India has been one of the top recipients of remittances in the world for more than a decade. Inward remittances jumped from $55.6 billion in 2010-11 to $118.7 billion in 2023-24, according to data from the country’s central bank. The bank projects that figure will reach $160 billion in 2029. This means there is an increasing market for digitalized banking experiences for non-resident Indians(NRIs), ranging from remittances to investing in different assets back home. Aspora (formerly Vance) is trying to build a verticalized financial experience for the Indian diaspora by keeping convenience at the center. While a lot of financial products are in its future roadmap, the company currently focuses largely on remittances. “While multiple financial products for non-resident Indians exist, they don’t know about them because there is no digital journey for them. They possibly use the same banking app as residents, which makes it harder for them to discover products catered towards them,” Garg said. In the last year, the company has grown the volume of remittances by 6x — from $400 million to $2 billion in yearly volume processed. With this growth, the company has attracted a lot of investor interest. It raised $35 million in Series A funding last December — which was previously unreported — led by Sequoia with participation from Greylock, Y Combinator, Hummingbird Ventures, and Global Founders Capital. The round pegged the company’s valuation at $150 million. In the four months following, the company tripled its transaction volume, prompting investors to put in more money. The company announced today it has raised $50 million in Series B funding, co-led by Sequoia and Greylock, with Hummingbird, Quantum Light Ventures, and Y Combinator also contributing to the round. The startup said this round values the company at $500 million. The startup has raised over $99 million in funding to date. Techcrunch event Save $200+ on your TechCrunch All Stage pass Build smarter. Scale faster. Connect deeper. Join visionaries from Precursor Ventures, NEA, Index Ventures, Underscore VC, and beyond for a day packed with strategies, workshops, and meaningful connections. Save $200+ on your TechCrunch All Stage pass Build smarter. Scale faster. Connect deeper. Join visionaries from Precursor Ventures, NEA, Index Ventures, Underscore VC, and beyond for a day packed with strategies, workshops, and meaningful connections. Boston, MA | July 15 REGISTER NOW After pivoting from being Pipe.com for India, the company started by offering remittance for NRIs in the U.K. in 2023 and has expanded its presence in other markets, including Europe and the United Arab Emirates. It charges a flat fee for money transfer and offers a competitive rate. Now it also allows customers to invest in mutual funds in India. The startup markets its exchange rates as “Google rate” as customers often search for currency conversion rates, even though they may not reflect live rates. The startup is also set to launch in the U.S., one of the biggest remittance corridors to India, next month. Plus, it plans to open up shop in Canada, Singapore, and Australia by the fourth quarter of this year. Garg, who grew up in the UAE, said that remittances are just the start, and the company wants to build out more financial tools for NRIs. “We want to use remittances as a wedge and build all the financial solutions that the diaspora needs, including banking, investing, insurance, lending in the home country, and products that help them take care of their parents,” he told TechCrunch. He added that a large chunk of money that NRIs send home is for wealth creation rather than family sustenance. The startup said that 80% of its users are sending money to their own accounts back home. In the next few months, the company is launching a few products to offer more services. This month, it plans to launch a bill payment platform to let users pay for services like rent and utilities. Next month, it plans to launch fixed deposit accounts for non-resident Indians that allow them to park money in foreign currency. By the end of the year, it plans to launch a full-stack banking account for NRIs that typically takes days for users to open. While these accounts can help the diaspora maintain their tax status in India, a lot of people use a family member’s account because of the cumbersome process, and Aspora wants to simplify this. Apart from banking, the company also plans to launch a product that would help NRIs take care of their parents back home by offering regular medical checkups, emergency care coverage, and concierge services for other assistance. Besides global competitors like Remittly and Wise, the company also has India-based rivals like Abound, which was spun off from Times Internet. Sequoia’s Luciana Lixandru is confident that Aspora’s execution speed and verticalized solution will give it an edge. “Speed of execution, for me, is one of the main indicators in the early days of the future success of a company,” she told TechCrunch over a call. “Aspora moves fast, but it is also very deliberate in building corridor by corridor, which is very important in financial services.”

Growing up steeped in the aggressive gender stereotypes of the 1990s was a real trip for most queer millennials, but I think gamers had it especially hard. Almost all video game characters were hypermasculine military men, unrealistically curvaceous fantasy women wearing barely enough armour to cover their nipples, or cartoon animals. Most of these characters catered exclusively to straight teenage boys (or, I guess, furries); overt queer representation in games was pretty much nonexistent until the mid 2010s. Before that, we had to take what we could get. And what I had was Link, from The Legend of Zelda.Link. Composite: Guardian Design; Zuma Press/AlamyLink is a boy, but he didn’t really look like one. He wore a green tunic and a serious expression under a mop of blond hair. He is the adventurous, mostly silent hero of the Zelda games, unassuming and often vulnerable, but also resourceful, daring and handy with a sword. In most of the early Zelda games, he is a kid of about 10, but even when he grew into a teenager in 1998’s Ocarina of Time on the Nintendo 64, he didn’t become a furious lump of muscle. He stayed androgynous, in his tunic and tights. As a kid, I would dress up like him for Halloween, carefully centre-parting my blond fringe. Link may officially be a boy, but for me he has always been a non-binary icon.As time has gone on and game graphics have evolved, Link has stayed somewhat gender-ambiguous. Gay guys and gender-fluid types alike appreciate his ageless twink energy. And given the total lack of thought that most game developers gave to players who weren’t straight and male, I felt vindicated when I found out that this was intentional. In 2016, the Zelda series’ producer Eiji Aonuma told Time magazine that the development team had experimented a little with Link’s gender presentation over the years, but that he felt that the character’s androgyny was part of who he was.“[Even] back during the Ocarina of Time days, I wanted Link to be gender neutral,” he said. “I wanted the player to think: ‘Maybe Link is a boy or a girl.’ If you saw Link as a guy, he’d have more of a feminine touch. Or vice versa … I’ve always thought that for either female or male players, I wanted them to be able to relate to Link.”As it turns out, Link appeals perhaps most of all to those of us somewhere in between. In 2023, the tech blog io9 spoke to many transgender and non-binary people who saw something of themselves in Link: he has acquired a reputation as an egg-cracker, a fictional character who prompts a realisation about your own gender identity.Despite their outdated reputation as a pursuit for adolescent boys, video games have always been playgrounds for gender experimentation and expression. There are legions of trans, non-binary and gender non-conforming people who first started exploring their identity with customisable game characters in World of Warcraft, or gender-swapping themselves in The Sims – the digital equivalent of dressing up. Video games are the closest you can come to stepping into a new body for a bit and seeing how it feels.It is no surprise to me that a lot of queer people are drawn to video games. A 2024 survey by GLAAD found that 17% of gamers identify as LGBTQ+, a huge number compared with the general population. It may be because people who play games skew younger – 40 and below – but I also think it’s because gender is all about play. What fun it is to mess with the rules, subvert people’s expectations and create your own character. It is as empowering as any world-saving quest.

