Image: Team17Team17 Group has announced that it is rebranding the company to 'everplay group plc'.The announcement states that the change represents an "evolution" of the group following its addition to the London Stock Exchange in 2018. The name 'everplay' is designed to reflect its purpose to "never stop playing", along with its "creative drive to deliver a lifetime of play".If you're concerned about what this means for the iconic 'Team17' name, then worry not. Everplay states that the branding for the developer, video games label, and publisher will remain, allowing it to continue operating as it does today.In addition, astragon Entertainment, a developer and publisher of simulation games, and StoryToys, a developer and publisher of educational apps, will also retain their current branding. Everplay notes that the change will mitigate any potential confusion between the Team17 division and the group at large, stating that it "allows for strengthening the Group and a simplification of the business in the marketplace".Steve Bell, CEO of everplay, stated the following:I am excited to be unveiling our new Group brand today, which we believe better represents our business which has evolved greatly since the IPO and reflects our DNA to never stop playing. 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.Fundamentally, we want to create pioneering and captivating experiences that enrich and inspire players around the world, and I firmly believe everplay will become synonymous with creating games that deliver a lifetime of play.The rebranding is expected to come into effect from early February. This is warDo you have any thoughts on this rebranding announcement? Are you glad that the Team17 name remains in place? Let us know with a comment.Share:120 Nintendo Lifes resident horror fanatic, when hes not knee-deep in Resident Evil and Silent Hill lore, Ollie likes to dive into a good horror book while nursing a lovely cup of tea. He also enjoys long walks and listens to everything from TOOL to Chuck Berry. Hold on there, you need to login to post a comment...Related ArticlesNintendo Is "Very Upset" About The Switch 2 Leaks, It's ClaimedFormer employees Kit and Krysta discuss company secretsRound Up: Video Game Industry Reacts To Nintendo's Switch 2 AnnouncementHere's what everyone thoughtNintendo's Share Price Dips Following Its Big Switch 2 RevealNo need to panic, thoughNintendo's Average Salary Crowned The Second-Highest In Western Japan Last YearDespite the annual salary falling a little

The global supply chain is under strain, and one of the reasons is a lack of visibility into how shipments are being transported around the world. According to one recent survey, nearly half of the organizations polled reported having little-to-no visibility into their upstream supply chains.In search of a remedy, Krenar Komoni, whod for years helped his father-in-law track his truck fleet, founded Tive, a startup thats developing tech to pinpoint freight shipments in real time.Tive sells single-use tracking devices that can be linked to its cloud platform to let companies in industries like life sciences and food and beverage check the status of their freight. In addition to tracking location, Tives sensors can monitor temperature, humidity, light, and shock i.e. physically violent motions.Through Tives cloud platform, its customers can get real-time alerts, analytics, and data sharing tools.Tive trackers have generated millions of real-time shipment alerts, Komoni told TechCrunch in an interview. Our trackers provide a three-pronged approach to location accuracy, combining cellular triangulation, Wi-Fi positioning, and GPS.Tive didnt start as a freight-tracking company. In its early days, the startup focused on helping carriers and truckers track their vehicles. But Komoni, who has a background in radio frequency and chip design engineering, saw a much bigger opportunity in monitoring shipments themselves.One of Tives wireless tracking devices. Image Credits:TiveTive claims to have more than 900 customers today in sectors like pharmaceuticals and high-value goods, as well as military and government clients. The company is generating revenue from those customers in a number of ways, Komoni says, including through annual software fees for its cloud platform, tracker sales and shipment monitoring services.Komoni expects Tive will reach profitability in 2026.Tives focus on supply chain solutions for all types of goods durable, nondurable, perishable, industrial, consumer, and so on positions it well to weather broader tech slowdowns and recessions, Komoni said. Despite the freight recession, which has been the norm since the end of COVID-19, Tive has consistently grown 50%+ year-over-year, and expects to grow at an accelerated rate in 2025.To expand its Boston-based workforce of around 243 employees, Tive recently raised $40 million in a Series C round co-led by by World Innovation Lab and Sageview Capital with participation from AVP, RRE Ventures, TwoSigma Ventures, Qualcomm Ventures, Fifth Wall, Supply Chain Ventures, and Sorenson Capital.The new capital brings Tives total raised to $120 million. In addition to hiring, Komoni said the new cash will be put toward developing new products, expanding Tives sustainability programs (including its tracker recycling program), and bringing the platform to more countries.

