Astronomers at MIT, the University of Liège, and elsewhere have discovered a new planet orbiting a small cold star, a mere 55 light years away. The nearby planet is similar to Earth in its size and rocky composition, though that’s where the similarities end. Because this new world is likely missing an atmosphere.
In a paper appearing today in Nature Astronomy, the researchers confirm the detection of SPECULOOS-3b, an Earth-sized, likely airless planet that the team discovered using a network of telescopes as part of the SPECULOOS (Search for Planets EClipsing ULtra-cOOl Stars) project.
The new planet orbits a nearby ultracool dwarf — a type of star that is smaller and colder than the sun. Ultracool dwarf stars are thought to be the most common type of star in our galaxy, though they are also the faintest, making them difficult to spot in the night sky.
The ultracool dwarf that hosts the new planet is about one-tenth the size of, and 1,000 times dimmer than, the sun. The star is more similar in size to Jupiter and is twice as cold as the sun. Nevertheless, the dwarf star radiates an enormous amount of energy onto the planet’s surface due to the planet’s extremely close proximity: SPECULOOS-3b circles its star in just 17 hours. One year on the new planet, then, is shorter than one day on Earth.
Because it is so close to its star, the planet is blasted with 16 times more radiation per second compared to what the Earth receives from the sun. The team believes that such intense and relentless exposure has likely vaporized any atmosphere that the planet once held, leaving it an airless, exposed, blistering ball of rock.
If the planet lacks an atmosphere, scientists might soon be able to zero in on exactly what type of rocks are on its surface and even what sort of geological processes shaped its landscape, such as whether the planet’s crust experienced magma oceans, volcanic activity, and plate tectonics in its past.
“SPECULOOS-3b is the first planet for which we can consider moving toward constraining surface properties of planets beyond the solar system,” says study co-author Julien de Wit, associate professor of planetary sciences at MIT. “With this world, we could basically start doing exoplanetary geology. How cool is that?”
The study’s MIT co-authors include research scientists Benjamin Rackham and Artem Burdanov, along with lead author Michel Gillon of the University of Liège and colleagues from collaborating institutions and observatories around the world.
Lining up
Astronomers observed the first inklings of the new planet in 2021, with observations taken by SPECULOOS — a network of six robotic, 1-meter telescopes (four in the Southern Hemisphere, and two in the Northern Hemisphere) that continuously observe the sky for signs of planets orbiting around ultracool dwarf stars. SPECULOOS is the parent project of the TRAPPIST (TRAnsiting Planets and PlanetesImals Small Telescope-South) survey, which discovered seven terrestrial planets — several potentially habitable — around a small cold star named TRAPPIST-1.
SPECULOOS aims to observe about 1,600 nearby ultracool dwarf stars. As these stars are small, any planets that orbit and cross in front of them should momentarily block their light, by a more noticeable amount compared to planets that orbit around larger, brighter stars. Ultracool dwarf stars, then, could give astronomers a better view of any planets that they host.
In 2021, a telescope in SPECULOOS’ network picked up some inconclusive signs of a transit, in front of one ultracool dwarf star about 55 light years away. Then in 2022, a close monitoring with MIT’s Artemis telescope changed the game.
“While there were structures in the 2021 data that didn’t look convincing, the 2022 Artemis data really got our attention,” recalls MIT’s Artem Burdanov, who manages the SPECULOOS Northern Observatory. “We started to analyze one clear transit-like signal in the Artemis data, quickly decided to launch a campaign around this star, and then things just started lining up.”
Dark like the moon
The team zeroed in on the star with MIT’s Artemis telescope, the rest of the SPECULOOS network, and several other observatories. The multipronged observations confirmed that the star did indeed host a planet, which appeared to orbit every 17 hours. Judging from the amount of light it blocked with each crossing, the scientists estimate that the planet is about the size of the Earth.
They were then able to estimate certain properties of the star and the planet based on analyses of the star’s light taken by MIT’s Benjamin Rackham, who has led a campaign using the Magellan telescopes in Chile and the NASA Infrared Telescope Facility (IRTF) in Hawaii to analyze the light from nearby ultracool dwarf stars.
“We can say from our spectra and other observations that the star has a temperature of about 2,800 kelvins, it is about 7 billion years old — not too young, and not too old — and it is moderately active, meaning that it flares quite a lot,” Rackham says. “We think the planet must not have an atmosphere anymore because it would easily have been eroded away by the activity of the host star that’s basically constantly flaring.”
Without an atmosphere, then, what might one see if they were to look up from the planet’s surface?
“If there’s no atmosphere, there would be no blue sky or clouds — it would just be dark, like on the surface of the moon,” Rackham offers. “And the ‘sun’ would be a big, purplish-red, spotted, and flaring star that would look about 18 times as big as the sun looks to us in the sky.”
Because the planet lacks an atmosphere and is relatively close by, the team says that SPECULOOS-3b is an ideal candidate for follow-up studies by NASA’s James Webb Space Telescope (JWST), which is powerful enough to parse the star’s light and discern more details of both the star and the planet. With JWST’s observations, the team hopes to be able to identify details of the planet’s surface, which would be a first in the field of exoplanetary studies.
“We think that the planet is nearly as hot as Venus, so not habitable,” Rackham says. “It’s not hot enough to have a lava surface. It should be solid rock. But depending on how bright that rock is, it could be recently resurfaced due to plate tectonics or volcanic activity, or it could be a planet that’s been eroded by space weathering and has a much darker surface. Going forward, we should be able to distinguish between some interesting scenarios for the surface of the planet.”
This research was supported, in part, by the European Research Council, the Simons Foundation, and the Heising-Simons Foundation.
Last week, over 40,000 business and cyber security leaders converged at the Moscone Center in San Francisco to attend the RSA Conference, one of the leading annual cyber security conferences and expositions worldwide, now in its 33rd year.
Across four days, presenters, exhibitors and attendees discussed a wide spectrum of topics, including groundbreaking cyber security innovation, new perspectives, and transformative cyber security solutions.
The theme of this year’s conference was “The Art of Possible,” reminding attendees that challenges can be overcome, especially as a collaborative community. If you missed the event, discover key takeaways below:
5 CISO takeaways: RSAC 2024
1. Artificial intelligence. More than 100 conference sessions grappled with the topic of AI. There was much discussion surrounding the use of AI within cyber security, both on the part of the ‘good guys’ and that of the ‘bad guys’. A number of CISOs expressed concerns pertaining to the risks around shadow AI, comparing it to shadow IT.
Experts also emphasized the need to distinguish generative AI from other types of AI. Panel discussions expanded on AI-focused conversations through discourse on large language models and the predictive benefits that such technologies bring to cyber security tooling.
2. Data governance. Alongside discussions on AI, data governance emerged as a prominent conference topic. While some conversations explored AI’s specific role in data governance, others zeroed in on the need to really know a given organization’s data and the need to develop data governance policies that align with frequently revised and updated compliance standards.
One cyber security executive deftly highlighted the data-oriented challenges that stem from biases associated with three different areas in a given company – the engineers who create data, the C-suite team, which uses the data, and the CISO, who controls data security.
Given biases in perspectives, true data governance continues to be trying. And such biases arguably degrade overall cyber security efforts.
3. Zero-Trust losing the spotlight. In 2023, Zero-Trust dominated RSA Conference discussions. However, this year, while still a general conversation topic, the buzz around Zero-Trust appeared to have diminished. According to a handful of CISOs, many organizations are already well into their Zero-Trust journeys, which may explain the waning interest.
