Not all of The Verge’s staff live in the US. For example, news editor Dominic Preston is based in London and is, as he says, “responsible for keeping our news coverage ticking over in UK mornings before the US team comes online.” He also curates our new Verge Daily newsletter and covers Android phones, especially all the models that don’t launch in the US.
And outside of work? “I’m a bit of a food obsessive,” he says, “and run a newsletter called Braise where I review London restaurants and cookbooks, and occasionally try my own hand at recipe writing. That means I spend most of my free time cooking, eating, or thinking about food, and so also a decent amount of time in the gym trying to make up for that.”
Where is your workspace located?
This is an office that I share with my partner in our flat in London. It used to be a second bedroom, but now we’ve kitted it out with two desks and a sofa bed for the occasional times we actually have guests to stay. My partner is a PhD student, so her working hours are a bit unpredictable, and split between here and school — which means that 90 percent of the time I’ve got the office to myself.
Could you tell us about your desk(s)?
We both have standing desks. Mine is an Autonomous SmartDesk 2 that’s electronic and automatic, hers an old pneumatic model by Bakker Elkhuizen that they don’t make anymore, which annoys her because it requires a bit of effort to shift up and down. They’re both decorated with self-healing cutting mats, which are still occasionally used for arts and crafts (or as the backdrop for my product photos) but mostly double as giant mouse mats.
You have both a chair and a walking station. What are they, and how well do they work for you?
The chair is a secondhand Herman Miller. It actually used to be my partner’s, while I sat in a big Duelhawk Jet Black PU gaming chair (also no longer available), until we each realized we preferred the other’s seat and swapped. I’m old enough, and sore enough, to be willing to invest a little in the chair I’ll be using every day anyway.
The walking pad is a pretty cheap one from Mobvoi. I actually bought it immediately after reading a piece by my colleague Victoria Song on a different Mobvoi model, and following her advice I’ve made no attempt to touch its smart features or track my workouts; so far it’s served me well. I just use it as slow as it goes, and try to spend as much of every morning walking on it as possible — on a good day I’ll rack up two or three hours of steady walking time; on a bad day I’ll keep putting it off until the coffee hits and never quite get going. Either way, I let myself sit down for the afternoon, which is more likely to be concentrated writing time — I find it hard to do anything too creative or complicated while walking at the same time.
(I know, I know, my cable management isn’t great. I tend to be very tidy, but cables are one of the few things I absolutely don’t have the patience to organize. Sadly, having a standing desk really lays bare those sins, so I may have to force myself to get better about it.)


Here’s the long one: tell us about the various tech devices you’re using.
My current setup is slightly awkwardly trapped between my work and personal computers, though I have some plans in the works to improve it.
My work machine is an M2 MacBook Air, which lives propped up on a Ugreen laptop stand. It’s connected to the monitor on the right, a cheap 24-inch QHD Philips model that I bought in 2020.
The confusing part of my setup is that second monitor, an embarrassingly old Acer one. That’s because I’ve also got a desktop PC that I use outside of work, and that connects to both monitors. At the end of the work day I can flip the MacBook shut, and my personal setup is good to go. It’s all unnecessarily cluttered, though, especially since the MacBook can’t support both external monitors at once, so this year’s big upgrade will probably be a 32-inch 4K monitor to replace the pair of them. I’ll happily take any recommendations from the comments!
My keyboard is the Logitech MX Keys S, which I love. I’m as much of a sucker for a good mechanical board as the next guy, but I love low-profile, full-size keyboards, and good mechanical options in that space are few and far between. I used to use a Hexgears Venture, but I ran it into the ground eventually, and this has served me well since.


The mouse is also Logitech, though it isn’t my usual one. I picked up this MX Anywhere 3S a while back to use when I’m traveling to trade shows and product launches, and usually have the larger MX Master 3S on my desk. Sadly the left button on that has given up the ghost, and I’m holding off on replacing it in the hopes that the long-rumored MX Master 4 is about to launch.
Continuing the Logitech theme (I’m just now realizing quite how much of my desk setup was built by them), I have an old Z337 2.1 speaker system that just barely fits on the desk right now (another reason I need to switch to a single monitor), and a Brio 500 webcam that I mostly like for how easy it is to flip the built-in privacy shutter.
Everything connects up through an Anker Prime USB hub that’s almost certainly more powerful than I need it to be, but has lots of front-facing USB ports for charging my array of phones, helped by a Xiaomi 50W wireless charging stand, which made more sense when I was using a Xiaomi 14 Ultra as my main phone, but is slightly wasted now — other phones don’t hit that max charging speed.


I tend to have a rotating cast of phones floating around my desk, though this is relatively tidy for me — on messy days I can have up to five or six handsets taking up space. Beyond the Vivo X200 Ultra I used to take these photos, you can see the Fairphone 6 and Huawei Pura X, the two phones I’ve most recently been testing for reviews.
Tell us about your camera collection.
I decided I wanted to try out film photography back in 2019, because I was spending a lot more time writing about cameras as part of my phone reviews and using cameras as part of my job. I figured film would be a good way to make myself learn more about the core principles.
I picked up this Canon EF on eBay. It’s a ’70s SLR with a metal body, which means it’s heavy but is built like a tank — I suspect it will outlast me. It came with a Canon 50mm lens, and I’ve gradually picked up a few cheap options to go with it: a 28mm wide-angle, a 35-70mm for when I want flexibility, and a 70-210mm telephoto I bought specifically for a safari in Kenya a couple years back. I always tell myself I’ll buy better-quality lenses when I’m a good enough photographer to get the most out of them, but I’ll probably just have to bite the bullet eventually.
The microphone living alongside them all is the Rode NT-USB, which I use for podcasts and videos, though I’d like to get a boom arm for it so I can store it around the desk.

You’ve got a lot of toys and games on those shelves! How long have you been collecting them?
This is a really motley assortment of things I’ve collected over the years — some bought, some gifted, some acquired from an old office clearout. There’s more dotted around the rest of my apartment, though my girlfriend is on an (understandable) mission to concentrate it all in the office.
Do you have any favorites?
I’m an absolute Alien obsessive, and I actually have two full-size facehuggers, one plushie and one vinyl, which I adore. There’s also a (sadly not full-size) power loader from Aliens, which I can’t get enough of. Elsewhere in the apartment I have a few original ’90s Street Sharks and Small Soldiers action figures, which are still waiting for the right shelf to display them on.
The board game collection is small but steadily growing. I’ve been playing a lot of Gloomhaven over the last year or so, though Betrayal at House on the Hill is probably the game that gets broken out most often. I’ve also got a healthy collection of D&D 5e and Alien RPG sourcebooks — I can strongly recommend the latter, and that’s not just the fanboy in me speaking!
Okay, tell us about that beautiful cat.
That’s Noodle, one of our two cats (the other is Loaf, and yes, of course they have an Instagram account).
She’s actually a recent addition to my desk. We’ve had the cats for a couple of years, but in the last few months Noodle has decided she really wants to hang out with me while I work, and will happily lie down on my keyboard to do so. We set her up with a little blanket bed instead, which she now sleeps in about half the day, though she still isn’t above a keyboard nap when the mood strikes. The biggest surprise to me is that she doesn’t seem to mind the standing desk going up or down while she’s on it, which I expected would cause a bit of panic.
Photographs by Dominic Preston / The Verge
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![‘The Ghost in the Shell’ Director, Character Designer on Keeping Motoko True to the Manga
Dan Da Dan anime studio Science SARU’s adaptation of The Ghost in the Shell is finally streaming on Prime Video, and its pilot episode looks like a ’90s anime fever dream in the best way possible. Major Motoko Kusanagi kicks all the ass, its soundtrack is a bop, and its action sequences are a chef’s kiss. Don’t just take our word for it; check out the trailer below and see for yourself how Science SARU cooked once again. [embed]https://www.youtube.com/watch?v=ahZn4dVCbvs[/embed] Ahead of its premiere, io9 got to chat with director Mokochan and character designer Shuhei Handa at Anime Expo about how their vision for Masamune Shirow’s seminal cyberpunk manga came to be, as well as a couple of pointed fandom-centric questions for fans who’ve been dying to see Major Motoko Kusanagi realized in all her goofy glory. Left: Shuhei Handa, right: Mokochan. © Isaiah Colbert/io9 This interview was edited for clarity. Isaiah Colbert, io9: From Keep Your Hands Off Eizouken!, Devilman Crybaby, Inu-Oh, Scott Pilgrim Takes Off, and Dan Da Dan to Sanda and Jaadugar: A Witch in Mongolia, Science SARU has built an impressive portfolio and reputation for making bold, expressive, and experimental anime. What about The Ghost in the Shell made it feel like a natural fit as the studio’s next project?
Mokochan: For all of the works done by Science SARU, using animation to do storytelling is very important. That’s why we use a lot of hand-drawn animation in it. For The Ghost in the Shell, the most important thing is to use the visuals to capture its world. It’s the same policy with other series as well.
TVアニメ「#攻殻機動隊 THE GHOST IN THE SHELL」⋱ご視聴ありがとうございました⋰ ◤◢◤◢◤◢◤◢◤◢◤◢◤◢ 第01話より草薙素子と荒巻大輔の出会い 👩🏻 🐵迫力の原画を大公開! 原画|小島崇史 さん ◤◢◤◢◤◢◤◢◤◢◤◢◤◢https://t.co/wICYD3OlUm pic.twitter.com/6rNlJdXZZk — サイエンスSARU (@sciencesaru) July 7, 2026 io9: From the jump, The Ghost in the Shell marks a stark tonal shift—a return—towards Masamune Shirow’s lighter, more mischievous vision of the cyberpunk epic. What led Science SARU to pivot away from the austere, military tone that Mamoru Oshii’s 1995 film would go on to cement as the franchise’s vibe for decades? Mokochan: We didn’t intentionally try to change the tone from how director Mamoru Oshii did previously because the concept for making this new series is to base it on the original manga, so we already had our own way of making this one.
© Masamune Shirow/Kodansha io9: In an era when people often use AI to cheaply mimic retro anime aesthetics, the new Ghost in the Shell feels like a deliberate rejection of AI’s pervasiveness in the arts—where every frame in the trailers looks unmistakably hand‑crafted. It’s a phenomenon that’s certainly paradoxical, considering that the manga prophesied how such technologies would be utilized in the not-so-far-off year of 2029. What’s Science SARU’s stance on AI, and what specific animation techniques did it use most to capture the show’s aesthetic through the power of collective human artistry? Mokochan: One of the concepts of the original manga is about the mysterious part of the human being. So we wanted to honor how the original creator captured the world and how we express all of the story in the original manga. So we wanted to follow the same concept using the same method to show humanity by using hand-drawn art. We prefer to just use our arms to draw all of the animation. Handa: It’s because the main concept is about the human body, so that’s why we prefer hand-drawn art over AI.
© Science SARU io9: Major Kusanagi has long been read as a bisexual icon in the West, especially because of Shirow’s famous island-escapade chapter with her gal pals, which has been lost in some Western reprints of the original manga. She’s also considerably goofier in the manga, a trait fans lovingly call a “bisexual disaster.” In what ways was it important for Science SARU to depict Kusanagi’s inherent goofball nature and her queerness in this adaptation, and what does portraying that side of her mean for a global audience in 2026? Mokochan: During the process of making the new series, we were actually very surprised by it because, compared to the original manga, a lot of the thoughts about sexuality are very advanced, exploring many possibilities. It’s not just about sexuality; it’s also about the human being, technology, and many other things. [The manga] accepts everything in the world. That was a very big surprise. We didn’t intend to modernize the content to make it fit the new era.
© Science SARU [The Ghost in the Shell producers’ note in regard to Science SARU’s adaptation of Motoko’s vacation scene from the original manga: “We had to adjust the depictions in the original work to match the rating.”] Handa: When we portray Kusanagi’s character, we like to bring out all the comical parts because they’re in the original manga. It’s kind of different how director Oshii portrays her in the previous series because, in those series, Kusanagi was not that expressive. We prefer to keep the authentic parts of the original manga, so we thought we definitely needed to keep the comical parts in the character, so that’s why we included that content. © Science SARU © Science SARU © Science SARU © Science SARU io9: As a fan of the series, I’ve seen Ghost in the Shell go through different iterations, reinterpretations, and reboots. And in that, Motoko’s design has changed in a way that reflects how different people interpret her. But while her outer shell is different, the themes—the ghost in the original story—remain in each adaptation. For Science SARU’s newer adaptation of The Ghost in the Shell, which themes from the original manga feel more prescient now than when it first came out?
Mokochan: Because the original intent of this project is to follow the original manga—not just Kusanagi, but also all the content and the world’s concept—we didn’t try to modernize any part of it. The creative team, all of whom are also big fans of the original manga. So, for the world, the story, the characters, and the theme, it’s all the same because we want to honor the original manga. ウオオオ攻殻機動隊1話にLOと作画監督で参加させていただきました!憧れの攻殻機動隊に関わることができて感激です🔥LOはセンターの子供が撃たれるあたりから脱走するところまで、作監は冒頭からOP前あたりまでです。少佐かっこよくて可愛かった〜!こちら担当LOのうちの1カットです🙏🏻#攻殻機動隊 pic.twitter.com/zUlxgD9fin — 宮かなえ (@miyakanae_) July 7, 2026 The Ghost in the Shell is streaming now on Prime Video. io9 is on the ground at Anime Expo 2026. We’ll be bringing you updates on all the biggest panels, screenings, and announcements, plus exclusive one-on-one interviews with the people behind some of the best and most popular anime around. You can check out all of io9’s Anime Expo coverage here. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #Ghost #Shell #Director #Character #Designer #Keeping #Motoko #True #MangaAnime,Anime Expo,Science Saru,The Ghost in the Shell ‘The Ghost in the Shell’ Director, Character Designer on Keeping Motoko True to the Manga
Dan Da Dan anime studio Science SARU’s adaptation of The Ghost in the Shell is finally streaming on Prime Video, and its pilot episode looks like a ’90s anime fever dream in the best way possible. Major Motoko Kusanagi kicks all the ass, its soundtrack is a bop, and its action sequences are a chef’s kiss. Don’t just take our word for it; check out the trailer below and see for yourself how Science SARU cooked once again. [embed]https://www.youtube.com/watch?v=ahZn4dVCbvs[/embed] Ahead of its premiere, io9 got to chat with director Mokochan and character designer Shuhei Handa at Anime Expo about how their vision for Masamune Shirow’s seminal cyberpunk manga came to be, as well as a couple of pointed fandom-centric questions for fans who’ve been dying to see Major Motoko Kusanagi realized in all her goofy glory. Left: Shuhei Handa, right: Mokochan. © Isaiah Colbert/io9 This interview was edited for clarity. Isaiah Colbert, io9: From Keep Your Hands Off Eizouken!, Devilman Crybaby, Inu-Oh, Scott Pilgrim Takes Off, and Dan Da Dan to Sanda and Jaadugar: A Witch in Mongolia, Science SARU has built an impressive portfolio and reputation for making bold, expressive, and experimental anime. What about The Ghost in the Shell made it feel like a natural fit as the studio’s next project?
Mokochan: For all of the works done by Science SARU, using animation to do storytelling is very important. That’s why we use a lot of hand-drawn animation in it. For The Ghost in the Shell, the most important thing is to use the visuals to capture its world. It’s the same policy with other series as well.
TVアニメ「#攻殻機動隊 THE GHOST IN THE SHELL」⋱ご視聴ありがとうございました⋰ ◤◢◤◢◤◢◤◢◤◢◤◢◤◢ 第01話より草薙素子と荒巻大輔の出会い 👩🏻 🐵迫力の原画を大公開! 原画|小島崇史 さん ◤◢◤◢◤◢◤◢◤◢◤◢◤◢https://t.co/wICYD3OlUm pic.twitter.com/6rNlJdXZZk — サイエンスSARU (@sciencesaru) July 7, 2026 io9: From the jump, The Ghost in the Shell marks a stark tonal shift—a return—towards Masamune Shirow’s lighter, more mischievous vision of the cyberpunk epic. What led Science SARU to pivot away from the austere, military tone that Mamoru Oshii’s 1995 film would go on to cement as the franchise’s vibe for decades? Mokochan: We didn’t intentionally try to change the tone from how director Mamoru Oshii did previously because the concept for making this new series is to base it on the original manga, so we already had our own way of making this one.