Back in 2023, Ashi Dissanayake, cofounder of in-space fueling startup Spacium, was so bootstrapped she used the surface of her clothes dryer as a desk, sticking her legs inside the drying machine. Her computer was perched beside Tide Pods and she was surrounded by disembodied robotic arms, working late into the night with her cofounder, Reza Fetanat. Back then, the pair worked out of a tiny Ottawa apartment.Since then, theyve moved to an office with real desks, gone through Y Combinator, and, today, announced an oversubscribed $6.3 million seed round led by Initialized Capital. The company is planning a demo mission of their product capabilities later this year, and Dissanayake said they have a strong pipeline of customers.The two cofounders bonded at University of Ottawa over their mutual space obsession and teamed up for research projects. We were building the rockets, rocket structures, propulsion system, as well as the parachutes that would bring the rocket back, she said, adding they would put samples in the rockets, shoot them up as high as 30,000 feet, and then send the data back to Canadian labs.As they worked on research, Dissanayake and Fetanat realized that the biggest bottleneck in the industry was the lack of refueling options in space. Right now, a spacecraft has to be equipped with all the fuel it needs for a mission. And after the mission ends, the spacecraft basically becomes space debris, she said.For longer missions or deep space missions like, say, colonizing Mars companies will need to have access to fuel in space. Our big mission would be to build the space super highway, where we have multiple refueling stations where a spacecraft can come dock, refill, and go about their way, she said.Spacium is not the only company with this dream: Orbit Fab is also working on in-space refueling, and has a several year head start. Additionally, Japanese aerospace company Astroscale won a $25.5 million U.S. Space Force contract to build a refueling vehicle.But Dissanayake feels confident they have a competitive advantage. We have actually developed a very unique system where we can store the fuel for longer periods of time, which was actually not done before, she said, declining to give further details.Dissanayake has a long way to go, but she hopes one day she can take a trip up to space, look out into the abyss, and then actually see our stations from where we are.Topics

Awards97th Oscars: The VFX NomineesBy Vincent Frei - 23/01/2025 The Academy has spoken! The nominations for the 97th Oscars are here, and the competition for Best Visual Effects is nothing short of spectacular. Which of these groundbreaking films will take home the gold?The 97th Oscars will be held on Sunday, March 2, 2025, at the Dolby Theatre at Ovation Hollywood and will be televised live on ABC, streamed live on Hulu and airs live in more than 200 territories worldwide. Vincent Frei The Art of VFX 2025

Breakdown & ShowreelsLa Bte: VFX Breakdown by MPCBy Vincent Frei - 23/01/2025 What does a world stripped of human emotions look like? La Bte paints a haunting picture, brought to life by the visual effects crafted by MPC. Experience the tension, beauty, and unease of a future controlled by artificial intelligence! Vincent Frei The Art of VFX 2025

