OK, but what about Winds of Winter? George R.R. Martin has co-authored a physics paper "I couldn't help but wonder if a simple underlying model might tidy up the canon. Jennifer Ouellette Jan 23, 2025 11:22 am | 3 Detail from cover art for Low Chicago, a Wild Cards novel. Credit: Michael Kormarck/Tor Books Detail from cover art for Low Chicago, a Wild Cards novel. Credit: Michael Kormarck/Tor Books Story textSizeSmallStandardLargeWidth *StandardWideLinksStandardOrange* Subscribers only Learn moreAlthough fans of A Song of Ice and Fire might still be hankering for the long-delayed next book in the series, bestselling sci-fi/fantasy author George R.R. Martin has instead added a different item to his long list of publications: a peer-reviewed physics paper just published in the American Journal of Physics that he co-authored. The paper derives a formula to describe the dynamics of a fictional virus that is the centerpiece of the Wild Cards series of books, a shared universe edited by Martin and Melinda M. Snodgrass, with some 44 authors contributing.Wild Cards grew out of the Superworld RPG, specifically a long-running campaign game-mastered by Martin in the 1980s, with several of the original sci-fi writers who contributed to the series participating. (A then-unknown Neil Gaiman once pitched Martin a Wild Cards story involving a main character who lived in a world of dreams. Martin rejected the pitch, and Gaiman's idea became The Sandman.) Initially, Martin planned to write a novel centered on his character Turtle, but he then decided it would be better as a shared universe anthology. Martin thought that superhero comics had far too many sources of the many different superpowers and wanted his universe to have one single source. Snodgrass suggested a virus.The series is basically an alternate history of the US in the aftermath of World War II. An airborne alien virus, designed to rewrite DNA, had been released over New York City in 1946 and spread globally, infecting tens of thousands worldwide. It's called the Wild Card virus because it affects every individual differently. It kills 90 percent of those it infects and mutates the rest. Nine percent of the latter end up with unpleasant conditionsthese people are called Jokerswhile one percent develop superpowers and are known as Aces. Some Aces have "powers" that are so trivial and useless that they are known as "deuces."There has been considerable speculation on the Wild Cards website discussing the science behind that virus, and it caught the attention of Ian Tregillis, a physicist at Los Alamos National Laboratory, who thought it might make a useful pedagogical exercise. Being a theoretician, I couldn't help but wonder if a simple underlying model might tidy up the canon," Tregillis said. Like any physicist, I started with back-of-the-envelope estimates, but then I went off the deep end. Eventually I suggested, only half-jokingly, that it might be easier to write a genuine physics paper than another blog post."A physicist walks into a fictional universe...Tregillis naturally engaged in a bit of willing suspension of disbelief, given that the question of how any virus could give humans superpowers that defy the laws of physics is inherently unanswerable. He focused on the origin of the Wild Cards universe's 90:9:1 rule, adopting the mindset of an in-universe theoretician keen to build a coherent mathematical framework that could describe the viral behavior. The ultimate goal was to "demonstrate the wide-ranging flexibility and utility of physics concepts by converting this vague and seemingly unapproachable problem to a straightforward dynamic system, thereby putting a wealth of conceptual and mathematical tools at students' disposal," Tregillis and Martin wrote in their paper. A coordinate system for the polar model of the Wild Cards system and an example of the viral vector trajectories. Credit: Ian Tregillis Among the issues the paper addresses is the problem of Jokers and Aces as "mutually exclusive categories with a numerical distribution attainable to the roll of a hundred-sided die," the authors wrote. "Yet the canon abounds with characters who confound this categorization: 'Joker-Aces,' who exhibit both a physical mutation and a superhuman ability."They also suggest the existence of "cryptos": Jokers and Aces with mutations that are largely unobservable, such as producing ultraviolet racing stripes on someone's heart or imbuing "a resident of Iowa with the power of line-of-sight telepathic communication with narwhals. The first individual would be unaware of their Jokerism; the second would be an Ace but never known it." (One might argue that communicating with narwhals might make one a Deuce.)In the end, Tregillis and Martin came up with three ground rules: (1) cryptos exist, but how many of them exist is "unknown and unknowable"; (2) observable card turns would be distributed according to the 90:9:1 rule; and (3) viral outcomes would be determined by a multivariate probability distribution.The resulting proposed model assumes two apparently random variables: severity of the transformationi.e., how much the virus changes a person, either in the severity of a Joker's deformation or the potency of an Ace's superpowerand a mixing angle to address the existence of Joker-Aces. "Card turns that land sufficiently close to one axis will subjectively present as Aces, while otherwise they will present as Jokers or Joker-Aces," the authors wrote.The derived formula is one that takes into account the many different ways a given system can evolve (aka a Langrangian formulation). We translated the abstract problem of Wild Card viral outcomes into a simple, concrete dynamical system. The time-averaged behavior of this system generates the statistical distribution of outcomes, said Tregillis.Tregillis acknowledges that this might not be a good exercise for the beginning physics student, given that it involves multiple steps and covers many concepts that younger students might not fully comprehend. Nor does he suggest adding it to the core curriculum. Instead, he recommends it for senior honors seminars to encourage students to explore an open-ended research question.DOI: American Journal of Physics, 2025. 10.1119/5.0228859 (About DOIs).Jennifer OuelletteSenior WriterJennifer OuelletteSenior Writer Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban. 3 Comments