© Masamune Shirow/Kodansha io9: In an era when people often use AI to cheaply mimic retro anime aesthetics, the new Ghost in the Shell feels like a deliberate rejection of AI’s pervasiveness in the arts—where every frame in the trailers looks unmistakably hand‑crafted. It’s a phenomenon that’s certainly paradoxical, considering that the manga prophesied how such technologies would be utilized in the not-so-far-off year of 2029. What’s Science SARU’s stance on AI, and what specific animation techniques did it use most to capture the show’s aesthetic through the power of collective human artistry? Mokochan: One of the concepts of the original manga is about the mysterious part of the human being. So we wanted to honor how the original creator captured the world and how we express all of the story in the original manga. So we wanted to follow the same concept using the same method to show humanity by using hand-drawn art. We prefer to just use our arms to draw all of the animation. Handa: It’s because the main concept is about the human body, so that’s why we prefer hand-drawn art over AI.
© Science SARU io9: Major Kusanagi has long been read as a bisexual icon in the West, especially because of Shirow’s famous island-escapade chapter with her gal pals, which has been lost in some Western reprints of the original manga. She’s also considerably goofier in the manga, a trait fans lovingly call a “bisexual disaster.” In what ways was it important for Science SARU to depict Kusanagi’s inherent goofball nature and her queerness in this adaptation, and what does portraying that side of her mean for a global audience in 2026? Mokochan: During the process of making the new series, we were actually very surprised by it because, compared to the original manga, a lot of the thoughts about sexuality are very advanced, exploring many possibilities. It’s not just about sexuality; it’s also about the human being, technology, and many other things. [The manga] accepts everything in the world. That was a very big surprise. We didn’t intend to modernize the content to make it fit the new era.
© Science SARU [The Ghost in the Shell producers’ note in regard to Science SARU’s adaptation of Motoko’s vacation scene from the original manga: “We had to adjust the depictions in the original work to match the rating.”] Handa: When we portray Kusanagi’s character, we like to bring out all the comical parts because they’re in the original manga. It’s kind of different how director Oshii portrays her in the previous series because, in those series, Kusanagi was not that expressive. We prefer to keep the authentic parts of the original manga, so we thought we definitely needed to keep the comical parts in the character, so that’s why we included that content. © Science SARU © Science SARU © Science SARU © Science SARU io9: As a fan of the series, I’ve seen Ghost in the Shell go through different iterations, reinterpretations, and reboots. And in that, Motoko’s design has changed in a way that reflects how different people interpret her. But while her outer shell is different, the themes—the ghost in the original story—remain in each adaptation. For Science SARU’s newer adaptation of The Ghost in the Shell, which themes from the original manga feel more prescient now than when it first came out?
Mokochan: Because the original intent of this project is to follow the original manga—not just Kusanagi, but also all the content and the world’s concept—we didn’t try to modernize any part of it. The creative team, all of whom are also big fans of the original manga. So, for the world, the story, the characters, and the theme, it’s all the same because we want to honor the original manga. ウオオオ攻殻機動隊1話にLOと作画監督で参加させていただきました!憧れの攻殻機動隊に関わることができて感激です🔥LOはセンターの子供が撃たれるあたりから脱走するところまで、作監は冒頭からOP前あたりまでです。少佐かっこよくて可愛かった〜!こちら担当LOのうちの1カットです🙏🏻#攻殻機動隊 pic.twitter.com/zUlxgD9fin — 宮かなえ (@miyakanae_) July 7, 2026 The Ghost in the Shell is streaming now on Prime Video. io9 is on the ground at Anime Expo 2026. We’ll be bringing you updates on all the biggest panels, screenings, and announcements, plus exclusive one-on-one interviews with the people behind some of the best and most popular anime around. You can check out all of io9’s Anime Expo coverage here. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #Ghost #Shell #Director #Character #Designer #Keeping #Motoko #True #MangaAnime,Anime Expo,Science Saru,The Ghost in the Shell](https://gizmodo.com/app/uploads/2026/07/The-Ghost-in-the-Shell-Mokachan-Shuhei-Handa.jpg)







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