I came across a post from Beyond-FX about keeping your emissive material the same regardless of the exposure in the game level. The EyeAdaptation node is used in the post. I had encountered the EyeAdaptationInverse node in the tutorials, but didnt understand how it worked. So I decided to figure out how it works and whats the difference.What is Eye Adaptation?Eye Adaptation (also known as Auto Exposure) simulates how the human eye adjusts to different lighting conditions. When you move from a bright area to a dark one, the scene temporarily looks darker until your eyes adjust, simulating real-life vision. And vice versa. As in the example belowWhere to Configure ItYou can turn on/off and modify Eye Adaptation in Project Settings (Check the Auto Exposure to turn on)or edit in the Post Process Volume (that you need to add to the scene; the Auto Exposure from the project settings must be enabled) adjust speed, compensation, and brightness limits to control how your scene transitions between light and dark.P.S. In Unreal Engine, in order for Post Process Volume to apply effects to the entire scene (regardless of its size), you need to enable the Infinite Extent (Unbound) option.To keep the post-processing effects but TURN OFF the Eye Adaptation effect, in Exposure set Min EV100 and Max EV100 to 0.EyeAdaptation, EyeAdaptationInverse shader nodesI created a project, Auto Exposure is turned on, NO Post Process Volume.Created a simple debug material with Emissive 10, Translucent, Unlit.As a result, our Emissive value is always 10. BUT! We see that in the shadow the white circle becomes lighter, and in the light it becomes darker. This is because Auto-Exposure (Eye-adaptation) is enabled.Lets multiply our value of 10 with EyeAdaptation nodeWe see that the values have now been multiplied by ten, in the light emissive = 100, in the shade = 300Now lets divide Emissive (10) by EyeAdaptation, i.e. use the technique from the Beyond-fx post.We see that our Emissive values get smaller in the shadows (around 0.3) and larger in the light (around 1.2). BUT! Our white circle has the same Emissive.Lets use the EyeAdaptationInverse nodeAs we can see the result is the sameConclusion: Dividing Emissive (10) by EyeAdaptation and putting Emissive (10) in EyeAdaptationInverse = the same result = a constant brightness everywhere (The fact that the emissive numbers change is not important; we only care about our white circle.)But what happens if you split EyeAdaptation into Emissive (10) the other way around?We see that our white circle gets lighter in the shadows and darker in the light, but 10 times less than when we multiply EyeAdaptation by Emissive in Example 1.To summarize:Auto Exposure, Eye Adaptation simulates how the human eye adjusts to different lighting conditionsEyeAdaptation; EyeAdaptationInverse nodes = its a NUMBER varying with a scene lighting, if auto-exposure works.EyeAdaptation = Lighter in the shadows, darker in the light.Use EyeAdaptationInverse or divide an Emissive value by EyeAdaptation, if you want a constant brightness on any level and any auto-exposure settings.Homework: create nodes where your effect will lighten in the light and darken in the shade (honestly, I dont understand how to do it myself)

