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The Assassin's Creed Black Flag Resynced statue puzzles that you come across in the Mayan temple during "The Sage's Buried Secret" quest aren't especially difficult, but there are some sticking points. While each of these Black Flag Resynced puzzles is solved by repositioning some large statues and matching colors, each one layers on more mechanics than the last, making the third and final puzzle a bit of thinker. If you want to breeze through them all, I've laid out the solutions for all the Black Flag statue puzzles in this temple below.

How to solve the Black Flag Resynced statue puzzles

(Image credit: Ubisoft) Climb your way across the chasm using the collapsed wall and gnarled tree roots on the left to reach the first statue puzzle:

Leap onto the red statue (or climb on top of it if you missed the jump for whatever reason). Edward's weight will lower the statue into place and open the first door.

Climb up the wall and onto the blue statue . Again, this will lower the blue statue, causing the second door to open and revealing the way ahead.

Proceed with James Kidd through the doorway to the next area.

Statue puzzle, part 2

(Image credit: Ubisoft) The second Black Flag statue puzzle in this main quest, which uses the same mechanics as before but introduces a new turntable system:

Grab the capstan and rotate the turntable so that the red side is under the red statue on the left.

Climb onto the red statue so that it gets weighed down (you'll notice a counterweight statue moving up as you do this, which is important later). This will open the way to the next area.

Carry on following Kidd , including a short swimming section through some underwater cave tunnels.

Statue puzzle, part 3

(Image credit: Ubisoft) After swimming through the caves and climbing up the temple with Kidd, you'll arrive at the final statue puzzle for this quest which brings in the ability to raise statues by climbing onto the nearby counterweight statues, allowing you to rearrange their positions on the turntable. While this puzzle is simply a case of moving all the statues to their corresponding positions on the turntable as before, here's the easiest way to do it:

Start by climbing onto the counterweight statue next to the blue statue (on the left side of the room) to lift the blue statue up.

Rotate the turntable counterclockwise once so that the blue section is under the blue statue, then climb onto the blue statue to lower it. This will complete the blue section and open the first door.

Rotate the turntable counterclockwise once , placing the red statue in the top-left section of the turntable.

Climb onto the left counterweight statue again to raise the red statue , rotate the turntable counterclockwise once again so that the red section is under the red statue, then climb the red statue to lower it into the matching section, opening the second door.

Rotate the turntable counterclockwise one more time, then climb onto the green statue to weigh it down into the green section.

Now you'll unlock the third door and launch into a cutscene to wrap up "The Sage's Buried Secret" quest! But if you've already started moving parts around for this puzzle, there is unfortunately no way to reset it so that you can follow the solution above unless you reload a previous save. Focus on just getting one statue in the correct colored section, and then the rest of the solution should become much more obvious until you can solve it.

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The most dramatic moment in Jane Austen’s Emma , and, arguably, in her whole body of work, has nothing to do with romance. After all, Emma Woodhouse’s reaction to George Knightley’s proposal is a bit of a place holder. The scene in the gardens outside Hartfield swells as Knightley speaks to Emma of his desperate, undeniable longing, and then Austen writes “What did [Emma] say? Just what she ought, of course, a lady always does.” Hmmm.

In the five years preceding Emma’s publication, Austen had mapped a healthy handful of serpentine paths to happy endings: Elinor and Marianne Dashwood had been saved from poverty by the respective loves of a cleric and a retired military man; likewise Elizabeth and Jane Bennet were able to overcome financial uncertainty and family shame by way of the central aisle; and even that goody-good Fanny Price had finally fallen into the bland but wholesome arms of Edmund Bertram. ( Mansfield Park was, in fact, Austen’s best earner during her life, perhaps because it looked the most like the novels of writers who had preceded her.) One feels that even before she has maneuvered Emma and George together in that garden, Austen has mastered this territory and is looking to explore further afield.

That exploration takes place, not incidentally, in the only instance Emma leaves the bounds of Highbury during the course of the novel. At Box Hill, Austen goes where she has not gone before, bringing two conspicuously unmarried women together in an excruciating encounter that commands all our attention. Who, having read the book once, can ever again approach this scene, whether on page or screen, without a sense of dread, an almost horror-movie flinch, a squinting of the eyes against the quiet and inevitable violence of Emma’s cruel remark to Henrietta Bates?

