The polarization over any and all uses of artificial intelligence and machine learning continues. And, to be clear, I very much understand why this is all so controversial. Any new technology that has the chance to be transformative will also necessarily be disruptive and that causes fear. Fear that is not entirely unfounded, no matter your other opinions on the matter. If that’s you, cool, I get it.
I’ll start this off by pointing to the latest edition of the Techdirt podcast in which both Mike and Karl engaged in a fantastic discussion about the use of AI. I’ve listened to it twice now; it’s that good. And, while I found myself arguing out loud with the both of them at certain points during the podcast, despite the fact that neither of them could hear my retorts, it presents a grounded, often nuanced conversation, which we need much more of in this space.
And now, in what might be a subconscious attempt by this writer to commit suicide by comments section, let’s talk about that controversial demo of NVIDIA’s forthcoming DLSS 5 technology. What DLSS 5 does compared with previous versions of the technology is indeed new, but what is not new is the introduction of AI and machine learning into the equation. DLSS 2 and 3 had that already, in the form of pixel reconstruction and frame generation. DLSS 5, however, introduced what is being labeled as “neural rendering”, which uses machine learning to alter the lighting and detailed appearances in environments and, most importantly, character rendering over the engine on top of the 2D image output. Here’s the video demo that got everyone talking.
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The backlash to the video was wide, immediate, and furious. There was a great deal of talk about the alteration of artistic intent, about whether this changed what the original developers were attempting to portray when they created the games, and, of course, industry jobs. I want to talk about the major complaint pillars seen across many outlets below, but this backlash also supposedly came with death threats foisted upon NVIDIA employees. I would very much hope we could all at least agree that any threats of that nature are completely inappropriate and absurd.
With that, here is what I’ve seen in the backlash and what I’d want to say about it.
Get your damned AI out of my games!
Perhaps not the most common pushback I saw in all of this, but a very common one. And a silly one, too. As I mentioned above, DLSS versions already used some version of AI and machine learning. That isn’t new. How it’s applied is certainly new, but that isn’t the same as the demand to keep AI entirely out of the video game industry.
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And if that’s where you are, go ahead and shake your fist at the clouds in the sky. AI is a tool and, as I’ve now said repeatedly, the conversation we should be having is how it’s used in gaming, not if it’s used. That’s because its use is largely a foregone conclusion and it is an open question as to whether its use will be a net benefit or negative overall to the industry. Dogmatic purists on AI have a stance that is understandable, but also untenable. We’re too far down this road to turn around and go home. And if the tech were able to lower the barriers of entry to the gaming industry, acting as the fertilizer that allows a thousand indie studios to sprout roots, would that really be so bad for the gaming ecosystem?
I can appreciate the purists’ point of view. I really can. I just don’t see where they have a place in the conversation when it comes to gaming.
It overrides artistic intent!
Does it? If it did, then hell yes that’s bad. But if it doesn’t, then this concern goes away entirely.
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DLSS 5 is built with options and customizable sliders for game developers. That’s really, really important here. At the macro level, a developer that has decided to use DLSS 5, or decided and customized how it’s used in their games, is exercising consent over their products. That should be obvious.
But then we get into really interesting questions of art, the actual artist, and the ownership of that art, because those last two are very different things. As Digital Foundry outlines:
It may even raise consent and other questions surrounding artistic integrity. On site and witnessing the demos in motion, concerns about this seemed less of a problem when the games we saw had been signed off by the studios that made them – the contentious assets we’ve seen, likewise. Nothing from the DLSS 5 reveal released by Nvidia has not been approved by the studios that own those games. But perhaps the issue isn’t just about specific approvals by specific developers on agreed DLSS 5 integrations, but rather the whole concept of a GPU reinterpreting game visuals according to a neural model that has its own ideas about what photo-realism should look like.
While we’ve seen endorsements from Bethesda’s Todd Howard and Capcom’s Jun Takeuchi, to what extent does that consent apply to the entire development team and other artists associated with the production? And by extension, there is also the question of whether now is the right time to launch DLSS 5 at a time when the games industry is under enormous pressure, jobs are on the line and cost-cutting is a major focus in the triple-A space. The technology itself cannot function without the work of game creators – it needs final game imagery to work at all – but the extent to which it could be viewed as a worrying sign of “things to come” cannot be overstated bearing in mind the reactions elsewhere to generative AI.
