ASUS ROG Raikiri II Pro adapts to every game with switchable triggers and 8,000Hz input speed

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When the ROG Raikiri Pro controller burst onto the scene at CES 2023, the gamepad was ahead of its time courtesy of a dedicated 1.3-inch mini OLED display. Now, after nearly three years, Asus has revealed the next version of the controller with improved features and upgrades to entice gamers who are always on the lookout for the endgame accessories.

This comes on the back of Asus ROG’s 20th anniversary celebration, wherein other products, including the triple-mode gaming monitor and Gjallar Gaming soundbar, were also announced by the brand.

Designer: Asus

Unlike its predecessor, the new ROG Raikiri II Pro shifts its focus from flashy extras to competitive performance and precision. Built primarily for PC gamers, the controller delivers an impressive 8,000Hz polling rate in wired mode for ultra-low input latency, while ASUS’ SpeedNova wireless technology is designed to provide a fast and stable 2.4GHz connection with improved power efficiency. The controller also supports Bluetooth and USB-C connectivity, allowing players to switch between multiple gaming setups with ease.

ASUS has also redesigned the controls to improve responsiveness during long gaming sessions. Every primary input, including the D-pad, ABXY buttons, shoulder buttons, and rear paddles, now uses micro switches that deliver crisp tactile feedback with faster actuation. The controller also introduces dual-mode triggers, letting users instantly swap between short-travel micro-switch triggers for competitive shooters and full-range TMR sensor triggers for racing titles or games that benefit from precise analog control. Combined with anti-drift TMR thumbsticks, the Raikiri II Pro controller offers consistent accuracy and longer durability than traditional analog sticks.

Customization remains one of the controller’s biggest strengths. Through ASUS Gear Link software, users can remap buttons, adjust stick sensitivity, fine-tune trigger dead zones, modify vibration levels, and create multiple profiles for different genres. RGB lighting, onboard profile storage, and interchangeable thumbstick caps further allow players to personalize both the aesthetics and feel of the controller. ASUS also bundles a charging dock and a protective carrying case that can recharge the controller while stored, making it easier to keep the accessory ready for travel or daily gaming.

Alongside the controller, ASUS also introduced the ROG Gjallar Gaming Soundbar as another premium addition to its gaming ecosystem. The 2.1.2-channel setup supports Dolby Atmos and combines front-facing speakers, dedicated tweeters, upward-firing drivers, and a 65W wireless 6.5-inch subwoofer to create a more immersive soundstage. The company says the system is tuned to improve positional audio, helping players better identify in-game movement and environmental cues.

Like the Raikiri II Pro, the Gjallar supports ASUS Gear Link software, allowing users to customize audio settings and integrate it into a broader ROG gaming setup. The two new accessories showcase ASUS’s emphasis on high-performance gaming peripherals that prioritize responsiveness, customization, and immersion, while marking another milestone in the company’s two-decade journey as the Republic of Gamers brand!

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Oakley Just Turned a Math Paradox Into a $997 Sunglass

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A Möbius strip walks into a design lab. That’s not the setup for a joke. It’s basically the origin story of Oakley’s Infiniloop, the brand’s latest creation and, arguably, one of the more conceptually ambitious pieces of eyewear to come out of any label in recent memory. If you’ve ever found yourself staring at a Möbius strip, that strange one-sided loop that mathematicians love and everyone else finds mildly unsettling, and thought it might look incredible on a face, Oakley has apparently been thinking the same thing.

The Infiniloop made its debut in the second chapter of Oakley’s Future Genesis series, a short film universe the brand has been steadily building that blurs the line between science fiction storytelling and real product design. The premise is ambitious, maybe a little theatrical, but it’s hard to deny that the results are genuinely striking. The sunglass was designed around a single, almost austere obsession: to use the absolute fewest number of lines to carry a lens across the face. That’s the entire brief. The whole design philosophy fits in one sentence, and sometimes that’s exactly as much as a great object needs.

Designer: Oakley

What Oakley landed on is a dual-material frame that pairs titanium on the upper line with their proprietary O-Matter material on the lower. The two meet at just a handful of delicate intersection points, and the space between them is left wide open on purpose. The result is a pair of lenses that appear to float inside the frame, their outer edges fully exposed, giving the whole thing a quality that feels more architectural than eyewear-like. It looks less like a sunglass and more like someone’s sketch of the idea of a sunglass. That’s a compliment.

The Infiniloop comes in Polished Chrome and Matte Black, fitted with Prizm Black lenses on a grey base. For anyone unfamiliar with Oakley’s Prizm technology, the short version is: enhanced color and contrast clarity, designed for performance in bright conditions. It’s the brand’s core lens system, and pairing it with a frame this unconventional is a smart creative decision. It keeps the Infiniloop tethered to functional reality while the rest of the design floats freely somewhere between a math textbook and a concept car.