Investigations galore UK opens probe into Googles and Apples mobile platforms Regulator will examine how the tech giants compete with one another, treat developers. Tim Bradshaw and Suzi Ring, Financial Times Jan 23, 2025 9:29 am | 7 Credit: FT montage/Reuters Credit: FT montage/Reuters Story textSizeSmallStandardLargeWidth *StandardWideLinksStandardOrange* Subscribers only Learn moreThe UKs competition watchdog has launched an investigation into Apple's and Googles mobile platforms, just days after the government forced out its chair as part of a push to cut the regulatory burden on business.The Competition and Markets Authority said on Thursday it would examine whether the creators of the iPhone and Android smartphone operating systems should be subjected to extra scrutiny over how they run their mobile platforms, in its second investigation under the new digital markets regime.The announcement comes just two days after the government ousted Marcus Bokkerink as chair of the CMA, amid concerns the regulator was not sufficiently focused on growth.The surprise move has led many to speculate Big Tech could be treated more leniently by the antitrust regulator. The government has appointed Doug Gurr, who previously ran Amazons UK business, as interim CMA chair.On Thursday, the CMA said it would examine how Apple and Google were competing with each other, whether they favored their own apps and services, and whether developers were treated fairly.More competitive mobile ecosystems could foster new innovations and new opportunities across a range of services that millions of people use, be they app stores, browsers or operating systems, said Sarah Cardell, chief executive of the CMA.Better competition could also boost growth here in the UK, with businesses able to offer new and innovative types of products and services on Apples and Googles platforms, she added.As part of the UKs Digital Markets, Competition and Consumers Act, which came into force this month, the CMA can designate a small group of companies as having strategic market status, imposing conduct requirements, similar to the EUs Digital Markets Act.Last week, the CMA opened its first such case, reviewing Googles dominance in search and advertising.The CMA is already in the process of probing Google and Apple in a separate investigation into mobile web browsers and cloud gaming, which has provisionally found the two companies were holding back competition in browsers.Androids openness has helped to expand choice, reduce prices, and democratize access to smartphones and apps. Its the only example of a successful and viable open source mobile operating system, said Oliver Bethell, Googles senior director of competition.We favor a way forward that avoids stifling choice and opportunities for UK consumers and businesses alike, and without risk to UK growth prospects, he added.Apple, which says its app platform supports hundreds of thousands of UK jobs, said it would continue to engage constructively with the CMA.Apple believes in thriving and dynamic markets where innovation can flourish, the company said. We face competition in every segment and jurisdiction where we operate, and our focus is always the trust of our users.The CMAs probe will add to the worldwide scrutiny that both companies are already facing over their dominance of the smartphone market.Apple clashed with Brussels several times last year over the implementation of the Digital Markets Act, making changes to its platform after the European Commission accused the iPhone maker of failing to comply with its online gatekeeper rules.If designated, the UKs strategic market status lasts for a five-year period, and companies can be fined up to 10 percent of global turnover for breaching conduct rules. 2025 The Financial Times Ltd. All rights reserved. Not to be redistributed, copied, or modified in any way.Tim Bradshaw and Suzi Ring, Financial TimesTim Bradshaw and Suzi Ring, Financial Times 7 Comments

Sean Combs has filed a $50 million defamation lawsuit against a man he says lied in news interviews.The lawsuit names Courtney Burgess, his lawyer, and the company that owns NewsNation as defendants.Burgess has alleged in interviews that he has videos involving Combs that show sexual assault.Sean "Diddy" Combs has filed a $50 million defamation lawsuit against a man who said he testified before a New York grand jury as part of the federal criminal sex trafficking case against the hip-hop music mogul.That man, Courtney Burgess, has said in news interviews and on podcasts that he was in possession of several videos involving Combs that show the sexual assault of celebrities and apparent minors.Combs' lawsuit which names Burgess, his lawyer, and the media company that owns the network NewsNation as defendants says that Burgess lied in a bid to raise his public profile and destroy Combs' reputation.The lawsuit says Burgess and his Florida-based attorney, Ariel Mitchell, have engaged in a "willful scheme to fabricate and broadcast outrageous lies concerning Mr. Combs and then to leverage those falsehoods to gain social media fame, enrich themselves, and strip Mr. Combs of his reputation, livelihood, and right to a fair trial."The pair has for months fueled "a media frenzy, fabricating outlandish claims and stirring up baseless speculation about Mr. Combs, vying to outdo each other in a shameless competition to draw attention to themselves, with no regard for the truth," Combs alleges in the lawsuit