One standout project was the special issue revisiting 2004, a year the team dubbed "the year of the future." This package, designed by Cath Virginia, featured multiple interactive skins and captured the early internet's playful spirit. Graham MacAree's smooth page designs and Amelia Holowaty Krales's evocative photography of the era further contributed to this immersive experience, crafting both a nostalgic look back and a vision for the future of online interaction.

In a starkly contrasting project, Go Takayama's photography illuminated the often-unseen world of underwater internet cables. Paired with detailed maps and visualizations, these intimate portraits of seafaring technicians brought a human element to a highly technical subject. The project merged data presentation with powerful imagery, illustrating the global infrastructure that underpins modern communication.

The team also explored more abstract and emotional themes. Stormy Pyeatte's floral photography and projection mapping created a mesmerizing visual landscape for a series on AI companions, blending technology with an almost romantic aesthetic. Simultaneously, Kristen Radtke's design for an article on competitive Excel presented the data analysis tool in an engaging, visual way, transforming spreadsheets into a storytelling medium, demonstrating their versatility and cultural impact.

Another unique endeavor was the creation of a special-edition print magazine, “Content Goblins,” a humorous take on internet trends. This project featured 1980s-themed office wear and playful, almost satirical design elements, highlighting the team's range and creativity. Similarly, Adrián Astorgano's illustrations on smart home technology offered a thoughtful critique of tech dependence, depicting a home's occupant choosing nature over its smart appliances.

The team also tackled more technical challenges. Graham MacAree optimized the user experience for a comic about parental anxiety, prioritizing both the artwork and animation's quality without affecting performance. Samar Haddad's retro-style illustrations explored AI in sports, breaking down complex topics with clear visuals, showcasing a unique blend of information and artistic expression.

Photography continued to be a core strength, especially in gift guide visuals by Amelia Holowaty Krales with prop styling by Maeve Sheridan, creating vibrant scenes with custom wrapping paper designed by Cath Virginia. Holowaty Krales also captured the atmosphere of a Pantone Color of the Year party, using double exposure techniques to emphasize the branded experience. Cath Virginia's art for a physical media issue included a floppy disk turned turntable.

Other notable projects included Cath Virginia's art for a story on the diminishing of Pitchfork, as well as her art showcasing the issue of search engine optimization and its negative impacts. Additionally, Mr. Nelson's chaotic collages for election coverage conveyed the unease surrounding the political climate. Mojo Wang’s moving illustration for an article about using smart speakers in elder care also stood out, emphasizing the power of technology in enriching lives.

Further enhancing the year's visual landscape, Richard Parry's 3D animation brought the cult keyboard Optimus Maximus to life, and Hunter French's illustrations captured the essence of the Vice media company's downfall. Finally, portraits of Amazon influencers, taken by Liam James Doyle and Montinique Monroe, demonstrated the power of photojournalism when paired together. This wide array of projects proves the Verge art team's commitment to visually engaging journalism.