That strikes me as a valid and interesting ethical question when it comes to the use of this technology, but one that is probably overwrought. Individual artists who work on video games already have their artistic output live at the pleasure of the game developers they contract with. Those developers already can use this game art in all kinds of ways that the individual artist may not have had in mind when creating it, or indeed have even considered such possibilities. DLSS 5 is just one more version of that, with the main difference being that it involves AI making changes to game images. That’s an important thing to consider, sure, but there are cousins to this ethical question that we’ve all come to accept already. This strikes me more as part of the “all AI is bad all the time” crowd finding a foothold in something other than dogma to grab onto.
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Developers and publishers own their games. If they want to use DLSS 5 in those games, there is little other than specific work for hire or other contractual stipulations with individual artists that would keep them from implementing it. If artists don’t like that, I completely understand that point of view, but that’s what contract negotiations and language are for.
Bottom line: I have been as vocal as anyone arguing that video games are a form of art for well over a decade now and I struggle to agree that an optional technology that has approved buy in from game developers and publishers equates to “overriding artistic intent”, writ large.
The faces in these examples look like shit, are “yassified”, or suffer from the uncanny valley effect!
Look, here we’re going to get into matters of opinion. I have to say that when I viewed the demo video myself, I had the opposite reaction. And, yes, this opens me up to claims that I am somehow a massive fan of AI-created pornography (this is where the yassified comments come in), or that I just want all the characters to look “hot” (I’m too old for that shit), or that my older age of 44 means I’ve lost touch with what video games should look like. Despite my genuine respect for the dissenting opinions here, allow me to say this: bullshit.
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The caveat to all of this is that the demo revealed very little in the way of this technology working within these games in motion. It’s also certainly true that NVIDIA chose the best potential images to show off its new technology. If the DLSS 5 rendering sucks out loud in a larger in-motion game, or if the images it creates end up being inconsistent throughout gameplay, or if it does just end up looking shitty, then I’ll be right there with you with a torch and pitchfork in hand.
And here’s the other thing to consider with this particular complaint, combined with the previous one about artistic intent: do any of you use visual mods in your games? I do. A ton of them. For a variety of reasons. I have used them to alter the faces and models for games like Starfield and Skyrim, among many others. Do I need to feel bad for altering the artist’s intent? Do I need to apologize for incorporating mods to make characters and environments appear in a way that helps me better connect with the game I’m playing?
Because I’m not going to do either. And I don’t expect you to. Nor do I expect game developers that choose to use this optional technology to beg for forgiveness for their own output.
The hardware demands to run all of this are insane!
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Fine, then you’ll get what you want and nobody will be able to use this technology anyway. But I don’t think that will be the case. NVIDIA knows what it will take to run this tech once it leaves the demo stage and goes into production. The idea that they would hype up technology that nobody can use strikes me as unlikely in the extreme.
Conclusion: everyone take a breath
This still strikes me as more of a “all AI is bad” crowd grasping at lots of other things to buttress their pushback than anything else. AI has plenty, plenty of potential pitfalls. Worried about jobs in the gaming industry and elsewhere? Me too! But if you’re not also looking at the potential upsides for the industry, then you’re engaging in dogma, not conversation.
Will DLSS 5 be good? I have no idea and neither do you. Will DLSS 5 alter previously released games in a way that fundamentally alters how we play these games? I have no idea and neither do you. Will it negatively impact the gaming industry when it comes to the number of jobs within it? I have no idea and neither do you.
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This was a tech demo. Details on how it works are still trickling out. Most recently, there has been some clarification as to the 2D rendering nature of the technology and what that means for the output on the screen. As an early demo of the technology, feedback is going to be important, so long as it’s informed and reasonable feedback.
The technology may end up being trash and hated for reasons other than “all AI is bad all the time.” If that ends up being the case, I trust the gaming market to work that out for itself. But a lot of the hand-wringing here looks to me to be speculative at best.
An Asus exec has warned of big price hikes for PCs
Prices could rise by 25% to 30% in the second quarter in Taiwan, we’re told
This is likely to be reflected globally, and with other increasingly gloomy predictions hanging over the PC industry, it would seem the time to buy is now
Asus has warned that its laptops are going to get a lot more expensive in Taiwan, and while this doesn’t necessarily apply globally, you can bet it’s reflective of the situation worldwide — and the scale of the increase is seriously worrying.
