). CircuitMess spent two years, and three electronics revisions plus custom steel moulds, turning that animated gag into a real, palm-sized AI desk robot.

And yes, of course this includes AI. Under the hood, it packs an onboard AI camera, dual microphones, edge sensors, and a remote controller featuring a live first-person video feed. Because its voice, face, and object recognition run on-device, it should recognise its owner, identify random desk clutter, read out phone notifications, tell jokes, control your TV, and – crucially – ferry sticks of butter across the table (though how the hell this is done is currently a mystery to me).

Left alone, it roams your workspace, avoids table edges, and loudly questions its own purpose. Pick it up and it panics; shake it and it disapproves; press the controller’s 'Poke' button and you’ll visibly irritate it.

Tinkerers can also snap on six modular add-ons, including an air-quality sensor, motion-sensing intruder alarm, and LED light show. O you can reprogram its open-source brain from scratch using C++ or CircuitBlocks (I'll leave that to the people in the know).

Available worldwide now at circuitmess.com for $349, it’s a wonderfully over-engineered piece of pop-culture hardware that can turn existential dread into festive cheer. If you can afford it!

So when I heard a new generation was on its way, I asked to speak to the design team behind the biggest shake-up of its physical design yet. It’s a fairly tricky proposition: a product used by children but invested in by parents, with a clear mission and a feature set that’s still evolving. The new players have a mischievous new look, a green dial (big news in the world of Yoto) and a few other added features. Most importantly, the design team and Yoto chose not to lean any harder on the screen’s capabilities. For families trying to rely less on screens, that’s a crucial decision.

• Explore Yoto players and accessories at the Yoto website

Below is my conversation with Jack Godfrey Wood of design studio Heirloom, covering the design mission, how the players were prototyped and tested, and the challenge of designing for a product with such a clear purpose and such a vocal community.

How did Heirloom come to work with Yoto?

We knew people there. One of our colleagues worked on the original Kickstarter version, the wooden cube with the two blue dials, and two of our team designed the later generations at another company. When we started Heirloom, we took on the current fourth-gen players, so our team has been involved in and out from the beginning. It made sense straight away, because we all had that Fisher-Price cassette deck as kids and this felt like this generation’s version. Once Tom and Ben showed us the community they’d built, I knew it would work.

What were the aims for the redesign?

There were technical aims and design aims. Yoto wanted more storage, more battery and more internal robustness, and they wanted the player to be splashproof. That meant a lot of work on keeping dust and liquid out. Inside, the downloads are faster, there’s more storage and the sound is better, so they’ve fixed the things I wanted fixed as a parent. Our job was to make the players fit better in kids’ hands, travel better, and be easier to hold, carry and drop without anything breaking.

Where did your design decisions come from?

Both the community and our own experience, plus writing some rules. Yoto’s core goal is “kids in control and parents in charge”. We also knew we didn’t want addictive, distracting moments. Both screens have more resolution than before, but we kept everything in pixel world, because to us that’s Yoto. It’s a fun menu, not a distracting screen. We could have added motion, like a character that waves at you if nothing happens for 15 minutes, but we felt the community would say that was wrong.

Does Yoto’s approach feel different to other consumer tech clients?

Yes. Yoto’s goal isn’t to keep eyeballs on the screen. It’s how often the player gets used and whether it adds value to a child’s and a family’s life. It’s a very clear moral code, which makes design decisions easier. A lot of the pixel work we did is artful, precise and beautiful, but we kept it happily lo-fi and didn’t turn it into another Apple product.

What was the big challenge on content?

Yoto wanted the backup content stored in each player to be available on the player itself. That way, if you can’t find the card, your kids can still listen to what they like, and you don’t have to get your phone out at 9pm when nobody’s going to bed. The hard part was doing that without turning the screen into an iPod or an iPad.

So how does the green dial work?

It was our way of giving kids access to what they want without overwhelming them with 200 cards. Daily radio and podcasts have moved onto it, along with 20 favourites. It populates automatically, but parents can set up day and night versions in the app. At night, all 20 can be sleep or relaxation content. In the daytime, you can have Elton John and Harry Potter. It also means your favourites are there wherever you go, which is really good for holidays. We still love cards, though. In all our research, they’re still the main way younger kids want to use it.

How many concepts did you go through?

For one of the players, up to 10 to 15 concepts across a few different areas. When we gave the more pebbly form to some children, it was obvious how naturally it fitted their hands and how much they wanted to hold on to it, so we presented that one with a strong recommendation. For the other, we looked at five or six directions, but Yoto wanted it to feel like a continuation of the previous products. The concept was quite singular, and we spent a lot of time on the detailing: where the dials sit, how sharp they should be, and so on.

What did you change about the dials and finish?

The dials used to be crisp. We softened them so kids can reach them from different angles, and made them slightly longer for more grip. The smart button isn’t in the middle, which most designers would do. Because it’s a kids’ product, kids can use it from the front as they hold it.

How do you work with such an opinionated community?

Because we’re external to Yoto, they do most of the community work and the feedback is funnelled to us through the Yoto team. We’re forthright about what we think is right within Yoto’s mission, and we don’t try to do everything people ask for. The challenge is that the community is always ageing up, but we also have to look after new families who’ve never used Yoto. A new user shouldn’t have to learn anything, and an existing user shouldn’t be thrown off because every feature suddenly does something else. The community’s feedback is great because it comes from hard-won experience, not assumptions.

How do you keep Yoto feeling like Yoto?

By keeping the mischief, fun and wonder, and the underdog spirit, rather than suddenly feeling like a big corporation. My favourite bits are the hidden details. There are little faces between the dials, and the charging cable has four tiny Yoto logos, one of which is winking. No one’s going to talk about it, but one day someone will spot it and get a little flutter of appreciation.

This month, though, things felt different. US voters delivered a blunt verdict on AI infrastructure in ballot measures, while Nvidia, the chipmaker who's played a vital role in building that infrastructure (and made RAM more expensive in the process), found itself at the centre of a spy scandal. The recent Nvidia scandal and resignation of Jensen Huang have sent things into a spiral, from a share price drop to speculation that the AI bubble has burst, even a rebranding, when we asked whether Nvidia need a new logo as well as a new CEO?

Neither story on its own spells disaster for AI. But together, they suggest something important has shifted. And that matters for the millions of creatives whose lives are being reshaped by this tech.

Voters bite back at AI data centres

Most news coverage of the US midterms focused on who controls Congress. But at the same time, 40 of 41 local data centre measures decided on 3 November across 10 states favoured limiting development.

Voters approved 27 restrictive measures and rejected all 13 that would have helped projects go ahead. The results range from moratoriums and zoning limits to outright bans. And candidates who campaigned on pausing data centre construction won governor's races in Texas, Ohio and Georgia. This was not surprising, because in NBC News' exit poll, 76% of voters said they'd oppose a new data centre in their own community.

Nvidia’s spy scandal and Jensen Huang’s resignation

It's important to understand that this is not a partisan issue. Democrats, Republicans and Independents alike have been fighting back against the AI industry. So the timing couldn't have been worse for Nvidia.

On 6 November, The New York Times shared details of how CEO Jensen Huang had been the target of an alleged espionage operation involving a Chinese businesswoman US officials believe was working for China's Ministry of State Security. On Sunday, Huang admitted to an extramarital affair with her and apologised to staff.

Huang said he had no idea she was a spy, and Beijing has dismissed the claims as groundless. Nvidia's board launched an inquiry and said it still had confidence in him. But later revelations of a second affair piled on the pressure, and Huang eventually resigned on 12 November.

Maybe I'm overreacting, but this feels like a watershed moment. Up until now, the AI industry has relied on two things: the assumption that its physical expansion was inevitable, and the aura of its leaders as visionaries above scrutiny. Now, that's changed.

What it means for creatives

That doesn't mean the AI boom is about to collapse, of course. But it does suggest the era of 'build first, ask questions later' is ending. Expect more political resistance, more regulation and more scrutiny.

For creatives, that may be a double-edged sword. On the one hand, if you're using AI tools, they're likely to go up in price. On the other hand, if you're worried about AI's impact on jobs and don't want it to scrape your work, there's a chance things will slow down now, at least a little.

Finally, it feels like a good time to remember that we actually have a voice. For years now, many of us have either kept quiet or felt like we've been shouting into the void about AI. Now that millions of voters are shouting too, the industry might actually start to pay attention.