4. CISA announces Secure by Design program. The top cyber security agency in the U.S. reported that 68 of the world’s leading software manufacturers have signed a voluntary pledge to design products with security built in from the start.
CISA Director Jen Easterly expressed the necessity of Security by Design in the wake of widespread hacking campaigns operated by nation-state actors. “We can together achieve long-term security through fundamentally more secure software,” she stated.
The pledge says that within a year, all involved companies will increase the use of multi-factor authentication across products, reduce the use of default passwords, reduce the prevalence of entire classes of vulnerabilities, make efforts to increase the installation of patches by customers, and be more transparent and timely about common vulnerabilities, among other things.
5. Resilience building. Discussions emphasized that resilience isn’t achieved solely through technology, but rather by fostering collaboration across stakeholder groups. CISA’s Secure by Design program exemplifies the collaborative approach.
Further information
Other topics addressed during the conference included inheriting cyber security from past CISOs, how ransomware prevention has evolved, balancing innovation and security in the cloud, and of course, as noted previously, no one ran out of things to say about artificial intelligence.
For deep-dive insights into cloud-delivered, AI-powered security solutions, click here. To receive compelling cyber insights, groundbreaking research and emerging threat analyses each week, subscribe to the CyberTalk.org newsletter.
Need a moment of levity? Try watching videos of astronauts falling on the moon. NASA’s outtakes of Apollo astronauts tripping and stumbling as they bounce in slow motion are delightfully relatable.
For MIT engineers, the lunar bloopers also highlight an opportunity to innovate.
“Astronauts are physically very capable, but they can struggle on the moon, where gravity is one-sixth that of Earth’s but their inertia is still the same. Furthermore, wearing a spacesuit is a significant burden and can constrict their movements,” says Harry Asada, professor of mechanical engineering at MIT. “We want to provide a safe way for astronauts to get back on their feet if they fall.”
Asada and his colleagues are designing a pair of wearable robotic limbs that can physically support an astronaut and lift them back on their feet after a fall. The system, which the researchers have dubbed Supernumerary Robotic Limbs or “SuperLimbs” is designed to extend from a backpack, which would also carry the astronaut’s life support system, along with the controller and motors to power the limbs.
The researchers have built a physical prototype, as well as a control system to direct the limbs, based on feedback from the astronaut using it. The team tested a preliminary version on healthy subjects who also volunteered to wear a constrictive garment similar to an astronaut’s spacesuit. When the volunteers attempted to get up from a sitting or lying position, they did so with less effort when assisted by SuperLimbs, compared to when they had to recover on their own.
The MIT team envisions that SuperLimbs can physically assist astronauts after a fall and, in the process, help them conserve their energy for other essential tasks. The design could prove especially useful in the coming years, with the launch of NASA’s Artemis mission, which plans to send astronauts back to the moon for the first time in over 50 years. Unlike the largely exploratory mission of Apollo, Artemis astronauts will endeavor to build the first permanent moon base — a physically demanding task that will require multiple extended extravehicular activities (EVAs).
“During the Apollo era, when astronauts would fall, 80 percent of the time it was when they were doing excavation or some sort of job with a tool,” says team member and MIT doctoral student Erik Ballesteros. “The Artemis missions will really focus on construction and excavation, so the risk of falling is much higher. We think that SuperLimbs can help them recover so they can be more productive, and extend their EVAs.”
Asada, Ballesteros, and their colleagues will present their design and study this week at the IEEE International Conference on Robotics and Automation (ICRA). Their co-authors include MIT postdoc Sang-Yoep Lee and Kalind Carpenter of the Jet Propulsion Laboratory.
Taking a stand
The team’s design is the latest application of SuperLimbs, which Asada first developed about a decade ago and has since adapted for a range of applications, including assisting workers in aircraft manufacturing, construction, and ship building.
Most recently, Asada and Ballesteros wondered whether SuperLimbs might assist astronauts, particularly as NASA plans to send astronauts back to the surface of the moon.
“In communications with NASA, we learned that this issue of falling on the moon is a serious risk,” Asada says. “We realized that we could make some modifications to our design to help astronauts recover from falls and carry on with their work.”
The team first took a step back, to study the ways in which humans naturally recover from a fall. In their new study, they asked several healthy volunteers to attempt to stand upright after lying on their side, front, and back.
The researchers then looked at how the volunteers’ attempts to stand changed when their movements were constricted, similar to the way astronauts’ movements are limited by the bulk of their spacesuits. The team built a suit to mimic the stiffness of traditional spacesuits, and had volunteers don the suit before again attempting to stand up from various fallen positions. The volunteers’ sequence of movements was similar, though required much more effort compared to their unencumbered attempts.
The team mapped the movements of each volunteer as they stood up, and found that they each carried out a common sequence of motions, moving from one pose, or “waypoint,” to the next, in a predictable order.
“Those ergonomic experiments helped us to model in a straightforward way, how a human stands up,” Ballesteros says. “We could postulate that about 80 percent of humans stand up in a similar way. Then we designed a controller around that trajectory.”
Helping hand
The team developed software to generate a trajectory for a robot, following a sequence that would help support a human and lift them back on their feet. They applied the controller to a heavy, fixed robotic arm, which they attached to a large backpack. The researchers then attached the backpack to the bulky suit and helped volunteers back into the suit. They asked the volunteers to again lie on their back, front, or side, and then had them attempt to stand as the robot sensed the person’s movements and adapted to help them to their feet.
Overall, the volunteers were able to stand stably with much less effort when assisted by the robot, compared to when they tried to stand alone while wearing the bulky suit.
“It feels kind of like an extra force moving with you,” says Ballesteros, who also tried out the suit and arm assist. “Imagine wearing a backpack and someone grabs the top and sort of pulls you up. Over time, it becomes sort of natural.”
The experiments confirmed that the control system can successfully direct a robot to help a person stand back up after a fall. The researchers plan to pair the control system with their latest version of SuperLimbs, which comprises two multijointed robotic arms that can extend out from a backpack. The backpack would also contain the robot’s battery and motors, along with an astronaut’s ventilation system.
“We designed these robotic arms based on an AI search and design optimization, to look for designs of classic robot manipulators with certain engineering constraints,” Ballesteros says. “We filtered through many designs and looked for the design that consumes the least amount of energy to lift a person up. This version of SuperLimbs is the product of that process.”
Over the summer, Ballesteros will build out the full SuperLimbs system at NASA’s Jet Propulsion Laboratory, where he plans to streamline the design and minimize the weight of its parts and motors using advanced, lightweight materials. Then, he hopes to pair the limbs with astronaut suits, and test them in low-gravity simulators, with the goal of someday assisting astronauts on future missions to the moon and Mars.
“Wearing a spacesuit can be a physical burden,” Asada notes. “Robotic systems can help ease that burden, and help astronauts be more productive during their missions.”
Halftone Photoshop brushes are typically used to create a dotted effect, reminiscent of old print media. They are useful for adding a vintage or comic book appearance to digital artwork, making them a popular choice for artists looking to add depth and texture to their work.
Halftone brushes can be used to create backgrounds, add shading, and greatly enhance illustrations. They are popular in comic book art, poster designs, and retro-style graphics. They can transform simple graphics into detailed and engaging visuals, making them valuable resources for artists looking to add a professional touch to their projects.
In this collection, you will find some of the best free halftone Photoshop brush packs currently available. They are perfect for digital designers at all skill levels and provide a range of options to suit various styles and requirements.
This set includes ten high-resolution halftone brushes, all perfect for creating unique digital art. You can also customize colors, sizes, and positions.