As reported by UDN in Taiwan (flagged by VideoCardz), Asus said that PC prices in the country are going to rise by 25% to 30% in the second quarter of this year on average (with varying increases depending on the exact model, of course).
This prediction came direct from Liao Yi-hsiang, who is General Manager of Asus United Technology Systems Business, during an interview conducted after a press conference for a new Zenbook laptop.
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The Asus exec made it clear that double-digit price increases would apply to all PC makers, as they’re obviously all suffering from the same RAM and storage pricing headwinds (and the rising costs of other components besides, such as GPUs).
The report further notes that price increases of components “may continue in the second half of the year”, and therefore Liao “suggests that consumers who need to upgrade their PCs should buy them as soon as possible”. (Note that this is a translation of the article from Chinese, but the gist is pretty clear).
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Analysis: don’t hang around at this point
(Image credit: Future)
Granted, the report specifically notes that Asus didn’t say whether this price increase would apply globally, but it also didn’t say it wouldn’t — and I think you can safely draw your own conclusions there. Yes, there will likely be some regional variability, but Taiwan isn’t in a bubble, and warnings of price hikes of nearly a third over the course of the next quarter is a hugely worrying signal of what’s to come with the whole of the PC market.
Meanwhile, we’re hearing gloomier forecasts around PC pricing and the latest twists on the RAM crisis on a weekly — if not daily — basis. Here’s another doom nugget from this week, for example, with memory chip maker Micron letting us know how bad things have got with supply in no uncertain terms. It’s getting dire out there, to the point where hardware is being cancelled — witness Kotaku’s report about the Ayaneo Next 2 getting canned because the price of the handheld would be around four grand at this point.
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I’d fully agree with the Asus exec that if you think you’ll need a new desktop PC or laptop in the near future, it makes sense to buy now. These devices will surely only get pricier as 2026 rumbles onwards, with supply difficulties around memory not expected to get any better for a long time. (Indeed, some believe the RAM market won’t be back to normal until 2030, and they include another major memory chip maker).
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I think you’ll regret waiting, frankly, especially if you can get a good deal on a laptop now, and there are some tempting bargains floating around still. These offers may not be nearly as compelling a few months down the line, because if Asus is right, serious price jumps could be here before we know it.
And of course, you can also follow TechRadar on YouTube and TikTok for news, reviews, unboxings in video form, and get regular updates from us on WhatsApp too.
US Air Force (USAF) B-2 Spirit stealth bombers recently trained alongside US Navy jet fighters in a maritime strike exercise conducted off the coast of California. The drill brought together aircraft from Carrier Air Wing 11 — the aviation element assigned to the USS Theodore Roosevelt (one of the oldest aircraft carriers still in service) — and at least one B-2 bomber from the USAF’s 509th Bomb Wing based at Whiteman Air Force Base in Missouri. While the USAF publicly announced the exercise, officials didn’t specify exactly when the exercise took place.
The drill was focused on integrated maritime strike operations — a mission that involves coordinating multiple aircraft types to engage seaborne targets. It was a mission that also introduced the $2 billion Spirit bomber to the Navy’s new AIM-174B “Gunslinger” missile — an air-launched weapon based on the service’s SM-6 interceptor. The Gunslingers were loaded on two of the participating Navy F/A-18E/F Super Hornets.
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The exercise in itself is not unusual; the Navy and USAF regularly conduct such exercises. However, this one drew attention because it highlighted both the introduction of the AIM-174B and the evolving role of strategic bombers like the B-2 in maritime strike scenarios.
Essentially, this sort of exercise is designed to give military planners an opportunity to test how long-range weapons, stealth aircraft, and naval aviation resources can operate together in complex missions designed to better defend US assets.
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Meet the Gunslinger
The AIM-174B “Gunslinger” was not developed from scratch. Rather, it traces its roots back to the Navy’s Standard Missile-6 (SM-6). Developed by Raytheon, the SM-6 is something of a multitool in the missile world. Originally designed for launch from Aegis-equipped warships, it can be used for anti-air warfare, ballistic missile defense, and against sea and ground targets at long ranges (thought to be about 230 miles).
Essentially, the Gunslinger is the same missile as the SM-6 but adapted for air launch. Officially, it’s known as the SM-6 AIM-174B Air Launch Capability; the system is designed to pair with the F-18 Super Hornet, which remains one of the fastest US fighter jets in service today. This combination gives the Navy’s carrier-based fighters access to a much longer-range missile than traditional air-to-air missiles.