Palace of Justice (High Court) | Cemal EmdenWhen Le Corbusier was commissioned to design Chandigarh, Indias first planned city, the project was more than an exercise in urban planningit was a bold vision for a new democracy. The Capitol Complex, consisting of the Secretariat, Legislative Assembly, and the Palace of Justice (High Court), was intended to embody the ideals of transparency, order, and modernity.Palace of Justice Technical InformationArchitects1-4: Le CorbusierLocation: Chandigarh, IndiaClient: Government of PunjabArea: 21,000 m | 225,000 Sq. Ft.Project Year: 1951 1956Photographs: Cemal EmdenArchitecture is the learned game, correct and magnificent, of forms assembled in light. Le Corbusier 5Palace of Justice PhotographsFacade | Cemal EmdenEntrance | Cemal EmdenEntrance | Cemal EmdenWalls | Cemal EmdenRamp | Cemal EmdenLobby | Cemal EmdenOpenings | Cemal EmdenRamp | Cemal EmdenBrise-Soleil | Cemal EmdenFacadel | Cemal EmdenArchitectural Language and Formal CompositionThe Palace of Justice is the primary civic gateway within this composition, establishing a direct connection between governance and the public. The vast parasol-like roof, sculptural concrete piers, and rhythmic brise-soleil embody Le Corbusiers commitment to climatic adaptation and monumental expression. Designed as an open and transparent institution, the building reflects the ideals of justice in architectural form.The Palace of Justice exemplifies Brutalist design, with a strong emphasis on raw materials and geometric clarity. Constructed primarily from bton brut (raw concrete), its facade is characterized by deep recesses and bold structural elements reinforcing a sense of authority.A massive overhanging roof protects from Chandigarhs extreme climate while creating a sense of openness.Sculptural piers introduce a dynamic interplay of light and shadow, reinforcing the buildings monumental scale.A double-layered facade with brise-soleil ensures passive cooling and reduces glare, demonstrating an integration of environmental responsiveness and aesthetic rigor.The design maintains a careful balance between monumentality and human accessibility, framing an expansive portico that mediates between the institutional interior and the public realm. The integration of light, shadow, and space defines the buildings presence, while its structural elements assert stability and expressive form.A giant umbrella protects the High Court from the burning sun. Le Corbusier 5Palace of Justice Spatial ConsiderationsThe layout of the Palace of Justice is structured to accommodate judicial functions while maintaining a civic character. The interior spaces are defined by open-air corridors, high ceilings, and filtered natural light, creating an environment that contrasts the rigidity of conventional court buildings.The spatial organization aligns with Le Corbusiers modular planning principles, allowing for a degree of flexibility while preserving a monumental composition. Passive cooling strategies, such as deep overhangs and cross-ventilation, contribute to the buildings sustainability. However, the use of exposed concrete in a humid climate has presented challenges in terms of material preservation and weathering.The relationship between the buildings monumental exterior and functional interior reflects an approach that prioritizes symbolic representation alongside operational needs. Circulation patterns are designed to enhance accessibility while maintaining necessary security measures for legal proceedings. The openness of the structure contrasts with the often enclosed nature of judicial buildings, reinforcing an architectural dialogue between justice and public engagement.Legacy and Architectural InfluenceThe Palace of Justice remains one of Le Corbusiers most influential civic works, contributing to the broader discourse on Brutalist architecture and institutional design. Its impact extends beyond Chandigarh, influencing later projects such as Boston City Hall (1968) and Braslias National Congress (1960).The building is recognized as a key example of climatic adaptation in Brutalist architecture, integrating passive design strategies with monumental form.Its designation as part of the UNESCO World Heritage Site (2016) underscores its historical and architectural significance.Preservation efforts continue to highlight the challenges of maintaining exposed concrete surfaces in demanding environmental conditions.The Palace of Justice embodies a synthesis of monumentality, climatic awareness, and civic engagement, representing an era when architecture was conceived as an extension of political and social ideals. Its structural expression and spatial organization remain critical reference points for architects exploring the intersection of public architecture and modernist principles.Palace of Justice PlansElevation | Fondation Le CorbusierDrawing | Fondation Le CorbusierDrawing | Fondation Le CorbusierSketch | Fondation Le CorbusierDrawing | Fondation Le CorbusierPalace of Justice Image GalleryAbout Le CorbusierLe Corbusier (18871965) was a Swiss-French architect, urban planner, and theorist widely regarded as one of the most influential figures in modern architecture. A pioneer of Brutalism and the International Style, he championed functionalism, modular design, and raw concrete (bton brut). His works, including the Unit dHabitation, Villa Savoye, and Chandigarhs Capitol Complex, embody his Five Points of Architecture, emphasizing pilotis, open floor plans, and ribbon windows. Beyond buildings, Le Corbusiers urban planning theories, such as the Radiant City, sought to reshape modern living. His legacy remains profound, with his architectural philosophy continuing to inspire generations.Credits and Additional NotesLead Architect: Le CorbusierAssociate Architects: Pierre Jeanneret, Jane Drew, Maxwell FryConstruction Contractor: Various local contractors under the supervision of the Chandigarh AdministrationUNESCO World Heritage Site: Included in the UNESCO listing of Le Corbusiers Works (2016)Le Corbusier : Complete Works (Oeuvre Complete) byWilly Boesiger,Oscar Stonorov,Max Bill

NestingOn Shelter Island, Osprey House by Desai Chia Architecture looks to the native bird to inform material, form, and lightingByPaige Davidson January 23, 2025(Jake Balston)SHAREOn New Yorks Shelter Island, a quiet and stately home lies at the cusp of the areas interlacing tidal creeks, woodlands, and marshes of Marshomack Preserve. The Osprey House designed by Desai Chia Architecture was built for a local contractor and his family. The two-story home is perched up high above the marshland, a nod to how native ospreys have made their nests in the telephone poles and treetops nearby. But the home is informed by the local birds in more than just the site, avians also inform the residences materials, organization, light, details, and of course, its facade. Clad in vertical slats of gray cypress, charred through the shou sugi ban method, the Osprey House is aptly bird blind, minimizes visual noise for neighbors along the coast, and helps encourage wildlife to occupy the lot. Conceptually and visually, the home connects to its surroundings. The home is located on the edge of Mashomack, a 2,039-acre coastal nature reserve. This guided, as well as challenged, the structures relationship to the land. Desai Chias cofounding principal Arjun Desai shared with AN Interior, The homes construction could not significantly impact the site, meaning that earthwork, tree removal, and brush clearing had to be minimal. We were also focusing on having a minimal footprint on the land. In the end, these restrictions ensured that the home felt deeply embedded in its context.Read more about the residence on aninteriormag.com. New York StateResidential Architecture

