sees new A24 trailer

"Okay. Let's see if this is a horror movie or something else."

reads description

"From director Matt Johnson..."

Okay. I am now seated.

Jason Kottke celebrating the continued return of Every Frame a Painting:

I’m gonna call it: Every Frame a Painting, my all-time favorite YouTube channel, is back. Tony Zhou and Taylor Ramos stopped producing their fantastic video essays back in 2017 and while they have popped up here and there since then, they’ve mostly stuck to their retirement.¹

But for the past few months, the duo have been releasing video essays produced in partnership with Criterion: Night of the Living Dead: Limitations into Virtues, The Blade (1995): The Edges of Wuxia, and just yesterday, The Visual Comedy of Isle of Dogs(embedded above).

But is it a return or are buried essays finally surfacing?

Out of the recent uploads, two of them are actually old essays made for the Criterion releases of Night of the Living Dead and Isle of Dogs. In fact, it seems that the Night of the Living Dead essay was made eight years ago for the Blu-Ray release of the film before the iconic duo retired.²

The essay for The Blade is also a part of the Criterion release, but that just came out in March~April of this year, so that essay is brand spanking new. Taylor and Tony just (like the one hour ago kind of just) put out a new essay with Turner Classic Movies about Japanese filmmaker Yasujiro Ozu.

I had no idea Every Frame a Painting had an archive hidden away on certain Criterion releases. It makes me wonder how many more are hidden away. A targeted search on Google tells me there is an essay on Tampopo and on The Breaking Point, the latter of which is already on Criterion's YouTube channel from eight years ago (again!).

All this searching reminded me of the essays the duo made for David Fincher's Voir on Netflix—I wonder if Kottke knows about those. If this trend of releasing new old essays continues, I suspect we will see the Tampopo one next. I wonder if there is more to this "hidden in plain sight" archive or if we will get more new essays or if Every Frame a Painting will once again go away until there is more to say. Either way, I am always here for more essays by Taylor and Tony.

"In the process of cooperating with the NYAG’s investigation, we shared with them our efforts over many years to shut down accounts found to be using Valve game items on gambling sites in violation of the Steam Subscriber Agreement. We also shared with them our efforts to combat fraud and theft of users’ items and our extraordinary measures to stop gambling sites from taking advantage of Steam accounts and Valve game items. Valve does not cooperate with gambling sites."

— via About the New York Attorney General lawsuit against Valve

Valve may not "cooperate," but they sure do make a lot of money from them.

Have you ever been annoyed by your Mac's media keys triggering a random video in your web browser, doing something else weird, or by them doing… nothing? Even though your music player is right there?

Me too! And so Keyhole was born.

I cannot tell you how many times I want macOS to unpause my music for it to dig into my cavernous web of Safari windows and start playing some random video in the down deep that I have to spelunk for to pause. I gave Keyhole a test today and I can already tell it will change my life. Thank you for bringing this app to my attention Marcin Wichary of Unsung.

👋🏻

My review for Bungie's Marathon is live. Not that it is a video essay, but if you want a cool 5,500~ words about Bungie's best video game just know ya boy has got you covered.

I've been living all up in Tau Ceti IV these last two months and don't think I'll be leaving soon. I was fortunate enough to get a review code for the game and really poured myself into the review. I wanted to make it personal, but sweeping. My mind was a mashup of old multi-page IGN reviews, Charles Dickens, and video essay brain. I wanted to write a piece that explained why I think Marathon is the bee's knees. I think I accomplished that.

Is anyone reading it? 11 people have clicked on it. Not sure how many of those are me, but yeah, is these were the stats for a YouTube essay, YT Studio would be very disappointed in me. Is the point for more people to see the work or to do the work? Depending on when you ask me in my hobbied career of covering video games, I'd go either way. Today? I channel my inner El Paso Girl—why not both?

My problem is getting people to my blog. YouTube does the work for me there.

I kinda have this idea of printing off the review and reading it to the camera with gameplay coming in and out. Not sure how that'd do or be received. I'm not even sure I want to make it. But it is an idea I am mulling over in my mind.

I also wrote an editorial about Xbox's new manifesto. I love writing pieces like that. I want to write about Journey next. I feel a bit better than the last letter. Maybe this is what my essays become.

Until next time...

