When the air begins to fill with familiar aromas, you know the Lunar New Year is near. It might be the cured meats hung to dry on a neighbor’s balcony, or the sweet, toasty smell of roasted nuts drifting from a street stall. Those scents act like a gentle key, unlocking a chest of memories—the warmth of staying up by the family hearth, laughter among the crackle of firecrackers, and the steaming bowl of dumplings on the first morning of the year.
Excellent games feel like rich, coherent worlds that satisfy expectations on multiple levels. The recently spotlighted Arknights: Endfield is a case in point: while much of the conversation has rightly focused on its gameplay depth, its restrained, quietly distinctive visual aesthetics are a major — and often overlooked — part of its appeal.
The east wind brings warmth and the last of the ice begins to melt — Lichun (Beginning of Spring) has arrived.
As we look back from the start of 2026, the past year has shown the language-services industry moving beyond simply adopting technology to integrating it thoughtfully into everyday practice. Artificial intelligence has shifted from being a headline topic to forming part of the sector’s operational infrastructure—reshaping workflows, delivery models and how value is defined.
Z.A.T.O. // I Love the World and Everything In It — a small but remarkably resonant visual novel by Belarusian solo developer Ferry — arrives like a delayed radio love letter from beyond the Arctic Circle. Praised by players and critics for its atmosphere and emotional precision, the game does more than wear a “Soviet aesthetic” badge: it weaves a sealed, difficult history into a story about loneliness, love and the question of what it means to exist.
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