Programmatic video advertising is a complex, multi-layered topic. Multiple networks serving different audiences — advertisers on the demand side and publishers on the supply side — work together with third-party mediators to serve video ads to billions of end users in the blink of an eye.It’s also a multi-billion dollar industry under constant, rapid evolution, and understanding it is key to reaching your audience and maximizing ROAS. Wherever you are on the demand or supply-side of the mobile ad stack, you should be aware of how the programmatic ad service process works and where things are headed.Let’s dive into programmatic video advertising and go over what it is, identify several key trends for the future, and break down how to choose a programmatic video platform that’s right for you.In this post, we’ll cover the following:What is programmatic video advertising?A timeline of growth for programmatic video advertisingProgrammatic video trends to watchHow to choose a programmatic video advertising platformMake programmatic video easyWhat is programmatic video advertising?For years, direct media buying — where advertisers made direct deals with publishers to determine exactly where their ads would run — ruled the landscape. And while direct media buying still works for static media, the advent of interactivity through the internet and smartphones allows for users to be directly catered to based on their individual interests. That’s where programmatic video advertising comes in.But what’s a good programmatic video definition? Essentially, as ads are served to users in mobile games, through connected TV experiences like Roku, or social media platforms, they are bid on in real-time by ad networks. The value of the bids is determined by characteristics like user demographics, what game they’re playing or app they’re using, and the bid ceiling set by the advertiser. The winner of the bid has their video served to the user.What makes programmatic video advertising so mind-blowing is that all of these bids are happening automatically in the fractions of a second between the moment an ad is called (like when a user taps on a button to double their reward in a game) and when it’s served. Market forces determine the cost of an ad, and data like user acquisition and ROAS can be monitored in real-time. And while the whole market cycle can seem intimidating and highly-technical, platforms like the ironSource Exchange make it easier than ever to integrate and display ads.To learn more about the benefits of programmatic video advertising and the channels best suited for it, read our guide, What Is Programmatic Video Advertising?A timeline of growth for programmatic video advertisingThe programmatic video ad market has seen an explosion of growth over the last few years, and it shows no signs of slowing down.In 2019, surveys showed that programmatic video ad spending grew to more than $24B. Only two years later, that number shot up to $52B according to a 2021 report by eMarketer, with the potential for ad spend reaching $62.96B in 2022. Mobile ad spend accounts for two-thirds of all programmatic video spending, with connected TV following behind and steadily growing.And that’s just in the United States. Global programmatic video ad spending reached $112.9B in 2019, eventually hitting $155B in 2021 and accounting for 34% of all global programmatic ad spend.As smart device and mobile game adoption grows, so too will programmatic video grow to meet the demand.Read more about programmatic video growth and learn about the top programmatic advertising video players in Your Guide to the 2022 Programmatic Video Advertising Market.Programmatic video trends to watchMobile advertising technology moves fast, and it’s important to have a sense of where things are headed so you can stay a step ahead of the competition.In terms of ad content, the rise of TikTok as a social media platform has caused a shift in the kinds of ads companies are creating for the programmatic video marketplace. Ads themselves are starting to look like TikToks, often being repurposed from TikTok itself to suit the more specific needs of mobile games and other apps. Videos are shorter, filled with dances or direct conversations, and often embrace subtitles or other text alternatives like written signs to present information.Privacy moves made by Google and Apple have made waves throughout the industry, as the removal of third-party cookies and updated app tracking policies are forcing mobile ad companies to get creative with data solutions. Advertisers are looking to first-party data to replace information third-party cookies would normally provide, and are implementing solutions like rewarded ads and the offerwall to paint a better picture of user data. It’s also leading to a wider move toward consolidation, as agencies look across the demand- and supply-side stack for opportunities to shore up weaknesses and strengthen their offerings.How to choose a programmatic video advertising platformProgrammatic video advertising platforms integrate with the demand side and supply side of the mobile advertising stack, and determining which platform is best for you will depend on which side of the stack you’re on.Advertisers looking for the best way to increase their return on ad spend (ROAS) will want to find a platform that offers the following:A large audience of engaged usersFull-screen video offerings that won’t go unnoticedEasy testing for a variety of creative and placement optionsSDK integration that provides access to thousands of connected appsIf you’re an app publisher looking to maximize user engagement and revenue, you’ll want to find a platform that can:Connect your app with a large network of advertisersProvide rewarded videos and offerwallsEasily integrate via industry-standard SDKsProvide support for programmatic mediation so you can ensure impartiality on ad bidsCheck out our guide on How to Choose a Programmatic Video Advertising Platform: 8 Consideration for more details on how to pick a platform that suits your needs.Make programmatic video easyThere are a lot of moving parts within the programmatic video advertisement world, and it can seem like a lot to take in. You don’t have to sweat the hard stuff, though. The ironSource Programmatic Marketplace makes putting your ads in front of billions of engaged users in brand-safe environments with complete transparency easier than ever. Contact us today to learn more.