Last week, Xbox published a manifesto that they sent internally to all teams from the new CEO Asha Sharma and CCO Matt Booty. The letter received a whole lot of praise, but when I read it, I was left scratching my head.

"The model that got us here won’t be the one that takes us forward."

And yet...

"Console is at the foundation, delivering a premium experience, and cloud brings that experience to any device. You can play where you want, and your games, progress, friends, and identity stay with you across console, PC, mobile, and cloud.

...it sounds like...

Our new north star will be daily active players.

...the same plan...

To achieve our master plan, the way we work must transform.

Our best work happens when the full stack moves together. 'Microsoft Gaming' describes our structure but it does not describe our ambition. So, we are going back to where we started and changing our team’s name.

We are Xbox."

...of the past decade?

Am I crazy?

In 2023, Phil Spencer said to Kinda Funny:

"The console is the core of the Xbox brand…"

In the same interview Phil said,

"Play the games you want, with the people you want, anywhere you want. We want Xbox to be something that people who buy our console can feel like they are a member of."

And here is Phil talking about finding more players in 2020:

“More people playing is a good thing. We have to be careful. If you view the gaming world as a fixed pie. If you say there are only 200 million people who will buy a gaming console in any gaming generation, then in order to grow the business we have to get more per user. If it’s a fixed number of players and it’s about how you monetize each minute someone is playing, I think that’s dangerous for us as an industry. I think we have to find new players and new methods of monetization to open up those player bases. And that’s a great path to growth.”

What was the impetus for Game Pass and buying Mojang Studios and Bethesda and Activision/Blizzard/King for a rough total of $78.7~ billion dollars (before legal fees) if not for more "daily active players?" Wasn't the whole point of Game Pass and xCloud so "you can play where you want, and your games, progress, friends, and identity stay with you across console, PC, mobile, and cloud."? Isn't that what the ill-fated and recently killed "This Is An Xbox" campaign was meant to convey?

And then they have the marketing audacity to say:

"Xbox will be built to be affordable, personal, and open. We will offer flexible pricing so it’s easy to get started and keep playing. The experience will adapt to you, letting you customize how you play, helping you find what you’ll love, and connecting you with the right people."

Does anyone else remember "Xbox All Access," which was a part of the Series console launch where folks could do a payment plan with the console and Game Pass? I do.

"The other piece to the financial puzzle is Xbox’s installment plans (dubbed “Xbox All Access”) for the new consoles. For $25/month for the Series S and $35/month for the Series X, consumers can get the the latest console plus Game Pass, which includes all Xbox first party games and plenty of third party options. There is no up front cost and 0% APR. In two years, the console is theirs and they can chose whether or not to keep the Game Pass subscription, currently $15/month."

It seems to have been discontinued and replaced with flexible payments from PayPal, but this language says to me that this type of consumer arrangement is coming back in the face of ever increasing prices. ¹

The letter goes on to describe four priorities required to execute their direction toward the daily active player north star—hardware, content, experience, and services. The hardware bullet list in particular stands out to me.

• Stabilize Gen9 as a healthy and high-quality base 
• Deliver Project Helix to lead in performance and play your console and PC games
• Lead in comfortable, personal, high-performance accessories
• Build a strong ecosystem that expands choice and reach

If I may attempt a rough translation,

• These Series consoles aren't going away.
• Project Helix is going to cost a small fortune.
• We will still make infinite custom controllers and sweepstakes consoles.
• More handheld PC partners

In an interview with Stephen Totilo, Asha said this about Gen9 and its longevity:

“We have formed a team (and) we’re investing in console features,” Sharma said. “We are standing up the muscle to make sure that all of our performance and reliability and quality is great. We are investing in it as a first-class experience again, and we want to make sure that all the players who want to be on Gen 9 are on Gen 9 with a great console with regular updates.”

She teased that there were more updates coming, but didn’t want to get ahead of their announcements. “I think that the Gen 9 is a great piece of hardware, and we want to make sure that gameplay and the platform experience is excellent. We know we just haven’t invested as much there and so we’re getting back to that.”

When I combine all this talk with Xbox being "affordable" in the face of component shortages, it just reminds me of this Xbox classic.

In some semblance of a defense for Asha and team, she did say the following in that same interview:

“I think, historically, our pricing hasn’t been as flexible,” she said. “And I think that’s the big thing we want to go work on. You saw that with Game Pass. It had become too expensive. So we took a step to address that.”