This free brush pack has been created to give your lettering a retro or vintage look and feel. Created by Ryan Hamrick, this halftone brush set is excellent for adding a subtle textures and a touch of shading to your typography.
This pack offers 12 grunge-style brushes ideal for graphic novels and distressed art. You will also get four high-resolution vintage paper textures.
This huge collection of free Photoshop brushes is perfect for anyone wanting to experiment with their digital art using different halftone effects. You can also use them in Gimp, Affinity Designer, and Procreate.
This shadow-hatching pack contains over twenty halftone line brushes, plus a set of high-resolution vintage paper textures as a bonus. These brushes are perfect for projects that need a light vintage touch.
This halftone brush set adds a light touch of age and distress to your digital artwork. There are seven free brushes in this pack, and you can use them for your commercial work.
This pop-art-inspired set includes 18 square and dot brushes, all perfect for creating vintage comic books, retro artwork, or enhancing existing designs with a vintage flair.
This free collection comes with fifteen high-resolution brushes, all ideal for creating detailed halftone effects. Each brush is over 2500 pixels, allowing for precise and impactful digital art.
More Halftone Photoshop Brushes
These free brush sets were created using older versions of Photoshop but will still work in the latest versions. They are also not of as high a resolution as the brush packs above, but they are all still high-quality and worth your consideration.
How to Install Brushes in Photoshop
With these simple steps, you will be able to quickly download, install, and organize your halftone brushes in Photoshop, ensuring they’re always at your disposal for your design projects.
Download the Brush Pack: Choose and download the Photoshop brush pack you want to use and save the file to your computer.
Extract the Files: Locate the downloaded ZIP file, right-click it, and select Extract All to unzip it. Save the extracted files in a folder on your desktop.
Open Photoshop: Launch Photoshop on your computer.
Access the Brushes Panel: Go to Photoshop’s top menu, click Window, and then select Brushes from the dropdown menu to open the Brushes panel.
Import the Halftone Brushes: In the Brushes panel, click on the menu icon (three horizontal lines) in the top right corner. Select Import Brushes and navigate to the folder where you saved the extracted brush files. Select the .abr file and click Open to import the brushes.
Organize Your Brushes: Click the folder icon at the base of the Brushes panel to create a new brush group. Name the group (e.g., “New Halftone Brushes“) and drag the imported brushes into this folder. This helps keep your brushes organized and makes it easy to find them the next time you need them.
Halftone Brush Packs FAQ
What are halftone brushes?
They are resources used in digital design to create patterns of dots or lines. These patterns simulate different shades of color, adding texture and depth to digital artwork.
Why should I use halftone brushes?
Halftone brushes can add a vintage or comic book style to your work. They can make flat graphics more interesting and give your projects a unique, textured look.
Can I use these halftone brushes for commercial projects?
It depends on the license of each brush pack. Check the terms of use provided by the creator. Some brushes are free for personal use, while others may be used commercially.
Are halftone brushes compatible with other design software?
These brushes have been created for Photoshop, but some may work with other design applications like GIMP or Procreate. Check the compatibility before downloading.
How can I improve my designs look better with halftone brushes?
Use halftone brushes to add texture to flat areas of your design. Combine them with other design elements, like shapes and colors, to create more dynamic compositions.
Can I adjust the size of halftone brushes in Photoshop?
, you can. Use the brush size slider in the Brushes panel (or press the bracket keys) to re-size the brush.
During our trip to Supergiant Games for our Hades II cover story, we had a chance to speak with one of the studio’s original seven employees and its principal voice actor, Logan Cunningham. From providing the voice of Rucks in Bastion to Red’s titular Transistor to Hades himself, Cunningham has played a vital part of every Supergiant title. In this rare interview, we ask Logan how he entered the world of voice acting, how he joined Supergiant Games, and which characters are his favorites to play (and which he’d want to redo).
Game Informer: When did you first discover that you were good at creating or imitating voices?
Logan Cunningham: I don’t think there was ever a moment that I discovered that. I always did that. From when I was a kid, my brother and I, we would record stupid little… almost like our own little radio plays but based on Star Trek: The Next Generation, just with a cassette recorder. I don’t know; maybe it started there. The first time I think I realized I had a voice that people consider to be nice was in elementary school because my English teachers would always ask me to read from whatever book we were studying at the time. But I never set out to be a voice actor. [I] certainly [had] no formal training. There’s not really any formal training for voice acting that I think exists. Everybody falls backward into it, just like I did. From my understanding, from my experience with everyone, every voice actor that I meet, I ask them like, ‘Oh, how did you start?’ and it’s always the same story. ‘I did one, then I did another, a third one, and now 15 years later here I am’. And my case is a little different in that the way I got my first job was from knowing one of the people who started Supergiant Games and then also knowing [Supergiant composer] Darren Korb.
Did you have any go-to characters you liked to imitate? Or was there a character you concocted that became your primary voice?
I was pretty much weaned on Star Trek: The Next Generation, so I think even at, like, six I had a pretty good Patrick Stewart. But not really. I didn’t really focus on anybody in particular. If I encountered a voice that I liked, I would just sort of do it – not for anyone, just for me. Just on my own in the bathtub, which I still do.
The most sacred places to practice: the shower, the bathtub.
It’s where you’re at your most vulnerable.
Yes, quite literally. When you first made your big leap into doing voice acting, as you mentioned, coming on with Supergiant, what was that initial conversation like?
It was literally my friend Amir [Rao], who I knew had left his job at Electronic Arts with his friend Gavin Simon, and they moved from LA back to San Jose, which is where we’re all from, Amir, me, and Darren, into his dad’s house and they started a startup; which was a game developer, which I don’t even think I knew that term at the time. All I knew was a friend of mine was making a video game. And they had gotten to the point where they wanted to try something with voice-over, and so now they needed an actor, and I was the actor that they happened to know personally. And they had no money, and so I was cheap. And I was roommates with Darren in New York at the time, who was already involved. He came on board maybe, like, December ’09? And then I recorded the first lines of Bastion [in] February; yeah it was Presidents Day weekend 2010. Yes, it really did just start with me doing a friend of favor.
When you look back on your first big role as a voice actor with Bastion, how did you feel about that performance at the time? And how do you feel about it now that you’ve had a chance to reflect on it over a decade later?
I was just trying to get through it. I had no idea what I was doing. None of us did. Darren and I certainly, that was our first time working on a video game in any capacity, but I just approached it as an actor. I just tried to keep the character consistent and give it as much life as I could. I had a lot of help from Greg [Kasavin] writing an amazing character and amazing story. Once we were working on Transistor, the Transistor performance is pretty much just me, but just kind of at a whisper. And with Rucks in Bastion, the narrator, what made a good take during those sessions was if the voice was right. And then in Transistor, what made a good take was if the performance was right.
Hades
To jump ahead to Hades II, what new characters do you provide the voice for in the game?
I’m not going to say. I’ll let people guess and figure it out. Hades, I can confirm because he’s in the trailer.
How did it feel when you first heard Supergiant was doing its first sequel? How did it feel to be returning to a world for the first time instead of preparing for a whole new one?
Really happy and I wasn’t surprised at all. At all. Because we loved making that game so much. It was so clear, to me anyway, that we weren’t done with it. There was so much still left to do and explore and characters to meet and stories to tell. So I was thrilled.
I was excited, too, especially because I really enjoyed your work as Hades in the first game. Can you talk about the process of preparing for that role, what that looked like, and what you felt you needed to bring to that role to bring that character to life?
Just imagining not the worst dad possible, but a very difficult one who’s just a workaholic, is constantly busy and never has time for you, is really powerful, and has a really important job. And because of it, [he’s] miserable most, if not all, the time but is also still kind of a person and has a past and regrets and all those things that make a character interesting. But yeah, coming up with the voice was a lot of fun because it is basically just Tywin Lannister and Tim Curry as the Lord of Darkness in Legend, if you’ve ever seen that movie. So yeah, getting to play around with that.
Of all the characters you’ve voiced in your games, do you have any ones that stand out as your favorite or most cherished characters? Do you feel particularly close to them the way some actors do about a role or character that they’ve played?
Favorite is probably a tie between Rucks and Hades. Rucks because he was the first and my introduction to Supergiant; my foot in the door, if you like. Hades, because he was so much fun to do. It’s really fun to play someone who’s just, like, a bastard. He’s just like a s****y person. But what often comes to mind is the Transistor, actually. Like, if I have the opportunity to sort of do that one over, I might. Or I will at least heavily think about it. My kind of immediate reaction once I played the thing from start to finish was like, ‘Okay.’ I wasn’t quite sure I was playing that guy. I felt I was maybe playing somebody else.
Now that you’ve been doing this for so long, and you mentioned before not being formally trained, what were some of the on-the-job training lessons you’ve learned over the years to improve as a voice actor?
All kinds of vocal warm-ups. Whereas at the start, it might take me a couple of hours to get ready. Now I am pretty much good to go in 20 minutes to half an hour. I know how much time I need to spend with the script if I’m lucky enough to have the time to see the lines beforehand because very often, it’s just ‘Hey, who are we doing today? Achilles? Great, all right’. And it’s mostly in the recording session itself, I’ll get a chance to read the line, whatever the next line is that we have to do, I’ll get to read through it once or twice and then I just have to go for it. So, I guess I’ve gotten more efficient. But I think everyone at Supergiant, certainly all of us who worked on Bastion and we’re all still there, we’ve all gotten more professionalized, I guess.
I always wonder about this with voice actors because I find myself doing this. You mentioned before it’s fun to sort of do a voice when you’re alone, you’re around the house just doing a voice; do you ever find yourself doing that with any of the characters you’ve played in the past? Do you ever just go around the house and start talking as Hades randomly since you mentioned how much fun it is to occupy that role? Or do you sort of retire them once the project is over?
I don’t really, but I will find myself doing, randomly at times, voices that inspired some of those characters. I still love just walking around my place just doing lines from Deadwood as Al Swearengen, which was a huge influence on Rucks. At the very least, it’s a nice vocal exercise. But it’s just kind of one of those silly, crazy things that actors do, and one of the reasons it’s good that I live alone.
Bastion
What advice would you give to someone who is interested in pursuing voice acting or to aspiring/young voice actors who want to improve?
Make sure you’re an actor, that you know how to act. Because it’s not just doing funny voices. I think it used to be that way years and years ago. It’s not anymore. Keep working, keep improving. Take classes, take every opportunity you have. If you know people who are making things, work with them. If you know a decent amount of those people who are making stuff, one of them might make it and remember you and take you along. That is absolutely what happened to me.
How would you compare your experience working on Hades II to previous games? Has this felt the most challenging or the most exciting? How do you feel about what is being asked of you for this game compared to what you’ve done before?
Not necessarily more challenge. It’s just different. What I will confirm, and I think this has been confirmed maybe in other places, there are a number of returning characters that I did in Hades in Hades II in addition to some new ones, which are the ones that I can’t talk about. So there might be a character of mine from the first one where Melinoë, the protagonist, might mention, ‘blah, blah, blah’ to ‘blah blah blah’ and that’ll inform the performance. There is a kind of melancholy that I’ve certainly felt with a lot of the characters that I’ve been doing in the sequel compared to the original, Hades 1, which hopefully adds interesting layers. I don’t know, we’ll see. We’re still working on it.
Is there a character you’ve played from the Supergiant Games that you most identify with on a personal level?
Is it weird to say Charon?
Why is that?
He’s someone who doesn’t say words and generally would like to be left alone, I think [laughs]. I can imagine running a store just like, ‘Ah, get what you want, get out.’ I identify with that.
Transistor
What is the thing that you’re most proud of with Hades II, both in regards to what you’re bringing to it as an actor and what the game is doing to build upon the first game? What are you most excited about for players to experience?
I won’t be able to speak to my own work on it until it’s done. All I know is just I’m working on it, I’m doing it. Darren, who’s my director, is happy with what I’m doing. I seem to be delivering what he’s asking. Greg seems to be satisfied as well. It’s feeling good. It’s sounding good to me. I’m just happy that [Hades II] is happening, that it exists, and that it is already as good as it is. And that people are beginning to discover that on a larger scale.
Hades was such a massive success for the studio. As someone who was there from the humble beginnings, how have you personally internalized Hades’ overwhelming success?
I get recognized occasionally on the street for Hades, which is very strange. And that’s largely I think due to the NoClip stuff that we did. In support of Hades once 1.0 came out, we did some videos for Twitter, for YouTube, and, obviously, through NoClip, quite a few of our faces got out there in a way that they hadn’t before. Pre-Hades, the sort of public faces of Supergiant, the recognizable faces, were basically Greg and Amir. And Darren, on occasion. But now it’s me at the bar that I go to all the time, and some, like, 23-year-old kid coming up to me like, ‘Sir, are you are you…? And I’m like, ‘Yeah, yeah, I am’. And it blows his mind, and in my head, I’m like, ‘Yeah, I’m him. Somebody’s got to be. It’s me, yes. Thank you for playing, nice to meet you, good to see you.’ So that’s been an alteration or an accommodation I’ve had to make my life since release. Obviously, winning the BAFTA was huge. I was much more excited for all the other people who won BAFTAs. Greg and Jen [Zee] in particular, who I feel have gone unrecognized for their amazing work for far too long.
How has it felt seeing Supergiant’s growth from what it was in the beginning to where it is now?
We just have more resources now. Certainly, from my perspective, from my role there, I’m privy to this; we have access to a much higher, I don’t know if caliber is the right word, but we are able to at least get in contact with and have conversations with and possibly even cast actors that we wouldn’t have been able to get 100 feet in front of, or even 100 miles, even five years ago. And now, that seems to be something within our reach and is within reach, and I’m excited for people to discover that as well.
But at its heart, we’re the same. We’re the same people. Amir and Darren and me, we still make each other laugh with the same jokes that we made each other laugh at when we were 17 or whatever. We still share, whenever we do get together, horror stories, war stories from making Bastion. From Transistor, how terrified we all were making that one. The kind of wild child that is Pyre and how we didn’t learn really how to describe that game until it was out. But we’re kind of like a shark: we don’t really stop. We don’t take too many breaks. We just move on. We finish something once we’re happy with it, and then we let it out.
We’re in a better place now than we were. Hades was our first experience with our Early Access, and that worked out really well for us. And we’re doing the same with this one. We were pretty still early on with Hades, and we knew that Early Access was something we were going to do, I remember talking to Amir about it and him just saying ‘Yeah, this is the game we’ve made so far that I’m least worried about’. Because of Early Access, anything that’s wrong with the game, we’ll just fix it before we ship it. So we’re not gonna have to wait three years until we ship a completed thing to figure out if people like it or not. Or even know what it is or how to describe it.
Hades II is available now in Early Access on Steam and the Epic Games Store. Be sure to visit our cover story hub for more exclusive features and videos about the game.
Innovation is rarely accidental. Behind every new invention and product, including the device you are using to read this story, is years of research, investment, and planning. Organizations that want to reach these milestones in the fastest and most efficient way possible use technology roadmaps.
Olivier de Weck, the Apollo Program Professor of Astronautics and professor of engineering systems, taps into his expertise in systems design and engineering to help company leaders develop their own path to progress. His work has led to an MIT graduate course, two MIT Professional Education classes, and the textbook “Technology Roadmapping and Development: A Quantitative Approach to the Management of Technology.” Recently, his textbook was honored with the Most Promising New Textbook Award from the Textbook and Academic Authors Association. The textbook not only serves as a guide to students but also to company leaders. Aerospace design and manufacturer Airbus, defense technology laboratory Draper, and package delivery giant UPS have implemented de Weck’s methods. Here, De Weck describes the value of technology roadmapping.
Q: What is technology roadmapping, and why is it important?
A: A technology roadmap is a planning tool. It connects current products, services, and missions to future endeavors, and identifies the specific technologies needed to achieve them.
Let’s say an organization wants to build a spacecraft to explore an asteroid in the farthest reaches of our solar system. It will need a new kind of electric thruster technology so that it can travel to the asteroid faster and more efficiently than what is currently possible. A technology roadmap details several factors, such as the level of performance needed to meet the goal and how to measure progress. The guide also links various responsibilities within an organization, including strategy, product development, research and development (R&D), and finance, so everyone understands the technologies that are being funded and how they will benefit the company.
Technology roadmapping has been in use for over five decades. For a long time, it was taught in business schools in a more general and qualitative way, but the practice has evolved over the years. The technology roadmapping I teach and write about uses quantitative engineering analysis and connects it to strategic thinking. From 2017 to 2018, I used and refined this approach for Airbus, which has a $1 billion R&D budget. Together, we developed over 40 technology roadmaps, which included a plan to build ZEROe, a commercial aircraft that will run on hydrogen fuel, by 2035.
Q: Are technology roadmaps used widely in industry today, and what gaps in knowledge/processes does your approach address?
A: Colleagues from the University of Cambridge and the Fraunhofer Institute in Germany and I recently conducted an industry-wide survey about technology roadmapping. Of the 200 companies that participated, 62 percent said they use technology roadmaps to make strategic investment decisions and 32 percent update them yearly. Yet only 11 percent of firms plan technologies 10 years out. This is a bit concerning because technology does not move as fast as many people believe. Using Airbus’s ZEROe aircraft as an example, it is important to think 10 or even 20 years ahead, not just within three to five years.
My approach to technology roadmapping uses a method I call Advanced Technology Roadmap Architecture (ATRA). It provides a step-by-step methodology to create a technology roadmap that is more rigorous and has a longer time horizon than traditional roadmaps. ATRA asks four essential questions: Where are we today, where could we go, where should we go, and where we are going? Instead of technologies, I want people to think of these questions as a guide to their retirement investing. You could invest in some high-risk mutual funds, low-risk bonds, or an index fund that will follow the market. You would pick investments that reflect your future goals and risk tolerances. ATRA works in the same way. It enables organizations to select the right mix of R&D based on different scenarios and different risk tolerances.
Q: Can you share how you designed your book and the courses, including 16.887/EM.427, to help students understand and apply technology roadmapping?
A: My time at Airbus allowed me to implement and battle-test technology roadmapping and ATRA. When I returned to MIT in 2019, I had already drafted chapters of the book and MIT students provided great feedback, which allowed me to refine and improve the book to the point where it would be useful and understandable to future MIT engineering and business students, industry practitioners, and C-level executives.
An important feature of both my textbook and class that may not be obvious is my focus on history. With innovation moving as fast as it is, it is easy to claim a never-been-done-before technology. That is often not the case — for example, one student did a technology roadmap of virtual reality headsets. He realized that people were doing virtual reality in the 1960s and 70s. It was super crude, clunky, and the resolution was poor. Still, there is a 60-year history that needs to be understood and acknowledged. My students and I have created a library of nearly 100 roadmaps on wide-ranging technologies, including superconducting nuclear fusion, lab-grown meat, and bioplastics. Each one traces an innovation’s history.
The National Academy of Sciences has elected 120 members and 24 international members, including five faculty members from MIT. Guoping Feng, Piotr Indyk, Daniel J. Kleitman, Daniela Rus, and Senthil Todadri were elected in recognition of their “distinguished and continuing achievements in original research.” Membership to the National Academy of Sciences is one of the highest honors a scientist can receive in their career.
Among the new members added this year are also nine MIT alumni, including Zvi Bern ’82; Harold Hwang ’93, SM ’93; Leonard Kleinrock SM ’59, PhD ’63; Jeffrey C. Lagarias ’71, SM ’72, PhD ’74; Ann Pearson PhD ’00; Robin Pemantle PhD ’88; Jonas C. Peters PhD ’98; Lynn Talley PhD ’82; and Peter T. Wolczanski ’76. Those elected this year bring the total number of active members to 2,617, with 537 international members.
The National Academy of Sciences is a private, nonprofit institution that was established under a congressional charter signed by President Abraham Lincoln in 1863. It recognizes achievement in science by election to membership, and — with the National Academy of Engineering and the National Academy of Medicine — provides science, engineering, and health policy advice to the federal government and other organizations.
Guoping Feng
Guoping Feng is the James W. (1963) and Patricia T. Poitras Professor in the Department of Brain and Cognitive Sciences. He is also associate director and investigator in the McGovern Institute for Brain Research, a member of the Broad Institute of MIT and Harvard, and director of the Hock E. Tan and K. Lisa Yang Center for Autism Research.
His research focuses on understanding the molecular mechanisms that regulate the development and function of synapses, the places in the brain where neurons connect and communicate. He’s interested in how defects in the synapses can contribute to psychiatric and neurodevelopmental disorders. By understanding the fundamental mechanisms behind these disorders, he’s producing foundational knowledge that may guide the development of new treatments for conditions like obsessive-compulsive disorder and schizophrenia.
Feng received his medical training at Zhejiang University Medical School in Hangzhou, China, and his PhD in molecular genetics from the State University of New York at Buffalo. He did his postdoctoral training at Washington University at St. Louis and was on the faculty at Duke University School of Medicine before coming to MIT in 2010. He is a member of the American Academy of Arts and Sciences, a fellow of the American Association for the Advancement of Science, and was elected to the National Academy of Medicine in 2023.
Piotr Indyk
Piotr Indyk is the Thomas D. and Virginia W. Cabot Professor of Electrical Engineering and Computer Science. He received his magister degree from the University of Warsaw and his PhD from Stanford University before coming to MIT in 2000.
Indyk’s research focuses on building efficient, sublinear, and streaming algorithms. He’s developed, for example, algorithms that can use limited time and space to navigate massive data streams, that can separate signals into individual frequencies faster than other methods, and can address the “nearest neighbor” problem by finding highly similar data points without needing to scan an entire database. His work has applications on everything from machine learning to data mining.
He has been named a Simons Investigator and a fellow of the Association for Computer Machinery. In 2023, he was elected to the American Academy of Arts and Sciences.
Daniel J. Kleitman
Daniel Kleitman, a professor emeritus of applied mathematics, has been at MIT since 1966. He received his undergraduate degree from Cornell University and his master’s and PhD in physics from Harvard University before doing postdoctoral work at Harvard and the Niels Bohr Institute in Copenhagen, Denmark.
Kleitman’s research interests include operations research, genomics, graph theory, and combinatorics, the area of math concerned with counting. He was actually a professor of physics at Brandeis University before changing his field to math, encouraged by the prolific mathematician Paul Erdős. In fact, Kleitman has the rare distinction of having an Erdős number of just one. The number is a measure of the “collaborative distance” between a mathematician and Erdős in terms of authorship of papers, and studies have shown that leading mathematicians have particularly low numbers.