Emma’s words are seeded when we first hear her reply to her friend Harriet’s comparison of an unmarried Miss Woodhouse to an unmarried Miss Bates:

Never mind, Harriet, I shall not be a poor old maid; and it is poverty only which makes celibacy contemptible to a generous public! A single woman, with a very narrow income, must be a ridiculous, disagreeable old maid! the proper sport of boys and girls, but a single woman, of good fortune, is always respectable, and may be as sensible and pleasant as any body else.

That contempt , that ridiculous , that proper sport ; Emma is painting a line, or more, she is emptying a can of gasoline, between her version of an unmarried woman and Henrietta Bates’. Up on Box Hill, Emma lights it on fire. In response to Miss Bates’ deprecating little remark about how she will choose the option of saying three dull things over one witty thing in Emma’s and Frank’s party game, Emma flashes out, switchblade-sharp, with “Ah, ma’am, but there may be a difficulty. Pardon me, but you will be limited as to number–only three at once.” Even to sketch the scene in an essay, centuries later, causes a shiver at the keyboard. It is a sucker punch that knocks us out with the power to bring both unmarried women into greater depth, complicating and deepening our understanding of these two sides of a coin.

Austen was, of course, herself a deliberately unmarried woman who turned down at least one eligible offer of marriage. She might well be sketching a bit of a self-portrait in her heroine whom she famously worried no one would much like. Reading an early letter to her sister is 1796, you can almost hear Emma speaking to Knightley:

You scold me so much … that I am almost afraid to tell you how my Irish friend and I behaved. Imagine to yourself everything most profligate and shocking in the way of dancing and sitting down together. I can expose myself, however, only once more, because he leaves the country soon after next Friday, on which day we are to have a dance at Ashe after all.

In these letters, Jane Austen, beloved daughter, sister, and aunt, is revealed as a woman who enjoyed her social life, the edgy fun of high spirits and a little misbehavior, the dynamism of being out in the world with a larger sampling of human nature to observe and mock. She had opinions, wit, and a desire to see people interact, just like Emma. And like Emma, she loved a ball.

And yet, from a socio-economic point of view, Austen was much more like the other spinster (to use the language of the book) on that hill. Her father was a respectable but poor vicar, and with his death the Austen women, like the Bates women, began a bumpy journey down the social ladder, renting drafty rooms in Bath and Southampton, reliant on the brothers in the family for their livelihoods, and waiting, always waiting, for someone to offer them a ride in their carriage. Austen was familiar with the currency of gratitude. Here in a letter written not long after Emma was published, the author sounds positively Batesian:

How to do justice to the kindness of all my family during this illness, is quite beyond me! — Every dear Brother so affectionate & so anxious! — And as for my Sister! — Words must fail me in any attempt to describe what a Nurse she has been to me. Thank God! she does not seem the worse for it, & as there was never any Sitting-up necessary, I am willing to hope she has no after-fatigues to suffer from. I have so many alleviations & comforts to bless the Almighty for — My head was always clear, & I had scarcely any pain; my cheif sufferings were from feverish nights, weakness & Languor.

Which brings us back to Box Hill, where pain abounds. The romantic heroine challenges the conventions of the genre Austen herself has brought most fully into being and reveals herself to be less than heroic, to say and do things that can’t be taken back, to be, in effect, a real and interesting person. And at the same time, it is a scene in which the comic supporting character, Miss Bates, rotates at the center of the stage, revealing her full humanity as someone who has dignity and an internal life which admits suffering and humiliation.

There is a very modern realism in this scene which has nothing to do with what would later be the much-imitated regency romance. Austen drew on the two sides of her life as a woman living outside the patriarchy’s protection, and put them into conflict with one another as if to say women on their own are a powerful subject, they are fascinating and multi-faceted. In short, on Box Hill Austen passed the Bechdel test long before it was set. And she did this at the very moment that she was creating a third model of spinsterhood, a woman artist who could live off the proceeds of her work.

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Miss Bates: Emma Revisited by Catherine Cliff is available from Pegasus Books.

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After the news that Sony will be sunsetting PlayStation discs , Hideo Kojima has spoken out on the importance of physical media.

"Since production is ending in 2028, this is about video games, but I grew up with physical media, so I find it really sad," Kojima said at the Il Cinema in Piazza film festival (translated via Genki_JPN ). "Currently, I've been buying up a lot of Blu-rays, such as various movies, and CDs too.