She added: “I want to continue to make sure, as we build hardware, software, services, we’re spending just as much time on performance and play time as we are on making sure that we can innovate to offer more affordable devices and hardware and services. And so, look, there’s a reality to the market that we’re in, so there’s no promises around what the price points are or anything like that. But I want to make sure that people around the world are able to play.”

Now that to me, sounds like exploring a world where price drops return. I think they have been sorely missed.

They close out the manifesto with a top ten list, which we all know gamers love.

We have to be honest about where we are. We’re a challenger, and meeting this moment will require pace, energy, and a level of self-critique that should feel uncomfortable. At our best we: 

1. Earn every player 
2. Protect our art 
3. Stay rebellious 
4. Progress over perfection 
5. Signal over ceremony
6. Core before more
7. Outwork the problem 
8. Speed is learning
9. Makers over managers
10. Clarity is kindness

I think you could cut half that list out as marketing fluff. The bit about being a challenger is the most honest and accurate sentence in the piece. I'll give Asha and Matt this—they talk the talk that people seem to want to hear, but can they walk the walk?

After reading this letter, this rebrand back to "Xbox" smells more of "Facebook to Meta" type transition than a real transformation in the organization. A name change isn't going to remove the stink.

I hope they prove me wrong.

"We create unmatched entertainment experiences designed to inspire friendship and lifelong memories."

You'd be forgiven for not recognizing that quote. It is from the top of Bungie's Careers page.¹ When I peel back the corporate hiring layer, the core of the statement stands. If you are of a certain age, titles like Halo and Destiny elicit formative memories with friends.² And if you are of another certain age, you might be taken back to playing 1994's Marathon "at the Drexel student newspaper on Power Macs."

Thirty years later, Marathon is back as an extraction shooter set on the planet of Tau Ceti IV where players select a specialized synthetic body dubbed "Runners" to get in, grab loot, and exfiltrate. This incarnation of Marathon is Bungie's first new game since Destiny 2 in 2017 and their first under Sony's tutelage.³

Over the years, I have grown cold toward both Destiny 2 and Bungie as they failed to draw me back, forgot its own lore, and were rumored to have swung the axe on The Last of Us Online. I felt like the studio had lost its touch chasing the stars with Guardians. I fell away. Friends fell away. I became even a smidge snarky. Not unlike a certain Dickensian miser soured on Christmas, when Bungie's name came up, I would grumble.

Yet, the flame of my youthful affection was fanned when Marathon was announced...or my dormant Destiny-pilled dopamine receptors were crying out for a fix. I was open to the possibility of a new game from the legendary studio not bogged down by years of expansions, systems, and a shortage of friends playing. I saw it as an opportunity for a fresh start for both Bungie and myself.

As I have been playing Marathon for the last two months as much as possible, I kept coming back to my own stories with Bungie titles: The late nights running a raid for the first time ; all-nighter LANs fueled by combat and caffeine; the midnight launch parties; the pop of finally snagging a legendary or going flawless. I see the threads of them all woven into the cybernetic shell that is Marathon's modern form. It is these stories—my stories—alongside a striking FPS package that makes Marathon the best game Bungie has ever made.⁴

Read more →

A seemingly rare treat to get an Apple focused essay from Craig. But I think Craig is missing (at least part of) the mark with this one.

"The iPad should be radically (though obviously) touch-only. No keyboards. No pointers. No mice. No trackpads. Just your disgusting fingers flopping over the screen and mooshing into icons. It should not have any window’d modes. Each app should fill the whole screen and only the whole screen."

My hot pink iPad is just that—touch-only. I don't pair a mouse with it. No trackpads. My greasy nubbins flop and moosh all over the thing while I cook in my kitchen with it. While it is capable of all the things Craig describes, I choose not to engage with them. That's where I think Craig is missing the mark. He's ignoring the flexibility and adaptability in the iPad's hardware.

"No more keyboards or mouse support for iPads. Touch only. Nix half the iPad lineup, simplify simplify simplify. Gut iPadOS and rebuild it around touch fluidity and fluency and focus."

I'm not sure what half of the iPad lineup they'd get rid of, maybe just the base iPad? I feel like the size of the mini makes it a valuable slab in the lineup. The iPad Air feels like the default as the Pro creeps higher and higher in price.