Remedy's surreal take on co-op with FBC: Firebreak Game director Mike Kayatta discusses Remedy's approach to multiplayer titles, and how it balances appealing to fans and appeasing casual co-op players Image credit: Remedy Entertainment Feature by Sophie McEvoy Staff Writer Published on May 29, 2025 Much like Remedy's narrative-driven single-player games, FBC: Firebreak is a step into the unknown. Not for the player, but for the developer itself. Firebreak not only marks the first time that Remedy has developed a multiplayer game, but it's also the developer's first foray into a first-person shooter. But a project focused on session-based gameplay runs the risk of alienating fans of Remedy's lore-heavy third-person games, while potentially dissuading casual players from checking out its impressive back catalogue if the game doesn't click. Mike Kayatta, Remedy Following a hands-on preview of the game, GamesIndustry.biz spoke to Firebreak's game director, Mike Kayatta, to discuss Remedy's approach to developing its first co-op FPS title. He also explained how the studio balanced appeasing longtime Remedy fans while attracting seasoned co-op players unfamiliar with Firebreak's surreal world. Firebreak is a spin-off of 2019's Control, which follows Jesse Faden – the director of a secretive government agency known as the Federal Bureau of Control (FBC). Its headquarters, known as the Oldest House, is a shifting, paranatural building that holds all sorts of otherworldly entities contained by the organisation. Control sees the Oldest House under lockdown following the invasion of a hostile force known as the Hiss. Firebreak takes place six years after the events of Control, and the lockdown is still in place. Maintaining a balance Right off the bat, there's a hurdle of not overloading players new to Remedy with so much lore that they'll feel like they need to play Control to play Firebreak. As Kattaya explains, the studio prioritised not overwhelming those unfamiliar with its universe and appeasing fans that will be on the lookout for connections to other Remedy titles. "We set the game during a lockdown, which creates a narrative bubble for the FBC that also helps us create a bubble around the world itself," Kayatta notes. "So, if you know Control, then you might be interested in seeing what was going on in the Oldest House six years after the first game. And if you don't know Control, then you can step right into this moment and get a contained experience." Firebreak may be a spin-off, but Kayatta affirms it is firmly set within Remedy's connected universe (RCU) – which links the Control and Alan Wake franchises together. "Of course, we are set firmly within the RCU timeline and canon, so there are connections," he explains. "But we're very focused on protecting Control players who might not want to switch genres to get the 'whole story', and protecting co-op players who might not want to fire up an old game to get the full experience out of Firebreak." By maintaining this balance, Remedy has made a game that potentially encourages fans to step out of their comfort zone while also enticing less familiar players to dive into Remedy's back catalogue if the world intrigues them. Internally, Remedy also faced the task of producing a game in a genre it's not developed for before. Still, it has over two decades of experience in developing narrative-driven, immersive single-player titles, which offered the studio some advantages. "Even though games like Alan Wake and Control aren't all that similar to Firebreak in terms of genre and gameplay, they do all share a focus on immersive worlds and impactful narrative space," Kayatta says. "That sort of thing comes through lighting, audio, world design, and more somewhat direct crossovers. "When we look at what's different [about Firebreak], it's the perspective, the social nature of the game, and driving gameplay through systems. It's a combination of previous work experience outside of Remedy, personal experience as gamers or solo projects, and transference of other practical design skills into a new vision." Kayatta continues: "We do have a lot to learn and definitely face the task and players with a lot of humility, but there wasn't really a point where we felt like we didn't know how to go about something fun." Overcoming development obstacles Remedy also had to contend with approaching the game from a different perspective during the development process. Kayatta says the making of Firebreak differed in "so many ways" compared to Alan Wake 2 or Control, but that overall, every Remedy game release "is a miracle and Firebreak is no exception." "Even things as simple as playing the game suddenly takes three times the number of people," he emphasises. "Lots of typical production processes remain the same, but the rest has been a lot of adaptation and learning on the fly." This included playtests. Remedy has conducted a lot during Firebreak's development, even as recently as a couple weeks ago to test various game mechanics and matchmaking. The game is constantly changing – I'll have a totally different experience playing with friends post-release than I did during my playtest, and the devs were busy polishing things then, too. "Sometimes making games feels like nothing but overcoming obstacles," Kayatta laughs. "Honestly, it's been [like that] every single day. Sometimes it's about absorbing the pain, learning lessons, and pushing through to the next milestone. Other times, it's about seeking help from experts across the studio. Every single game released is a miracle and Firebreak is no exception. "Then, creatively, a lot has been shifting the mindset of what's the most valuable [aspects] to players and learning to let go of the control you have over players when making a single-player experience." Image credit: Remedy Entertainment Unlike Alan Wake 2 and Control, Remedy aren't guiding players through narrative cues. There are suggestions and hints of what needs to be done in a given situation, but players are given much more agency and control over how they approach obstacles with the arsenal they're given. As for the FPS aspect – there are plenty of guns to fire in Firebreak, but it's the 'crisis kits' that are the focal point. "Every single game released is a miracle and Firebreak is no exception" These three loadouts are tailored to a specific skill – one is electricity-focused for field control, another is impact-focused for problem solving, and one is water-focused for manipulating conditions like controlling flames and cooling down team members. Players aren't limited to what they use, either. All three players in a session can use the same kit, or they can plan who will use which kit to maximise the effects of teamwork during a session. The kits are also where Remedy's kookiness shines. Each kit has a tool related to its theme, whether that's a massive wrench or a hydro-cannon. Paranatural items known as 'Altered Augments' can be attached to these weapons, which provide bizarre – and at times chaotic – effects to give players the upper hand against enemies. For example, a paranatural teapot can be attached to the hydro cannon to super heat water globules into molten lava. Experimentation is key Giving players a varied loadout of guns and tools enabled Remedy to make Firebreak something newcomers to the FPS co-op genre could enjoy. This was achieved by providing the ability to adjust components to meet players needs and a progression system that doesn't focus on "power ramping." "Like most games, we front load a lot of the extremely impactful long-term progress, such as unlocking critical gear and abilities," Kayatta says. "And the 'mid-game' (if you want to call it that) is about getting your power up and upgrading what you like to use." Kayatta also clarifies they didn't want newer players to be