I’ve reviewed the best 3D printers since 2021, and Prusa’s concern for their customers has always stood out. I’ve had this CORE One for well over a year, and when the “Gen 2 +” came out, my machine wasn’t obsolete, it just needed a small bag of parts and a screwdriver.

The CORE One+ is the same size as the Original Prusa MK4S and can be upgraded into a multicolour master with an INDX tool changer upgrade.

Unboxing and Setup

We unboxed a fully assembled CORE One (which was later upgraded to a “+”). You only need to remove the packing material and install the screen. The machine arrives pre-calibrated from the factory so all you need to do is load filament and select your first print. The machine automatically probes the bed level before each print to ensure a perfect first layer.

The CORE One is made with a solid steel exoskeleton that also forms the machine’s chassis, and the print bed is milled aluminum for even heat distribution. Nothing on the machine is glued, and the entire thing can be taken apart with a screwdriver. This is to facilitate both repair and custom modding, which Prusa fully supports.

The 3D printer came with a set of tools, alcohol wipes, a detailed paper manual, a USB stick loaded with pre-sliced test prints and a full sized spool of Galaxy Black Prusament. You also get a bag of Haribo Goldbears to fuel your journey.

Performance

The CORE One+ is much faster than its bed slinger brethren, but honestly it's not as fast as a Bambu Lab X1C. This “space marine” phone holder I printed for my son (above) in Prusament PLA Pearl Mouse took 12 hours and 18 minutes to print, using a high quality .15mm layer height, 15% infill and 3 walls. An X1C would cut that down by 3 hours using similar settings. This is because PrusaSlicer, Prusa’s native slicing software, is optimized for precision rather than raw speed. Though both the CORE One+ and X1C are similar sized Core XY printers, Prusa never pushes the speed or travel settings on its machines.

The Prusa Nextruder is at the heart of the CORE One+, with its large planetary gear to firmly grab and control filament. Squirrely TPU is no match for the CORE One+, with a redesigned filament loading point that has a manual switch to loosen the sensor and allow soft TPU to slip through.

One of the best features given to the CORE One after its “+” upgrade is the simplest: a nozzle wiping brush. The small silicone brush started as a community mod, with dozens of variations uploaded to Printables. The printer can now clean its own nozzle before performing bed leveling probes, eliminating an annoying failure point.

One sticking point is the lack of a dedicated heater for the chamber. The CORE One+ depends on retaining heat generated by the heated bed, which can leave you waiting when you need a toasty interior for nylon or PC.

Prusa Research’s ecosystem consists of PrusaSlicer, PRUSA App for mobile and Printables.com for community file sharing. Printables hosts frequent contests, free models but also supports designers financially by allowing them to set up club memberships and shops.

EasySlice is a simple, yet fully functional, web based slicer you can run from the PRUSA App or directly from Printables. Prusa makes its own filament, Prusament, in house at both its headquarters in Prague and the more recently acquired Delaware factory, formally known as Printed Solid.

Price and Competition

The Prusa CORE One+ typically retails $1,299/£1,199 assembled or $999/£929 for a kit, which is on the high end for an enclosed Core XY 3D printer. The company is currently running a Black Friday sale with free shipping and gifts worth up to $450. Gifts include an Open Print Tag upgrade, a spool of Chalky Blue PLA, premium models, Prusa Academy courses, and extended one year warranty, and $50 off an INDX upgrade.

The CORE One+ is definitely an investment, but the machine is built to last and carries the promise of years of upgrades. If you’re willing to do the occasional mod, this printer will likely serve you for years without getting kicked to the curb just because a new sensor package has come along. Fun fact: if you owned a MK2 ten years ago, you could have upgraded it all the way to a CORE One+.

For a bit less than an assembled CORE One+, you could get a Bambu Lab H2S Combo, a single nozzle 3D Core XY with a larger 340 x 320mm print bed and a four color AMS. The H2S is currently on sale for $1249/£999. We reviewed the laser variant, which is slightly more at $1599/£1249 and tops our list of Best 3D Printers.

You could also opt for a more modest machine, like the Elegoo Centauri Carbon 2 Combo, which is closer in size with a 256x256mm build plate, but a fraction of the cost at $449/£398. It’s an enclosed four color Core XY, with good quality, though a bit lacking in the polished ecosystem of its rivals.

Should You Buy?

Buy it if: You’re a hobbyist who wants a machine you can maintain and mod yourself for years to come.

Don’t buy it if: You’re looking to print large models like cosplay armor.

Prusa’s CORE One+ is for hands-on makers who’ve outgrown bed slingers and crave a no nonsense, fully enclosed machine they can mod and repair. After more than a year with this machine in my studio, this is where it earns its keep. I personally enjoy its old-school vibe, and the thought that when things go wrong, I can sort it out with a screwdriver and mod from the community over at Printables. I’m already eyeballing an eight color INDX upgrade for this machine.

It's also an excellent fit for classrooms and workshops where people need a reliable, well-built machine that can handle a bit of benign neglect. Its enclosure means it can churn out high temperature filaments, like ASA and ABS, and its precision is a must have for practical prints and designing prototypes.

See our guides to the best drawing tablets and the best laptops for 3D modelling if you need new hardware for your own projects. Below, Ian tells us a little about this latest project.

Iomall

My latest stylised project, Iomall, was inspired by Yehliu Geopark and Seceda Mountain. Built in Unreal Engine 5, it combines Lumen and Nanite Foliage to create a stylised environment.

For this project, I wanted to create two distinct biomes. I began with a series of simple sketches to establish the overall concept, materials, and color palette for each biome. This approach helped minimise unnecessary iterations in 3D and ensured that all elements worked together cohesively from the start. I used Nanite for both vegetation and rock assets.

Terrain

The landscape shader combines Global Albedo Maps, Nanite Tessellation, RVT blending, height blending and cell bombing.

To reduce texture tiling across large landscapes, I implemented cell bombing in the terrain material. This technique adds variation to repeated textures, allowing large surfaces to be covered with fewer material layers while maintaining a natural appearance.

You can see more of Jan's work on his ArtStation profile.

Gear up

See below for today's best deals on drawing tablets.

This article originally appeared in ImagineFX. You can order back issues.

Creative Bloq is now easier to access than ever before with our on-the-go app, which brings you all the content you know and love from our website, but in a super-streamlined design.
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Alas, it turns out that the DLSS 5 controversy is the least of its problems. Former CEO Jensen Huang has now resigned after embroiling Nvidia in a honeytrap scandal worthy of a spy novel. CFO Colette Kress has stepped up as interim CEO and an executive search has begun.

But the debacle has also resurfaced another question. Why does one of the world's most valuable companies still have such a terrible logo design? And could this be the moment for a refresh?

See our guides to the best laptops for graphic design and the best monitors for graphics artists if you need new tools for your own work.

Over on Reddit, designers are debating the "least aesthetically pleasing, most poorly designed corporate logo" still in use today, and the Nvidia logo is the example that was used to get the ball rolling. Other contenders put forward on the thread include the X logo and, of course, the infamous Kia logo.

I can see where the OP is coming from. Nvidia was the world's most valuable company until the Jensen Huang honeytrap controversy hammered its share price and put Apple back in the lead on the Nasdaq. The identities of those two companies couldn't look or feel more different. The Apple logo is sleek and minimalist. It feels modern and premium. The Nvidia logo is... weird.

"So many things I hate about this design: The Aztec-looking spiral eye, the half inverted color, the lime green, black, and white color pallette, the '80s sci-fi font. None of it coheres well," the OP writes on Reddit.

Of course, Apple and Nvidia are very different beasts. Apple is mainly consumer facing and Nvidia's business is mainly corporate. On the consumer side, Nvidia's GPUs are packaged and sold by other brands rather than by Nvidia directly. But the company is becoming much more of a household name as its tentacles spread.

Nvidia components are being promoted more visibly in GeForce RTX laptops, and the company's being collaborating on workflow developments with creative software developers like Adobe, Blackmagic (DaVinci Resolve) and the Blender Foundation.

There is a compelling case for a change. Nvidia's visual identity was born in a very different age of technology back in 1993. Its last logo redesign was twenty years ago in 2006.