Touch-only feels like a regression of the highest order for Apple's most flexible kit. It would negate so many workflows and accessibility scenarios. iPadOS is still touch-first and is the only way I use my iPad. I know the other modes and methods exist, but I choose to use the iPad the same way Steve did when demoing the first.

Craig's frustration comes in part, I think, from having the "knowledge of fire," which I crib from one of the all time greatest trailers—Red Dead Redemption 2: Official Trailer #3.

"You have to love yourself a fire. It's one of the blessings. Sure, we can have fire...And we can have the knowledge of fire...But with that comes the knowledge of everything."

Craig and all us Apple nerds know what the iPad is capable of, especially those M5 iPad Pros with their absurdist performance potential. I think that untapped potential frustrates us. We see stagnation or even regression in the face of unparalleled hardware progress. "Why is the iPad trying to be a laptop?! Why does it cost more than a laptop for a keyboard and trackpad? I'll just buy a Mac instead." We have the knowledge of fire (an OS and hardwares full capabilities) and that means we are cursed with the knowledge of everything (ohmygodwhy)

But, you don't need to attach a keyboard. No one is forcing you to. Tim Cook would like you to buy one. Nothing in iPadOS is forcing you to use windowing or Stage Manager. Want those big, beautiful, mooshy iPad apps? Use 'em. Want iPad-first apps? They exist and excel where their iOS and macOS counterparts do not. I think of Mela, my favorite recipe app. It sings on the iPad. I never want to cook without it.

Forcing the iPad back to touch-only would be a loss. We can't and shouldn't go back. The experience Craig wants on his iPad is there already. I think he just needs to treat the slab the way he wants.

I love it when cartoons interact with the real world. This looks spot on.

"The first is that I have intensely desired to write outside of the constraints or pressure of doing something for the sake of a video. Going forward, my blog will contain essays on media I’ve been thinking about lately, as well as aspects of art, culture, entertainment, and whatever else is on my mind, in addition to updates on how my life and career have been going. Social media poses intense restrictions and forces people to be too succinct about complex things, and while I could continue to post about these things in my YouTube community tab – I would much rather have a space to myself, just as the internet used to be."

I am pleased to see more personal blogs from creators make a comeback. I believe it is vital to own your own slice of the Internet pie and that a blog is one of – if not the – best way to do that.

As for the site design itself, I am getting major Detstar vibes. I like the idea of the Guestbook, which does elicit that early aughts web surfing energy we all lived off. And thankfully, there is an RSS feed. The hidden page is a nice touch too. No, you'll have to find it yourself.

Nice work Liam (and Stormagi). Excited to see what you write here and hopefully more folks follow in your blogging footsteps.

"The gist of it is simple: the mechanics of following a link are not important, and should be replaced by something that can make the link stand on its own. This is important for screen readers, but also for basic scannability: a 'click here' label has a lousy scent and requires you to take in the surroundings to understand what it really does. The rule is, in effect, a variant of 'show, don’t tell.'"

A convicting read for me this weekend. I've been known to throw a link behind "here." Searching for [here] reveals 59 occurrences across this here blog. Each time I feel inclined to, I get a gut check. Sometimes the lazy way wins and I keep it. Other times I rewrite or simplify the link structure.

It reminds me of advice Stephen King gives in On Writing about using adverbs that end in "ly." If something is "surprisingly simple," odds are that it just being "simple" is more effective on the page.

Just link the appropriate words, you don't need to educate the reader where to click. Trust the reader.

I'll leave you with this other quote from Unsung's author Marcin Wichary from Raycast’s confetti cannon;

"I hate perhaps all of Google’s search easter eggs because they’re built so extremely cheaply – try searching for “do a barrel roll” or “askew” (and no, I’m not going to dignify them with links because links are my love language)."

👋🏻

I hope you don't mind a little creative soul searching disguised as a newsletter.

It's been seven months since I last published a video. I can't seem to find, fabricate, or defend the time necessary to get one across the finish line. It feels like things pop up and take precedence. I feel it all sinking beneath me as I tread the waters of my own creativity.

Maybe I am too rigid or particular. Maybe my editing ambitions are too high. Perhaps I need to be fast and loose; to just make make make.