At $997, the Infiniloop isn’t an impulse buy, and it was never meant to be. It drops July 14th in limited quantities, which in Oakley’s world usually means exactly what it says. Each pair also comes packaged with a collector’s set of Future Genesis Chapter 2 comics, a detail that tells you a lot about who Oakley imagines on the other side of this transaction. The collector crowd and the design-forward crowd intersect more than most people realize, and a piece like this lives right at that crossroads. Whether it ends up worn or displayed is, genuinely, beside the point.

Oakley has always been a brand that takes more swings than most. The X-Metal era gave us shapes that looked like they’d been engineered for a different species, and that specific kind of weirdness is a large part of why the brand has such a deeply loyal following. For a while, that creative ambition felt quieter than it once did. The Infiniloop feels like a reminder that it never fully went away. It’s not trying to be safe, and it’s not trying to appeal to everyone. In a market where a staggering amount of eyewear design amounts to subtle variations on shapes that already exist, that level of commitment to an actual concept is worth noting.

The geometry of infinity made wearable, shipped with comics, priced like a grail piece. Say what you want about whether any of that is practical, but Oakley has always treated practicality as a starting point, not an ending one. The Infiniloop is the kind of object that makes you feel something when you look at it, and in design, that’s rarely an accident.

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The Chair That Came From a Single Obsessive Question

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Most chair designs start with ergonomics, or materials, or a client brief. Emad Lajevardi started with a question. What if a single line could remain free and independent, yet still become the entire structural body of a chair? That question alone could have lived quietly in a sketchbook. Instead, it became the Stitch Chair, and it’s been impossible to look away from ever since.

Lajevardi is a designer and architect with Persian roots, now based in Frankfurt, Germany. He launched his independent studio in late 2023 with a clear focus on furniture design, and the Stitch Chair, completed in 2025, already reads like the work of someone who has been thinking deeply about the relationship between line, structure, and space for a very long time. The chair made its public debut at SaloneSatellite 2026, the prestigious platform for emerging designers under 35 held alongside Milan’s Salone del Mobile, where it was spotlighted by Interior Design magazine as one of the standout pieces of the entire fair.

Designer: Emad Lajevardi

That kind of early recognition is meaningful. SaloneSatellite has been the launchpad for some of the most respected names in contemporary furniture design, and being noticed there at the 27th edition, among over 700 designers from 43 countries, is not a small thing. But once you see the Stitch Chair, the attention makes complete sense.

The concept is elegant in its premise. A single rhythmic thread, rendered in steel tube, weaves continuously to form the seat and backrest within a circular geometry. The loops don’t just carry the visual interest; they create the ergonomic angles and the prominent armrest handles that make this a chair you actually want to sit in, not just look at. Thin steel sheet panels anchor the seat and backrest where they need to be, grounding the composition just enough without breaking the visual language of the piece.

The result is a chair that looks completely different from every angle. Head-on, it reads as playful, almost architectural, with its symmetrical loops and squared seat. From the side, it becomes something closer to a drawing, a study in curves and planes that feels weightless despite being made entirely of metal. From behind, it takes on an almost abstract quality, the backrest panel seeming to float above the looping geometry below.

What Lajevardi has done is resolve a tension that most designers avoid entirely. Steel is a rigid, industrial material. A single continuous line implies motion and spontaneity. Getting these two ideas to coexist without one undermining the other is genuinely difficult, and the Stitch Chair does it without appearing to try. That ease, that studied nonchalance in the execution, is usually the mark of a very considered design process.

The color choices deepen the experience. The glossy ruby-red version is bold, almost theatrical, the kind of piece that anchors a room from the moment it enters. The cobalt blue reads differently, cooler and more sculptural, closer to something you’d find in a gallery than a dining room. Both feel intentional rather than decorative, as if the color is part of the argument the design is making about what furniture can be.

I think the Stitch Chair sits comfortably in a lineage of furniture that refuses to separate function from sculptural ambition. You can trace that thinking through Ron Arad’s early bent steel works, through the playful rigor of Konstantin Grcic, through the structural poetry of designers who insist a chair can carry a point of view. Lajevardi’s contribution to that conversation is that he started with a question rather than an answer, and the honesty of that starting point shows in every loop and curve.

Furniture design is having a genuinely exciting moment right now, with a new generation of designers treating the chair not as a solved problem but as open territory. The Stitch Chair is proof that the most interesting work still comes from the simplest, most stubborn kind of curiosity. What if just one line was enough?

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