Fabric8Labs, a San Diego-based manufacturer specializing in Electrochemical Additive Manufacturing (ECAM), has been selected by AEWIN Technologies to supply thermal management components for its next generation of Edge AI systems. AEWIN, a provider of high-performance network platforms and a member of the Qisda Business Group, will integrate ECAM-produced copper components into its upcoming cooling infrastructure. The partnership addresses increasing thermal challenges in high-density computing environments. Fabric8Labs’ ECAM process enables the additive manufacturing of pure copper structures with high geometric resolution. AEWIN is deploying ECAM-based 3D micro-mesh boiler plates that increase heat exchanger surface area by over 900% and provide thermal improvements greater than 1.3 °C per 100W compared to leading conventional alternatives. “Our collaboration with AEWIN represents a significant step forward toward the future of thermal management. We are thrilled to support AEWIN by enabling them to achieve their sustainability targets and meet the growing power demands of advanced AI accelerators,” said Ian Winfield, Vice President of Product & Applications at Fabric8Labs. ECAM enables high-resolution, customized designs. Photo via Fabric8Labs. AEWIN’s system-level designs are optimized for both PFAS and PFAS-free coolants, supporting various two-phase immersion cooling methodologies. According to Dr. Liu, Director of the Advanced Technical Development Division at AEWIN Technologies, “The exponential growth of data and Edge AI complexity requires the most advanced on-premises computing. Through our advanced system-level design, we are able to leverage Fabric8Labs’ ECAM technology to optimize solutions for high efficiency, power usage effectiveness, and reduced total cost of ownership.” The ECAM manufacturing platform enables the production of 3D cooling structures without requiring powder beds or laser-based processes. Fabric8Labs’ approach allows for the fabrication of complex copper geometries suitable for thermal management applications, including capillary network designs that enhance coolant flow at the boiling interface. AEWIN reports that the use of these ECAM-enabled boiler plates supports achieving Power Usage Effectiveness (PUE) below 1.02. Founded in 2015, Fabric8Labs develops ECAM systems for electronics, medical devices, communications equipment, and semiconductor manufacturing. Its technology is designed to support dense thermal architectures in data centers and Edge AI infrastructure. The additive process is capable of producing detailed structures with reduced material waste compared to conventional subtractive or powder-based methods. AEWIN will exhibit its advanced immersion cooling platform utilizing ECAM-enabled thermal components at Computex 2025, Booth No. M0120. 3D Printed Thermal Components Expand Across Sectors Donkervoort Automobielen, a Dutch supercar manufacturer, recently partnered with Australia-based Conflux Technology to integrate 3D printed water-charge air coolers (WCAC) into its P24 RS model. Using aluminum alloys and tailored fin geometries, the Conflux-designed WCAC units reduce weight from 16 kg to just 1.4 kg per cooler. By relocating the system into the engine bay and shortening the inlet tract, the new thermal architecture enhances throttle response and packaging efficiency. The additively manufactured design, inspired by Formula 1 cooling technology, was adapted for a road-legal vehicle. In another recent example, Alloy Enterprises developed a high-efficiency cold plate for NVIDIA’s H100 PCIe card, addressing power density challenges in advanced computing. The component was fabricated from 6061 aluminum using the company’s proprietary Stack Forging process. It features 180-micron microcapillaries, gyroid infill, and monolithic inlet/outlet channels—all optimized using nTop’s generative design software. With a final weight under 550 grams, the liquid cold plate delivers targeted cooling through simulation-derived internal structures. The 3D printed aluminum cold plate. Photo via nTop. Ready to discover who won the 20243D Printing Industry Awards? Subscribe to the 3D Printing Industry newsletter to stay updated with the latest news and insights. Take the 3DPI Reader Survey — shape the future of AM reporting in under 5 minutes. Featured photo shows ECAM enables high-resolution, customized designs. Photo via Fabric8Labs. Anyer Tenorio Lara Anyer Tenorio Lara is an emerging tech journalist passionate about uncovering the latest advances in technology and innovation. With a sharp eye for detail and a talent for storytelling, Anyer has quickly made a name for himself in the tech community. Anyer's articles aim to make complex subjects accessible and engaging for a broad audience. In addition to his writing, Anyer enjoys participating in industry events and discussions, eager to learn and share knowledge in the dynamic world of technology.

On the right bank of the Naviglio Grande, a canal that runs through Italy’s Lombardy region some 20 miles from Milan, the landscape alternates between industrial warehouses and cultivated fields. Along the historic waterway system which dates from the 12th century, there are a series of patrician residences, pleasure villas, and elegant rural farmhouses that still stand, along with what remains of their parks and gardens, side-by-side with more recent houses.The entrance gate of Villa Clari-Monzini, the oldest and largest of the villas on the right bank of the Naviglio canal, to which it was once connected via a tree-lined avenue that continued on the opposite side of the waterway to the nearby Piazza del Teatro. Arriving in Cassinetta di Lugagnano after traveling along the Naviglio bike path, one finds one of the richest towns in the region in terms of its architectural legacy. When the Barlaam family made that same journey, they couldn’t help but notice the Villa Clari-Monzini: “It was in very bad condition, but it was still beautiful and shortly thereafter it was renovated and divided into apartments. We decided to move there, to the main floor of the villa, far from the stress and hassles of the big city,” says Riccardo, Simone’s father. The younger Barlaam is a Paralympic swimming champion who won four gold medals between the recent games in Tokyo and Paris.Cosmos coffee table by Jeffrey Bernett (B&B Italia). Logo lamp, a Chinese checkers board by Joe, and Lawrence ottoman (all Armani/Casa). Simone Barlaam leans against a handcrafted crystal table in the living room of his home. Clothes by Armani. “I grew up here, among the frescoed walls and coffered ceilings of the large ballroom that has become our living room, and ever since I was a child I’ve always felt this house was welcoming. When we lived in Milan I might have dared to scribble on the walls—I was a creative kid—but here I was never tempted to do so,” says Simone, who returns here on weekends to recharge.In the living room, LC4 chaise longue by Le Corbusier (Cassina), handcrafted crystal table, Plywood chairs by Charles and Ray Eames (Vitra). