07 May 2026 - GEM Capital’s Roman and Kirill Gurskiy break down how investors evaluate Steam wishlists, demos, discoverability, and commercial potential in today’s crowded PC market.

06 May 2026 - Lea Seiler and Vishwaas Khare spoke with us about the workflow behind the Procedural Chaos Destruction Framework, explaining how they used Houdini to create a scalable and performant fracture logic, and discussing how they integrated various Unreal Engine systems.

01 May 2026 - Alexander Zadorozhnyi shared how he animated the Warrior Bug Attack, detailing how the idea started, how he set up the scene by creating separate animations to blend them, and talking about some of the challenges of the camera's perspective.

01 May 2026 - Angga Afriadi Hanif spoke with us about Thousands Layered Blade: Reforged, explaining which software he has used to create the game, why he chose the traditional sumi-e style, and discussing the main mechanics and mini games.

30 April 2026 - Rustam Zhukov talked to us about the Hell Gates project, discussing how he built a modular Gothic environment using procedural systems, custom trim sheets, Substance 3D Designer materials, and lighting in Unreal Engine 5.

29 April 2026 - Alina Ledeneva continued her research into frame synchronization between the gameplay camera and SceneCapture, with a project that leans more into the VFX direction.

28 April 2026 - Rigsters explains how automated capture pipelines are helping studios move beyond manual scanning bottlenecks and scale high-fidelity 3D asset production.

27 April 2026 - Pablo Garcia shared a breakdown on the Viking Settlement and Mad Max V8 Interceptor Fan Art projects, talking about how he learned to use Substance 3D Designer to create the first one, and explaining how he achieved the worn look in the Mad Max fan art.

27 April 2026 - Rayen Bahri from Saved Pixel studio unpacks the gradient texturing technique, the friction of the manual process, and how turning that process into a single ecosystem makes it a robust pipeline standard for stylized 3D art.

23 April 2026 - Jonathan Wai talked about the pipeline to create the disco light effect for the Lilo & Stitch live-action film, explaining how he used Nuke to create the light texture, and detailing how he animated the ball to make it look like it was spinning.