He’s a member of the American Academy of Arts and Sciences and has made important contributions to the MIT community throughout his career. He was head of the Department of Mathematics and served on a number of committees, including the Applied Mathematics Committee. He also helped create web-based technology and an online textbook for several of the department’s core undergraduate courses. He was even a math advisor for the MIT-based film “Good Will Hunting.”
Daniela Rus
Daniela Rus, the Andrew (1956) and Erna Viterbi Professor of Electrical Engineering and Computer Science, is the director of the Computer Science and Artificial Intelligence Laboratory (CSAIL). She also serves as director of the Toyota-CSAIL Joint Research Center.
Her research on robotics, artificial intelligence, and data science is geared toward understanding the science and engineering of autonomy. Her ultimate goal is to create a future where machines are seamlessly integrated into daily life to support people with cognitive and physical tasks, and deployed in way that ensures they benefit humanity. She’s working to increase the ability of machines to reason, learn, and adapt to complex tasks in human-centered environments with applications for agriculture, manufacturing, medicine, construction, and other industries. She’s also interested in creating new tools for designing and fabricating robots and in improving the interfaces between robots and people, and she’s done collaborative projects at the intersection of technology and artistic performance.
Rus received her undergraduate degree from the University of Iowa and her PhD in computer science from Cornell University. She was a professor of computer science at Dartmouth College before coming to MIT in 2004. She is part of the Class of 2002 MacArthur Fellows; was elected to the National Academy of Engineering and the American Academy of Arts and Sciences; and is a fellow of the Association for Computer Machinery, the Institute of Electrical and Electronics Engineers, and the Association for the Advancement of Artificial Intelligence.
Senthil Todadri
Senthil Todadri, a professor of physics, came to MIT in 2001. He received his undergraduate degree from the Indian Institute of Technology in Kanpur and his PhD from Yale University before working as a postdoc at the Kavli Institute for Theoretical Physics in Santa Barbara, California.
Todadri’s research focuses on condensed matter theory. He’s interested in novel phases and phase transitions of quantum matter that expand beyond existing paradigms. Combining modeling experiments and abstract methods, he’s working to develop a theoretical framework for describing the physics of these systems. Much of that work involves understanding the phenomena that arise because of impurities or strong interactions between electrons in solids that don’t conform with conventional physical theories. He also pioneered the theory of deconfined quantum criticality, which describes a class of phase transitions, and he discovered the dualities of quantum field theories in two dimensional superconducting states, which has important applications to many problems in the field.
Todadri has been named a Simons Investigator, a Sloan Research Fellow, and a fellow of the American Physical Society. In 2023, he was elected to the American Academy of Arts and Sciences
Jerome J. Connor ’53, SM ’54, ScD ’59, professor emeritus in the Department of Civil and Environmental Engineering and a member of the MIT faculty since 1959, died on March 31. He was 91 years old.
Over a remarkable career spanning nearly six decades at the Institute, Connor was a prolific scholar and highly respected mentor to several generations of students, many of whom now hold notable positions in academia and industry around the world. His earliest research contributed to the pioneering numerical methods widely used today in structural engineering, such as the finite element method, and was also an early pioneer of the boundary element method. In addition, Connor was the lead proponent of the technical discipline referred to as motion-based design, which is based on limiting displacements against earthquake effects by means of structural control. His leadership role in the application of numerical methods to structural engineering led to significant advances in the numerical simulation of structural and material behavior.
“He was well-known for his intellectual leadership, exceptional dedication to the department, and extraordinary mentoring of students, faculty, and staff,” says Oral Buyukozturk, the George Macomber Professor in Construction Management, who first met Connor when he was an adjunct associate professor at Brown University and was invited to lecture at MIT.
Connor led the department in new teaching and research directions, advocating the importance of materials research and of design education in the civil engineering curriculum. For over 20 years, Connor led the high-performance structures track in the Master of Engineering (MEng) program as faculty advisor. In addition to classroom teaching, he helped MEng students think outside of the box in their design of skyscrapers and bridges. He often accompanied students on weeklong national and international visits to prominent construction sites during MIT’s Independent Activities Period. With his wife Barbara and their family, he regularly entertained students at their summer home on Cape Cod. His dedication and development of the program contributed to its success and recognition at peer institutions as one of the best professional MEng programs in the nation — eagerly sought out by students in structural engineering.
“Connor was truly devoted to our students and he was passionate about the field of structural design. He introduced a number of pedagogical innovations that we still use today, such as semester-long design projects as well as on-site visits to innovative, signature projects together with their design engineers,” says John Ochsendorf, professor of architecture and civil and environmental engineering, who taught with Connor for 10 years and currently leads the structural mechanics and design track of the MEng program.
Adoring mentor and visionary
Connor was a beloved mentor, and from 2007 to 2014 organized and managed MIT undergraduates’ participation in the National Steel Bridge competition. Buyukozturk recalls how “he was always coming up with new and innovative concepts for the competition; several times his team was selected as top in the nation and year after year his students were placed in the top three.”
MIT professor emeritus of civil and environmental engineering Eduardo Kausel, who was a graduate student of Connor’s and then later a colleague, remembers him fondly as an incredible teacher and colleague.
“Jerry was an excellent teacher and I enjoyed taking his advanced computational mechanics class. He was brilliant in computational mechanics and excelled in everything he did,” says Kausel. “As a colleague, he was always kind and had a gentle demeanor; I never saw him getting angry or voicing harsh words. He also had this fantastic ability to mentor students who would go on not only to become very successful as outstanding professionals, but also very wealthy,” Kausel says.
Kausel also remembers Connor’s uncanny ability to look into the future and know where the next big trend occurred in the field. Connor was one of the first researchers to work on the boundary element method in structural engineering. The method is effective in understanding how fluid interacts with structures to ensure its stability, safety, and efficiency. Connor also experimented with artificial intelligence well before it became popular and played a significant role in leading a team of MIT researchers in the development of the STRUDL computer code, which became a highly influential software package for structural analysis and design.
In addition to structural mechanics, he pursued computational fluid mechanics, helping develop early finite element analysis in both the time and frequency domains. His models had applications to offshore engineering, including tidal circulation, and the behavior and design of marine structures for resiliency in withstanding extreme events, including those related to climate change.
Buyukozturk credits the way the department has evolved into what it is today because of Connor’s direction and vision. “Priorities for research change over time, but Jerry set forth a basic roadmap for prioritizing research in computational mechanics, engineering design, and the development of sustainable materials that cut across the entire department in a wider scope,” he says.
Influential wide-ranging career
Born in Dorchester, Massachusetts, on May 19, 1932, Connor attended Boston College High School and received his bachelor’s, master’s, and PhD degrees in civil engineering from MIT. Before he returned to MIT to become a faculty member, he went to work at the Army Materials Lab in Watertown, designing missile systems during the Vietnam War. While on sabbatical in 1983, he served as the dean of the Department of Engineering at Northeastern University and the director of the MIT Sea Grant Program.
Over the span of his career, Connor’s research in structural mechanics attracted the interest of the international community. He spoke at conferences around the world and consulted on many engineering projects, including the Hancock Tower glass crisis, the Twin Towers in New York, and the Parthenon in Greece, among many others. His papers were cited and published among the top engineering journals, and he was honored with numerous awards, including an honorary doctorate from the University of Thessaloniki in Greece. He authored many books on structural engineering, the boundary element method, motion-based design, and computational fluid mechanics. His books have been used in doctoral programs at universities around the world.
