Super Bowl LVIII will be played on a natural grass field in an indoor stadium in Las Vegas on February 11, 2024. How do you keep a grass field vibrant in such a hostile growing environment like the Nevada desert?
The answer: You don’t. By the end of the regular NFL season, paint was used to camouflage the reality that only a few scant patches of grass remained in Allegiant Stadium, home to the Las Vegas Raiders. Immediately after the Raiders’ last game on January 7, 2024, the field crew ripped up the remaining grass, installed California-grown sod over three days, and began the tedious process of keeping the grass alive long enough for the big game.
Herculean efforts to prepare a vibrant natural grass field for 2024’s Super Bowl LVIII are especially questionable when one realizes that Allegiant Stadium also has an artificial turf playing surface available (used by UNLV Football). Why don’t teams in hostile environments switch to more robust artificial turf, which is designed to overcome the many limitations of natural grass fields?
The answer lies in a debate over the safety of synthetic playing surfaces. While artificial turf manufacturers tout research that their products result in fewer injuries, the NFL Players Association (NFLPA) claims it raises injury risk and is advocating for its use to be abolished in the NFL. Let’s explore some key arguments of this debate, which continues to grab headlines with each high-profile NFL injury.
Super Bowl gridirons
Pressure for NFL field managers is especially high following the embarrassingly poor field conditions of last year’s Super Bowl. Super Bowl LVII took place at State Farm Stadium in Glendale, Arizona—another natural grass field in the desert (with a retractable roof, closed at night to protect the grass). Despite two years of preparation and an $800,000 investment, the grass field was a disaster, as players struggled to find footing on its slippery surface.
Veteran NFL groundskeeper George Toma attributed the mess to woefully improper field preparation. Players also complained about the slipping issue the previous time the Super Bowl was hosted at the natural grass field in State Farm Stadium eight years prior for Super Bowl XLIX in 2015. That year, the poor traction was blamed on the green paint used on the grass.
For perspective, some of the best sports field managers in the nation oversee field preparations for the Super Bowl. However, maintaining natural grass in desert conditions is so unfavorable (especially when the grass is sometimes indoors) that even the best can mess it up.
None of these issues existed when the Super Bowl was last played on artificial turf. Super Bowl LVI in 2022 was held at SoFi Stadium in Inglewood, California, home to both the Los Angeles Rams and Chargers. Not only did the artificial turf stand up to double the workload during the regular season (hosting home games for the LA Rams and the LA Chargers), but it also withstood a busy playoff season. The artificial turf field at SoFi Stadium hosted NFL games through the regular season and right up to the last playoff game when the LA Rams beat the San Francisco 49ers. Two weeks later, the Rams ended up winning Super Bowl LVI on the very same surface.
While turf avoids the durability issues seen with grass surfaces, players have widespread concerns about its safety—a recent poll by the NFLPA reported 92 percent of players favored grass.
The Apple Vision Pro with AirPods Pro, Magic Keyboard, Magic Trackpad, and an Xbox Series X|S controller.
Samuel Axon
You can see the front-facing cameras that handle passthrough video just above the down-facing cameras that read your hand gestures here.
Samuel Axon
There are two buttons for Vision Pro, both on the top.
Samuel Axon
This is the infamous battery pack. It’s about the size of an iPhone (but a little thicker) and has a USB-C port for external power sources.
Samuel Axon
There are two displays inside the Vision Pro, one for each eye. Each offers just under 4K resolution.
Samuel Axon
Apple offers several variations of the light seal to fit different face shapes.
Samuel Axon
A close-up look at the Vision Pro from the front.
Samuel Axon
The Vision Pro is the strangest product Apple has introduced in the time I’ve been covering the company. By now, it’s well established that the headset is both impressively cutting-edge and ludicrously expensive.
You could certainly argue that its price means it’s only for Silicon Valley techno-optimists with too much money to burn or for developers looking to get in on the ground floor on the chance that this is the next gold rush for apps. But the platform will need more than those users to succeed.
Part of Apple’s pitch behind the price tag seems to be that the Vision Pro could replace several devices, just like the iPhone did back in the late 2000s. It could replace your laptop, your tablet, your 4K TV, your video game console, your phone or other communications device, your VR headset, and so on. If it truly replaced all of those things, the price wouldn’t seem quite so outrageous to some.
And those are just the use cases Apple has put a lot of effort into facilitating for the launch. Many of the most important uses of the company’s prior new product categories didn’t become totally clear until a couple of years and generations in. The iPhone wasn’t originally intended as a meditation aid, a flashlight, and a number of other common uses until third-party developers invented apps to make it do those things. And Apple’s approach with the Apple Watch seemed to be to just throw it out there with a number of possible uses to see what stuck with users. (The answer seemed to be health and fitness, but the device’s distinct emphasis on that took a bit of time to come into focus.)
So while I could write a dense review meandering through all the possibilities based on my week with the Vision Pro, that doesn’t seem as helpful as drilling in on each specific possibility. This is the first in a series of articles that will do that, so consider it part one of a lengthy, multi-step review. By the end, we’ll have considered several possible applications of the device, and we might be able to make some recommendations or predictions about its potential.
So far, I believe there’s one use case that’s a slam dunk, closer to clarity during launch week than any of the others: entertainment. For certain situations, The Vision Pro is a better device for consuming TV shows and movies (among other things) away from a dedicated theater than we’ve ever seen before. So let’s start there.
My (perhaps too) exacting standards
I know I’m not the usual TV consumer. It’s important to note that before we get too deep.
I bought my first OLED television (a 55-inch LG B6) in 2016. I previously had a 50-inch plasma TV I liked, but it only supported 1080p and SDR (standard dynamic range), and Sony had announced the PlayStation 4 Pro, which would support 4K games (sort of) and HDR (high dynamic range). Game consoles had always driven TV purchases in the past, so I sprung for the best I could afford.
I always cared about picture quality before I bought an OLED, but that interest turned into something more obsessive at that point. I was stunned at the difference, and I began to find it hard to accept the imperfections of LCD monitors and TVs after that. Granted, I’d always disliked LCDs, going straight from CRT to plasma to avoid that grayish backlight glow. But the comparison was even harsher once I went to OLED.
My fellow Ars Technica writers and editors often talk about their robust, multi-monitor PC setups, their expensive in-home server racks, and other Ars-y stuff. I have some of that stuff, too, but I put most of my time and energy into my home theater. I’ve invested a lot into it, and that has the unfortunate side effect of making most other screens I use feel inadequate by comparison.
All that said, some have argued that the Vision Pro is a solution in search of a problem, but there is one pre-existing problem I have that it has the potential to solve.
I travel a lot, so I spend a total of at least two months out of every year in hotel or Airbnb rooms. Whenever I’m in one of those places, I’m always irritated at how its TV compares to the one I have at home. It’s too small for the space, it’s not 4K, it doesn’t support HDR, it’s mounted way too high to comfortably watch, or it’s a cheap LCD with washed-out black levels and terrible contrast. Often, it’s all of the above. And even when I’m home, my wife might want to watch her shows on the big TV tonight.
I end up not watching movies or shows I want to watch because I feel like I’d be doing those shows a disservice by ruining the picture with such terrible hardware. “Better to hold off until I’m home,” I tell myself.
The Vision Pro could be the answer I’ve been waiting for. Those two displays in front of my eyes are capable of displaying an image that stands up to that of a mid-range OLED TV in most situations, and I can use it absolutely anywhere.
Enlarge/ These mounted displays near the entrance let visitors touch, but not use, a Vision Pro.
Kyle Orland
For decades now, potential Apple customers have been able to wander in to any Apple Store and get some instant eyes-on and hands-on experience with most of the company’s products. The Apple Vision Pro is an exception to this simple process; the “mixed-reality curious” need to book ahead for a guided, half-hour Vision Pro experience led by an Apple Store employee.
As a long-time veteran of both trade show and retail virtual-reality demos, I was interested to see how Apple would sell the concept of “spatial computing” to members of the public, many of whom have minimal experience with existing VR systems. And as someone who’s been following news and hands-on reports of the Vision Pro’s unique features for months now, I was eager to get a brief glimpse into what all the fuss was about without plunking down at least $3,499 for a unit of my own.
After going through the guided Vision Pro demo at a nearby Apple Store this week, I came away with mixed feelings about how Apple is positioning its new computer interface to the public. While the short demo contained some definite “oh, wow” moments, the device didn’t come with a cohesive story pitching it as Apple’s next big general-use computing platform.
Setup snafus
After arriving a few minutes early for my morning appointment in a sparsely attended Apple Store, I was told to wait by a display of Vision Pro units set on a table near the front. These headsets were secured tightly to their stands, meaning I couldn’t try a unit on or even hold it in my hands while I waited. But I could fondle the Vision Pro’s various buttons and straps while getting a closer look at the hardware (and at a few promotional videos running on nearby iPads).
Two Vision Pro headsets let you see it from multiple angles at once.
Kyle Orland
Nearby iPads let you scroll through videos and information about the Vision Pro.
Kyle Orland
The outward-facing display is very subtle in person.
Kyle Orland
Without an appointment you can feel the headstrap with your hands but not with your skull.
Kyle Orland
To Apple’s credit, it did not even try to hide the external battery in these store displays.
Kyle Orland
After a few minutes, an Apple Store employee, who we’ll call Craig, walked over and said with genuine enthusiasm that he was “super excited” to show off the Vision Pro. He guided me to another table, where I sat in a low-backed swivel chair across from another customer who looked a little zoned out as he ran through his own Vision Pro demo.
Craig told me that the Vision Pro was the first time Apple Store employees like him had gotten early hands-on access to a new Apple device well before the public, in order to facilitate the training needed to guide these in-store demos. He said that interest had been steady for the first few days of demos and that, after some initial problems, the store now mostly managed to stay on schedule.
Unfortunately, some of those demo kinks were still present. First, Craig had trouble tracking down the dedicated iPhone used to scan my face and determine the precise Vision Pro light seal fit for my head. After consulting with a fellow employee, they decided to have me download the Apple Store app and use a QR code to reach the face-scanning tool on my own iPhone. (I was a bit surprised this fit scanning hadn’t been offered as part of the process when I signed up for my appointment days earlier.)
It took three full attempts, scanning my face from four angles, before the app managed to spit out the code that Craig needed to send my fit information to the back room. Craig told me that the store had 38 different light seals and 900 corrective lens options sitting back there, ready to be swapped in to ensure maximum comfort for each specific demo.
Sorry, I think I ordered the edamame…
Kyle Orland
Shhh… the Vision Pro is napping.
After a short wait, another employee brought my demo unit out on a round wooden platter that made me feel like I was at a Japanese restaurant. The platter was artistically arranged, from the Solo Knit Band and fuzzy front cover to the gently coiled cord leading to the battery pack sitting in the center. (I never even touched or really noticed the battery pack for the rest of the demo.)
At this point, Craig told me that he would be able to see everything I saw in the Vision Pro, which would stream directly to his iPad. Unfortunately, getting that wireless connection to work took a good five minutes of tapping and tinkering, including removing the Vision Pro’s external battery cord several times.
Once everything was set, Craig gave me a brief primer on the glances and thumb/forefinger taps I would use to select, move, and zoom in on things in the VisionOS interface. “You’re gonna pretend like you’re pulling on a piece of string and then releasing,” he said by way of analogy. “The faster you go, the faster it will scroll, so be mindful of that. Nice and gentle, nice and easy, and things will go smoothly for you.”
Fifteen minutes after my appointed start time, I was finally ready to don the Vision Pro.
A scripted experience
After putting the headset on, my first impression was how heavy and pinchy the Vision Pro was on the bridge of my nose. Thankfully, Craig quickly explained how to tighten the fit with a dial behind my right ear, which helped immediately and immensely. After that, it only took a minute or two to run through some quick calibration of the impressively snappy eye and hand tracking. (“Keep your head nice and still as you do this,” Craig warned me during the process.)
Enlarge/ Imagine this but with an Apple Store in the background.
Kyle Orland
As we dove into the demo proper, it quickly became clear that Craig was reading from a prepared script on his iPhone. This was a bit disappointing, as the genuine enthusiasm he had shown in our earlier, informal chat gave way to a dry monotone when delivering obvious marketing lines. “With Apple Vision Pro, you can experience your entire photo library in a brand new way,” he droned. “Right here, we have some beautiful shots, right from iPhone.”
Craig soldiered through the script as I glanced at a few prepared photos and panoramas. “Here we have a beautiful panorama, but we’re going to experience it in a whole new way… as if you were in the exact spot in which it was taken,” Craig said. Then we switched to some spatial photos and videos of a happy family celebrating a birthday and blowing bubbles in the backyard. The actors in the video felt a little stilted, but the sense of three-dimensional “presence” in the high-fidelity video was impressive.
After that, Craig informed me that “with spatial computing, your apps can exist anywhere in your space.” He asked me to turn the digital crown to replace my view of the store around me with a virtual environment of mountains bathed in cool blue twilight. Craig’s script seemed tuned for newcomers who might be freaked out by not seeing the “real world” anymore. “Remember, you’re always in control,” Craig assured me. “You can change it at any time.”
From inside the environment, Craig’s disembodied voice guided me as I opened a few flat app windows, placing them around my space and resizing them as I liked. Rather than letting these sell themselves, though, Craig pointed out how webpages are “super beautiful [and] easy to navigate” on Vision Pro. “As you can also see… text is super sharp, super easy to read. The pictures on the website look stunning.” Craig also really wanted me to know that “over one million iPhone/iPad apps” will work like this on the Vision Pro on day one.
Enlarge/ The current crop of GTP hybrid prototypes look wonderful, thanks to rules that cap the amount of downforce they can generate in favor of more dramatic styling.
Porsche Motorsport
DAYTONA BEACH, Fla.—Near-summer temperatures greeted a record crowd at the Daytona International Speedway in Florida last weekend. At the end of each January, the track hosts the Rolex 24, an around-the-clock endurance race that’s now as high-profile as it has ever been during the event’s 62-year history.
Between the packed crowd and the 59-car grid, there’s proof that sports car racing is in good shape. Some of that might be attributable to Drive to Survive‘s rising tide lifting a bunch of non-F1 boats, but there’s more to the story than just a resurgent interest in motorsport. The dramatic-looking GTP prototypes have a lot to do with it—powerful hybrid racing cars from Acura, BMW, Cadillac, and Porsche are bringing in the fans and, in some cases, some pretty famous drivers with F1 or IndyCar wins on their resumes.
But IMSA and the Rolex 24 is about more than just the top class of cars; in addition to the GTP hybrids, the field also comprised the very competitive pro-am LMP2 prototype class and a pair of classes (one for professional teams, another for pro-ams) for production-based machines built to a global set of rules, called GT3. (To be slightly confusing, in IMSA, those classes are known as GTD-Pro and GTD. More on sports car racing being needlessly confusing later.)
Enlarge/ The crowd for the 2024 Rolex 24 was larger even than last year. This is the pre-race grid walk, which I chose to watch from afar.
Jonathan Gitlin
There was even a Hollywood megastar in attendance, as the Jerry Bruckheimer-produced, Joseph Kosinski-directed racing movie starring Brad Pitt was at the track filming scenes for the start of that movie.
GTP finds its groove
Last year’s Rolex 24 was the debut of the new GTP cars, and they didn’t have an entirely trouble-free race. These cars are some of the most complicated sports prototypes to turn a wheel due to hybrid systems, and during the 2023 race, two of the entrants required lengthy stops to replace their hybrid batteries. Those teething troubles are a thing of the past, and over the last 12 months, the cars have found an awful lot more speed, with most of the 10-car class breaking Daytona’s lap record during qualifying.
Most of that new speed has come from the teams’ familiarity with the cars after a season of racing but also from a year of software development. Only Porsche’s 963 has had any mechanical upgrades during the off-season. “You… will not notice anything on the outside shell of the car,” explained Urs Kuratle, Porsche Motorsport’s director of factory racing. “So the aerodynamics, all [those] things, they look the same… Sometimes it’s a material change, where a fitting used to be out of aluminum and due to reliability reasons we change to steel or things like this. There are minor details like this.”
This year, the Wayne Taylor Racing team had not one but two ARX-06s. I expected the cars to be front-runners, but a late BoP change added another 40 kg.
Jonathan Gitlin
The Cadillacs are fan favorites because of their loud, naturally aspirated V8s. I think the car looks better than the other GTP cars, too.
Jonathan Gitlin
Porsche’s 963 is the only GTP car that has had any changes since last year, but they’re all under the bodywork.
Jonathan Gitlin
Porsche is the only manufacturer to start selling customer GTP cars so far. The one on the left is the Proton Competition Mustang Sampling car; the one on the right belongs to JDC-Miller MotorSports.
Jonathan Gitlin
GTP cars aren’t as fast or even as powerful as an F1 single-seater, but the driver workload from inside the cockpit may be even higher. At last year’s season-ending Petit Le Mans, former F1 champion Jenson Button—then making a guest appearance in the privateer-run JDC Miller Motorsport Porsche 963—came away with a newfound respect for how many different systems could be tweaked from the steering wheel.
Since 2017, in what spare time I have (ha!), I help my colleague Eric Berger host his Houston-area weather forecasting site, Space City Weather. It’s an interesting hosting challenge—on a typical day, SCW does maybe 20,000–30,000 page views to 10,000–15,000 unique visitors, which is a relatively easy load to handle with minimal work. But when severe weather events happen—especially in the summer, when hurricanes lurk in the Gulf of Mexico—the site’s traffic can spike to more than a million page views in 12 hours. That level of traffic requires a bit more prep to handle.
Space City Weather!” data-height=”2008″ data-width=”2560″ href=”https://cdn.arstechnica.net/wp-content/uploads/2024/01/Screenshot-2024-01-24-at-9.02.05%E2%80%AFAM.jpg”>Space City Weather!” height=”235″ src=”https://cdn.arstechnica.net/wp-content/uploads/2024/01/Screenshot-2024-01-24-at-9.02.05%E2%80%AFAM.jpg” width=”300″>
Lee Hutchinson
For a very long time, I ran SCW on a backend stack made up of HAProxy for SSL termination, Varnish Cache for on-box caching, and Nginx for the actual web server application—all fronted by Cloudflare to absorb the majority of the load. (I wrote about this setup at length on Ars a few years ago for folks who want some more in-depth details.) This stack was fully battle-tested and ready to devour whatever traffic we threw at it, but it was also annoyingly complex, with multiple cache layers to contend with, and that complexity made troubleshooting issues more difficult than I would have liked.
So during some winter downtime two years ago, I took the opportunity to jettison some complexity and reduce the hosting stack down to a single monolithic web server application: OpenLiteSpeed.
Out with the old, in with the new
I didn’t know too much about OpenLiteSpeed (“OLS” to its friends) other than that it’s mentioned a bunch in discussions about WordPress hosting—and since SCW runs WordPress, I started to get interested. OLS seemed to get a lot of praise for its integrated caching, especially when WordPress was involved; it was purported to be quite quickcompared to Nginx; and, frankly, after five-ish years of admining the same stack, I was interested in changing things up. OpenLiteSpeed it was!
check my blog. Yeah, I still have a blog. I’m old.” data-height=”1442″ data-width=”2318″ href=”https://cdn.arstechnica.net/wp-content/uploads/2024/01/Screen-Shot-2022-06-09-at-6.37.47-AM-1.jpg”>check my blog. Yeah, I still have a blog. I’m old.” height=”398″ src=”https://cdn.arstechnica.net/wp-content/uploads/2024/01/Screen-Shot-2022-06-09-at-6.37.47-AM-1.jpg” width=”640″>
Enlarge/ The OLS admin console, showing vhosts. This is from my personal web server rather than the Space City Weather server, but it looks the same. If you want some deeper details on the OLS config I was using, check my blog. Yeah, I still have a blog. I’m old.
Lee Hutchinson
The first significant adjustment to deal with was that OLS is primarily configured through an actual GUI, with all the annoying potential issues that brings with it (another port to secure, another password to manage, another public point of entry into the backend, more PHP resources dedicated just to the admin interface). But the GUI was fast, and it mostly exposed the settings that needed exposing. Translating the existing Nginx WordPress configuration into OLS-speak was a good acclimation exercise, and I eventually settled on Cloudflare tunnels as an acceptable method for keeping the admin console hidden away and notionally secure.
Enlarge/ Just a taste of the options that await within the LiteSpeed Cache WordPress plugin.
Lee Hutchinson
The other major adjustment was the OLS LiteSpeed Cache plugin for WordPress, which is the primary tool one uses to configure how WordPress itself interacts with OLS and its built-in cache. It’s a massive plugin with pages and pages of configurable options, many of which are concerned with driving utilization of the Quic.Cloud CDN service (which is operated by LiteSpeed Technology, the company that created OpenLiteSpeed and its for-pay sibling, LiteSpeed).
Getting the most out of WordPress on OLS meant spending some time in the plugin, figuring out which of the options would help and which would hurt. (Perhaps unsurprisingly, there are plenty of ways in there to get oneself into stupid amounts of trouble by being too aggressive with caching.) Fortunately, Space City Weather provides a great testing ground for web servers, being a nicely active site with a very cache-friendly workload, and so I hammered out a starting configuration with which I was reasonably happy and, while speaking the ancient holy words of ritual, flipped the cutover switch. HAProxy, Varnish, and Nginx went silent, and OLS took up the load.
Most car crashes begin and end in a few seconds. That’s plenty of time to get in a tiny micro-nap while driving. The famous asleep-at-the-wheel film scene in National Lampoon’s Vacation, where Clark Griswold goes off to slumberland for 72 seconds while piloting the Wagon Queen Family Truckster (a paragon of automotive virtue but lacking any advanced driver safety systems), might be a comical look at this prospect. But if Clark were in the real world, he and his family would likely have been injured or killed—or they could have caused similar un-funny consequences for other motorists or pedestrians.
There’s plenty of real-world news on the topic right now. Early in 2023, the Automobile Association of America’s Foundation for Traffic Safety published a study estimating that 16–21 percent of all fatal vehicle crashes reported to police involve drowsy driving.
With the road fatality numbers in the US hovering close to 38,000 over the past few years, that means between 6,080 and 7,980 road deaths are linked to drowsy drivers. Further research by the AAA’s Foundation finds that drivers likely under-report drowsiness in all car crashes. Nodding off while driving is as dangerous as—and potentially more dangerous than—driving drunk. And while drunk-driving figures have decreased between 1991 and 2021, the opposite is true for drowsy driving.
Nissan
Automakers have not been unaware of the problem, either. As long ago as 2007, manufacturers like Volvo began offering drowsiness-detection systems that monitored the driver, though in a simpler way than what’s seen in the leading systems of today. They sensed the velocities of inputs to steering, throttle, and brakes. Some even used a camera aimed at the driver to discern if drivers were becoming inattentive, including drooping their head or simply averting their view from the straight-ahead.
These systems chime a warning and project a visual alert on the dashboard asking if the driver wants to take a break, often with the universal symbol for wakefulness—a coffee cup—appearing in the instrument cluster. Many new cars today still have this feature. And to be sure, it was then, is now, and forever will be a beneficial and effective method of alerting drivers to their drowsiness.
But a level beyond the above audible and visual cues has changed this landscape of blunting the upward trend of drowsy driving. As Level-2, semi-autonomous capabilities emerge in medium- and even lower-priced automobiles, these features also allow cars and SUVs to take control of the vehicle should the vehicle determine that the driver has become inattentive or incapacitated.
Enlarge/ On some vehicles, like this Mercedes, you can select the sensitivity of the drowsy driver program (“Attention Assist” in this case) to have a lower or higher threshold for activation.
Jim Resnick
Because all the pieces of a vehicle-control puzzle are already on board, enabling a system to take over from an inattentive driver is a matter of programming—extensive programming, of course, but all the critical pieces of hardware are often already there:
Selective braking from adaptive cruise control and stability control
Self-steering functions of lane-keeping and lane-centering
A cellular telematics network.
It’s a lengthy programming exercise that can take control of a vehicle in a simplified way, but not before three forms of human stimuli are triggered to wake up a drowsy driver: sight, sound, and a physical prompt.
This is all great in theory and in a digital vacuum, but I wanted to explore what occurs inside a car that has determined that the driver is no longer actually driving. The Infiniti QX60 and Mercedes EQE 350 have such emergency stop capabilities; I recently tested both.
Each year, the Consumer Electronics show brings a ton of new computer monitor announcements, and it’s often difficult to figure out what’s worth paying attention to. When it comes to the most interesting models this year, there were two noteworthy themes.
First of all, my complaint in 2022 about there not being enough OLED monitors was largely addressed this year. CES revealed many plans for OLED monitors in 2024, with a good number of those screens set to be appropriately sized for desktops. That includes the introduction of 32-inch, non-curved QD-OLED options and other smaller screens for people who have been waiting for OLED monitors in more varied form factors.
Secondly, with more people blending their work and home lives these days, CES brought hints that the line between gaming monitors and premium monitors used for general or even professional purposes will be blurring more in the future. We’re not at the point where the best productivity monitor and ideal gaming monitor perfectly align in a single product. But this week’s announcements have me imagining ways that future monitors could better serve users with serious work and play interests.
For now, here are the most intriguing monitors from CES 2024.
Dell UltraSharps hit 120 Hz
Dell started adding 120 Hz models to its UltraSharp series.
Scharon Harding
This monitor is VESA DisplayHDR 600-certified.
Dell
Ports include Thunderbolt 4 with 140 W power delivery. There’s also a pop-out box of ports by the monitor’s chin.
Dell
Dell UltraSharp monitors have long attracted workers and creatives and, with their USB-C connectivity, even Mac users. The last few CES shows have shown Dell attempting to improve its lineup, with the most landmark innovation being the introduction of IPS Black. With CES 2024, though, Dell focused on improved video resolution.
Dell’s UltraSharp 40 Curved Thunderbolt Hub Monitor (U4025QW), pictured above, is a 39.7-inch ultrawide with a 5120×2160 resolution and a 120 Hz refresh rate. As most monitors are aimed at workers still using 60 Hz, this is a big step up for people with systems capable of supporting 11,059,200 pixels at 120 frames per second. Such speeds have been relegated to gaming monitors for a while, but with TVs moving to higher refresh rates (with encouragement from gaming consoles), more people are becoming accustomed to faster screens. And with other attributes, like a 2500R curve, we wouldn’t blame workers for doing some light gaming on the U4025QW, too.
But Dell says the refresh rate boost is about increasing eye comfort. The UltraSharp U4025QW is one of two monitors with 5-star certification from TÜV Rheinland’s new Eye Comfort program, which Dell helped create, a Dell spokesperson told me last month at a press event.
According to TÜV, the certification program “is no longer limited to the old low-blue-light or flicker-free labels” and now “covers a broader range of safety indicators, such as ambient brightness, color temperature adjustment and regulation, and brightness.” New requirements include brightness and color temperature control for different ambient lighting. Dell’s ultrawide covers this with an integrated ambient light sensor.
The certification also requires a minimum 120 Hz refresh rate, which is probably where Dell got the number from. A Dell spokesperson confirmed to Ars that the use of IPS Black didn’t impact the monitor’s ability to get TÜV certifications and that it could have theoretically earned five stars with another panel type, like VA.
Dell announced bringing 120 Hz to the UltraSharp lineup in November when it debuted two 24-inch and two 27-inch UltraSharp monitors with 120 Hz refresh rates. At CES, Dell proved this upgrade wasn’t a fluke relegated to its smaller UltraSharps and went all in, bringing the refresh rate to a top-line ultrawide 5K Thunderbolt 4 monitor.
The U4025QW has an updated version of ComfortView Plus, which uses hardware to lower blue light levels. I’ve seen it function without making colors turn yellowish, as some other blue-light-fighting techniques do. After not significantly updating ComfortView Plus since its 2020 release, Dell now says it’s using a “more advanced LED backlight” to reduce blue light exposure from 50 percent to under 35 percent.
The effects are minimal, though. Dell-provided numbers claim the reduced blue light exposure could reduce eye fatigue by 8 percent after 50 minutes, but we should take that with a grain of salt. It’s nearly impossible to quantify how well blue light reduction techniques work from person to person.
The UltraSharp U4025QW releases on February 27, starting at $2,400.
Enlarge/ A Vectrex console and CRT display with a cart for a long-lost game.
Tim Stevens
The Vectrex may be the most innovative video game console you’ve never heard of. It had everything it needed to prompt a revolution, including controllers far more sophisticated than the competition and the ability to render polygons a decade before gaming’s 3D revolution.
It was years ahead of anything else on the market, yet it could not have launched at a worse time. The Vectrex hit stores at the tail end of 1982. Over the next six months, the then-booming video game market went bust. The Vectrex, a potential revolution in home gaming, was swept into bargain bins, forgotten by all but the most ardent of collectors.
Forty years later, it’s having something of a comeback. New developers are breathing fresh code into this aged machine, hardware hackers and tinkerers are ensuring that tired capacitors and CRTs stay functional, and a new game has seen retail release after sitting unplayed for four decades.
This, finally, could be the Vectrex’s time to shine.
Vectrex history
1982 was a banner year for video games. Titles like Zaxxon, Pole Position, Q*bert, and Dig Dug were fresh in the arcades. In the home gaming scene, seemingly unquenchable consumer desire fueled a period of innovation unlike anything the now $200 billion industry has seen since.
To give some context, Sony sold 11.8 million PlayStation 5s in 2021, the console’s first full year of availability. Back in 1982, 12 million Atari 2600 home consoles flew off store shelves, despite the nascent home gaming industry amounting to a paltry $4 billion.
This boom drove the creation of the Vectrex. The system was born at LA-based hardware design firm Smith Engineering. Envisioned as a portable system with a tiny, 1-inch cathode ray tube screen, the Vectrex concept ultimately grew into the 9-inch screen production version you see here.
Kenner Toys was initially slated to release the system, but when that deal fell through, General Consumer Electronics (GCE) stepped in and brought it to market in late 1982 after a successful debut at that summer’s Consumer Electronics Show. The Vectrex’s initial buzz was so successful that Milton Bradley acquired GCE in 1983.
The Vectrex design was unique, a video game console wholly integrated into a portrait-oriented CRT. This was at a time when most households had just a single television set. Playing Atari back then meant fighting with your siblings and parents about who had control of the TV because missing an episode of The A-Team had real consequences. Not only was DVR technology still decades away, Sony was still trying to say that recording television programs on VCR cassettes was illegal.
But the real reason for the Vectrex’s integrated display was its reliance on a display technique not seen on a home system before (nor since). Vector graphics are a true rarity on the gaming scene. 1979’s Asteroids is probably the most famous example, while 1983’s Star Wars is far and away the most impressive.
Outside of a few exceptions, every video game you’ve ever played has been made up of a series of pixels. Whether it’s CRT, LCD, LED, or even OLED, you’re still talking about images made up of tiny dots of light. As the years have progressed, those pixels have gotten smaller and smaller. Likewise, the graphical power provided by advanced GPU systems like the GeForce RTX 4090 allows those pixels to assemble into ever-more realistic 3D worlds.