Physically, the weapon is larger than many air-to-air missiles, stretching to more than 15 feet in length and weighing close to a ton. This is what allows it to carry both a larger propulsion system and a larger warhead. The result is a new weapon in the Navy’s armory that allows its jet fighters to engage threats at far greater distances.
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Why the B-2 is showing up in naval warfare exercises
At first glance, the partnership between Naval assets and the B-2 Spirit might seem like a strange one. After all, the B-2 is more widely known as a platform for delivering precision weapons against land targets, sometimes flying on missions that can last for over 30 hours. However, what this exercise shows is how the US military is increasingly exploring a changing role for the aircraft and how it can be used to target ships.
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One area of development is the USAF’s QUICKSINK program (the clue is in the name). This program converts existing weapons platforms into guided anti-ship weapons capable of striking moving targets. Instead of using more expensive purpose-built anti-ship missiles, the concept allows aircraft to use modified munitions equipped with guidance systems to target and sink enemy ships. This approach allows a lower-cost way to expand the military’s anti-ship arsenal, without building advanced missile systems.
This isn’t the first involvement the B-2 has had with the program. In September 2025, a B-2 bomber from Whiteman Air Force Base joined Norwegian F-35 fighters during an exercise in the North Atlantic. The exercise included a maritime strike using a QUIKSINK weapon.
It’s a vacuum-based automatic vinyl record cleaner
Designed to use few moving parts
My record collection isn’t mine, but an inheritance I try to take good care of. Or I thought I took great care of, but Pro-Ject’s new release has me thinking I could be doing a better at keeping them pristine.
This is the Pro-Ject VC-E Mini, which is going on sale in April. It’s set to cost £249 (about $350, AU$500), so it’s not cheap — but it’s more affordable than the existing VC-E2 and VC-E3.
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Since dirt on a vinyl can really hurt its sound quality, machines like this make sense, but to me the VC-E Mini solves a few problems that make this kind of machine out-of-reach for most people.
A smaller cleaning machine
The Pro-Ject VC-E Mini is, as the name suggests, a more compact record cleaner, and it’s designed to minimize moving parts (and cupboard space too).
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It saves space by not having a suction arm to clean the vinyl. Instead it uses a brushless vacuum motor to help cleaning fluid trickle across the vinyl and off the machine.
The box also includes a cleaning brush, magnetic clamp, adhesive arm strip and said cleaning fluid, so the cleaning process sounds pretty hands-on.
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This fluid is Pro-Ject’s Wash it 2, which is already readily available to buy since other VC-E models use it. It doesn’t use alcohol, and instead is made from “demineralised water and cleaning concentrate”.
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As someone who’s always just cleaned their records with a microfiber cloth, I’ve always been put off by the size and price of bespoke upkeep machines like this.
While the VC-E doesn’t fully solve the latter problem, I’ll concede that it’s small enough to be tempting as someone who really does want to preserve these items. Maybe I need it more than I thought…
And of course, you can also follow TechRadar on YouTube and TikTok for news, reviews, unboxings in video form, and get regular updates from us on WhatsApp too.
Sony Honda Mobility, the automotive venture from two of Japan’s most storied companies, has swung the axe on its EV project. In a statement, it said it would “discontinue the development and launch” of the Afeela 1 and 2, its long-in-development electric cars. The company added it would review its “business direction,” and announce its future plans “at the earliest possible opportunity.” Which, if we’re honest, probably means the whole thing is going to be shut down, or scaled back so much it’s no longer worth talking about.
2026 has not been a great year for Honda. On March 12, it posted an up-to $15.7 billion loss as it wrote off a big chunk of its investment in EVs. The US’ pivot toward fossil fuels, removal of federal EV tax credits and the imposition of tariffs has hit its business pretty hard. Not to mention the high-profile embarrassment of its current F1 engine project with Aston Martin, which promised so much and has delivered less than nothing.
Sony’s journey into the automotive world began six years ago with the announcement of the Vision-S, the car which would eventually be re-christened Afeela. But while the product looked good on trade show stands, it stood still while the rest of the car world sprinted ahead. In January, Tim Stevens said Afeela 1 looked a little dated, and a little lacking in emotion, and a lot more expensive than comparable models from rivals. Not to mention that Afeela 1 is a sedan, being sold to a world that’s increasingly fallen out of love with the type in favor of higher-riding SUVs. In Sony’s statement, however, the SUV-aping Afeela 2 didn’t even get a mention by name, which hints that it was as much an afterthought for the company as we might have guessed when it was announced.
OpenAI is finally addressing one of the most frustrating things about working with files in ChatGPT. The company is rolling out two new features to help users quickly access previously uploaded files, including a Recent files menu and a dedicated Library tab.
How do ChatGPT’s new file management features work?
Until now, files in ChatGPT were largely tied to individual conversations, which meant finding them often involved going back to the original chat and scrolling through long threads. The new Recent files option in the attachment menu now lists some of the files you’ve used most recently, making it easier to jump back into ongoing work without digging through older chats.
It’s now easier to find, reuse, and build on the files you upload and create in ChatGPT.
You can quickly reference files in a chat using recent files in the toolbar, ask ChatGPT about something you’ve uploaded, or browse your files in the new Library tab in the web sidebar.… pic.twitter.com/fIazWRF9h3
On the web, there’s also a new Library tab in the sidebar. This acts as a central hub for all your uploaded and generated files, giving you a more organized view instead of tying everything to separate conversations. You can browse, search, and quickly attach files to new chats from this tab.
OpenAI also says ChatGPT can answer questions about files you’ve already uploaded, so you don’t need to reupload them every time you want more insights. Together, these changes make file reuse faster and far less tedious, especially if you regularly juggle files across multiple sessions.
Who’s getting access, and when?
The update is rolling out globally to ChatGPT Plus, Pro, and Business subscribers. Those in the EU, Switzerland, and the UK will have to wait a bit longer, with availability in these regions expected soon. There’s no word yet on whether these features will make their way to the free tier.
With these changes, OpenAI is continuing to position ChatGPT as more than just a chatbot, gradually turning it into a tool for managing ongoing work across conversations.
X is updating its revenue-sharing incentives to give more weight to engagement from a user’s home region, Nikita Bier, the company’s Head of Product has announced. Bier said the change in policy was to “encourage content that resonates with people in [the user’s] country, in neighboring countries and people who speak [their] language.”
Bier continued that while X appreciates everyone’s opinion on US politics, the company is hoping the new policy can “disincentivize gaming the attention of US or Japanese accounts.” The US and Japan have the largest number of users on X. Bier didn’t mention it outright, but dozens of popular accounts tweeting pro-Trump sentiments and commentaries focusing on US politics in general were revealed to be based outside the US late last year, when X rolled out a transparency feature that exposed users’ locations. Those accounts, which pretended to be from the US and garnered millions of likes, views and reposts, turned out to be based in countries like India, Kenya and Nigeria.
“X will be a much richer community when there’s relevant posts for people in all parts of the world,” Bier said. When one user responded to his post that some countries barely have any users, making it hard to earn money from the website, Bier just suggested that they should write about their day-to-day experiences. “Of course, you’re welcome to continue chiming in on America politics. We just won’t send money overseas for that content,” he said. X’s new policy will start taking effect on Thursday, March 26.
Since Donald Trump’s war on Iran started more than three weeks ago, United States military forces have allegedly attacked more than 9,000 sites, creating a climate of fear and constant uncertainty for Iranians in Tehran and across the country. Without an advanced warning system from the government, and amid the longest internet shutdown in Iran’s history, Iranians are left in an information void.
Even before Israel and the United States began dropping bombs, Iran’s lack of a public emergency alert tool and severe state-controlled digital oppression has impacted tens of millions of citizens. Since the 12-day Israel-Iran war last year, though, a group of Iranian digital rights activists and volunteers has been working to fill the gap with a dynamic, regularly updated mapping platform called Mahsa Alert. The project can’t replace real-time early alerts that could come from a coordinated government service, but the tool sends push notifications when Israeli forces warn about attacks, details some confirmed strike locations, and offers offline mapping capabilities.
“There is no emergency alert in Iran,” says Ahmad Ahmadian, the president and CEO of US-based digital rights group Holistic Resilience, which is behind Mahsa Alert and has been developing the platform since last summer. “This was where we saw the traction, we saw the need, and we continued working on it with the volunteers, with some [open source intelligence] experts, and used this to map the repression machinery ecosystem of Iran and surveillance.”
