30 October 2026 - IllFonic CCO Jared Gerritzen discusses recreating 1978 Haddonfield, capturing Nick Castle’s original Michael Myers movements, using UE5 lighting, and building reactive NPC systems for Halloween: The Game.

30 October 2026 - Eric Liu showed his process of creating a semi-realistic version of DC's antihero Lobo, from sculpting in ZBrush to texturing in Substance 3D Painter and lighting in Marmoset Toolbag.

30 October 2026 - Elie Paquiet walks through his workflow for creating a ceramic tile material, from creating the pattern and introducing layers and variations to rendering the result with Unreal Engine 5.

29 October 2026 - IO Interactive explains how Jacksepticeye became Finn Colton, a narcissistic influencer whose content empire, buried trauma, and public facade shape Hitman’s new Elusive Target mission.

29 October 2026 - Linden Lab’s Anya Kanevsky explains how Luau, Visual Studio Code integration, live iteration, and an established creator economy could make Second Life more attractive to modern game developers.

29 October 2026 - Adobe has made baking a major priority in Painter based on long-standing user requests. Product Manager Laurens Corijn explains the technology and UX work behind its new cage painting workflow.

29 October 2026 - Jueon Kim shared the creation process behind Silent Ruins, inspired by Studio Ghibli's Castle in the Sky. The artist explained the work with UVs and showed how to make damaged structures look more convincing.

28 October 2026 - In his first interview since BioWare’s closure, Greg Zeschuk discusses EA’s acquisition, the leveraged buyout he calls the “final nail in the coffin,” and why great studios cannot be rebuilt with “random people and AI.”

28 October 2026 - Rebecca Ma discusses how she sculpted the intricate patterns on dragon statues with ZBrush's Make 3D tool, explains how procedural texturing in Maya and V-Ray helped her save time, and talks about how she created a water simulation and an atmospheric fog in Houdini.

28 October 2026 - Daniil "Split" Voskressensky shared a breakdown of his first deep dive into Blender's shaders, modifiers, and render setup to create a fully hand-painted, comic-style 3D model of Cyclops.