Ultimately, though, it’s all a bunch of pixels. On the Vectrex, there are no pixels. As its name implies, graphics here are all made up of vectors. That means straight beams of light drawn from A to B, electrons shot straight and narrow onto a cathode ray tube that glows in response. Connect three such lines, and you have a triangle, a simple polygon, the building block of all mainstream 3D gaming even today.
That lack of pixels means that, even 40 years on, watching a Vectrex game in action is an oddly captivating thing. There’s a fluidity in the rudimentary graphics, an innate sharpness that was not only lacking in other games of the period but that still looks novel today.
Overall fidelity, however, is admittedly low. Though color TVs were well and truly mainstream by 1983, the Vectrex is decidedly black and white, a problem “solved” by some crafty, budget-minded engineering. Most Vectrex titles came with a transparent overlay, a full-color sheet of plastic that clips in place over the display, injecting some hue into the unfortunately desaturated CRT.
Powering this was a relatively simple set of silicon with an 8-bit Motorola 6809 microprocessor at its heart, the same processor behind arcade classics like Robotron: 2084 and many later Williams pinball machines. It ran at a mighty 1 MHz with a whole 1KB of RAM at its disposal.
The chip was paired with an integrated control pad with an analog joystick, far more advanced than the four-way joysticks found on every other home console controller at the time.
All that specialized hardware led to a specialized price. The Vectrex launched in 1982 at $199—about $650 in 2023 dollars. Less than 18 months later, it was dead.
The collector
Sean Kelly is among the world’s preeminent video game collectors. “I’ve been collecting video games for a long time,” he told me. “I’ve had probably over 100,000 video games pass through my hands over the years.” At one point, he said, he had more than 50,000 in his garage.
If that sounds like an industrial operation rather than a mere obsession, you’re not wrong. Kelly is co-founder of the National Videogame Museum in Frisco, Texas, established in 2016 and home to many unicorns of video game collecting, like an original Nintendo World Championship cartridge.
Perhaps it was an affinity for another failed early ’80s console—the Intellivision—that initially fostered Kelly’s love of video games, but he’s had a huge hand in keeping the Vectrex alive. He began by releasing so-called multi-carts, Vectrex cartridges that contained multiple discrete games accessed first by toggling DIP switches and later via a software menu.
Considering many Vectrex titles saw limited releases or no release at all, multi-carts like this were the only way for those few die-hard fans of the system to ever have a chance of playing them.
One of those games was Mail Plane, where you plot optimal delivery routes, then load up the packages and navigate across the country.
Thanks to the Vectrex’s abrupt cancellation, Mail Plane never saw release. You’d be forgiven for thinking it had, though. At Sean’s website, VectrexMulti, you’ll find boxed copies of Mail Plane ready to order.
The game comes in the silvery packaging that was standard for Vectrex releases in its day and even comes with a light pen, a peripheral used for keying in those delivery routes.
Kelly sourced manufacturers for every aspect of the retail packaging. Different prototype versions of the game code were floating around, but Kelly says most were incomplete. “In addition to collecting the video games, I’ve also had a passion for hunting down the people that used to produce the games,” he said. This began a quest to find the most complete version of Mail Plane.
“We would find this former employee or that former employee had a couple of cartridges, and we would go through the cartridges and look at them,” Kelly said, and he ultimately sourced the one closest to final. “Nobody knows for sure if it’s 100 percent complete, but generally, we believe that that’s the most complete version.”
He gave other games the same treatment, including Tour de France, in which you frantically pedal across a polygonal route to Paris, grabbing water bottles along the way and carefully managing the stamina of your rider. It’s an odd title, one that Kelly laments hasn’t exactly been a sales success. “Tour de France is one of the ones that I will be buried with,” he said. “I lost money on Tour de France.”
Kelly declined to say which games have made money, but it’s clear in speaking to him that this is all about passion, not profits.
Along the way, releasing those games provided Kelly and his associates with some valuable experience ahead of a surprise: the discovery of a game that seemingly nobody, not even those who worked for GCE or Milton Bradley, had ever heard of.
How does the US Environmental Protection Agency decide how far an electric vehicle can go on a single charge? The simple explanation is that an EV is driven until the battery runs flat, providing the number that goes on the window sticker. In practice, it’s a lot more complicated than that, with varying test cycles, real-world simulations, and more variables than a book of Mad Libs, all in an effort to give you a number that you can count on to be consistent and comparable with other vehicles on the road.
The start of EPA mileage testing
The EPA started testing vehicle fuel economy in 1971, and that initial testing still plays a major role in how modern cars are measured.
The year before, President Richard Nixon signed the National Environmental Policy Act of 1969 (followed by the Clean Air Act of 1970) and established the EPA with a mandate that included lowering motor vehicle emissions. Part of the EPA’s plan to reduce emissions was to let buyers know just how much fuel a car would use so they could cross-shop cars effectively.
Testing started with a route called the Federal Test Procedure. The EPA adopted an 11-mile (18-km) route that was originally done on real roads in Los Angeles. The route had an average speed of 21 miles per hour (34 km/h) and a top speed of 56 mph (90 km/h). Tailpipe emissions were measured, fuel economy was calculated, and the “city” fuel economy rating was born.
By the time the 10-mile (16-km) Highway Fuel Economy Test was added in 1974, the tests were performed in a lab on a dynamometer. Running tests on the dyno made them more consistent and easier to repeat, though it wasn’t perfect.
Small changes and tweaks were made over the years, with the biggest change announced in 2005. That year, the EPA announced changes to the test to meet new highway speeds, account for heating and air conditioning use, and make the test more relevant to real-world driving. Drivers weren’t able to hit the published numbers, and the EPA wanted to fix that. The system was introduced for the 2008 model year and is largely the one we use today.
Modern range testing
Today, automakers have two different test options for EVs. The automaker can decide that it wants to perform a “single cycle” test. On that test, the car drives the EPA city cycle over and over again until the charge runs out, then does the same on the highway cycle, starting with a full charge. The process is repeated for reliability. The alternative is that the automaker can perform a multi-cycle test that has completed four city cycles, two highway cycles, and two constant speed cycles.
Getty Images
The test cycles
The city cycle
The EPA’s Urban Dynamometer Driving Schedule is the official “city cycle” test loop. It is a complicated graph of time, vehicle speed, and allowable acceleration. The total test time is 1,369 seconds, the distance simulated is 7.45 miles (12 km), and the average speed is 19.59 mph (32.11 km/h). As with all of the tests, the exact speed required at each second of the test is laid out in a spreadsheet.
The highest speed reached on the test is 56.7 mph (91.25 km/h), and there are several periods where the vehicle sits stationary. Stationary seconds of the test made more sense when it was designed to measure a gas vehicle’s idle emissions and consumption, but it does still have some relevance today when it comes to climate control use and energy required to accelerate the vehicle.
The highway cycle
For higher speeds, vehicles complete the Highway Fuel Economy Driving Schedule (HFEDS). This test has a top speed of 59.9 mph (96.4 km/h) and an average of 48.3 mph (77.73 km/h), and it takes 765 seconds to complete.
Only the UDDS and HFEDS tests are required to certify an EV. But a top speed of 59.9 mph is a much lower highway speed than most drivers will experience.
Driving more quickly or using climate control can greatly impact range. More tests were introduced to help give a more realistic range, and they’re part of the 5-cycle test covered below.
Warning: Although we’ve done our best to avoid spoiling anything major, please note this list does include a few specific references to several of the listed shows that some might consider spoiler-y. The segment for The Great contains major reveals, so skip it if you haven’t watched the latest season. (We’ll give you a heads-up when we get there.)
Everything was coming up mystery in 2023, judging by our picks for Ars Technica’s annual list of the best TV shows of the year. There’s just something about the basic framework that seems to lend itself to television. Showrunners and studios have clearly concluded that genre mashups with a mystery at the center is a reliable winning formula, whether it’s combined with science fiction (Silo, Bodies, Pluto), horror (Fall of the House of Usher), or comedy (Only Murders in the Building, The Afterparty). And there’s clearly still plenty of room in the market for the classic police procedural (Dark Winds, Poker Face, Justified: City Primeval). Even many shows we loved that were not overt nods to the genre still had some kind of mystery at their core (Yellowjackets, Mrs. Davis), so one could argue it’s almost a universal narrative framework.
Streaming platforms continue to lead, with Netflix, Apple TV+, and FX/Hulu dominating this year’s list. But there are signs that the never-ending feast of new fare we’ve enjoyed for several years now might be leveling off a bit, as the Hollywood strikes took their toll and the inevitable reshuffling and consolidation continues. That would be great news for budgets strained by subscribing to multiple platforms, less so for those who have savored the explosion of sheer creativity during what might be remembered as a Golden Age of narrative storytelling on TV.
As always, we’re opting for an unranked list, with the exception of our “year’s best” vote at the very end, so you might look over the variety of genres and options and possibly add surprises to your eventual watchlist. We invite you to head to the comments and add your own favorite TV shows released in 2023.
The Last Kingdom (Netflix)
Netflix
I came late to the Netflix series The Last Kingdom, which is based on the historical fiction books by Bernard Cornwell and set amid the Viking invasions of Anglo-Saxon England during the time of King Alfred. The TV series was initially released in 2015 and technically wrapped up in March 2022. However, a movie to cap the series was released in April of this year, so it qualifies for our year-end list. I’m not sure why this television show has not gotten more attention because it is outstanding, both in bringing to life a fictionalized version of the turbulent late 800s and early 900s in proto-England and in its development of characters and friendships. If you liked Game of Thrones and are looking for something to watch before season 2 of House of the Dragon, The Last Kingdom should be your first choice.
—Eric Berger
The Last of Us (HBO)
Enlarge/ Pedro Pascal stars as Joel, who befriends Ellie (Bella Ramsey) during a zombie apocalypse.
HBO
Given the hit-and-miss nature of adaptations from video games to the world of TV and film (with misses more plentiful than hits), I was more than a little apprehensive about HBO’s Last of Us series. It was remarkably easy to envision the TV adaptation ruining one of my favorite character-based narratives in all of gaming in order to create some sort of lowest-common-denominator zombie-of-the-week dreck. Instead, we got a loving and authentic take on the game.
HBO’s version of The Last of Us does a great job toeing the line between faithfulness to the source material and deviations that still feel authentic to the world of the game. Many of the key scenes are literally shot-for-shot and music-cue-for-music-cue live-action recreations of original Naughty Dog cut scenes, and it’s a testament to Naughty Dog’s cinematic skill that they’re just as effective in a new “prestige TV” context. But then there are new creations like the third episode, where supporting characters from the game are given surprising and heartwarming depth. Through it all, the surrogate parent-child relationship between Joel and Ellie shines through, driving the narrative and leading to one of the most arresting final scenes in gaming (and now, in a TV season).
There were relative narrative shortcomings in The Last of Us Part II, so I feel the showrunners have a bit of an uphill battle ahead of them in adapting future seasons for TV. But the care they took with season 1 gives me some confidence they’ll be able to thread the needle and make more compelling post-apocalyptic television going forward.
2022’s relative drought leads to an absolutely packed year of major epics.
It’s been a real period of feast or famine in the video game industry of late. Last year in this space, we lamented how COVID-related development delays meant a dearth of big-budget blockbusters that would usually fill a year-end list. In 2023, many of those delays finally expired, leading to a flood of long-anticipated titles over just a few months.
But the year in games didn’t stop there. Beyond the usual big-budget suspects, there were countless delightful surprises from smaller indie studios, many of which came out of nowhere to provide some of the most memorable interactive experiences of the year.
These two trends make it difficult to narrow this year’s best games down to just 20 titles. The “shortlist” we assembled during the winnowing process easily approached 50 titles, most of which could have easily made the list in a less packed year—or been swapped with a game that did make this year’s list.
Looking back years from now, 2023 may be mentioned in the same breath as 1998 and 2007 as years that were packed to the gills with classics. Here are 20 titles released this year that we think will stand the test of time, sorted in alphabetical order, with a single “Game of the Year” pick at the end.
Against the Storm
Eremite games; Windows
With most games I played and wrote about this year, even the titles I really liked, I would tell myself, “I could see playing this more.” With Against the Storm, I’m not just imagining it, I’m actively plotting ways to make it happen.
Enlarge / A (rather well-organized) village in Against the Storm, with the Hearth at center, constantly burning the resources you acquire.
This game is stuck in my mental queue because of how surprisingly well the core gameplay loop works. You create the kinds of little villages you’d make in a typical real-time strategy game, except there’s no real-time battle, just a gradual push against time to gather enough resources, deliver the right goods, and keep everyone moderately happy. You can save any time, but each session can also be played in about an hour. It’s deep, but it’s also calm. Even the “roguelite” map-wiping aspect of the game isn’t a punishment but, rather, a reminder not to worry too much about any one level.
Against the Storm is also now Steam Deck Verified, having made lots of changes to how controllers, gamepads, and on-screen text are displayed for that tinier screen. It’s a smart move to make this session-friendly game more couch-capable.
You can pick out a few distinct genre influences in Against the Storm, a handful of specific art homages, and probably quite a few mechanics plucked from other games. But it is very much its own game, one that has been tuned well over its early access period. I keep finding myself hoping for little stretches of time where I can break away from daily life so I can have a bunch of villagers, a queen, and unknowable forest spirits demand more and more of me. It’s quite weird, but it works.
-Kevin Purdy
Alan Wake 2
Remedy Entertainment; Windows, PS5, Xbox Series X|S
I am not really in the target audience for Alan Wake 2. I only played a few brief moments of its predecessor, and I’ve never really gone deep on survival horror shooters, having bounced off the Resident Evil titles in my youth. And while I was initially thrilled with developer Remedy’s last title, Control, the combat felt too repetitive and grinding for me to keep pushing through it for one more head-melting story reveal or another cleverly worded office memo.
And yet I think Alan Wake 2 is an inspired, fascinating, entertaining game, one that I’d recommend to nearly anybody. Anybody, in particular, who digs The X-Files, Twin Peaks, Stephen King, Resident Evil, meta-fiction, Control, True Detective, or pondering dark myths amid the beauty of the Pacific Northwest’s majestic, damp forests or a lucid-dream version of New York City.
AW2 gives Remedy the breadth and budget to tell the kinds of stories it’s best at telling. Even if I found the gun-focused but bullet-constrained combat a bit of a slog at times, I wanted to push through. I wanted to watch Saga Anderson discover and react to the reality-altering mystery she was investigating. I wanted to have more moments like when Wake was thrust onto a talk show couch, unaware of the book he was there to promote.
There’s also a musical number. This isn’t a game where you can see the beats coming.
Like 2022’s game of the year, Elden Ring,AW2 feels like a distillation but also an expansion of all the games that came before it. It’s not going to be for everyone, but it provides a wonderful service for those who commit to sitting down with it.
Brotato
Thomas Gevraud; Windows, Switch, iOS, Android
Last year, the cheap, pixel-graphics indie roguelite Vampire Survivors was my personal game of the year. I wasn’t alone in my obsession. Although it wasn’t technically the first of its kind, Vampire Survivors kick-started a new genre in which an auto-attacking hero faces down ever-increasing hordes of enemies. I’ve played a ton of these “Survivor-likes” over the past year, and many of them are quite good. My favorite by far, though, is Brotato, which saw its 1.0 release this year.
In Brotato, you maneuver the titular potato-bodied hero around a small arena. Enemies rush toward your position, and when they’re in range, your character attacks them automatically. But instead of the 20- to 30-minute rounds common in the genre, a Brotato run is split into 20 bite-sized fights that last anywhere from 20 to 90 seconds.
Defeated enemies drop “materials,” which double as experience points and money. You visit a shop between rounds and can spend as much money as you want to buy items and weapons to buff up your character. This is where the game gets its addictive pull. There are 16 main stats, and the key to success is leaning into the ones that help your character the most. Items often have a positive and a negative, so balancing is key.
In short, the game is a min-maxer’s dream.
Forty-four unique characters, six difficulty levels, dozens of weapons, and hundreds of items—unlocked as you play the game—ensure you have a ton of content to chew through. The best thing about the game is coming up with wacky build ideas and seeing if you can make them happen. Adjusting your stats from round to round makes a huge difference, and choosing the right items becomes surprisingly intuitive.
The game is a scandalously cheap $5 (or free to try on mobile). If you are at all interested in stat-building in games, you need to try this.
Warning: Although we’ve done our best to avoid spoiling anything too major, please note this list does include a few specific references to several of the listed films that some might consider spoiler-y.
It’s been an odd couple of years for film as the industry struggles to regain its footing in the wake of a devastating global pandemic, but there are reasons to be optimistic about its future, both from a box office and variety standpoint. This was the year that the blockbuster superhero franchises that have dominated for more than a decade finally showed signs of faltering; the Marvel and DC Universe releases this year were mostly fine, but only one (Spider-Man: Across the Spider-Verse) made our 2023 year-end list. There were just so many of them, one after the other, adding up to serious superhero fatigue.
We still love our blockbusters, of course. This was also the summer of “Barbenheimer,” as audiences flocked to theaters for the unlikely pairing of Barbie and Oppenheimer, breaking a few box office records in the process. It was also a good year for smaller niche fare—including two re-imaginings of Mary Shelley’s Frankenstein—as well as a new film from the legendary Martin Scorsese (Killers of the Flower Moon).
As always, we’re opting for an unranked list, with the exception of our “year’s best” vote at the very end, so you might look over the variety of genres and options and possibly add surprises to your eventual watchlist. We invite you to head to the comments and add your favorite films released in 2023.
Enlarge/ Chris Pine and Michelle Rodriguez star as Elgin (a bard) and Holga (a barbarian) in D&D: Honor Among Thieves.
Paramount Pictures
Dungeons & Dragons: Honor Among Thieves
Over two decades later, I am still a bit bitter about paying good money to see the 2000 Dungeons and Dragons movie with a group of friends on opening night. To this day, we’ll still parody Empress Savina dramatically proclaiming something along the lines of “I declare all people equal!” at the end of the movie (spoilers for a decades-old bad movie, I guess). Honor Among Thieves didn’t have a high bar to clear to wash the taste of that horrible adaptation out of my mouth. So it was nice to find that this new take on the D&D world leapt miles over that bar with a madcap, character-driven adventure that would be the envy of many a dungeon master.
While Honor Among Thieves drops in a few references to familiar D&D items and creatures (hi, owlbears!), the movie wisely realizes that it can’t lean on those references to make an interesting movie. Instead, it uses D&D’s class system as the basis for some broad, trope-y characters to get thrown into an unlikely partnership. Chris Pine’s winning take on a bard is the driving force here, but Michelle Rodriguez’s barbarian and (an underutilized) Regé-Jean Page’s paladin steal plenty of scenes by really hewing true to their characters’ alignment chart.
The plot won’t win any awards for originality or surprise, but that character work and some well-paced action set pieces make this a thrilling family adventure, even for those who’ve never touched a D&D character sheet.