Connor led a rich and adventurous life outside of his academic one. Known as “Jerry” to his friends and colleagues, Connor traveled to more than 25 different countries around the world with his wife, Barbara, but was especially fond of the Provence in southern France. Some of his memorable adventures included taking the family by Volkswagen bus throughout Europe during the holiday periods and, during a sabbatical from MIT in 1970, sailing to England on the Queen Elizabeth 2 with his then-young children.
Connor is survived by his wife Barbara, and by his six children: Patricia and her husband Richard, Stephen and his wife Madeline, Brian and his wife Michele, Michael and his wife Christine, Mark and his wife Kathy, Tracy and her husband Maurice, and 14 grandchildren. Gifts in Connor’s memory can be made to Boston College High School.
During our trip to Supergiant Games for our Hades II cover story, we had a chance to speak with one of the studio’s original seven employees and its principal voice actor, Logan Cunningham. From providing the voice of Rucks in Bastion to Red’s titular Transistor to Hades himself, Cunningham has played a vital part of every Supergiant title. In this rare interview, we ask Logan how he entered the world of voice acting, how he joined Supergiant Games, and which characters are his favorites to play (and which he’d want to redo).
Game Informer: When did you first discover that you were good at creating or imitating voices?
Logan Cunningham: I don’t think there was ever a moment that I discovered that. I always did that. From when I was a kid, my brother and I, we would record stupid little… almost like our own little radio plays but based on Star Trek: The Next Generation, just with a cassette recorder. I don’t know; maybe it started there. The first time I think I realized I had a voice that people consider to be nice was in elementary school because my English teachers would always ask me to read from whatever book we were studying at the time. But I never set out to be a voice actor. [I] certainly [had] no formal training. There’s not really any formal training for voice acting that I think exists. Everybody falls backward into it, just like I did. From my understanding, from my experience with everyone, every voice actor that I meet, I ask them like, ‘Oh, how did you start?’ and it’s always the same story. ‘I did one, then I did another, a third one, and now 15 years later here I am’. And my case is a little different in that the way I got my first job was from knowing one of the people who started Supergiant Games and then also knowing [Supergiant composer] Darren Korb.
Did you have any go-to characters you liked to imitate? Or was there a character you concocted that became your primary voice?
I was pretty much weaned on Star Trek: The Next Generation, so I think even at, like, six I had a pretty good Patrick Stewart. But not really. I didn’t really focus on anybody in particular. If I encountered a voice that I liked, I would just sort of do it – not for anyone, just for me. Just on my own in the bathtub, which I still do.
The most sacred places to practice: the shower, the bathtub.
It’s where you’re at your most vulnerable.
Yes, quite literally. When you first made your big leap into doing voice acting, as you mentioned, coming on with Supergiant, what was that initial conversation like?
It was literally my friend Amir [Rao], who I knew had left his job at Electronic Arts with his friend Gavin Simon, and they moved from LA back to San Jose, which is where we’re all from, Amir, me, and Darren, into his dad’s house and they started a startup; which was a game developer, which I don’t even think I knew that term at the time. All I knew was a friend of mine was making a video game. And they had gotten to the point where they wanted to try something with voice-over, and so now they needed an actor, and I was the actor that they happened to know personally. And they had no money, and so I was cheap. And I was roommates with Darren in New York at the time, who was already involved. He came on board maybe, like, December ’09? And then I recorded the first lines of Bastion [in] February; yeah it was Presidents Day weekend 2010. Yes, it really did just start with me doing a friend of favor.
When you look back on your first big role as a voice actor with Bastion, how did you feel about that performance at the time? And how do you feel about it now that you’ve had a chance to reflect on it over a decade later?
I was just trying to get through it. I had no idea what I was doing. None of us did. Darren and I certainly, that was our first time working on a video game in any capacity, but I just approached it as an actor. I just tried to keep the character consistent and give it as much life as I could. I had a lot of help from Greg [Kasavin] writing an amazing character and amazing story. Once we were working on Transistor, the Transistor performance is pretty much just me, but just kind of at a whisper. And with Rucks in Bastion, the narrator, what made a good take during those sessions was if the voice was right. And then in Transistor, what made a good take was if the performance was right.
Hades
To jump ahead to Hades II, what new characters do you provide the voice for in the game?
I’m not going to say. I’ll let people guess and figure it out. Hades, I can confirm because he’s in the trailer.
How did it feel when you first heard Supergiant was doing its first sequel? How did it feel to be returning to a world for the first time instead of preparing for a whole new one?
Really happy and I wasn’t surprised at all. At all. Because we loved making that game so much. It was so clear, to me anyway, that we weren’t done with it. There was so much still left to do and explore and characters to meet and stories to tell. So I was thrilled.
I was excited, too, especially because I really enjoyed your work as Hades in the first game. Can you talk about the process of preparing for that role, what that looked like, and what you felt you needed to bring to that role to bring that character to life?
Just imagining not the worst dad possible, but a very difficult one who’s just a workaholic, is constantly busy and never has time for you, is really powerful, and has a really important job. And because of it, [he’s] miserable most, if not all, the time but is also still kind of a person and has a past and regrets and all those things that make a character interesting. But yeah, coming up with the voice was a lot of fun because it is basically just Tywin Lannister and Tim Curry as the Lord of Darkness in Legend, if you’ve ever seen that movie. So yeah, getting to play around with that.
Of all the characters you’ve voiced in your games, do you have any ones that stand out as your favorite or most cherished characters? Do you feel particularly close to them the way some actors do about a role or character that they’ve played?
Favorite is probably a tie between Rucks and Hades. Rucks because he was the first and my introduction to Supergiant; my foot in the door, if you like. Hades, because he was so much fun to do. It’s really fun to play someone who’s just, like, a bastard. He’s just like a s****y person. But what often comes to mind is the Transistor, actually. Like, if I have the opportunity to sort of do that one over, I might. Or I will at least heavily think about it. My kind of immediate reaction once I played the thing from start to finish was like, ‘Okay.’ I wasn’t quite sure I was playing that guy. I felt I was maybe playing somebody else.
Now that you’ve been doing this for so long, and you mentioned before not being formally trained, what were some of the on-the-job training lessons you’ve learned over the years to improve as a voice actor?
All kinds of vocal warm-ups. Whereas at the start, it might take me a couple of hours to get ready. Now I am pretty much good to go in 20 minutes to half an hour. I know how much time I need to spend with the script if I’m lucky enough to have the time to see the lines beforehand because very often, it’s just ‘Hey, who are we doing today? Achilles? Great, all right’. And it’s mostly in the recording session itself, I’ll get a chance to read the line, whatever the next line is that we have to do, I’ll get to read through it once or twice and then I just have to go for it. So, I guess I’ve gotten more efficient. But I think everyone at Supergiant, certainly all of us who worked on Bastion and we’re all still there, we’ve all gotten more professionalized, I guess.
I always wonder about this with voice actors because I find myself doing this. You mentioned before it’s fun to sort of do a voice when you’re alone, you’re around the house just doing a voice; do you ever find yourself doing that with any of the characters you’ve played in the past? Do you ever just go around the house and start talking as Hades randomly since you mentioned how much fun it is to occupy that role? Or do you sort of retire them once the project is over?
I don’t really, but I will find myself doing, randomly at times, voices that inspired some of those characters. I still love just walking around my place just doing lines from Deadwood as Al Swearengen, which was a huge influence on Rucks. At the very least, it’s a nice vocal exercise. But it’s just kind of one of those silly, crazy things that actors do, and one of the reasons it’s good that I live alone.
Bastion
What advice would you give to someone who is interested in pursuing voice acting or to aspiring/young voice actors who want to improve?
Make sure you’re an actor, that you know how to act. Because it’s not just doing funny voices. I think it used to be that way years and years ago. It’s not anymore. Keep working, keep improving. Take classes, take every opportunity you have. If you know people who are making things, work with them. If you know a decent amount of those people who are making stuff, one of them might make it and remember you and take you along. That is absolutely what happened to me.
How would you compare your experience working on Hades II to previous games? Has this felt the most challenging or the most exciting? How do you feel about what is being asked of you for this game compared to what you’ve done before?
Not necessarily more challenge. It’s just different. What I will confirm, and I think this has been confirmed maybe in other places, there are a number of returning characters that I did in Hades in Hades II in addition to some new ones, which are the ones that I can’t talk about. So there might be a character of mine from the first one where Melinoë, the protagonist, might mention, ‘blah, blah, blah’ to ‘blah blah blah’ and that’ll inform the performance. There is a kind of melancholy that I’ve certainly felt with a lot of the characters that I’ve been doing in the sequel compared to the original, Hades 1, which hopefully adds interesting layers. I don’t know, we’ll see. We’re still working on it.
Is there a character you’ve played from the Supergiant Games that you most identify with on a personal level?
Is it weird to say Charon?
Why is that?
He’s someone who doesn’t say words and generally would like to be left alone, I think [laughs]. I can imagine running a store just like, ‘Ah, get what you want, get out.’ I identify with that.
Transistor
What is the thing that you’re most proud of with Hades II, both in regards to what you’re bringing to it as an actor and what the game is doing to build upon the first game? What are you most excited about for players to experience?
I won’t be able to speak to my own work on it until it’s done. All I know is just I’m working on it, I’m doing it. Darren, who’s my director, is happy with what I’m doing. I seem to be delivering what he’s asking. Greg seems to be satisfied as well. It’s feeling good. It’s sounding good to me. I’m just happy that [Hades II] is happening, that it exists, and that it is already as good as it is. And that people are beginning to discover that on a larger scale.
Hades was such a massive success for the studio. As someone who was there from the humble beginnings, how have you personally internalized Hades’ overwhelming success?
I get recognized occasionally on the street for Hades, which is very strange. And that’s largely I think due to the NoClip stuff that we did. In support of Hades once 1.0 came out, we did some videos for Twitter, for YouTube, and, obviously, through NoClip, quite a few of our faces got out there in a way that they hadn’t before. Pre-Hades, the sort of public faces of Supergiant, the recognizable faces, were basically Greg and Amir. And Darren, on occasion. But now it’s me at the bar that I go to all the time, and some, like, 23-year-old kid coming up to me like, ‘Sir, are you are you…? And I’m like, ‘Yeah, yeah, I am’. And it blows his mind, and in my head, I’m like, ‘Yeah, I’m him. Somebody’s got to be. It’s me, yes. Thank you for playing, nice to meet you, good to see you.’ So that’s been an alteration or an accommodation I’ve had to make my life since release. Obviously, winning the BAFTA was huge. I was much more excited for all the other people who won BAFTAs. Greg and Jen [Zee] in particular, who I feel have gone unrecognized for their amazing work for far too long.
How has it felt seeing Supergiant’s growth from what it was in the beginning to where it is now?
We just have more resources now. Certainly, from my perspective, from my role there, I’m privy to this; we have access to a much higher, I don’t know if caliber is the right word, but we are able to at least get in contact with and have conversations with and possibly even cast actors that we wouldn’t have been able to get 100 feet in front of, or even 100 miles, even five years ago. And now, that seems to be something within our reach and is within reach, and I’m excited for people to discover that as well.
But at its heart, we’re the same. We’re the same people. Amir and Darren and me, we still make each other laugh with the same jokes that we made each other laugh at when we were 17 or whatever. We still share, whenever we do get together, horror stories, war stories from making Bastion. From Transistor, how terrified we all were making that one. The kind of wild child that is Pyre and how we didn’t learn really how to describe that game until it was out. But we’re kind of like a shark: we don’t really stop. We don’t take too many breaks. We just move on. We finish something once we’re happy with it, and then we let it out.
We’re in a better place now than we were. Hades was our first experience with our Early Access, and that worked out really well for us. And we’re doing the same with this one. We were pretty still early on with Hades, and we knew that Early Access was something we were going to do, I remember talking to Amir about it and him just saying ‘Yeah, this is the game we’ve made so far that I’m least worried about’. Because of Early Access, anything that’s wrong with the game, we’ll just fix it before we ship it. So we’re not gonna have to wait three years until we ship a completed thing to figure out if people like it or not. Or even know what it is or how to describe it.
Hades II is available now in Early Access on Steam and the Epic Games Store. Be sure to visit our cover story hub for more exclusive features and videos about the game.
Designed to tackle poverty alleviation and other pressing policy challenges in the United States and other high-income countries, the curriculum of the new track spans a diverse set of issues, from domestic concerns like minimum wage and consumer welfare to global matters including trade, climate change, and immigration. Applications for the public policy track will open this fall, with the inaugural cohort set to arrive on MIT’s campus in spring 2026.
The DEDP program, led by MIT professors and Nobel laureates Abhijit Banerjee and Esther Duflo, along with professors Sara Fisher Ellison and Benjamin Olken, was established with the mission of equipping diverse cohorts of talented professionals with the knowledge and skills to tackle poverty using evidence-based approaches. The new master’s degree track will support this mission while also underscoring the program’s commitment to addressing a broad array of critical challenges in the fight against poverty worldwide.
“The DEDP program has proven successful on many dimensions, and we are enthusiastic about leveraging its successes to address a broader set of social challenges,” says Ellison, a faculty lead for the program. “The public policy track will enable us to apply evidence-based methodology to poverty alleviation and other related issues in the context of high-income countries, as well. Given increasing levels of wealth and income inequality in these countries, we feel that the timing is opportune and the need is great.”
The DEDP program distinguishes itself with an innovative admissions model that prioritizes demonstrated ability and motivation over traditional credentials, such as standardized tests and recommendation letters. To be eligible to apply to the master’s program, candidates must have earned a DEDP MicroMasters credential by passing five of the DEDP online courses. The courses are completely free to audit. Those who wish to earn a course certificate can pay a fee, which varies by the learner’s ability to pay, to take the proctored exam. While applications are reviewed holistically, performance in these classes is the primary factor in admissions decisions.
This approach democratizes access to higher education, enabling students from typically underrepresented backgrounds to demonstrate their potential for success. Notably, the program has welcomed many students from nontraditional backgrounds, such as a student who enrolled directly from high school (and who is now a second-year PhD student in economics at MIT), reflecting the ambition of its faculty directors to make higher education more accessible.
Sofia Martinez, a graduate of the class of 2023 and now co-founder of Learning Alliance, says, “Without the MicroMasters paving the way, applying to MIT or any similar institution would have been unthinkable for us. Initially, my aim in taking the online courses wasn’t to pursue the residential program; it was only after witnessing my own progress that I realized the possibility wasn’t so distant after all. This sentiment resonates with many in our cohort, which is truly humbling.”
Since its launch in 2020, the DEDP master’s program has conferred degrees to 87 students from 44 countries, showcasing its global reach and the success of its admissions model. Upon arriving on campus, students embark on an accelerated master’s program. They complete a full course load in the spring, followed by a capstone project in the summer, applying the theoretical knowledge and practical skills gained through the program at research and policy organizations.