which was filed Wednesday night in the US District Court for the Southern District of New York.Burgess, Mitchell, and NewsNation owner Nexstar Media Group did not immediately respond to requests for comment by Business Insider.Combs' attorney Erica Wolff said in a statement that her high-profile client who has been locked up pretrial at a federal Brooklyn jail since his September 2024 arrest and indictment "is taking a stand against the malicious falsehoods that have been fabricated and amplified by individuals seeking to profit at his expense."The defendants' "falsehoods have poisoned public perception and contaminated the jury pool," Wolff said, adding, "This complaint should serve as a warning that such intentional falsehoods, which undermine Mr. Combs's right to a fair trial, will no longer be tolerated."Combs' lawsuit says that the recordings Burgess says he saw do not exist."Burgess repeated this false claim many times to anyone who would listen, including reporters for major news outlets (including NewsNation, which recklessly repeated and amplified his lies as if they were true)," Combs said in the lawsuit.Combs alleges in the lawsuit that NewsNation did not conduct any investigation before broadcasting the allegations "though it easily could have done so."Burgess, Mitchell, and NewsNation, the lawsuit alleges, "have caused profound reputational and economic injury and severe prejudice to Mr. Combs."Combs' lawsuit says that Burgess has never met Combs or had any relationship with anyone in his family, yet Burgess has said that Combs' late ex and mother of four of his children, Kim Porter, gave him a copy of her alleged memoir and videos showing the alleged sexual assault of intoxicated celebrities and minors."Those close to Ms. Porter, including her children and her roommate for over twenty years, had never heard of Mr. Burgess before he made this utterly implausible and completely false claim," says the lawsuit.Combs says the claims made by Burgess prompted investigators to issue a subpoena for him to testify before a grand jury that convened in Manhattan in October."In this pitiful spectacle, all pretense of objectivity has been abandoned, as a global audience feasts at the all-you-can-eat buffet of wild lies and conspiracy theories," the lawsuit says. At the center of the indictment against Combs are accusations he orchestrated "freak offs," which prosecutors describe in court papers as "elaborate and produced sex performances that Combs arranged, directed, masturbated during, and often electronically recorded."In these alleged drug-fueled sex sessions, prosecutors say Combs "used force, threats of force, and coercion" to get female victims to engage in sex acts with male commercial sex workers.Combs' attorneys have argued in court papers that the video evidence prosecutors have of the so-called "freak offs" will vindicate the "I'll Be Missing You" rapper at trial.Combs has vehemently denied the federal charges against him, as well as all accusations of sexual abuse made in a flood of civil lawsuits against him.

The Port of Galveston, Texas' only cruise port, expects to accommodate 419 cruise ships in 2025.The port had previously exclusively handled cargo and almost filed for bankruptcy in the 1990s.Its CEO explains how the influx of cruises spurred an economic turnaround.In the 1990s, the 200-year-old Port of Galveston almost filed for bankruptcy.It expects to earn $84 million in 2025, a 6.4% increase from the previous year.It's an incredible turnaround. And the port's director and CEO says it's all thanks to cruises, which began to spike in popularity following the COVID-19 pandemicThe Texas port spent $53 million expanding Carnival's cruise terminal in 2023, a year after Royal Caribbean opened a $125 million terminal. A fourth new, $156 million terminal is set to open for Norwegian and MSC's ship in November.Galveston expects to accommodate 419 cruises in 2025, a more than 25% increase from three years prior making it the fourth busiest cruise port in America. Galveston has three cruise terminals, with a fourth expected to open in November. Galveston Wharves courtesy photo. By Robert John Mihovil. "There was a time we didn't have enough money to make payroll," the CEO, Rodger Rees, told Business Insider. "Luckily, the money came in, but they were that tight at times."Prior to the turn of the century, Galveston had exclusively been a cargo port. By the 1990s, its decades-old (in some cases, century-old) infrastructure had been in dire need of repair with money that cargo alone wasn't generating."The port really didn't have anything going on 25, 30 years ago," Rees said. "It was like a ghost town out there."That is until it began pursuing vacation-at-sea companies, which subsequently spurred a much-needed economic windfall."I've been selling Galveston to MSC for five years at least," Rees said. "Becoming a cruise port turned this port around." The Port of Galveston is currently demolishing its antiquated grain facility to make space for more modern cargo. Kirk Sides/Houston Chronicle via Getty Images In the shadows of the cruising limelight, the port still continues to receive cargo (primarily vehicles and parts for New Mexico's coming wind farm, set to become the largest in the US).However, crucial infrastructure still needs a makeover. For example, the slips have become too small for today's larger cargo ships and were damaged by Hurricane Ike in 2008.To address this, the port is now using money from its flourishing cruise business which accounts for 65% of its revenue to finance its cargo-related renovations, set to be completed in early 2026.It's a $100 million project, about $60 million of which is coming from its cruise revenue."Our best year that I've been here, we made $10 million in cargo business and $50 million in cruises," Rees said. "The cargo business has to really grow in order to keep up with the growth of the cruise business."