BLAGThe BLAG 06 Digital CompanionBonus content from the adventures in sign painting in Issue 06 of BLAG (Better Letters Magazine).Better LettersJan 23, 2025 19 min readWork-in-progress on Elaine Wallis' sign painter portrait of Andrew McClellan at the American Sign Museum.As with previous issues, here is a deep dive into material that we couldn't squeeze into the pages of BLAG 06. As well as the pretty pictures, you'll also find videos, useful links, and further reading.I've set it up to follow the page order of the magazine, so that it serves as a digital companion to the print publication.Pillow GildThe photograph used for the poster insert by Veronika Jrgensen was taken by Brian Kure. While he was there he also captured this lovely reflective shot.Veronika Jrgensen reflecting on her 'Pillow Gild'. Photo: Brian Kure.Ye Olde Sign ShoppeHere is some more of the prolific output of Nicolo Granata in Caltanissetta, Sicily, shared by Serena Lanzalaco. And these are the two LussoGrafica books about his work.Mezzo Secolo di Pubblicit a Caltanissetta (Half a Century of Advertising in Caltanissetta) by the Marcel Duchamp AssociationL'uomo dal basco (The Man with the Beret) by Walter GuttadauriaShopfrontsSketch for the faade of the Marrocco fabric shop.The G. Falci toy shop, Salamone jewellers, and Michele Al patisserie.PackagingThis article is for paid subscribers only.Sign up to the Browser plan for access, or upgrade to Blagger for the added bonus of receiving BLAG (Better Letters Magazine) in print twice yearly.Subscribe nowAlready have an account? Sign in

The Information Commissioners Office (ICO) has embarked on a major review of cookie usage and compliance across some of the UKs 1,000 most-frequented websites as it prioritises giving consumers more choice and confidence in how their data is collected, stored and used.The regulator has already investigated the top 200 UK websites and said it has found concerns with 134, or 67%, of them which have been communicated to their owners.The ICO said it wanted to set out clearly the expectation that website operators must comply with data protection law by giving users meaningful choices and control as to how their data is used.Uncontrolled tracking intrudes on the most private parts of our lives and can lead to harm. For example, gambling addicts being targeted with more betting ads due to their browsing history or LGBTQ+ people altering their online behaviour for fear of unintended disclosure of their sexuality, said ICO executive director of regulatory risk, Stephen Almond.Our ambition is to ensure everybody has meaningful choice over how they are tracked online and what were publishing today sets out how we intend to achieve that.Last year, we saw significant improvements in compliance among the top 200 websites in what was a promising step forward for the industry. Now, we are expanding our focus to the top 1,000 websites and beyond that to apps and connected TVs.Well continue to hold organisations to account, but were also here to make it easier for publishers to adopt compliant, privacy-friendly business models. By combining advice, guidance and targeted enforcement, we aim to create an environment where businesses can succeed and people can have trust and control over their online experiences, said Almond.The concept of giving end-users meaningful control is one to which the ICO is cleaving in its 2025 strategy, through which it hopes to address the significant harm that can occur to ordinary people when online tracking practices are abused or misused.Complementing this strategy are a number of new measures to support businesses in adopting privacy-friendly practices and business models. These include the publication of draft guidance on tracking people using storage and access technologies such as cookies and fingerprinting; final guidance on the use of so-called consent-or-pay business models to help businesses balance tech innovation and revenue with data protection law; and potential reforms to support the use of new, privacy-preserving adtech, such as contextual models.The final guidance on consent-or-pay models which is now available for organisations to review via the ICOs website covers the practice of offering a choice between agreeing to receive personalised, targeted advertising to access a service for free, or paying for the service to avoid these adverts.In essence, it clarifies how organisations can use these models to give website visitors meaningful control while still supporting their own economic viability. It includes a set of best practices against which organisations should be prepared to assess their models to demonstrate their users have freedom of choice and consent.Tracking should work for everyone, said Almond. Giving people clear choices and confidence in how their information is used, while enabling businesses to operate fairly and responsibly. Our strategy ensures both.Read more about the ICOs workThe Open Rights Group is urging the Information Commissioners Office to revise its light touch approach to public sector data protection issues.ICO tool designed to make it easier for small businesses and sole traders operating online to create bespoke data privacy notices for compliance purposes.UK data protection watchdog joins forces with law enforcement agency to provide more support for organisations that fall victim to cyber crime and ransomware attacks.