Mahsa Alert is a website but also has Android and iOS apps, which were intentionally designed to be lightweight and easy to use on any device. Given the heavy government connectivity control inside Iran and erratic access to the internet, volunteers also prioritized engineering the platform for offline use. And it can be easily updated if a user does get connectivity for a brief period by downloading APK files that contain new data. The team works to keep these updates extremely small; a recent release was 60 kilobytes, and Ahmadian says they are typically no more than 100 kilobytes.
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One overlay on Mahsa Alerts plots the locations of “confirmed attacks” that Ahmadian says his team or other OSINT investigators have verified, using video footage or images that are submitted to a Telegram bot or shared on social media. There are also warnings about areas where Israeli forces have issued evacuation alerts, along with the crucial component of people submitting reports on what is happening around them.
“We have to go through a due diligence and verification process and tag them before putting them on the map,” Ahmadian says of the reported attacks and incidents, adding that the team has a backlog of more than 3,000 reports that it is working through or is unable to verify. Along with attempting to map strikes, the team behind Mahsa Alert have also plotted “danger zones” that could be at risk of attack—such as sites linked to Iran’s nuclear program or military—so ordinary citizens can stay away from them. Ahmadian claims 90 percent of attacks it has confirmed were at sites that were already present on the map. “Some of them that we can confirm, we do it because [a user] has shared a photo or they have shared some details that makes them verifiable,” he says.
The map also includes locations of thousands of CCTV cameras, suspected government checkpoints, and other domestic infrastructure. Medical facilities, such as hospitals and pharmacies, are included on the map along with other resources like the locations of religious sites and past protests.
Mahsa Alert has become more visible on global social media feeds as Iranians around the world share details from the map, encouragingpeopleto look into the service and flagging it for friends and family who could use it as a resource. “The app went from near zero to over 100,000 daily active users in a matter of days,” Ahmadian says, adding that in total there have been around 335,000 users this year, with people first turning to the app during the Iranian regime’s brutal crackdown on anti-government protesters in January. Through the limited user information the app collects, Ahmadian claims there are signs that 28 percent of users are accessing the platform from inside Iran.
Last week’s Nvidia GTC conference highlighted new chip architectures to power AI. But as the chips become faster and more powerful, the remainder of data center infrastructure is playing catchup. The power delivery community is responding: Announcements from Delta, Vertiv, and Eaton showcased new designs for the AI era. Complex and inefficient AC to DC power conversions are gradually being replaced by DC configurations, at least in hyperscale data centers.
“While AC distribution remains deeply entrenched, advances in power electronics and the rising demands of AI infrastructure are accelerating interest in DC architectures,” says Chris Thompson, vice president of advanced technology and global microgrids at Vertiv.
AC to DC Conversion Challenges
Today, nearly all data centers are designed around AC utility power. The electrical path includes multiple conversions before power reaches the compute load. Power typically enters the data center as medium-voltage AC (1kV to 35kV), is stepped down to low-voltage AC (480V or 415V) using a transformer, converted to DC inside an uninterruptible power supply (UPS) for battery storage, converted back to AC, and converted again to low-voltage DC (typically 54 V DC) at the server, supplying the DC power computing chips actually require.
“The double conversion process ensures the output AC is clean, stable and suitable for data center servers,” says Luiz Fernando Huet de Bacellar, vice president of engineering and technology at Eaton.
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That setup worked well enough for the amounts of power required by traditional data centers. Traditional data center computational racks draw on the order of 10 kW each. For AI, that is starting to approach 1 MW. At that scale, the energy losses, current levels, and copper requirements of AC to DC conversions become increasingly difficult to justify. Every conversion incurs some power loss. On top of that, as the amount of power that needs to be delivered grows, the sheer size of the convertors, as well as the connector requirements of copper busbars, becomes untenable. According to an Nvidiablog, a 1 MW rack could require as much as 200 kg of copper busbar. For a 1 GW data center, it could amount to 200,000 kg of copper.
Benefits of High-Voltage DC Power
By converting 13.8 kV AC grid power directly to 800 VDC at the data center perimeter, most intermediate conversion steps are eliminated. This reduces the number of fans and power supply units, and leads to higher system reliability, lower heat dissipation, improved energy efficiency, and a smaller equipment footprint.
“Each power conversion between the electric grid or power source and the silicon chips inside the servers causes some energy loss,” says Fernando.
Switching from 415 V AC to 800 V DC in electrical distribution enables 85 percent more power to be transmitted through the same conductor size. This happens because higher voltage reduces current demand, lowering resistive losses and making power transfer more efficient. Thinner conductors can handle the same load, reducing copper requirements by 45 percent, a 5 percent improvement in efficiency, and 30 percent lower total cost of ownership for GW-scale facilities.
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“In a high-voltage DC architecture, power from the grid is converted from medium-voltage AC to roughly 800 V DC and then distributed throughout the facility on a DC bus,” said Vertiv’s Thompson. “At the rack, compact DC-DC converters step that voltage down for GPUs and CPUs.”
A report from technology advisory group Omdia claims that higher voltage DC data centers have already appeared in China. In the Americas, the Mt. Diablo Initiative (a collaboration among Meta, Microsoft, and the Open Compute Project) is a 400 V DC rack power distribution experiment.
A handful of vendors are trying to get ahead of the game. Vertiv’s 800 V DC ecosystem that integrate with NVIDIA Vera Rubin Ultra Kyber platforms will be commercially available in the second half of 2026. Eaton, too, is well advanced in its 800 V DC systems innovation courtesy of a medium-voltage solid-state transformer (SST) that will sit at the heart of DC power distribution system. Meanwhile Delta, has released 800 V DC in-row 660kW power racks with a total of 480 kW of embedded battery backup units. And, SolarEdge is hard at work on a 99%-efficient SST that will be paired with a native DC UPS and a DC power distribution layer.
But much of the industry is far behind. Patrick Hughes, senior vice president of strategy, technical, and industry affairs for the National Electrical Manufacturers Association, says most innovation is happening at the 400 V DC level, though some are preparing 800 V DC. He believes the industry needs a complete, coordinated ecosystem, including power electronics, protection, connectors, sensing, and service‑safe components that scale together rather than in isolation. That, in turn, requires retooling manufacturing capacity for DC‑specific equipment, expanding semiconductor and materials supply, and clear, long‑term demand commitments that justify major capital investment across the value chain.
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“Many are taking a cautious approach, offering limited or adapted solutions while waiting for clearer standards, safety frameworks, and customer commitments,” said Hughes. “Building the supply chain will hinge on stabilizing standards and safety frameworks so suppliers can design, certify, manufacture, and install equipment with confidence.”
Gamers have long been searching for a computer that can be slipped into a coat pocket and used to complete tasks, a dream that now appears to be within reach due to a creative designer who wrapped a Razer Edge tablet within a custom 3D printed shell.
Flip the lid open and a familiar tablet screen greets you, cleanly framed in black plastic with just enough orange trim to make its intentions clear. A compact Bluetooth keyboard sits snugly in the base, and when everything is folded shut the whole thing is no bigger than a large phone, slim enough to disappear into a pocket or bag without a second glance. Those orange accents on the hinges and keycaps are a quiet reminder that this is anything but an ordinary device.
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The project started with a Razer Edge picked up for around $80, a tablet that had largely faded from the spotlight since its release but still packed a capable Qualcomm Snapdragon G3x Gen 1 processor, plenty of RAM, and Android 12 under the hood. It came without the original controllers, but at that price it was too good a candidate to pass up.
There were already some design files floating around online for modular clamshells that could hold a phone, so it was just a matter of modifying them a little to fit the Razer Edge. Then it was simply a matter of using free editing software to make the necessary changes and printing them on a regular consumer printer. This all came together with simple screws and pins for the hinges, and a few lock sliders on the front keep the whole thing shut securely when you’re traveling.
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The brand expects the store to break even in two years
Singaporean furniture retailer Castlery will open a showroom in New York on May 15, making it one of the very few homegrown companies to establish a permanent retail presence there. This marks the next phase of growth for the company in the United States, following six years of operating online-only in the market.
Co-founder Declan Ee called the brick-and-mortar flagship outlet, a first in the US, as a “natural progression” from its digital retail model.
“The goal was always to create a best-in-class experience for our customers… and the final piece of this experience is completed when we have an offline store,” he said.
The 3,000-square-foot showroom in Manhattan’s Chelsea neighbourhood represents a seven-figure investment on a 10-year lease. Ee’s team scouted over 200 sites over two years before choosing this one.
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The showroom features 17 fully furnished room settings and a complimentary interior styling service that will advise customers on space planning, furniture selection and interior layout.
Ee told The Business Times that he expects the store to break even within 1.5 years to 2 years, or even within a year if sales are strong.