After a surprisingly delightful, Barbenheimer-themed Oscars in 2024, this years nominations are a return to form. As per usual, the nominees are a mix of the past years most tasteful blockbusters, like Wicked: Part 1 and Dune: Part 2; a handful of smaller but buzzy films that the average moviegoer is at least partly familiar with, like Conclave and Anora; and the sort of stereotypical Oscar bait that earns the awards show its out-of-touch label, like the years most nominated film Emilia Prez.Compared to last years ceremony, which honored both populist and surprise indie hits, this current slate of nominees feels like a bit of a digression. Its not that the years frontrunners dont have their enthusiasts, although mostly on Letterboxd. Rather, this years Oscars are noticeably lacking in movies that mass audiences can strongly agree are masterpieces. Sure, plenty of contenders have compelling premises, but its still debatable whether many of these movies, like The Brutalist or Anora, actually succeed in their execution. Nevertheless, this years sometimes curious nominations have plenty to tell us about 2024 in cinema. While the opinions of the mostly white, male Academy dont necessarily account for the average moviegoer, they provide an interesting recap of the past year and reveal some trends that could persist over the next few years. The strikes made things weird Despite receiving five Oscars nominations, including Best Picture, Dune: Part 2 was surprisingly easy to forget throughout awards season. It was certainly much less of a conversation-starter than other buzzy movies that came out this year. Star Timothe Chalamets turn as Bob Dylan in A Complete Unknown, plus his overbearing press tour for that role, totally overshadowed his part in Denis Villeneuves film. The timing of its release also made it a bit of a nonfactor by last summer. Due to the 2023 writers and actors strikes, the sequel was pushed from its October 2023 release date to March 1, 2024. One wonders whether the movie wouldve been a bigger talking point this awards season if not for its Q1 release. Perhaps then Austin Butler actually wouldve had a shot in the Best Supporting Actor category. Austin Butler and Stellan Skarsgrd in Dune: Part 2 Warner Bros. PicturesOn the other hand, it seems like Challengers, which received zero nominations, also may have made a bigger splash if it hadnt been repeatedly rescheduled. Like Dune: Part 2, the strikes also prevented the movie from its original release in fall 2023. It was also set to premiere at the 2023 Venice Film Festival before it was released in theaters, which maybe wouldve given the film more prestige. Instead, most of Luca Guadagninos Oscar buzz went to the middlingly reviewed Queer, which the Academy also neglected. One wonders if either of these films, as well as Guadagnino, who has yet to receive a Best Director nomination, wouldve had a stronger foothold in the race had they been released in separate years. Middlebrow movies are back After a decade of redundant superhero franchises and other CGI-laden IPs, 2024 felt like a much-needed reset for movie culture. Specifically, it was a return to the sort of box office lineup you would regularly see in the 90s and 2000s. Likewise, the year provided a number of mid-budget, middlebrow movies, like eight-time nominee Conclave, triple nominee The Substance and two-time nominee A Real Pain, with compelling but accessible premises for the average person looking to have a memorable time at the multiplex. These now-Oscar-nominated films, plus similarly fun fare that were firmly in the awards conversation but didnt end up receiving nods, like Babygirl and Challengers, all managed to exceed expectations at the box office. They also became major talking points and references in pop culture, offering the polarizing characters and unpredictable endings that are typically lacking in Marvel fare. The treatment of these movies by awards bodies, like the Oscars, seems notable, too. In a piece for Vulture, writer Louis Petizman referred to the celebration of these films as the year in elevated trash. For all intents and purposes, Conclave is an adaptation of an airport novel; The Substance is a satirical body horror film where Demi Moore turns into a blob. Conclave, in particular, seemingly managed to meme its way into the awards conversation, gaining the affection of younger Letterboxd users in addition to its anticipated senior audience. It may be a bit debatable whether some of these movies are artistic feats worthy of recognition by the Academy. Still, their dominance in pop culture might just be a net good for the industry and the range of interesting options audiences might have at the movie theater in the future. Musicals are still hit-or-miss The jury is still out on whether audiences are craving movie musicals, although 2024 seemed like a notable step forward. Four splashy movies within the genre Wicked: Part 1, Joker: Folie Deux, Emilia Prez, Better Man were released this year with big marketing pushes. (There was also the barely promoted A24 musical called The End starring Tilda Swinton.) Only two of these films earned major Oscar nominations, which isnt saying nothing. Emilia Prez earned the most nods with 13, while Wicked: Part 1 earned 10. Better Man, presumably thanks to a strong word-of-mouth campaign more than its performance at the box-office, also earned a surprising sole Visual Effects nomination. Out of all four films, only Wicked managed to become a blockbuster, earning over $700 million internationally. At the very least, Wicked: Part 1 proved that