Or maybe I am in a season of life where I don't have the time for writing, recording, and editing. Maybe all I have is time for one thing. I have many ideas for video essays. Perhaps, I need to drop the "video" part and write write write. What's more important? The video presentation or the sharing of the idea? It feels like a sort of madness to have all these thoughts swirling and trapped inside my brain with the only key being making a video.

This train of though got me thinking about Scott the Woz and his Scott's Stash channel. A proper episode of Scott the Woz takes quite a while to produce. Scott's Stash, while still well produced and edited, is a much faster way for Scott and his team to get videos out, try ideas, and make make make. I'm not implying I am Scott Wozniak levels of production here, but I am saying that I might need to make smaller "stash" projects instead of each thing being a "Woz" caliber deal.

I've been reading the (so far) excellent Is A River Alive? by Robert Macfarlane and there's this passage early on in a cloud-forest (such a sick name) of Ecuador. Night has settled and these stumps begin to glow. A fungal hyphae grows inside the wood as the trees die and in the darkness it shines.

I think this incarnation of video essays is like those stumps. While they may be dying in this particular season, it doesn't mean there isn't life growing—maybe even flourishing. I may have to turn the lights off to see it though.

I'm starting to think these ideas in my note aren't videos after all, but just essays. I'll leave you all with a quote (and book) from Craig Mod;

"Things become other things."

Until next time...

Color me shocked when I saw this pop up in my suggested feed yesterday evening.

Color me even more shocked when I saw this recommended and it came out two months ago.

Shame on you all for not telling me. And shame on myself for not noticing sooner. Always a treat to have new essays from Taylor and Tony.

P.S. - It turns out that this is not the first time Every Frame a Painting has teamed up with Criterion. The seem to have also done one for The Breaking Point back in 2017. Adding that one to my list.

And here I was thinking I was good at Connect 4...

I've never heard of 2swap before, but these animations and the presentation are slick as all get out.

Lewis Packwood for GamesIndustry.biz;

"ProbablyMonsters' new chief marketing officer David Reid dismisses the idea that the firm is taking a scattergun approach with its releases, instead saying that they are intentionally focused on the AA space. 'We're building a portfolio, we're building a brand, and we want to show gamers that if you see the ProbablyMonsters logo on a game, it'll be something a little different.'"

I think that is exactly what is going on with ProbablyMonsters after a decade of shipping nothing and cancelling everything.

"Yet there are signs that ProbablyMonsters' new AA strategy hasn't paid off so far. Storm Lancers' all-time peak concurrent player count on Steam is just 29 according to SteamDB, and Video Game Insights estimates it has sold only 831 units on Steam (the game also came out on the Epic Games Store and Nintendo Switch, for which figures are unavailable). Similarly, Ire: A Prologue hit a player peak of 22, with VGI putting sales at just 415 units on Steam (again, the game also came out on the Epic Games Store, for which figures are not available)."

There are so few critic reviews that there is no aggregate score on Metacritic for either title.

""...we need to get serious about this publishing side of things and level up our capabilities there in the same way that we're changing how we think about development. We need to change our thoughts about how we do publishing.'"

So they need to not publish games? Because until the end of 2025, ProbablyMonsters approach to development was to just waste millions of investors dollars on kingly attire.

👋🏻

I miss working on my essay.

I think that's a good sign. I'm sort of treating it like Persona 5. That game took me three years to beat. There were multiple year-long lulls for me in that game. I would tell myself in a sporadic manner throughout the year to remember where I left off. I didn't want to lose the memory of the casts and plot like I had with Persona 4 Golden.¹

I am not saying this essay will take me years (I hope). But I am thinking about it regularly. I was editing a bit the other day too. It's not been abandoned.

I finished Resident Evil Requiem. I am obsessed with Marathon. I do not want to play Sons of Sparta, but I must.

This week I've realized that I set ambitious goals within small time windows. For example, my weekly note has a goal of "Write review for Marathon." That has not being accomplished this week. I did sit down and get rough thoughts and an outline down. I did record a small podcast with a friend discussing our thoughts on the game, which helped frame and define my own deeper takes on the game. I made real progress on the review, but I did not "write review for Marathon."

It reminds me of the concept of Yearly Themes from Myke Hurley and CGP Grey at Cortex. If I could summarize Yearly Themes, it'd be that resolutions are success or failure states. Those make you feel bad when you do not accomplish said goal. A theme is like a filter for decisions. Will doing this fit in with my current theme? You (theoretically) always make "progress" toward your theme, because it is more broad in its definition.