locked out of the experience when playing with those who are familiar with how multiplayer FPS games work. "[Firebreak] doesn't dwell too long in the 'power ramping' phase and quickly shifts into promoting experimentation and forming playstyles," Kayatta notes. "We've also added things like the resonance system which can let players with access to strong builds actually share those abilities to anyone (so long as they stay close)." Speaking of progress, Kayatta notes that Remedy made it a priority for Firebreak to "feel like a fair experience for everyone" – whether you're playing for long or short periods of time. "For this, we made sure that the longer-term progression focuses more on unlocking options rather than raw power," he explains. "That players can create their own end-game challenges by adjusting threat, clearance, and corruption [levels] to meet their capabilities." Threat, clearance, and corruption control the difficulty of a job, with rewards scaling up accordingly based on the level of challenge. These aspects also enhance replayability – particularly corruption, which enables 'corrupted items' that modify the environment and enemy behaviours. Remedy's approach to microtransactions There's also a perk system that provides unique gameplay effects, which are achieved by levelling up or using in-game currency known as 'lost assets'. Players can also use in-game currency to purchase 'requisitions' – cosmetic items including armor sets, sprays, and weapon skins that have no effect on gameplay. Some requisitions are 'classified' meaning that players will need to spend real-money to unlock them. "We tried to think of ourselves as gamers and what we would want out of a game" When asked why Remedy went down the route of locking only cosmetics behind a paywall as opposed to a pay-to-win system like some other multiplayer titles, Kayatta says the team thought of what they would want out of Firebreak as players. "[This approach] is not a direct response to any particular mechanic or game, but it is different from many that you see in the multiplayer space," Kayatta explains. "Mostly, we tried to think of ourselves as gamers and what we would want out of a game. "Maybe it's a bit of a nostalgia, old man, 'kids-these-days' sort of thing to say, but dang. I miss games like Left 4 Dead 2 where you could just buy the game and play it when you feel like playing it. It felt easier to get friends on board and easier to kick back and enjoy things." Kayatta continued: "I don't like the stigma that comes with multiplayers today. I don't like how guarded I feel when I hear something is going to be supported after release. Support after release should be an awesome, exciting thing. So why, so often, does it make me feel worried somehow?" The future of Firebreak With that in mind, Remedy has implemented a solid roadmap to support Firebreak post-release. It launches with five jobs, with two additional jobs planned for this year and more to come in 2026. "It's always hard to predict the future, especially before we've released the game and gotten the chance to hear from players," says Kayatta. "We know we are going to support the game, we know we want to make it bigger this year, at least. "And going into next year, we want to know what's going to add value for players and do that. Is it more jobs? Could be, in which case that will be the plan. Is it something else? Let's see and then try to do that if it makes sense." "We're a small team with limited resources. We're trying to be super careful about where we put our attention" Remedy is steadfast on putting the players' needs first. All post-launch content will be free, and will be catered to what fans want out of the game they're spending their money and time on. "Ultimately, we're a small team with limited resources," he adds. "We're trying to be super careful about where we put our attention." As for the future of co-op games at Remedy, Firebreak sets a precedent for potential games set around its other franchises. So has the experience of developing Firebreak inspired the devs for similar games in the future? "Oh boy," Kayatta laughs. "The only future on my mind right now is getting Firebreak to players on June 17, then supporting them as best I can. As for anything else, to quote the wise Magic 8-Ball: 'Ask again later'."

Apple Music (for iPhone)4.5 ExcellentBottom LineApple Music’s radio stations, curated playlists, lossless playback, Dolby Atmos support, and excellent music-related content make it one of the best streaming audio services.US Street Price$10.99Learn MoreApple Music ReviewVSSpotify4.5 ExcellentBottom LineSpotify leads the streaming music pack with its deep music well, countless podcasts, early album access, collaborative playlists, and AI-powered curation.US Street Price$11.99Learn MoreSpotify Review (Credit: Apple/Spotify/PCMag)Plans and PricesApple Music's Individual plan ($10.99 per month) and Family plan ($16.99 per month, covering six people) cost slightly less than Spotify's equivalent tiers ($11.99 and $19.99 per month, respectively). Both services offer a discounted Student rate for $5.99 per month. These premium packages lack ads and offer unlimited skips per hour. You'll enjoy offline playback on mobile, too. That's where the price similarities end.Spotify has a Duo package ($16.99 per month) aimed at couples that saves a few bucks if you don't need a full Family plan. Don't want to spend any money on streaming music? Check out the ad-supported Spotify Free, which limits your skips per hour and only lets you listen to shuffled songs—you can't play tracks on demand.Apple Music, on the other hand, lacks a free tier. It's a subscription or bust. However, you get a free three-month trial upon purchasing AirPods, an iPhone, or another eligible Apple hardware.If free sounds good, Spotify is a worthwhile choice. If an ad-free subscription with a lower price than Spotify's premium offerings is more your speed, go with Apple Music. Winner: Tie(Credit: Apple Music/Spotify/PCMag)Content: Music, Video, Podcasts, and AudiobooksApple Music and Spotify have more than 100 million songs on their platforms, plus many playlists and videos. That means no matter the service you select, you'll have a lifetime's worth of tunes. So, it's the other content that may sway you in one direction or the other.Apple Music offers live radio, which Spotify lacks. That includes local stations and six dedicated Apple stations. However, Spotify trounces Apple Music with nearly seven million podcasts and 250,000 audiobooks. Those are huge numbers. Apple Music features just two million podcasts and zero audiobooks. Simply put, Spotify has more entertainment variety.Winner: Spotify(Credit: Spotify/PCMag)Music DiscoveryAny streaming music service worth its salt must have a good search engine and recommendation system. Spotify is the older and more experimental of the two platforms, giving you many ways to find content. For example, its For You page has a fantastic, easy-to-read layout that displays playlists and recently played albums. Scrolling up or down spotlights the latest releases from your favorite artists and related music acts.Recommended by Our EditorsSpotify's algorithms auto-generate playlists based on your listening preferences. For example, the Discover Weekly playlist is a cool, weekly mixtape of new music and deep cuts catered to your listening preferences. In addition, AI playlists are a cutting-edge feature that Spotify is exploring. Although still in beta, it lets you generate playlists via text prompts and even emoji. It’s a fantastic way to discover new music if you’re in an adventurous mood. However, if you're more of a hands-off listener, fire up Spotify's AI-powered disc jockey, DJ X, who queues your favorite tracks and adds new ones for variety. Of course, Spotify has curated playlists that