"The situation is different for games, as they are downloaded to the hard drive, that means the game data remains on your own hardware. However, if things shift to streaming in the future, that won't be the case anymore," he continued.

"With streaming subscription services, like Netflix or Amazon, there is a server somewhere, and you essentially just have the right to turn the tap, and when you do, the data flows out. That's how movies work on these platforms, right? You don't download the data, you access it directly through a subscription. And the consequence of that is that you don't actually possess the data yourself.

"There are companies that own these servers and let you 'turn the tap' for a monthly fee. However, with nations, politics and various ways of thinking, one naturally has to consider the possibility that if there is a change, the data inside will stop being distributed. And if that happens you won't be able to watch or play the movies and games you like. That is what is frightening.

"So, what is happening to video games in 2028, might also happen to movies. I'd like everyone to keep that in mind," he said.

One hot topic in streaming has been movies or shows getting deleted from their streaming homes, effectively rendering them lost media. For example, Disney and Lucasfilm's Willow TV show was removed from Disney Plus and, since it never got a physical release, you can no longer watch it.

As for games, the shift might already be here ahead of 2028, as GTA 6 will ship out codes in boxes rather than a physical disc.

"As consumer preferences and the broader entertainment industry continue to shift away from physical discs to digital, physical game disc production for all new games releasing on PlayStation consoles will be discontinued starting January 2028. Following this date, new games will be available on PlayStation Store and at retailers in digital formats only. This transition has no impact on games that already released, or will be releasing, prior to January 2028 in disc format," Sid Shumen, senior director of SIE's content communications, announced in a post on the official PlayStation site .

"This is a natural direction for Sony Interactive Entertainment to adapt to consumer trends as the general preference for digital media significantly outpaces physical discs. This transition will enable us to align more closely with how most of our community prefers to access and play games today.

"We'll continue to prioritize our resources to drive innovation in how players can access games and provide choices as to where players prefer to purchase new games, whether that's at retailers or PlayStation Store. We remain committed to delivering a world-class gaming experience to our fans and we thank you for your continued support," the post concluded.

Keep up to date with all of this year's biggest film releases with our guide to the most exciting upcoming movies .

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Ultrahuman hits Ring Pro production problems

Kickstarter backers are left wondering when they'll get their ring

August 10 is the new expected date but it's far from guaranteed

Ultrahuman is no stranger to producing some of the best smart rings , but not even that could protect them from the outpouring of disappointment and frustration that came its way after informing Ring Pro Kickstarter backers that shipments were being delayed yet again.

Customers took to Reddit to share their annoyance after u/enzolecorbeau started a thread by sharing a screenshot of the official Ultrahuman message. In it, Ultrahuman states that shipments were now "expected to begin from August 10 onwards".

Kickstarter backers were expecting to receive their orders in June, and this latest delay isn't the first. A single delay is one thing, but now it has happened several times, backers are starting to get vocal about the continued delays to the fitness tracker.

One Reddit user was annoyed that the unit had been sent to "influencers" and not to "people who paid money". Others report that they've requested cancelations but without success.

It's not all negative, though, with one Reddit user hoping the delay is down to the battery "because that would mean they may actually be looking to improve it."

(Image credit: enzolecorbeau ) Ultrahuman doesn't mention the battery but instead attributes the delays to issues experienced during the scaling of production. Ultrahuman says they are "taking extra care to ensure every Ring PRO meets the quality and experience standards we've set for it."

Their commitment to quality is no bad thing. They go on: "Each ring is individually crafted with a high level of precision and care – from the finishing to the final quality checks – and this process is taking slightly longer than originally anticipated."

Ultrahuman has always delivered before

Ultrahuman ran Kickstarter campaigns for both their Ring and Ring Air devices and faithfully fulfilled orders of both.

(Image credit: Ultrahuman) In reality, crowdfunded projects are often subject to delays. For Ultrahuman, the challenge of manufacturing a titanium unibody with a cutaway safety feature en masse is no doubt contributing to the delays — the last thing Ultrahuman will want is to ship a ring with issues, especially as smart ring problems can prove dangerous .

Customers are more likely to forgive the brand for a delayed shipment than they are for receiving a device with issues. A botched product release could damage customer trust and mean the end of the wearables brand.

None of this will appease the community of people who were expecting to receive their ring back in June and are still left waiting. Only time will tell when Ultrahuman will start fulfilling these orders.

We've contacted Ultrahuman and will update this story when we hear back.