Tasks and goals do need to be accomplished, but I have realized my goals/tasks are too full. Same with this essay. The goal is "finish The Thing™." When I could be more broad with something like "work on a creative project." Maybe these looser and looser framings will just help me kick the can down the road. At some point, there does need to be forcing functions in place to make The Thing™. It's a tough balance to find and strike. Maybe next week will be better.

Until next time...

Love the advice on gear, storytelling, and dedication to authenticity.

Kyle Hilliard over at the resurrected Game Informer got to interview Matt Johnson about video games and Nirvanna The Band The Show The Movie. Sorry for the long block quote;

"I think just having that approach to it allowed me, especially at a young age, to become totally lost in the process of post-production and editing and re-editing and rewriting things and redoing it, and redoing it, and redoing it in the same way you would a video game and viewing filmmaking like you would view playing a game where it's like, yes – you die. But then you come back, and you get to play the level again, and you can die again, and then get a little bit farther, and a little bit farther. And that iterative process got drilled into me by playing these games where the difficulty was way beyond my ability to play them. That helped me to view filmmaking as that same exact thing, where if you go in and do it and it doesn't work? That doesn't mean you stop and put the controller down, or that you go, “Okay, well, that's as good as I can do. So I'm just going to deliver this.” It’s like playing Dark Souls. The fun of it is trying to do it again, and again, and again, and again until you really have it right...

...I think it's fascinating to hear you refer to editing as playing a video game, because I had a similar reaction myself to Nirvanna The Band The Show The Movie. When my daughter and I walked out of it, we said, “I don't know how they made that. I don't know how they got all those pieces to line up.” It does seem like you basically had to solve a gigantic puzzle. And you managed to get all the pieces together like you would solving an environmental puzzle in a Zelda or something.

That's what makes it so fun. And I gotta’ say, it is also the thing that motivates my friends and I to make these things, because it doesn't feel like we are covered in mud trying to climb up a mountain, which is the way I think a lot of production often feels with us. It truly is a game where you…"

I never thought of editing like a game, but ain't that the truth. Really, all creative endeavors are like a game.

Campus is my favorite Vampire Weekend song, so you know I saw this Campus (Original Version) that former bandmate and songwriter.

I don't love it.

Undoubtedly, it is because I have listened to Campus infinite amounts of times. Given my love of that song, I was surprised by the story of its creation. I also like this world where I missed MySpace rips of this version from 2009 or thereabouts.

Why share this now though? Because Rostam has released another cover of a Vampire Weekend song, Young Lion from their best album Modern Vampire of the City. I like this one more than the "original" version of Campus. The story of this one is also a good one.

Also, is it a cover if he wrote/co-wrote the songs? What's the ruling on that?

Young gamers in Japan may not be forming the same attachment to Final Fantasy or Dragon Quest because modern dev cycles are as long as their childhood, users theorize by Carlos "Zoto" Zotomayor for Automaton¹

The headline sort of tells the whole story. It is an interesting theory from the Japanese community and one that I see reflected a bit here in North America as well.

Me: “Dragon Quest has been getting a lot of attention lately with all the remakes. It may be overtaking Final Fantasy in terms of popularity. Come to think of it, which franchise does the younger crowd prefer, Dragon Quest or Final Fantasy? I’ll ask them.”

Youngster A: “Pokémon.”

Youngster B: “Pokémon.”

Youngster C: “Pokémon.”

Youngster D: “Pokémon. I’ve never played Dragon Quest or Final Fantasy.”

Me: “…”

Consistency is (Nido)king. I see tons of Nintendo and Pokémon fans lament the re-release of games like FireRed and LeafGreen or remakes like Brilliant Diamond and Shining Pearl, but you can almost always count on a Pokémon title being released during the year. Combine that with all the multimedia and the sheer cross compatibility with carrying these Pokémon forward, it's no wonder the kids connect to Pokémon over other Japanese RPG titans.

An example I have seen in my life was one day working on the production team at my church and all the younger lads were talking about the new Halo remake and stating it'd be their first time with the series. What. Their worlds certainly didn't stop when Marathon came out last month. They likely kept playing Fortnite and Clash Royale.