cover a wide gamut of musical genres. Like Spotify, Apple Music's Home tab gives you quick access to new and familiar songs. The service also lets you create Stations, which are essentially endless queues of music based on whatever you’re listening to at the moment. Apple Music's Discovery Station is similar to Spotify's Discover Weekly playlist, as it features a music queue based on your listening habits. Apple Music features many curated playlists across different genres, just like Spotify.Both services have a search-by-lyric feature. So, if you can't quite remember a song title but you remember the hook, you can use those words to prompt a search. For example, type, "I said, 'Hey what’s going on,'" into the search box and you'll get results for the song "What’s Up?" by 4 Non Blondes (as well as the arguably superior Slackcircus cover). Apple Music's discovery and recommendation systems are good, but Spotify's AI-powered DJ and playlists top them.Winner: Spotify(Credit: Apple/PCMag)Music Streaming QualitySpotify supports audio streams of up to 320kbps. The audio is serviceable for casual listening and could potentially save you money due to its lower data usage compared with Apple Music. That said, Apple Music has better quality audio, no question. Apple Music streams range between 16-bit/44.1 kHz (CD Quality) and lossless 24-bit/192kHz audio files, which is crisp, high-definition audio. The service also supports spatial audio with Dolby Atmos. Not every track supports it, but many do. Apple even provides extensive playlists with music that takes advantage of this audiophile-centric format. Keep in mind that this audio disparity may not affect your day-to-day listening experience, depending on how you consume music. This is especially true if you listen via Bluetooth headphones. Bluetooth streaming comes with audio compression and bandwidth limitations, so you won't enjoy the depth and richness Apple Music delivers. Wired connections are a different story. So, audiophiles with high-quality headphones may pick up Apple Music's sonic superiority.Winner: Apple Music

Key Takeaways Maxsun unveiled the new Intel Arc Pro B60 Dual GPU video card, featuring two 24GB Pro B60 GPUs. It features a blower-style fan, ideal for building complex workstations with multiple cards. Although the pricing isn’t made public yet, we expect it to be around $1,000, which can be a competition-killer. Remember the good old CrossFire days when you could hook up multiple AMD GPUs to achieve higher performance? Well, those days might be returning thanks to the new Intel Arc Pro B60 Dual GPU launched by Maxsun at Computex. It PCIe features two 24GB GPUs in a single card, meaning you can get 48 GB of GPU memory. What’s incredible here is that the Arc Pro B60 only needs 8 PCIe lanes, unlike some high-end GPUs that need 16. However, you’ll need an X16 motherboard/CPU combo that supports PCIe bifurcation. In that case, the entire x16 slot can be split into two x8 connections. Interestingly, the Arc Pro B60 isn’t marketed as a gaming GPU – it’s meant primarily for workstations that require high computing power for tasks such as rendering, animations, moderate AI development, 3D modelling, etc. This is why it features a unique blower-like fan instead of the typical open-air fan we see in gaming CPUs. Unlike open-air fans that spread the heat out inside the case, a blower-style fan works like a hairdryer by pushing the heat out from the inside of the case. While the cooling efficiency of a blower fan might be lower on a single GPU, they turn out to be more effective in stacks, which is exactly what the Arc Pro B60 is meant for. So, if you’re building a workstation with 3 Arc Pro B60s, a blower-style fan ensures all 6 GPUs can be cooled without overwhelming the entire setup, making it better for ‘stacking.’ Comeback of Multi-GPU Setups Multi-GPU setups were quite the thing back in the day. We’re sure that a couple of die-hard builders in our team would serve up puppy eyes thinking about hooking up two 16GB GPUs to get more power. However, despite the widespread belief that you would get double the performance, memory was only enhanced by 30-50%. Still, these CrossFire setups served the purpose, i.e., gamers could play resource-intensive games. It’s worth noting that such dual-GPU setups faded away with the rapid development of newer GPUs. In short, single GPUs became powerful enough to overshadow dual GPUs. Eventually, a lot of applications and games stopped supporting CrossFire setups. With the new Intel Arc Pro B60, dual GPUs might make a mini-comeback. They’re not returning to the gaming arena, but to data centers, workstations, and AI setups. NVIDIA hasn’t promoted this in a long time, pushing its expensive GPUs into the market instead. This is also precisely where Intel wants to punch harder – the price point. Although we’re still waiting for the exact details on the Intel Arc Pro B60 dual GPU setup price, experts believe it could be priced around $1,000-$1,200. To get the same 48 GB of VRAM, you might have to spend $5,000-6,000 with models like the NVIDIA RTX 6000 Ada. Of course, there will be performance differences between the two, too, but getting at-par VRAM is the first step of the process. Honestly, if power-intensive workspaces are able to get 48 GB of VRAM at 70-80% less cost, this dual GPU setup can become a market killer. In other news, Intel has also announced Project Battlematrix – a solution that supports AI workloads that can combine up to eight Intel Arc Pro GPUs in a system, with 192 GB of VRAM. The company seems to be working hard on the workstation and data processing industry – something NVIDIA and AMD haven’t catered to explicitly yet. This could give Intel a first-mover advantage. If it can achieve comparable performance with some modern NVIDIA chips, the new Intel Arc Pro B60 can revive the Blue team. Read more: Nvidia’s downgraded H20 chips might not be enough to stop China’s Ai ambitions Krishi is a seasoned tech journalist with over four years of experience writing about PC hardware, consumer technology, and artificial intelligence.  Clarity and accessibility are at the core of Krishi’s writing style. He believes technology writing should empower readers—not confuse them—and he’s committed to ensuring his content is always easy to understand without sacrificing accuracy or depth. Over the years, Krishi has contributed to some of the most reputable names in the industry, including Techopedia, TechRadar, and Tom’s Guide. A man of many talents, Krishi has also proven his mettle as a crypto writer, tackling complex topics with both ease and zeal. His work spans various formats—from in-depth explainers and news coverage to feature pieces and buying guides.  Behind the scenes, Krishi operates from a dual-monitor setup (including a 29-inch LG UltraWide) that’s always buzzing with news feeds, technical documentation, and research notes, as well as the occasional gaming sessions that keep him fresh.  Krishi thrives on staying current, always ready to dive into the latest announcements, industry shifts, and their far-reaching impacts.  When he's not deep into research on the latest PC hardware news, Krishi would love to chat with you about day trading and the financial markets—oh! And cricket, as well. View all articles by Krishi Chowdhary Our editorial process The Tech Report editorial policy is centered on providing helpful, accurate content that offers real value to our readers. We only work with experienced writers who have specific knowledge in the topics they cover, including latest developments in technology, online privacy, cryptocurrencies, software, and more. Our editorial policy ensures that each topic is researched and curated by our in-house editors. We maintain rigorous journalistic standards, and every article is 100% written by real authors.

On November 1, more than 19,000 members of the Unity community joined us from around the world, both virtually and in-person, for a full day of gamedev inspiration, education, and connection. Following the keynote, attendees were able to experience fellow creators’ projects, participate in expert-led sessions, network with peers, and even attend a first-of-its-kind, multiplatform virtual concert.With over 20 streamed sessions throughout the day and five unique local experiences, here is a roundup of notable highlights from Unite 2022.Senior Machine Learning Developer Florent Bocquelet expanded on a tool and Real-Time Live! Audience Choice Award-winning project that first debuted this summer at SIGGRAPH 2022. The session “Authoring character poses with AI” walked attendees through how the technology – which is not yet available – is being designed to work in the Editor to enable easier creation of natural-looking poses.Benoit Gagnon, a senior software developer, modeled ways for users to handle persistent data in a multiplayer context during the session “Persistent worlds: Managing player and world state.” The technical deep dive also covered PlayerPrefs, CloudSave, and general-purpose DBs, and offered a glimpse at what’s next from Unity Gaming Services.Of the more than 20 virtual sessions, nine featured leading minds from creators like you who use Unity day in and day out to optimize your projects, including:Renaud Forestié, director and Unity Asset Store publisher at More MountainsNic Gomez, senior games designer at AltaFreya Holmér, studio founderBen Hopkins, expert graphics engineer at Owlchemy LabsRohan Jadav, platform engineer at SuperGamingBrandon Jahner, CTO at MalokaManesh Mistry, lead programmer at ustwo GamesErick Passos, SDK lead developer at Photon EngineWe also caught up with creators from Triangle Factory, Vinci Games, and Obsidian Entertainment during the keynote session.Get the inside scoop on the Unite 2022 experiences hosted in five unique locations at Unity offices around the world.After networking and breakfast, Senior Vice President and General Manager of Create Solutions Marc Whitten welcomed the Austin crowd before the global keynote stream. For the rest of the day, attendees had the chance to check out exclusive in-person sessions, global virtual streams, and panels, and chat live with experts at the “Ask the Experts” booth. The day concluded with a fireside chat between Marc Whitten and Jeff Hanks, director of marketing for industries.Kicking off with breakfast burritos, Unity Senior Vice President Peter Moore welcomed a packed crowd at the Brighton office for the Unite 2022 keynote stream. The day continued with enthusiasm as attendees filled rooms to watch session streams, live panels, and roundtable discussions. Topics exclusive to Brighton ranged from understanding your audience from a scientific perspective to how Unity identifies and fixes bugs. Brighton also featured a very popular iiRcade machine and four “Studio Spotlights” featuring local studios who talked about their latest games and how Unity helped bring each to life.At yet another Unity office, Copenhagen guests were also welcomed with breakfast and an introduction from Senior Director of Product Management Andrew Bowell. In addition to its own iiRcade console and chances to check out the Made with Unity games featured in the keynote – Cult of the Lamb, Turbo Golf Racing, and Hyper Dash – attendees were treated to exclusive panel discussions as well as a fireside chat between Head of Marketing Strategy, Analytics, and Insights Deborah-Anna Reznek and Senior Vice President of AI Danny Lange.Despite a rainy day, Montreal welcomed a solid mix of students and teams from mid- to large-sized studios. Luc Barthelet, senior vice president of technology, kicked off the day. Following the keynote stream, participants had their choice of roundtables, panels, and presentations to attend. The Montreal office also hosted 24 Unity Insiders from around the world, including Ireland, the Netherlands, Brighton, Portugal, Vancouver, and Toronto. This group participated in a VIP experience that featured exclusive tracks catered to their areas of interest.The San Francisco experience had a great turnout and offered a choice of three different tracks for attendees, which included breakout focus groups, roundtables with Unity experts, and panel discussions. One such session featured Clive Downie, senior vice president and general manager for Consumer, as he moderated an interactive discussion with Ingrid Lestiyo, senior vice president and general manager for Operate Solutions, and the creators of Ramen VR (pictured below) amid a packed room. Another standout session was CEO John Riccitiello’s fireside chat with indie game developer Thomas Brush. To cap off the memorable day, attendees continued the festivities with a happy hour.It was so great to connect with our Unity community at a Unite event again (for the first time since 2020). Please continue to join us on our journey toward making the world a better place with more creators: connect with us through the forums, Twitter, Facebook, LinkedIn, Instagram, YouTube, or Twitch. And keep your eyes peeled in the coming months for on-demand session recordings so you can check out anything you missed.

Laurie Baker never advocated an imitation of his architecture. He instead intended that his design principles would generate a truly Indian architecture. ‘Be honest and truthful in design, material usage, construction, costs, and about your own mistakes,’ he wrote as one of 20 guiding principles, which he duly respected in his projects. His last major commission started as the Navayatra community living centre, and became the Laurie Baker Centre for Habitat Studies (LBC), a place where his design ethos and philosophy live on.  The project started in 1994, when Baker was 77 years old. Keith Saldanha, an economist based in Canada, decided to relocate to the southern Indian state of Kerala and build a community centre dedicated to fostering creative abilities for children with special education needs. Having purchased a three‑and‑a‑half‑acre site in Vilappilsala, outside the city of Thiruvananthapuram, Saldanha named his project Navayatra, or ‘a new journey’, and reached out to Baker. He had heard of the British‑born Indian architect, whose full original name was Lawrence Wilfred Baker, because his work in the region had been gaining traction. Baker was rigorous in applying his own design principles (Laurie Baker Centre) The small yet densely populated state of Kerala, created in 1956, had become known as a ‘model of development’ in the ’70s. An extended period of political stability under the able stewardship of successive communist governments led to significant improvement of human development parameters, including health, education and housing, despite low economic growth. Baker’s cost‑effective design philosophy and work resonated with the holistic welfare ideology of then chief minister Chelat Achutha Menon, who commissioned him to design several welfare projects, despite his ‘unconventional’ building methods. After he retired in 1985, Achutha Menon founded the Centre of Science and Technology for Rural Development (COSTFORD), a non‑profit, with Baker as its chief architect. His innovative approach to sustainable and cost‑effective architecture emphasised the use of local resources, labour and harmony with the natural environment. ‘Always study your site: its soil, topography, water, climate and neighbours (noisy temples, smelly factories, etc)’ was another of Baker’s principles. In his sketch for Navayatra’s masterplan, Baker meticulously noted the natural features; his proposal made the most of the complex topography, preserving the prominent granite rock formations as well as the scattered coconut and mango trees. The abandoned quarry pit was turned into a rainwater harvesting tank, which catered to the water requirement of the new centre all through the year. Functional spaces were housed on the high rock outcrops so that the natural drainage would not be disturbed and to curtail foundation costs.  Construction began in 1996, with a meandering pedestrian path connecting the different buildings. Each one is unique, but they are held together by the consistent use of exposed brick and the verdant landscape. The canteen hugs the rocky edges of the large granite quarry pit, with steps descending from its kitchen to the water body. The circular array of bedrooms in the guest house preserves the existing trees, while the undulating roof of the dormitory mimics the adjacent rock formations. The curved, perforated brick walls, while appearing irregular, are meticulously designed to respond to the site’s visual context and prevailing breezes. Baker’s rejection of rigid geometries made his spaces fluid, dynamic and adaptable. Each space appears to flow seamlessly into the next, a quality particularly exemplified in the dormitory.  Read Laurie Baker’s Reputations essay Discarded materials such as cut bricks, glass bottles, stone chips, timber pieces and broken tiles, all sourced within a 5km radius of Vilappilsala, were repurposed throughout the site, and local labour was employed. Baker had an in‑depth understanding of brick, timber and stone, which he deployed in myriad ways. He himself facilitated training, in collaboration with his engineer and constant companion PB Sajan. ‘Laurie Baker firmly refused ostentation and decoration for its own sake,’ recalls Sajan, ‘yet his buildings were never dull. There would always be an element of surprise, either in the use of an ordinary material or the geometrical interpretation of space. He believed in the intrinsic beauty of all things, living and non‑living.’     The spaces designed by Baker must be appreciated in light of his design philosophy. The 20 principles of architecture that he advocated in his writing and talks are an amalgamation of his Quaker beliefs and the Gandhian ideal of commitment to social justice and non‑violence; he believed architecture should be a non‑violent insert into the land and local ecology. This new aesthetic was refreshingly non‑invasive, even if it alienated some contemporary modernists. Baker’s innovative adaptation of local craft techniques was both playful and resourceful. His designs, frugal and pragmatic, were driven by a desire to be cost‑effective – rather than the expression of purely stylistic choices.  The programmatic needs of Navayatra evolved and translated into the construction of new structures, including accommodation for invited artists and a residential space for the client. There was no electrical connection on the site; all activities took place in the daytime. The extensive use of perforated walls helped to keep the spaces cool and well ventilated. The dormitory, on the higher western edge of the site, is the last structure Baker designed for Navayatra. It was the primary learning and living quarters for the tutors who conducted classes. Its semi‑open terrace, nestled in the undulating roof, proved an ideal learning and interactive space. Its completion in 2002 marked Baker’s last site visit to Navayatra.  PB Sajan continued work on the site, designing, for example, the two small structures along the pathway at the entrance, for which Baker gave his approval. Both were experiments to test concrete roof slabs using bamboo reinforcement instead of steel rods. The centre continued to function as a vibrant community space for a couple of years, but once Saldanha moved out, due to deteriorating health, managing Navayatra became difficult. At the same time, COSTFORD, still under the guidance of Laurie Baker, required a dedicated space. The architect welcomed Saldanha’s offer to sell Navayatra, with a view to turning it into an independent centre for learning that would focus on innovation and research in alternative building technologies, but financial constraints, as well as Baker’s failing health, delayed the process. Two years after Baker’s death in 2007, Kerala’s finance minister sanctioned 8 million rupees (£70,000) to purchase the land. The Laurie Baker Centre for Habitat Studies was inaugurated in October 2009; Sajan has since been the director of both COSTFORD and the LBC. The centre encourages the appropriate use of natural resources, disseminates non‑conventional and eco‑friendly design strategies, and provides hands‑on training in innovative construction methods. ‘The thrust is not to propagate a “Laurie Baker architecture” but to understand the sound principles behind his life’s work,’ explains KP Kannan, chairman of LBC and COSTFORD, ‘and apply them to questions of housing and inclusive development.’  Due to the steep spike in construction over the decade, Kerala faces an acute shortage of sand (because of uncontrolled sand mining), granite (quarrying of hills is rampant) as well as bricks (as suitable clay is becoming scarce). The LBC’s research on, and advocacy of, alternative and low‑energy construction materials has led them to turn to mud and bamboo, while continuing to explore the use and potential of recycled materials. Sajan and the COSTFORD team designed additional buildings for the LBC, including an office annexe and a four‑storey library used for research. They also added spaces for workshops and for treating bamboo to Baker’s original masterplan, and the entire centre has been availed of electrical and plumbing connections for a better work environment.  Built primarily with mud and bamboo, the new office annexe and library serve the functional purpose of the centre, but stand out from Laurie Baker’s original designs and fail to blend into his original masterplan, even though they do follow nearly all his design principles. Baker liked to advise to ‘use common sense and have fun designing’, but the playfulness feels absent, as these two new buildings are primarily concerned with showcasing construction techniques. As a result, they compromise on spatial quality. While all of Baker’s structures were strategically positioned in relation to one another, the library seems isolated; it is conspicuous instead of blending in with the older brick buildings and the landscape. The play of light and darkness, the fluidity of spaces and the meticulous attention to detail, which are the salient hallmarks of Laurie Baker’s designs, are also missing in these new additions. The temporary sheds used for training sessions and workshops could have been envisioned as thatched pavilions instead of pitched blue tarpaulins.  What makes LBC’s success, however, is the strength of its educational programmes: the sharing of knowledge about alternative building technologies with architecture students, and the willingness to build on existing research and their own archive, which is made accessible to all visitors. Students, professionals and construction workers all come here to learn about dry rubble stone masonry, building with mud, bamboo treating and joinery, brick arches and walls, including Baker’s much loved rat trap bond, as well as the preparation of lime plasters. The centre is interested in further researching water management and establishing a permanent material lab and research space for scholars and professionals. In his lecture ‘Truth in Architecture’ at Thiruvananthapuram’s College of Engineering in 1982, Baker critiqued the resource‑intensive architecture that was starting to mushroom in the city. The indiscriminate use of concrete, excessive ornamentation and overconsumption of resources were popularly understood as a marker of status. Baker foresaw the impending crisis that such excesses would trigger. What he anticipated has only accelerated. In the face of the climate emergency, Kerala confronts significant challenges, including diminishing natural resources and rising construction costs coupled with sluggish economic growth. Ahead of its time, Baker’s practice advocated a pragmatic and reasonable use of resources – ‘don’t rob national resources and do not use them extravagantly and unnecessarily,’ he wrote in his list of principles. To this day, Baker’s philosophy represents a vital rallying call to interrogate contemporary notions of modernity.  This article was featured in the May 2025 Circularity issue. Purchase your copy here

Gen Z is big into retro cameras. It's something that took me by surprise when the youth movement toward old Coolpix, Cyber-shot, and PowerShot pocket cameras gained enough traction to warrant reports from NPR and The New York Times. Young creators want small cameras that give a different aesthetic than smartphones, with digital noise and the distinctive look of direct flash you won't get from an iPhone snapshot. The problem? You're left scouring eBay or used shops to get a good-quality pocket camera because the few made today cost a bundle and are frequently sold out at stores.So when Fujifilm briefed me on the features of its latest digital camera, the X Half, just about everything seemed perfect for Gen Z photogs. The Half is pocket-sized, has an optical viewfinder, snaps pics in a social-friendly vertical 3:4 aspect ratio, and includes a baker's dozen Film Simulation profiles to give pictures an analog look. Plus, the Half looks great—Fuji's designers are experts at making new cameras with vintage flair.But instead of using a Xenon flash like an old compact, its built-in flash is LED, like a smartphone, and it doesn't work with external flashes. It seems like a missed opportunity for a camera otherwise catered to an over-connected generation that's looking for a disconnected device to use for photography.(Credit: Fujifilm)For instance, you can set the Half to Film Camera mode, in which you'll pick a film simulation and a number of images (36, 54, or 72), and snap a virtual roll with just the optical viewfinder and no option to play back photos in camera. When you finish the roll, you'll need to send it to a smartphone app to develop into individual photos, plus a simulated contact sheet showing the whole roll.Recommended by Our EditorsOf course, you can also use the X Half to take individual photos. It has an optical viewfinder and two rear LCDs. One shows a preview of your photo (or playback) and serves as the main menu, while the second shows a graphic with the current film setting and lets you swipe between options. It has one more neat feature: a film advance lever that lets you create two-shot diptychs in camera. Take a picture, advance the lever, and your next photo will complete the pair.I'm looking forward to trying the X Half and seeing how it works for myself. I'll be sure to try the LED flash for some snapshots to see if it's able to get close to achieving the direct flash look that's all the rage. But I can't help but think that a proper Xenon flash or a hot shoe would have made this one an instant hit with younger creators. Heck, I'd be happy with a center-pin hot shoe, as there are loads of small, inexpensive add-on flashes like the Godox Lux Elf that would have paired well with this camera were it compatible. Time will tell if it's as in-demand as Fuji's most recent TikTok darling, the X100VI, an upscale alternative with a proper Xenon flash tube built-in, plus a hot shoe for an add-on. The X100VI is a hot item that's been on backorder since launch, leaving impatient photographers to pay inflated aftermarket prices to get one without a wait.The X Half will be available in late June for $849.99. Stay tuned for my full review.

While it's true that Power Rangers is catered for children, some stories within the franchise are actually surprisingly fleshed-out and well-developed for their target audience. In fact, it's precisely because of riveting plots of some Power Rangers series that made them quite iconic not just to kids but even adults today. While it's true that viewers need to extend some sort of suspension of disbelief when watching these teenagers save the world, the level of detail production has put into some of the series has made a Power Rangers team even more awesome than they already were.