Time alone is never a reason for a rebrand, even for a tech company. IBM's had the same logo since 1972. But with Nvidia, the age shows. The wonky eye, brat green colour palette and retro-futuristic type feel rooted in the late 1990s and early 2000s, when aggressive, futuristic aesthetics dominated PC hardware branding.

Compared with the cleaner, more restrained identities of companies like Apple, Microsoft, OpenAI and even AMD, Nvidia's main rival in the GPU space, the branding feels tied to gaming origins.

There's also a somewhat dark occult reference going on. In the company's name, the 'NV' comes from the shorthand that was used to identify the 'next version' in file names, while the 'invidia' part means 'envy' in Latin.

That feeling will be familiar to anyone who has a colleague with an RTX 5090, but it's a strange choice for a brand. The word is often associated with malice and the 'evil eye' and was sometimes used as the Roman name for the ancient Greek deity, Nemesis, the personification of divine retribution. Yikes.

Today, the firm's influence and ambitions extend far beyond GeForce. It sells AI infrastructure, networking technology, autonomous vehicle platforms and enterprise computing systems. A more refined visual identity could reflect its status as a global AI platform rather than a 'mere' component manufacturer.

That said, for all of its weirdness, Nvidia's mysterious green eye is one of the most distinctive marks in tech. A rebrand could risk of abandoning something that has aged better than critics might admit.

While the eye doesn't feel especially contemporary, it is unique. At a time when many companies are converging towards minimalist sans-serif wordmarks and simplified geometric symbols, the identity stands out precisely because it has character, and distinctiveness is arguably more valuable than modernity.

The strongest argument would probably be for a careful evolution. The company could modernise the typography and tweak the eye. It might be able to find a more appealing shade of green. A relatively subtle refresh could preserve decades of recognition while signalling that Nvidia has entered a new chapter.

But it remains to be seen how much the last two weeks have changed things. It looked like Jensen Huang was going to hang on until yesterday's resignation announcement. The company might also decide that the controversy requires a clear visual break from the past.

There's plenty of branding inspiration about this week that Nvidia might want to check out, from the solid Caixa rebrand in Brazil to the intriguing new Takara Tomy logo .

Let me know below if you agree that Nvidia has the worst corporate logo in tech, or if you feel that there's a stronger candidate.

All of the below wired earphones are distributed by the IEM retailer, curator, and distributor Linsoul, and with that comes a certain guarantee of quality. Everyone I've tested from them has hit a high level of quality control, so really all you as the potential buyer have to worry about, is if the sound profile is to your taste.

As I've tried most of them, I'm going to give you my tuning impressions, plus any design and comfort highlights for each of them. Many of them feature in my list of the best IEMs under $500, and my favourite budget IEMs under $100 – so these aren't just random IEM deals, but rather a curated list of genuinely excellent options.

I were to pick only one? Considering price, sound and build quality, I would get the Kiwi Ears KE4 down from $199 to $169. It's a fantastic, modern IEM that has a best-seller since its 2024 release for very good reason.

Fortunately, there are eight travel accessories that could all potentially save the day at some point during a trip, whether you're going on a work journey or just visiting family for the holidays. These handy gadgets could help you find your gear, save your work, keep you charged up or just improve your entertainment experience when you're on the go. And some of them have decent discounts now that the Black Friday sales have started!

For larger pieces of hardware, see our guides to the best drawing tablets and the best portable CAD laptops.

• Browse travel essentials at Amazon

It's not a massive saving, especially since Nintendo's 'next gen' console used to be cheaper than Switch 2's new US price, but discounts on Nintendo hardware are still relatively rare. For comparison, the console and Ocarina of Time bundle is $568, so it's cheaper to buy the Woot deal and The Legend of Zelda: Ocarina of Time separately, since it's $49.99 as a digital download. (That's $10 less than the physical edition.)

• Read our The Legend of Zelda: Ocarina of Time review

US price drops on Nintendo Switch 2 and The Legend of Zelda Ocarina of Time

The picks of the UK NIntendo Switch 2 deals

There's also a growing selection of UK deals to consider, and as with the US, it's rare to see Switch 2 drop in price outside of big sales events like Black Friday – it feels like Nintendo really wants you to play Ocarina of Time.

Amazon UK lists the standard Switch 2 through third-party sellers, with prices starting at £399.99 on its current listing, although the cheapest visible offer is a Like New console for £369.99 rather than a new console from Amazon itself.

Elsewhere, Sports Direct (yes, they sell Switch 2 and Nikes) has been listing the standalone console for £395.99, while EE has it for £405. Even better, EE has a Switch 2 and Mario Kart World bundle for £409, making the extra £4 a no-brainer if you don't already own the game.

Very is also worth a look, with its standalone console listed at £389.99, alongside bundles including Ocarina of Time, Donkey Kong Bananza and Mario Kart World. My pick? The Switch 2 Console bundle with Nintendo Switch Sports Resort and The Legend of Zelda: Ocarina of Time, as you get the console's biggest game and the latest party game. The same bundle is £489 at Currys.

Speaking of which, one of my picks at Currys is a Switch 2 and Splatoon Raiders Bundle, spotted for £424 – it's one of my favourite Nintendo games released this year (read our Splatoon Raiders review to discover why). That's a particularly tempting option if you're after a game as well as the hardware.

• Read our Nintendo Switch 2 review

My Nintendo Switch 2 deals advice?

The Woot deal is excellent if you're already an Amazon Prime member or want to join before Black Friday. But it does suggest there could be deals around the end of November for the year's big sales event.

If you just want The Legend of Zelda: Ocarina of Time, buying it digitally 'saves' you $10 off the physical edition price.

In the UK, I'd be looking at the £390–£410 mark for a Switch 2 console, especially bundles that include a full-price game for very little extra. There are more offers around right now, too.

Dispatch was made in Unreal Engine and stars Breaking Bad's Aaron Paul as former hero Robert Robertson, alongside Jeffrey Wright, Laura Bailey, and members of the Critical Role cast. It's an animated, episodic workplace comedy that plays like a TV series, but it wasn't always a game, and that's perhaps why it feels so unique. AdHoc was founded in Los Angeles in 2018 by Telltale Games alumni who planned to make interactive experiences with real actors on screen, and Dispatch began that way.

I asked co-founders Nick Herman and Dennis Lenart, the studio's COO and CTO and both co-creative directors, what survived the jump from live-action series to animated game, and what had to change.

• Read our guide, 'How to make an FMV game: 10 pro tips' for advice

How a live-action browser test shaped Dispatch’s doughnut shop scene

One piece of the original script made it through every draft: the doughnut shop scene in episode two. Lenart says it was "one of the pieces from the early script that just kind of kept hanging around through every draft all the way from live action into the animated game".

The set-up was different back then. You watched a camera feed as the hero Invisigal dealt with a thief, and your job was to feed her the information she needed to succeed. In the live-action version, that meant switching cameras and pulling information from what each camera showed. Herman says the scene was "purely built around the technology" AdHoc was using to create its interactive live action. It ran in a browser and had hard limits, including, as Herman recalls, “I think it was like four simultaneous tracks of video”.

The team turned that restriction into a mechanic. Watch the alley behind the shop, and you couldn't see what was happening inside the front. "By choosing where you were going to give your attention, the game would adjust, and you'd learn different things based on where you were looking," says Herman, calling it the perfect place to test the idea.

Because they'd spent so long on it, they carried it forward. In the game, Lenart says, they wove in mechanics from the final design, such as hacking, "to make it feel a little bit more like Robert was helping out Invisigal".

Why Dispatch’s story changed: how the Z-Team was created

The original story was a mentorship, centred on the one-on-one relationship between Robert and Invisigal. Pivoting it into a game changed that. AdHoc wanted a dispatch mechanic, with the player sending heroes out on calls, and that needs a roster. "So the Z-Team was created to support the gameplay," Lenart says, "which then informed the story, and then changed the overall arc of the season, which brought a whole team into it as opposed to just a one-on-one mentorship with Invisigal."

It's a neat illustration of how the studio works. "Everything at AdHoc starts with story," says Herman, contrasting that with studios that pick a genre first, polish the mechanics and the game-feel, and only later ask what the story is. AdHoc begins with the world, the characters and who the player is, then asks what that means for gameplay. "Oh, well, you're a superhero dispatcher, so maybe we should have some sort of dispatching mechanic, right?"