audiences are willing to sit through a bunch of showtunes with the help of a $150 million marketing budget and Ariana Grande. However, it turns out that huge pop stars alone arent enough to get even their own fans to sit through musical movies. The Golden Globe-winning Emilia Prez, which co-stars Selena Gomez, seemed to make much more of an impression with festivalgoers and awards bodies than the average person with a Netflix account. Despite all of the critical buzz surrounding the film at the last years Cannes Film Festival, the musical, about a cartel leaders gender transition, quietly landed on the streaming platform and selected theaters this past December. Meanwhile, questionable parts of the movie like a song where a doctor explains gender-affirming surgeries to Zoe Saldaa by belting out man to woman, penis to vagina or a scene of Selena Gomez poorly speaking Spanish that made their way to social media didnt seem to inspire more people to watch it. Selena Gomez in Emilia Prez. Page 114/Why Not Productions/Path Films/France 2 CinmaThen there was highly anticipated but poorly received Joker: Folie Deux, starring Lady Gaga. The sequel hardly reaped any rewards at all, bombing at the box office and getting panned by critics. The fact that it was shut out from awards was even a joke at this months Golden Globes. Better Man, the Robbie Williams musical biopic, was another commercial disaster, presumably due to Americans general lack of knowledge of the former Take That member and perhaps the outwardly confusing decision to portray Williams as a CGI chimpanzee. However, it managed to earn good reviews and a strong cult following among Letterboxd devotees, in addition to its surprise Oscar nod. Overall, it seemed that Wicked, one of the most popular musicals of all time based on one of the most popular IPs of all time, would inevitably earn tons of money. It also helped that it was being promoted as a huge cultural event on the level of 2023s Barbie, even borrowing its exact marketing agenda. Although, that didnt work for every movieLong, epic movies are still in Along with Wicked and Dune: Part 2, the surprising box office success of 10-time nominated epic The Brutalist proved that moviegoers are willing and maybe even excited to sit down for a long, spectacular movie. While Wicked has a more bearable runtime of two hours and 40 minutes, the excitement around seeing both of these lengthy films in theaters is most obviously a side effect of Barbenhiemer, which seemed to promote the concept of movies as events on par with concerts. The release of Killers of the Flower Moon in 2023 also presumably primed audiences for movie outings that take up your entire afternoon. Particularly, Oppenheimer convinced audience members that, if a movie is important or visually impressive enough, it should be seen in a large-format such as IMAX or 70mm. Likewise, The Brutalist is also being presented in 70mm with much of its marketing focusing on the fact that it is a visual spectacle. Theres only one Barbenheimer 2024 proved that Barbenheimer is not as easily replicable as studios had probably hoped. Despite all the efforts by actors and film journalists to make Glicked the same-day release of Wicked and Gladiator II back in November a thing, it was hardly comparable to the more organic excitement surrounding Barbie and Oppenheimer the year prior. Arguably, Wicked, a musical, and Gladiator II, a sequel to a 20-year-old movie, were less appealing to the public than a movie about the worlds most famous toy and a Christopher Nolan flick. Thus, they each made less money although, not insignificant numbers. Gladiator II, in particular, didnt seem to live up to the expectations set by its predecessor, earning mixed reviews and criticism for its leading man Paul Mescal.Even the most outstanding aspect of the movie, Denzel Washingtons performance, was snubbed by the Academy, although it did earn a nomination for Best Costume Design. Hugh Jackman and Ryan Reynolds in Deadpool & Wolverine. Marvel Studios, Walt Disney StudiosIn general, these nominations are a reminder that the biggest blockbusters dont always overlap with taste, nor are they immediately destined for Oscars glory or even consideration based on how well they perform. For example, despite Ryan Reynoldss efforts to campaign the years second highest-grossing movie, Deadpool & Wolverine, the third Marvel sequel where Reynolds and Hugh Jackman mainly exchange gay jokes never really had a chance amongst more prestigious offerings. And the years highest-grossing film, Inside Out 2, didnt transcend its expected Best Animated Feature category to receive other major nominations. While movies like Barbie, Oppenheimer, and even 2023s Best Picture winner Everything Everywhere All at Once seemed to impress Academy voters with their box office numbers, its clearly and maybe thankfully not all it takes. Youve read 1 article in the last monthHere at Vox, we're unwavering in our commitment to covering the issues that matter most to you threats to democracy, immigration, reproductive rights, the environment, and the rising polarization across this country.Our mission is to provide clear, accessible journalism that empowers you to stay informed and engaged in shaping our world. By becoming a Vox Member, you directly strengthen our ability to deliver in-depth, independent reporting that drives meaningful change.We rely on readers like you join us.Swati SharmaVox Editor-in-ChiefSee More:

Could they not have found a more generic name? (Team17 Group)Theyve been making games since the Amiga days but thankfully the name Everplay isnt going to totally replace the old one.British gamers who grew up during the 90s will be very familiar with Team17, the company responsible for the Worms series of tactics video games.Unlike some less fortunate British studios of that time, such as Sensible Software and Psygnosis, Team17 has not only managed to remain open but has expanded to the point where its been acquiring other studios and become a public company on the London Stock Exchange.So, it will take some getting use to when the company starts operating under the new name of Everplay next month, although the higher-ups have assured fans that the Team17 name will still be used in some places.Team17 has long since been more than just a developer, having expanded into publishing both video games and educational apps. As such, its been decided the company needs a new name that better represents that.This rebrand not only creates an ideal backdrop to foster greater cross-collaboration internally but also reflects our aspirations to expand our reach across complementary sectors within the broader indie market, explains CEO Steve Bell, who took over in January 2024.The rebranding doesnt apply to the companies divisions, though. The Team17 name will be used for Everplays video games label, so future releases will still be listed as being developed and/or published by Team17.The other two divisions simulation games publisher Astragon Entertainment and educational apps studio StoryToys will also be keeping their names intact.In fact, it doesnt seem like the Everplay name is going to be used much at all in public and is more of a corporate rebrand.Team17 emerged out of the early 90s Amiga demo scene (a homebrew concept that focused on making technically impressive animated sequences but not necessarily actual games) and was founded in December 1990 through a merger between British publisher 17-Bit Software and Swedish developer Team 7.It made a name for itself creating games for the Amiga and other 16-bit formats, such as 2D shooter Project-X, platformer Superfrog, the Aliens inspired Alien Breed top-down shooters, and Worms.Nowadays, the company is better known for publishing popular indie games such as Overcooked, Dredge, and the first two Yooka-Laylee games and rarely makes new titles itself.Thats not to say Team17 doesnt make any new games of its own, but theyve certainly become less frequent. For the last several years, its only put out one or two games a year, with its last release being a 2023 horror game called Killer Frequency.More TrendingAt the time of writing, it hasnt announced any new games in development, but it has loads of projects from other developers that it intends to publish throughout 2025 and beyond.The company has also experienced its fair share of controversy in recent memory. In 2022, it jumped on the NFT wagon in a move that was so unpopular with fans and even Team17s own partners that it abandoned those plans only a few days later.Afterwards, an extensive Eurogamer report highlighted dissatisfaction among employees within Team17. Aside from the company ignoring its staffs concerns with the NFT plan and not even apologising to community managers that had to bear the brunt of the backlash, numerous complaints were made about long work hours and poor wages.Then CEO Debbie Bestwick, who was among the companys founders, was also criticised for her leadership, particularly for failing to do anything about harassment allegations occurring within Team17. Fans are still waiting for a traditional Worms sequel (Team17)Emailgamecentral@metro.co.uk, leave a comment below,follow us on Twitter, andsign-up to our newsletter.To submit Inbox letters and Readers Features more easily, without the need to send an email, just use ourSubmit Stuff page here.For more stories like this,check our Gaming page.GameCentralSign up for exclusive analysis, latest releases, and bonus community content.This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy

Looking for some help to achieve your 2025 fitness goals? A solid smartwatch can help you track your workouts, monitor your heart rate, and keep you motivated to stay active. Late last year, Samsung announced a number of new products and upgrades, and were already seeing some significant discounts. The durable, outdoorsy Galaxy Watch Ultra is going for $100 off at the moment, but thats not all. With a trade-in credit from handing in your old watch, you can save an additional $350.Thatll bring the price of the smartwatch down to just $200 down from $650.See at SamsungRugged, Reliable, and ReadyFor runners, swimmers, cyclists, hikers, and just about anyone who likes to get their workouts done in the great outdoors this is truly a fitness-first smartwatch.No need to worry if the watch gets tossed or banged around thanks to the tough titanium 47mm face which can handle it no problem. You can even get that titanium in different colors. Choose between titanium gray, titanium white, or titanium silver. Additionally the watch band has a few options to select from as well. A synthetic peakform band, the slightly bulkier marine band, and then the fabric-based trail band. Each are available in orange, white, or black with the exception of the trail band which is only in white or black.Sleep and energy levels can be tracked throughout the daywith the Galaxy Watch Ultra, calculating a score of your physical readiness based on your sleep from the previous night, heart rate, and steps. The heart rate tracing is precise to help optimize your workouts with the help of Galaxy AI which can filter out the physical movements of your body. You can stay on top of your health by following the personalized Wellness Tips based on insights collected by your Watch and analyzed by your phone daily.Able to hold a charge for up to 60 hours, this battery is super long-lasting. This is great to make sure you have a charge left before starting your workout, but its particularly beneficial for sleep tracking. A lot of watches tout what they can while you sleep, but a lot of those smartwatches cant even last a full day when do they expect you to charge them? Not a problem with the Galaxy Watch Ultra, which can help you get better rest each night and even detect sleep apnea.The Galaxy Watch Ultra normally goes for $650, but right now with the $100 discount and a trade-in of up to $350, you can get yours for just $200.See at Samsung