The opening of the store in the Big Apple marks Castlery’s fourth showroom worldwide, following the opening of its third in Brisbane last Aug. Its Sydney store was set up in 2024 and expanded in 2025, while its 24,000 sq ft flagship store in Liat Towers was established in 2022.
Castlery is in 5 markets, with most sales coming from the US
Castlery’s showrooms at Liat Towers in Singapore (left) and Brisbane, Australia (right)./ Image Credit: Castlery
Castlery was founded in 2013 by Ee and his co-founders, Fred Ji, Zhou Zhiwei and Travers Tan, as a digital retail furniture brand. It currently employs more than 500 staff worldwide, with 200 in its Singapore headquarters.
To date, the brand has sold more than 1 million pieces of furniture and introduced more than 7,000 products.
The brand entered the US in 2019 during the COVID-19 pandemic as an online brand, starting with two warehouses in New Jersey and Los Angeles, California. Today, Castlery reaches all 50 states from six US warehouses, with the addition of sites in Seattle and Georgia in 2023, and then Texas and Chicago in 2024.
Ee noted that this has reduced delivery times to its US customers, many of whom rent their homes and need furniture delivered with short lead times.
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“We were very aggressive in the first two to three years, when we were scaling the business online in the US,” he said.
The US currently makes up Castlery’s largest market by contributing to 65% of the company’s overall sales. Australia comes in second at 17%, followed by Singapore at 15%. The UK and Canada, where Castlery expanded online in 2025, make up the remaining 3%.
The New York store will serve as a testing ground amid evolving market conditions
Castlery’s New York showroom./ Image Credit: Castlery
With this offline expansion, Ee said Castlery will take a “measured” approach given evolving global developments and geopolitical tensions.
The New York showroom will be a testing ground for Castlery before it decides to commit to more showrooms in the country.
Well aware of New York’s competitive retail scene with players such as West Elm and Crate & Barrel that have multiple outlets, Ee acknowledged that this will give consumers plenty of options.
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“There’s a lot of room for us to grow in the US, but we’re taking things step by step because one’s perspective changes after opening the first store. You get data, you see how customers react and their basket size—all these things,” he explained.
As more than half the brand’s products were being manufactured in China and then shipped directly to US customers, Castlery saw its Chinese imports slapped with the highest tariff rates of close to 30%.
Castlery has since diversified its supply chain to reduce its exposure to tariffs. It has moved some of its manufacturing from China to places such as Vietnam, Thailand, and India, leaving only about 20% of its production in China today.
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After diversifying its supply chains, Ee said production costs have risen, given higher minimum-order quantities.
This has caused profits to fall by 1% to 3%, which Ee noted is not a negligible amount for a growing furniture brand that typically enjoys margins of 4% to 8%. The tariffs also created consumer uncertainty, leading to a six-month dip in sales, though they have since recovered.
Besides the tariffs, geopolitical tensions have put additional pressure on Castlery’s bottom line. Rising fuel prices amid the ongoing Middle East conflict have squeezed its profit margins.
Taking all these factors into account, Ee expects Castlery’s revenue growth for the current FY2026 ending in Mar to be “flat or in the single-digit” range, down from FY2025’s 10% to 15% year-on-year growth.
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A step closer to Castlery’s global ambitions
Declan Ee is Castlery’s co-founder and President./ Image Credit: Castlery
That said, Ee is still “cautiously optimistic” about Castlery’s growth prospects.
“We control what we can. You don’t know where the wind will blow, so you build the sail to catch it,” he said.
“In our case, it’s about being close to the customer and creating products that they would want to buy, even in difficult economic times.”
The opening of the New York store brings the brand a step closer to its global ambitions.
By 2029, Ee aims to have eight to 12 showrooms in key cities worldwide, including Washington, D.C, Los Angeles, San Francisco and Seattle, as well as in Melbourne and Perth in Australia.
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Ee is actively scouting for retail locations in London as well, seeing Castlery’s UK online sales double month-on-month until Nov 2025 following a pop-up it held at the London Design Festival in Sep that year.
Ee explained: “Unlike the US, there are not so many big furniture brands in the UK. So we think there’s space for us to enter the market, not to mention that the sales pick-up from customers has been very encouraging.”
Achieving its expansion plans would place Castlery “on track” to evolve from a digital-first furniture retailer into a “proper global retail brand.”
“If we’re nationwide (in a single market), it gives customers a sense of assurance that we’re not just an online challenger brand, but a serious operator.”
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