Once there's a script, it moves on to storyboards, animatics and animation. That storyboard stage is now part of the product: the anniversary Deluxe Edition update adds Storyboard Mode, which plays the whole game through its original animatics. It's a new mode that offers genuine insight into how a scene was planned, scripted and animated.

Why Dispatch switched from live action to animation

The move to animation was driven by budget constraints, to an extent, because they could do more with a little extra, and it also changed the game's scale, given Dispatch's live-action origins; Lenart says the team knew they were "severely limited from a budget standpoint compared to big-budget superhero tentpole movies". For budgetary reasons, the story was largely set in an office with a small cast.

Animation flipped that constraint and aligned with trends like Mixtape's hand-made animation, giving the team room to grow and aim higher within the new art form. "We're able to have a giant action scene because it doesn't cost that much more than having a bunch of characters walking around talking," Lenart explains. That let AdHoc expand the moments that deserved spectacle: "Let's really go all out and try to compete with some of the other best-in-class versions of these scenes in animation."

What Dispatch’s success means for narrative games

Ask whether players have done anything that made AdHoc rethink how interactive stories should work, and Herman is refreshingly honest. “I don’t know that there have been any major epiphanies,” he says, before steering to a different answer: launching Dispatch “was a labour of love”, the culmination of a lot of work distilled into one experience the team felt was exciting and high quality.

He adds: "The success of the game has just really injected a lot of confidence into us and other developers making similar types of games. For a long time, there hadn't been a really clear or recent example of something like this reaching a level of success that a developer could go out and raise funding for."

He's proud of who found it, too. Dispatch "was able to pierce a new audience who perhaps thought gaming wasn't for them". Lenart agrees, saying the success feels like "motivation to keep making these types of games and expand our possibilities even more".

The Dispatch Deluxe Edition is out now on PlayStation 5, Xbox Series X, and Nintendo Switch / Switch 2, and $10.99 digital upgrade path for existing owners

Where to buy Dispatch Deluxe Edition

The MX Master 4 Special Edition takes Logitech's excellent black mouse and spruces it up with a new white colourway and red-and-grey accents. Inside, it's the same MX Master 4, and like the 2025 version, it has a tough act to follow. Its predecessor, the MX Master 3S, is already one of the best productivity mice you can buy, so Logitech never intended to reinvent the wheel. Instead, we get more customisation, haptic feedback, and a handful of design tweaks, and in this Special Edition, a more personalised colour choice.

These are all the developments I’d expect from a follow-up to the excellent MX Master 3S, one of the best mice you can buy, but they make this a nicer-looking version of a mouse that was a smart evolution rather than a must-have upgrade, unless, I'd argue, you're a creative; then the Actions Ring becomes a bigger thing than you may expect and is new to MX Master 4, Special Edition or not.

The shape is the same as the MX Master 3S, with its sculpted ergonomic design, deep thumb rest, and plenty of controls to keep your hands off the keyboard. It’s comfortable for long workdays, and the weight is spot on. It has enough heft to feel planted on the desk without feeling clumsy. It’s big, though, and it won’t suit everyone. This is a mouse for your desk, not your laptop bag.

• For more control consider one of the best drawing tablets

The impressive MagSpeed scroll wheel

The MagSpeed wheel is as good as ever. Flick it, and it free-spins through a long spreadsheet or a 40-page document, then ratchets back to click-by-click scrolling when you need precision. Switching between the two is automatic, which is why it’s so easy to take for granted.

The finish is where things have changed. This is the Special Edition of last year’s MX Master 4 release, so the design changes over the MX Master 3S remain. Logitech has swapped the soft, rubberised coating of older models for something harder, but it’s not slick or glassy. The cover has a nice bit of tooth, and different areas have subtly different textures, so your fingers always know where they are without you looking. It feels different from the old MX Masters. A colleague wasn’t keen on it when they tried [2025’s MX Master 4], but I got used to it quickly, so your mileage may vary, and existing owners may need a few days to adjust.

Those alterations aside, the Special Edition replaces flat blacks with a soft grey-white colour and red accents. The dark grey Actions Ring thumb rest pops in this colourway, and I far prefer it to the faceless black PC-mouse aesthetic of the base model. There’s no price difference between black and Special Edition.

Making use of haptics and the Actions Ring

The thumb rest gets the biggest rethink. It’s usually the most wasted area of a mouse, a bit of plastic to rest your thumb on. Here, it’s the way into the new virtual dial, called the Actions Ring, which makes it feel like part of the design rather than an afterthought.

The haptics are a lovely touch. They kick in when you make a selection and when you open and cycle through the Actions Ring, so I can keep my eyes on the screen, click and scroll, and still feel a little resistance and feedback. This also helps with gesture control, too, if you go as far as needing that kind of input. It’s subtle, but it makes the mouse feel more connected to what you’re doing.

As you may have guessed, the Actions Ring is the real star of the new features. It’s an on-screen dial that expands what the mouse can do, making it easy to open folders or switch between apps without dropping into the Windows menus. You can tailor the ring to the job, from something as basic as Google to Photoshop or DaVinci Resolve. Support isn’t universal, though. The best digital art and design apps like Krita, Affinity Photo and CorelDRAW are covered, but smaller apps like Escape Motions Rebelle aren’t a default option, so you’ll need a workaround: assign function keys in Options+, then match them to the app’s own shortcuts for undo, clear layer or brush toggles. It works, but you need to know your keys or set them up ahead of time.

This also means getting to grips with Options+ and its app features, which is a lot of learning for a mouse. I’d like it to work more without that software running in the background. But if you persevere, it adds real depth and makes the mouse faster to use and more flexible. Once it’s set up, you’ll love it. You can tweak everything from haptic strength to scroll speed, and I’d probably be moaning if I couldn’t fiddle.

The haptics, gestures, and Actions Ring are a step beyond the MX Master 3S, and creatives who map shortcuts to the ring will get the most from this mouse.

MX Master 4 Special Edition vs MX Master 3S: should you upgrade?

So, should you buy the MX Master 4 Special Edition? If you’re coming from a basic mouse, absolutely. The ergonomics, scrolling and customisation make it a brilliant tool for anyone who works at a computer all day, whether in creative apps or simply navigating menus and Google.

If you already own an MX Master 3S, it comes down to how you work. The haptics and Actions Ring are genuinely useful and, for creative apps, a new, easier way to work, so it’s worth it if you’ll map shortcuts to the ring or, like me, hate sorting through Windows menus and would rather one-click into the regular apps and files. For everyone else, they’re not enough to make a perfectly good mouse obsolete.

In this image, I really wanted to feature the uncanny nature of his deadly art, and I think this upside-down pose captured that the best. But I almost went with something less... weird! Finding the sketch that best communicates what’s important about a character is crucial to a successful illustration. You may want one of the best drawing tablets or the best laptops for drawing.

Gear up

See below for today's best deals on drawing tablets.

This article originally appeared in ImagineFX. You can order back issues.

Creative Bloq is now easier to access than ever before with our on-the-go app, which brings you all the content you know and love from our website, but in a super-streamlined design.
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Tomy will have a new name for those of us outside of Asia. It's also introduced a new unified logo for all markets, and the dramatically different look has caused a lot of surprise.

See our guides to the best laptops for graphic design and the best monitors for graphics artists if you need new tools for your own work.

Tomy will now be known as Takara Tomy everywhere, consolidating its global branding under the name it was already using in Asia. In all markets, the familiar white and blue wordmarks are being replaced by a new logo design that combines the name with a rather abstract-looking symbol with a teal-to-magenta gradient. The company calls its colours 'Quality Blue' and 'Quality Gradation'.

While the symbol looks inscrutable, the company says it's based on a fusion of the katakana characters for 'asobi', a term that can be translated as 'play', 'recreation' or 'amusement' (see the video below). So although the logo looks indecipherable, it's actually a literal representation of the brand's playful spirit,

That playfulness is apparent in the wordmark too, if you look closely. There are two Ts, and three As in the company name, but each one is rendered different. The first A has a slight downward curve on the crossbar, the second a slightly upward curve, and the last has serifs on the feet and apex. From a distance, the wordmark looks fairly uniform and reserved, but each letter has its own personality.

However, some people aren't sure that the icon works. Even in Japan, people seem to be struggling to decipher its meaning.

"Is it the chip on a credit card," one person wonders on X. "It looks like a seafood processing company," someone else thinks.

Some are even suggesting that the company's announcement that the new identity will be rolled out on 1 April 2027 is a sign that the rebrand might be an extremely early April Fool's Day prank.

I'd say it actually looks like a Screwball Scramble.

Here's the company's video explainer, which shows how the design was formed.

Tomy is an abbreviation of the name of Eiichirō Tomiyama, who founded the company in 1924. The company merged with Takara, another Japanese toymaker, in 2006. That led to the last rebrand, under which the company adopted the Takara Tomy name in Asia.

In an explanation of the rebrand on its website, Takara Tomy says it's now transforming from a 'toy company' to a 'play company' and that it will adopt the motto "One Takaratomy" as it unifies its branding".

For more of the week's branding news, check out the winning Caixa rebrand in Brazil.

Project Link Up is set to revolutionise vector design, turning the simple dragging function into context-aware fusion that automatically matches a scene's perspective. (TLDR: constantly redrawing objects at new viewing angles could soon be a thing of the past).

To understand more about Project Link Up, I caught up with Hailin Jin, senior principal scientist and research lead for imaging and design at Adobe, to get his behind-the-scenes insight into the work.

But choosing the best AI video generator for you isn't only a question of visual quality. The increasing number of models available have varying limitations and strengths and weaknesses in different areas. Pricing structures can also vary wildly, and subscription fees often represent only a fraction of the cost.

Many AI video generators operate on credit systems, charge extra for premium models, or limit video length and resolution in ways that can quickly inflate your spend. With that in mind, here we take a deeper dive into the five best AI video generators available today, which we've ranked according to overall value as well as their flexibility and practical usefulness for professional creatives.

Whichever model or models you choose to work with, you'll probably want one of the best laptops for video editing or the best desktop PCs for video editors.

The best AI video generators

Adobe is already a powerhouse in filmmaking thanks to Premiere, which we rate as the best video editing software. As a result, Firefly more than just an AI video generator. Unlike many rivals that function as standalone tools, it integrates into Premiere and the wider Creative Cloud environment, making it significantly easier to incorporate AI-generated footage into existing professional workflows.

The most recent video-generation capabilities are particularly impressive. Prompt adherence is strong, footage tends to look polished and cinematic, and Adobe has invested heavily in making outputs commercially viable for professional users.

As announced at Adobe Max 2026, the native Firefly Video editor has been expanded to make it easier to combine clips with other elements such as images and sound effects, and projects created in Firefly Boards, Adobe's collaborative brainstorming space, can be carried straight into the video editor. There's also Adobe's AI agent, which makes using its software more intuitive and conversational.

The Adobe name also offers reassurance in terms of safety and reliability. The platform's unlikely to disappear or radically change from one day to the next, and output from the native Firefly Video Models is intended to be safer for commercial use since they were trained on licensed material rather than scaped copyrighted video.

On the other hand, if you do want to use other models, they're here in Firefly itself. Google Veo, Kling, Runway and Luma AI's Ray are all integrated and ready to use in Adobe's platform, so you get not only the top AI video generator on our list but access to the second, third and fourth too!

Pricing: Adobe's Firefly Standard plan costs $9.99 per month and includes 2,000 generative credits, enough for around twenty 5-second AI video clips at 1080p quality. Higher-tier plans increase those allowances. Adobe currently prices 1080p video generation at roughly 100 credits per second, meaning a single 5-second clip consumes around 500 credits.

You can also access Firefly video generation through a Creative Cloud Pro plan, which gives you access to Adobe's suite of apps, including Premiere and Photoshop. Just note that you may need to pay for additional generative credits depending on how much footage you're generating, and partner models have different credit costs.

If pure visual quality is your priority, Google Veo has a strong claim to being the most impressive video model currently available. The platform is particularly good at realistic movement, lighting, camera behaviour and environmental detail.

Veo's ability to generate convincing cinematic scenes has made it popular among advertisers, content creators and filmmakers seeking premium-looking footage without a full production budget.

Pricing: Google offers Veo through consumer subscriptions and API access. For developers, Veo 3.1 costs roughly $0.40 per generated second, putting a typical 5-second clip at around $2.00 before retakes. That's easily the most expensive platform in this comparison, but it also delivers some of the highest-quality output available.

You can also access Veo through Google Gemini, Google AI Studio and through Adobe Firefly (see above). Through Gemini, there is a free tier offering just 3 video generations a day, at the time of writing, Google AI Pro costs $19.99 a month for 1,000 Flow credits, which translates to around 100 Lite videos or 10 high-quality Standard videos at 720p with a watermark. Google Ultra AI takes at $99.99 a month and upwards gives you 25,000 credits a month, enough to generate thousands of draft clips at 1080p.

Runway remains one of the most mature AI video platforms on the market. While some competitors may occasionally produce more realistic footage, Runway excels at putting creators in control. The platform includes advanced camera controls, editing features and creative tools that make it particularly appealing to professionals who want more than simple text-to-video generation.

The video editing features enable you to do things such as isolate a subject and remove the background, colour grading, adjusting the depth of field, making a slow motion version of your footage, and 'Inpainting', which means you can easily remove unwanted objects.

Pricing: Runway has several subscription tiers, ranging from entry-level plans through to professional and enterprise options. The credit-based system rewards efficient users but can become costly during experimentation. The Standard plan starts at $15 per month and includes 625 credits. According to Runway's published figures, that's enough for around 52 seconds of Gen-4.5 video generation. A creator producing multiple social videos every week will likely need the Pro plan at $35 per month or higher.

The Chinese platform Kling has become one of the biggest disruptors in AI video generation. It consistently produces impressive results while undercutting many western competitors on price.

Human movement, character animation and stylised content are particular strengths. For YouTubers, social creators and small businesses, Kling often represents the best balance between quality and affordability.

Pricing: Paid plans start at under $10 per month, and a 5-second 1080p clip generally consumes around 40 credits. That works out to roughly $0.40-$0.60 per clip depending on subscription tier, making Kling one of the most cost-effective premium AI video generators currently available and generally cheaper than Veo and Runway. However, as with most platforms, higher-quality generations consume credits faster.

Not every project needs blockbuster-quality visuals. Sometimes speed matters more than perfection, and that's where Hailuo shines. The platform is built around rapid iteration, allowing creators to test ideas quickly and cheaply. Agencies often use it during concept development before moving final production to more advanced systems.

Pricing: Hailuo is typically among the most affordable options available. Standard plans start between $8 and $15 per month depending on promotions and region. A typical 1080p generation consumes about 50 credits, placing the cost per clip around $0.50-$0.75.

The main trade-off is quality, and you might find yourself generating more clips to achieve a satisfactory result, which can offset the initial cost advantage. Additional editing and post-production work may also be required.

The hidden costs of AI video generators

Before diving in to AI video generation, it's worth remembering that subscriptions don't always tell the whole story. A $10-per-month plan may sound inexpensive, but the number of usable clips you can generate could be surprisingly limited.

Making direct comparisons between AI video generators is difficult because some services charge per second of output, while others use credit systems that effectively works out as a cost per clip.

Pricing can also vary depending on which plan you choose and how much you use it. Heavy users are likely to have to pay extra for more credits, and plans are continually in flux. Providers have been making regular changes to their pricing as new models roll out and the competitive landscape changes. The prices being quoted today could easily change in a few weeks' time.

The challenge with any AI video generation is that creating a complete project often requires multiple generations. A single eight-second clip may be excellent, but producing several matching shots for a finished sequence can dramatically increase usage costs. You'll often need to generate dozens of variations before selecting a final clip, turning what appeared to be a modest monthly subscription into a much larger operational cost.

Users will also usually need separate editing software to assemble final productions.

Conclusion

For most creative professionals, we think Adobe Firefly currently represents the most balanced and versatile package while also offering reasonable value. While Google Veo may edge ahead on raw visual realism and Runway offers deeper creative controls, Firefly's integration with professional creative software makes it the most practical choice for real-world production environments, and Firefly does also provide access to Veo and Runway too.

That said, the right tool depends heavily on your needs. Consider Veo for cinematic quality, Runway for directorial control, Kling for affordability and Hailuo for rapid experimentation. Just don't judge any platform by its headline subscription price. In the AI video market, credits, render limits, premium models and editing requirements often matter far more than the monthly fee itself.

Unsurprisingly, this year's Sneaks have a heavy focus on AI across the ten innovations. We saw demos of tools that could make AI image and video editing more precise and transform the workflows of people working in film, digital art, photography and design. Here are the highlights.

• Get Adobe Creative Cloud Pro

Adobe Sneaks 2026: watch the full presentation

Project Scene Sweep

On the video and filmmaking front, Adobe's revealed what it's calling Project Scene Sweep. The AI-driven tool is being designed to understand characters, locations and scenes across a sequence, helping creators apply an edit consistently across cuts and camera angles.

It allows long-form, multi-shot videos to be edited from a single text prompt or edited frame, with the changes applied across each shot, cut, and camera angle. Example use cases cited include post-production fixes like removing a person or prop or swapping wardrobe without a reshoot.

The tool could also help for clearance issues, for example to replace an unlicensed logo or artwork in every shot where it appears, or for product placement after a shoot. Adobe suggests it could even be used to recast a new lead or location for a video or for testing variants for localisation.

Other projects in the works for video editing are Project Sound Bender, which would allow users to describe a sound and pull it out of a finished mix, then explore variations on an interactive canvas, and Project Live Set, which would allow filmmakers to change a subject or environment or redirect the camera as a scene continues.

Project Deep Brush

For digital art and image editing, Project Deep Brush uses AI to understand an image’s shape, colour and lighting and separate images into physically decomposed layers. This would give artists a new level of control for painting and retouching, including the ability to control where paint lands and to make lighting-aware edits in photos.

Users would be able to add things like graffiti, signage, wraps, or branding to surfaces like walls, pillars, and vehicles, making the tool a potential game changer for product and environment mockups. For example, you could put a logo or texture on a curved or angled surface like a bottle, and the edit would follow the surface’s contours and lighting.

You'll be able to try this out for yourself on the new Adobe Labs Playground site.

Project Hands On

Project Hands On is presented as a possible step from text-based editing towards a more fully graphical interface allowing greater control of AI-generated imagery. It analyses what’s in the image and then adds controls, such as control points that can be used to reshape details by simply dragging rather than rewriting a text prompt.

This could make editing AI-generated output more precise and intuitive, avoiding the trial-and-error nature of having to repeatedly rewrite prompts and regenerate an image.

Project Screen Test

Project Screen Test was perhaps the wildest idea teased at Adobe Sneaks. It would allow character designers to talk with their fictional creations to learn more about them and how they might behave in a given situation. Yes, seriously!

The tool would allow creators to develop a character’s look, voice and personality, and then have a natural language dialogue with said character in order to explore who they are and how they might respond in different scenes. The character would effectively audition for you.

The idea is that this conversation could turn character development in generative filmmaking and game development into a more intuitive, expressive part of the storytelling process.

Project Sight Span

Project Sight Span is tool that feels a lot more familiar. It transforms an image into an interactive, navigable world that creators can step inside and explore freely. That exploration could be used to frame shots beyond the original image, and render new images or camera-controlled videos, a little like what some artists are already doing with Gaussian splats. Adobe reckons this could be useful for things like set design and world building.

Project Link Up

Another highlight of Adobe Sneaks 2026 was Project Link Up. With existing vector tools, dragging an object onto another only determines where it lands. Project Link Up turns that drag gesture into semantic fusion, combining an understanding of both objects with drag path, velocity, and creative controls to shape how they influence each other in real time, while keeping the result fully editable as vector artwork.

The idea is that artists and designers would be able to place 2D or vector assets into scenes with automatic perspective matching, reducing the need to redraw objects at new viewing angles. For typography, it would be possible to merge illustrated elements with letterforms while keeping the type editable for branding, logotypes, and packaging design.

For more news from Adobe Max, see what's new in Photoshop 2027.

On paper, the Boulies EP600 can be adjusted to a ridiculous degree. It has an innovative floating lumbar support that slides up and down depending on your fore or aft position, which would make it one of the best office chairs for back pain. In reality, it’s just not that comfortable.

Comfort & ergonomics

The real highlight of the Boulies Ep600 is the lumbar support, a really smart piece of counterbalanced engineering that tracks up and down with your lumbar as you move forwards and backwards on the chair. It achieves mechanically what the Hbada X7 failed to do electronically, with none of that chair’s irritating motor noises and intrusive micro-adjustments. It can be locked in place, too, but I found the floating mode suited me really well.

While the lumbar support is the best feature here, it’s coupled with the absolute worst: the back support. There’s nothing wrong with the support itself, but it’s positioned too far back in relation to the seat pad. If you want back support, then you have to lean right back in the seat, and you’re then an unfathomable distance away from your screen. The headrest is fine, but its bracket either goes higher or more forwards, but never both. As a taller person, I found that the chair was conspiring to position my head as far away from the monitor as is physically possible.

This distance is what got me questioning whether I’ve been sitting properly for all these years. Are you meant to sit like your computer screen is repulsive? It's something that I’ve been aware of in other chairs, but here it’s really noticeable: ideally you should be able to touch your screen with a fully stretched arm when your back is supported, but the Boulies EP600 puts a good few inches between my fingertips and Reddit.

When you want to relax, the chair does lean back further, and while the pull-out leg rest is appreciated, it’s made of rock-hard plastic. I’d sacrifice the leg rest for a chair that leans forwards to offer back support when you’re in those intensely focused sessions — it was a feature I really appreciated when I reviewed the Titan Evo NanoGen.

Elsewhere in the Boulies EP600 it’s business as usual. The armrests flex and pivot all over the place, and even tilt upwards or out of the way completely, but they’re coupled with very, very firm cushions that make you painfully aware of your elbow bones. The seatpad also moves backwards and forwards to accommodate different leg lengths and preferences.

Design & aesthetics

From the front, the Boulies EP600 tends towards the uglier side of office chairs, with its curved back panels resembling an insect: thorax, abdomen, and. It looks better from behind; its curved central column gives it an aesthetically pleasing structure, and its chunky armrests make it feel like the captain’s chair on the U.S.S. Enterprise.

One thing I like about mesh chairs (and this is mesh throughout) is that their transparency helps negate some of the weightiness of the design, and this is the case here. The grey colour scheme Boulies supplied has a slightly Y2K feel, especially in the silver plastic under the armrests and the metallic accent on the rear column. It’s also available in black, which looks even more insectoid.

I almost forgot to mention the pull-out leg rest, because I’d blanked it from my mind, but it’s really hideous; a single piece of plastic that wouldn’t look out of place in a 1970s hospital, which was truly the worst time for healthcare implements.

The Boulies EP600 is never going to win a good-looking chair contest, but this bug-like design language has become fairly standard in mid-range ergonomic chairs, and I don’t think it’s better or worse than any other.

Specs

Assembly

One thing I’ve come to loathe in chair construction is bases that need to be screwed together. I get that it saves packaging, but it’s such a chore! Thankfully, Boulies has overcome this with arms that lever themselves into position when you stand on the centre and, oh my gosh, it’s one of the most satisfying things I’ve ever experienced. More of this, please!

The manual is a little basic, and there are a few bolts that are fiddly to get in the right place, but overall it’s a 15-minute process with very little that can go wrong. The fully built chair feels solid and well-made; there are no creaking parts and nothing wobbles.

At 21kg, it’s reassuringly heavy, and its wide dimensions make it tricky to move through my Hobbity Victorian English home, so this is one that you won't want to move around too much.

Price & value

The Boulies EP600 carries a retail price of $489.99 / £429.99, but at the time of writing it’s $409.99 / £339.99, placing it firmly in the mid-range of ergonomic chairs.

For around the same price, you can pick up the Sihoo Doro C300 Pro, which includes a similar range of features. It lacks Boulies’ dynamic lumbar support and built-in leg rest, but it’s still a supremely comfortable chair with those all-important adjustable armrests.

If you want even more adjustability in a similar form factor, look no further than Hinomi’s H2 Pro. While its price point is a bit higher (it’s currently $569 / £569), it has adjustable points just about everywhere, and I found it really comfortable and supportive once I got the fit dialled in.

Should you buy?

Boulies primarily makes gaming chairs, and it feels as if the EP600 hasn’t quite shaken off its specialisation. It could work well if you’re primarily into gaming or watching movies and occasionally delve into more focused tasks. The flip-up armrests make it good for people who like to draw at their desks or noodle on a guitar to get those creative juices flowing. But designers, editors, and chair review writers who like a more upright position for focused work just won’t find enough support here.

It’s a shame because the lumbar support is smart, the armrests are versatile, and the mesh design is comfortable and cool. It’s also one of the easiest chairs to assemble. A few tweaks, such as better back support and plusher armrests, and the Boulies EP600 would be an instant classic. But as it stands, it’s hard to recommend, and I'm confident that the problem is with the design, not the person who's sitting on it.

This is a bean-to-cup coffee machine. It can grind your beans, brew a wide range of coffees and froth milk to perfection all while looking the part, and it comes from one of the most reliable brands in the mid-range of the market. See below for more details on the deal.

The best early Black Friday coffee maker deals

• Browse coffee machine deals at Amazon

Grinding your beans fresh right before brewing is one of the keys to great tasting coffee. For many, that means choosing between a separate grinder and coffee machine or a large bean-to-cup machine that eats up a good chunk of a kitchen counter. The Rivelia LatteCrema has been designed to do everything without taking up minimal space.

Automatic adjustments and interchangeable 250g bean hoppers make it easy to swap between different coffees, and the LatteCrema Hot Technology lets you adjust foam levels (from flat/hot milk to light or thick, super-fluffy foam) for drinks like cappuccinos, flat whites, and latte macchiatos.

The intuitive one-touch display lets you swipe through a variety of 16 drinks and allows you to store up to 4 user profiles, which can remember your favorite drink strengths and volumes.

Not in the UK? Check out coffee machine deals in your region below.

Space Invaders was the first game I ever played, or at least the first I can remember playing. I played it on a black-and-white CRT with an Atari 2600 (which is why I loved the Atari 2600+), crouched cross-legged on the floor, my face pressed against the TV screen. Our local swimming pool had an arcade because, back then, game cabinets appeared everywhere, but it was off-limits to me at eight.

I’m an adult now, so I can have Space Invaders, which remained one of the best games of the 80s after its release in 1978, on my wrist and play it whenever I like. In colour, too. That’s the pitch behind the My Play Watch series, which brings retro game brands back as digital watches. (For more, check out the indie game aping the visual design of old LCD game and watch gadgets.)

The Mega Man-branded My Play Watch is a different story. I came to the series late, on PlayStation, but of the two, this is arguably the watch with the more interesting game. It’s a reworked version of Mega Man 2, playable on a tiny watch face. Mega Man runs automatically; tap and hold the screen to jump, then release to fire, and beating bosses unlocks new watch faces.

My Play Watch: Mega Man vs Space Invaders

My Play Watch Mega Man: the better game

The blue retro watch and game capture the feel of Mega Man 2 despite the simplified controls, and the bosses and music are still there, bleeping away on my wrist. It isn’t a straight port, though. There are no Robot Master weapons, some enemies and minibosses are missing, and the levels have been changed. Controls can get fiddly when your finger covers the screen.

And yet I’ve kept Space Invaders on my wrist, even though its version of the game is simple. You move the little ship left and right using the side dial and tap the screen to fire. Sure, it's not as easy as playing on one of the best retro game consoles like the new Evercade Nexus, but look how tiny it is. It’s easy to pick up but hard to play while wearing, and the original arcade sounds and pixel-art watch faces sell the nostalgia, even if anyone nearby will tut and raise an irksome eyebrow at the loud bleeps and famously high-pitched 'pew-cssssh' as an Invader turns to pixel dust.

My Play Watch Space Invaders: nostalgia on your wrist

Nostalgia and collectibility are what sell these watches, and they’ve sold me. I love looking down and seeing the little animated Space Invader pixel monster waving back at me, or the bright original cabinet art sat on my wrist.

But they also have to do more than simply callback to my childhood, and that’s where both watches have a smart retro design. The smartest touch is the health tracking. Step count, calories, and heart rate turn into gamified stats, with my daily rates shown right next to my Space Invaders high score. It’s a small thing, but it makes checking my wrist and health updates feel like celebrating a scoreboard.

Which My Play Watch should you buy?

Elsewhere, these watches do what a digital watch needs to do in 2026: show the time, a calendar, a stopwatch and a calculator, but they have no notifications or advanced smartwatch features, which is either refreshing and on-brand for a retro game and watch, or a lack of digital detail. Personally, I’m happy to not have WhatsApps buzzing every 10 minutes. The design is a nice touch, too. Both use UI and fonts inspired by their games, and Space Invaders makes stellar use of pixel-art digits that take me straight back to 1982. The strap is spray-painted with Invaders, too (and each watch includes an alternative strap if you want to tone down the retro branding).

Just keep your expectations in check. This collectable tells the time, not an Apple Watch or Garmin rival. No notifications, a small screen not built for long play sessions but designed to take you back to simpler times and scratch that collectables itch – new editions include Street Fighter 2 and a gloriously obnoxious glowing green and pink Centipede edition that I kind of want for no apparent reason but mostly because these things become a container for our emotions.

At around $79.99 / £79.99, Mega Man is the better game, but Space Invaders is the one I’ve kept on, because, like all things retro, it’s completely personal.

Other My Play Watch editions

They do cost a fair few bob, starting at $1,199 but venturing into the $5000 territory, so they aren't craft machines for the people at this stage.

CNC machines work in the opposite way to the best 3D printers or the best UV machines. Rather than building an object up layer by layer, they carve it out of a solid block with a spinning cutter. That means you can create strong, precise parts in metal, wood and stone, built to last.

I've picked the best CNC machines available to consumers today, along with two promising Kickstarter models that we're excited to see materialise.

The best CNC machine for beginners

Makera launched as a company in 2019, with the aim of lowering the cost of precision desktop manufacturing. Two years later they made a big splash with their first CNC machine, Carvera, which debuted on Kickstarter and is still popular today: we've put it as number two on our list. But the Z1, which launched in 2025, again on Kickstarter, has shaken up the market by driving the cost of entry even lower.

Despite being the cheapest on this list, it does everything a beginner will need. It's built on a cast aluminium frame and fully enclosed. It offers automatic probing and levelling, a built-in camera you can connect to your phone, and an air blast that clears chips as it cuts. And its software offers one-click toolpaths, so you don't need to learn complex software before you get started.

The tradeoff for the cheap price is that it's more limited in terms of size and power. The 200 x 200mm work area also means you can only work with small parts, while the 150W spindle requires shallow, patient passes in metal. Another drawback compared to the Carvera is that you'll need to change tools by hand via a quick-release lever.

If you're seeking your first CNC machine, though, this is our top pick.

The best CNC machine for experienced users

The Carvera has been around since 2021 but remains Makera's flagship. With this CNC machine you get a six-slot automatic tool changer, letting you swap between different milling bits mid-job, saving you from having to fiddle about with your hands. It's capable of cutting and milling wood, plastics, acrylics, carbon fiber, FR4 (PCBs) and non-ferrous metals like aluminum and brass.

Other features include an automated wireless probe for surface mapping and bed leveling, built-in dust collection and a 2.5W laser for engraving and engraving and PCB labelling. The enclosed design keeps noise to around 65dB: not silent, but still quiet for a CNC. You can cut wood, plastics, PCBs and non-ferrous metals like aluminium and brass well, and if you want to make circuit boards at home, Makera will sell you a dedicated bundle for that.

The 200W spindle is modest, and Makera doesn't recommend you try to cut steel or titanium. And while the crowdfunded rivals below promise more power at a similar price, remember that they're not actually available yet. This is, and has years of independent tests and positive customer reviews behind it.

Up-and-comer

Twotrees produces affordable laser engravers and 3D printers, and the ED1 is its latest CNC machine. It offers automatic tool changing, like the Carvera above, but at a more affordable price.

While the ED1 is closer to shipping that the CNC machines below, it's only available for pre-orders, which will ship from January 2027. That means it hasn't yet been independently tested, so at this stage we can only go on the specs.

They do, though, look very impressive. The five-slot changer is said to swap cutters in around 10 seconds, the 600W spindle has three times the power of the Carvera's – Titanium is on its list of materials – and the 300 x 200mm work area is a decent size. You'll also get auto levelling, a built-in camera and AI-assisted software.

Kickstarter products to watch

These CNC machines haven't shipped yet, so we haven't included them in our main list. Both are due to arrive in early 2027, though, so assuming all goes well, they're well worth keeping an eye on.

Infimaker was founded in Shenzhen in 2024 by former DJI engineers, and the K1 is not just its CNC machine but its first product at all. The Kickstarter closed in September, but late pledges are still open, with delivery estimated for February.

So what's different about this one? Well, most desktop CNC machines are 3-axis: the cutter moves left and right, back and forth, and up and down. This adds two more axes: tilting and rotating the workpiece as it cuts, which allows you carve complex shapes like impellers and sculptures in a single setup, rather than having to re-clamp the part by hand.

This CNC machine features a 1.5kW spindle, a six-tool automatic changer and AI-assisted software. Be aware, though, that you'll need a strong desk, as this weighs a hefty 110kg.

Tooldance X1

The Tooldance X1 is a crowdfunded CNC machine with a 1.5kW permanent-magnet spindle that aims to deliver high torque at low speeds, enabling you to work with stainless steel and titanium. It promises the largest work area on this list at 400 x 265 x 180mm, along a nine-slot automatic tool changer that uses RFID tags to track its cutters, and sensors that measure your stock for you.

The Kickstarter is still live, with delivery estimated for March 2027. So as you'd expect, there've been no independent tests yet. If you're in the US, also note that the spindle's output drops to around 1kW on a 120V supply.

FAQs

Creating artwork that can make viewers feel amazed requires what I call ‘epic scale’, which is a technique I specialise in. It focuses on placing a tiny figure in front of enormous architecture, emphasising the contrast between the small figure and the vastness of the environment.

The software I use for my entire 3D workflow is Blender, with additional adjustments and post-processing done in Photopea (see our guide to the best 3D modelling software, and you might want one of the best laptops for 3D modelling).

For more inspiration, see our Blender tutorials.

Gear up

See below for today's best deals on drawing tablets.

This article originally appeared in ImagineFX. You can order back issues.

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Since its 1998 release, The Legend of Zelda: Ocarina of Time has been revered as the greatest game of all time, influencing many games, though few have ever tried to replicate its formula beyond subsequent 3D Zelda titles. That is, until Breath of the Wild blew open the doors, reinventing Nintendo's most beloved series in the modern open-world age of player agency and freedom, and its sequel, Tears of the Kingdom, reached new, unimaginable heights.

Returning to the N64 classic then might feel like a quaint relic of the past. So it's a revelation that, for the series' 40th anniversary, revisiting this beloved masterpiece remade for Nintendo Switch 2 has achieved an alchemy that rekindles the magic of what it must have been like to play Ocarina of Time for the first time 28 years ago.

This technically isn't the first time that Ocarina of Time has been remade, but whereas the 3DS update was largely a refurbishment that nonetheless stuck to the original blueprints, this Switch 2 remake has been fully rebuilt from the ground up for a new generation. The most notable difference, of course, is the art direction, which isn't just an exercise in Unreal hyper-realism. There's such attention to detail, from every blade of grass to the ridiculously detailed patterns and textures that adorn Link's hat and tunic. What's remarkable is that, unlike most modern games, all this visual density hasn't come at the expense of readability. I'd argue it's even easier to make out the cracked walls that bombs can blow up, while dungeons like the infamous Water Temple have improved architecture that makes navigation less confusing.

Ocarina of Time gets its character design right

Despite initial divisive responses to the new Zelda character designs (but then, I'm old enough to remember the 'Celda' reactions to Wind Waker), I soon found myself enamoured by the ornate puppet-style aesthetic reminiscent of fairy-tale and fantasy media from the 80s, while the still-mute Link says a lot just with his subtle facial expressions. Admittedly, Sheik is much less androgynous than the original game (though the twist is about as non-spoiler as Luke Skywalker's father), but Zelda herself is also an improvement over the dainty damsel, with a voice distinct from the stereotypical princess in the newer games.

It's also however not a 'reimagining' in the vein of Resident Evil 2 where the original story has been adapted to a modern iteration of the series, nor is it just a primarily graphical overhaul like Metal Gear Solid Delta: Snake Eater that otherwise plays almost identically. After Breath of the Wild and Tears of the Kingdom's vast open world, trekking across Hyrule Field in a matter of minutes should feel ridiculously small, yet I have to give kudos to Nintendo for not succumbing to the temptation of stretching it out and then stuffing it with filler content, though the original side quests, from item-trading to hunting down Gold Skulltulas, are intact.

There's still a majesty to this finite adventure of a courageous boy journeying across time to save the world that still evokes so much, whether it's when you first pull out the iconic Master Sword or just stand in the middle of Hyrule Field and just make out the surrounding locations based on their distinct landmarks without the need for waypoint markers. A maximalist Final Fantasy 7 Remake approach that stretched the narrative with many more things to do would have diluted, rather than enhanced, the experience.

Still, plenty of modern additions make for a much smoother playthrough, from a free-moving camera to 60FPS performance in stark contrast to the original's barely stable 20FPS, and a clear quest log that also weaves a beautiful tapestry chronicling your adventure. There's even a dedicated jump button for Link, which admittedly took me a while to adjust to, since I kept falling off platforms when I expected an auto-jump; you can just dash instead of the original's hack of rolling around ad infinitum.

How Ocarina of Time on Switch 2 mixes the old and new

You can also see some of the newer games' design incorporated, such as being able to quick-select items, though die-hards may lament that this means getting rid of the ability to map three items at once - it's balanced out by having some items like the lenses of truth or iron boots being mapped to respective buttons on the D-pad. Weapons like the slingshot, bow, and hookshot can also use gyro aiming, and while this was introduced in Ocarina of Time 3D, those still retained the original's first-person perspective, whereas now it's third-person like the newer titles, and you can move around at the same time.

Personally, my favourite new feature exclusive to Switch 2 hardware is being able to play the iconic ocarina songs by humming the tunes into the console's built-in microphone. For sure, it's a gimmick, but a very apt one, and I found it so much more intuitive than trying to memorise the button inputs, which is also a testament to how memorable Ocarina of Time's music continues to be.

Zelda's modern polish downside

If there is a downside to all the modern polish, it's that playing through Ocarina of Time is perhaps a little too breezy. That's certainly true of all the target and archery minigames, where, with the intuitive gyro aiming, I could get the top prizes on the first go without breaking a sweat. That also speaks to the absence of a more challenging option such as a Hero mode (you can opt to not increase your hearts, which is easier to do as you have to press a button to pick up heart containers), though an obvious choice would have been a Master Quest mode that remixes the dungeons, which could still happen post-launch either as a free update or paid DLC.

But Ocarina of Time was never as hardcore as Dark Souls; it was more about the pleasure of discovering new items you could put to ingenious use, especially against its brilliantly designed bosses, including an improved multi-stage finale. It's also nice that one of the remake's genuinely new features is a museum of all the enemies you've encountered, which lets you jump into boss rematches and even boss rushes.

If the overall changes to the game and story are relatively minor – voiced cutscenes are fine but hardly a gamechanger, though it's nice that Matt Mercer reprises his role as Ganondorf – it's really a testament that the original 1998 release was already such a defining moment in gaming that it doesn't require a radical overhaul to remind you just how great it still is. More importantly, in a post-BotW world, it's a relief that an adventure of this size can still feel epic and timeless.

The new identity is a fine example of a redesign done right. It feels more modern, more human and approachable, and it remains instantly recognisable, maintaining a clever hidden symbolism.

See our guides to the best laptops for graphic design and the best monitors for graphics artists if you need new tools for your own work.

The Caixa rebrand was the work of the Brazilian agency Tátil. It looked to the bank's history and its existing identity, kept the elements that people most recognised, and turned them up.

The previous logo design had lasted 29 years, so it was doing something right, but it was starting to look drab and dated with the old corporate feel of those muted colours and slightly italicised all-caps letters.

The rebrand turns the colours up with more modern, vibrant hues. Tátil suggests the blue represents enduring solidity while the orange reflects the diversity of Brazil.

The wordmark gets a cleaner lowercase design, and the core X motif, which features in the wordmark and also stands alone, gets a significant refresh.

The letter now more clearly resembles a box when applied in repeating patterns, reflecting the bank's name, which means box (as in savings box) in Portuguese. It also continues to resemble the roof of a house, reflecting the bank's role as Brazil's biggest mortgage lender.

You can see the evolution of the institution's branding in the video below.

"While every app was busy calling itself a bank, we went against the grain and found what only Caixa has, a bank that brings together the social and the commercial, today's needs and the drive to grow," Tátil says of the rebrand.