Castlevania: Nocturnes second season released last weekend, and critics and fans are over the moon about it. Thats not surprising; from the very beginning, both the original Castlevaniaand this spinoff have garnered acclaim for its writing and animation, and for successfully adapting the games to television. This is reflected in the viewership; Netflix hasnt put out any numbers or milestones, but fans and Powerhouse Animation staff have shared screenshots of the show hitting the top 10 in territories like the United States and the Philippines, which theyre more than proud of. Whatissurprising is how, at time of writing, Nocturnes future is more unclear than youd expect. Late last year, Powerhouse said itd go dark ahead of the second seasons debut as it waited to learn if the show would be renewed, and individuals at the studio have pretty explicitly called on fans to watch the new season. By comparison, Netflix announced renewals for the original Castlevania just days after a season had launched. (Season four, for example, was greenlit a full year ahead of season threes release.) Whether that series already had a four-season deal locked in, or they were actually just two seasons split across multiple parts, you at least got the impression the streamer saw something in it and wanted to foster that. By now, Netflix is more than aware that Castlevaniais a flagship brand for its animation slate, and that Powerhouses name carries some weight. The studios proven to be a reliable partner, and these two adaptations have benefitted both studio and streamer. For Powerhouse, the show has let it adapt other properties like Masters of the Universe and Tomb Raider, plus tackle original ventures Seis Manos and Blood of Zeus. Meanwhile, Netflix has managed to use Castlevanias clout to snag other franchises under its umbrella, from League of LegendstoCyberpunk 2077andBioShock.Even its general focus on YA and adult animationJentry Chau,Big Mouth, and whatever elseand anime can be traced back to how the originalCastlevaniablew up back in 2017. For an enterprise thats played such a hand in the new boom of game adaptations, and from a streamer thats previously franchised out hits right away, the entire situation aroundCastlevania: Nocturnesmore than a little odd. Netflix Yknow what else is strange? Konami not responding to the Castlevaniahype by not having much of anything game-related on hand. After 2014s Lords of Shadow 2, the series has basically been on ice, save for recent remasters and crossover expansions with Dead CellsandVampire Survivors. As Konamis been getting back into the game development swing with remakes and new games for Silent HillandMetal Gear Solid,theres been nothing concrete about its vampiric franchise making a full-on comeback. We know game adaptations bring attention to their source material and lead to people picking up those games, for the first or tenth time. Its certainly a missed opportunity to not jump on the momentum of these two animated series with a game project, or even an announcement that somethings in the worksfans were clamoring for a new Castlevaniagame even before the show dropped, so its not like Konami was completely in the dark here. Again, the collective lack of support from both sides ofCastlevania is weird when you think about its overall significance. The games were beloved for decades and helped spawn an entire genre that persists to this day, while the shows kicked off the new wave of transmedia enterprises Hollywood is very keen on continuing. Before we know it, that original Netflix series will be a decade old, and itll feel wrong for it to have made strides for one medium, but not the one it originated in. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, whats next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

Savonarola Residence / Romano TinazziSave this picture! Federico VillaHousesVerona, ItalyArchitects: Romano TinazziAreaArea of this architecture projectArea:160 mYearCompletion year of this architecture project Year: 2023 PhotographsPhotographs:Federico VillaManufacturersBrands with products used in this architecture project Manufacturers: Cunego termoidraulica, Edilmorselli di Morselli Massimo, Enecom, Tech srlMore SpecsLess SpecsSave this picture!Text description provided by the architects. The project involved the renovation of a single-family house, part of the urban fabric along Via Savonarola. Originally built in the early 20th century to house railway workers' families, the building is classified under a protection grade as specified in the Municipal urban guidelines. Any transformation of the property requires preserving its original form and distinctive features.Save this picture!Save this picture!Save this picture!Save this picture!Working within this constraint, the project combined the conservative restoration of the historic building envelope with a radical redesign of its layout and structural system. Within the two curtain walls, the new addition creates a deliberate contrast with the existing structure, showcasing its material and constructive aspects. The new structure consists of a lightweight metal frame paired with an in-situ cast concrete staircase. To minimize floor-to-floor height, the floors are constructed using corrugated metal sheeting, optimizing thickness without compromising strength.Save this picture!Save this picture!Save this picture!Save this picture!In the common areas, the exposed textures of the original stone walls highlight the building's historical character. The ground floor serves as a communal space, featuring a living room, kitchen, and a small outdoor patio. The two upper floors are dedicated to private areas, including bedrooms and bathrooms.Save this picture!Project gallerySee allShow lessAbout this officeRomano TinazziOfficePublished on January 23, 2025Cite: "Savonarola Residence / Romano Tinazzi" 23 Jan 2025. ArchDaily. Accessed . <https://www.archdaily.com/1025927/savonarola-residence-romano-tinazzi&gt ISSN 0719-8884Save!ArchDaily?You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

The Swiss Pavilion at 2025 Venice Architecture Biennale Examines Historical Gender DynamicsSave this picture!Pavilion of Switzerland at the 19th International Architecture Exhibition - La Biennale di Venezia. The project team of the exhibition Endgltige Form wird von der Architektin am Bau bestimmt. in their studio in Zurich (from left to right): Elena Chiavi, Amy Perkins, Myriam Uzor, Kathrin Fglister, Axelle Stiefel, Emma Kouassi.. Image Keystone/Gatan Bally via Pro HelvetiaThe Swiss Arts Council Pro Helvetia, represented by Sandi Paucic and Rachele Giudici Legittimo, has announced that the Swiss Pavilion at the Venice Architecture Biennale 2025 will host the exhibition "The final form is determined by the architect on site," curated by Elena Chiavi, Kathrin Fglister, Amy Perkins, Axelle Stiefel, and Myriam Uzor. This all-female team poses the question: What if Lisbeth Sachs, rather than Bruno Giacometti, had designed the Swiss Pavilion? The exhibition will explore this question by reviving one of the iconic works of Lisbeth Sachs, one of the first registered female architects in Switzerland and a contemporary of Giacometti.Save this picture!The current Swiss Pavilion, located in the Giardini della Biennale, was designed by architect Bruno Giacometti in 1951 and inaugurated during the 26th Architecture Biennale. This modern building occupies a corner of the garden and features two main volumes with adjoining galleries and an enclosed courtyard. While the previous edition of the exhibition focused on the architecture of the building itself, this year's proposal takes a speculative turn, addressing the historical underrepresentation of women architects in the Venice Biennale pavilions. The curatorial team, composed of five women with expertise in communications, space renovation, and teaching, plans to recreate the art hall designed by Lisbeth Sachs for the 1958 Swiss Exhibition for Women's Work (SAFFA) in Zurich, presenting it as a multi-sensory experience.Save this picture!The exhibition seeks to immerse the visitor in Sachs' vision to explore her influence on the design of the building. The experience consists of an immersive spatial memory, where the architect's original project is linked to a sound system, described by Pro Helvetia as "resounding architecture." Thus, past and present voices aim to evoke both the ethical and aesthetic themes of the mid-twentieth century, with a particular focus on Sachs. Through sound navigation, the curatorial project promises to foster an intimate and deep bond with her work and "reveal a vibrant dimension" of architecture and landscape. Related Article The French Pavilion Explores Concepts of Living With at the 2025 Venice Architecture Biennale Juxtaposing Sachs' work with Giacometti's brings two architectural visions into coexistence, encouraging visitors to reflect on the need for inclusivity in architectural history and today's practices. This intervention is not just physical but also temporal, connecting architectural legacies while engaging the visitor's perceptions of continuity. - Curators Elena Chiavi, Kathrin Fglister, Amy Perkins, Axelle Stiefel, and Myriam Uzor Save this picture!Save this picture!The 19th International Architecture Exhibition La Biennale di Venezia 2025, curated by Carlo Ratti and centered around the theme "Intelligens. Natural. Artificial. Collective," will be open to the public from May 10 to November 23, 2025. The Swiss exhibit will be accompanied by a side program at both the Swiss Pavilion and Palazzo Trevisan degli Ulivi. Other Giardini pavilions have already announced the themes of their exhibitions, including France, with a project focused on architecture's ability to address global challenges, and Spain, with a proposal centered on the decarbonization of Spanish architecture.We invite you to check out ArchDaily's comprehensive coverage of the 2025 Venice Biennale.Image gallerySee allShow lessAbout this authorCite: Antonia Pieiro. "The Swiss Pavilion at 2025 Venice Architecture Biennale Examines Historical Gender Dynamics" 23 Jan 2025. ArchDaily. Accessed . <https://www.archdaily.com/1026092/the-swiss-pavilion-at-2025-venice-architecture-biennale-examines-historical-gender-dynamics&gt ISSN 0719-8884Save!ArchDaily?You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream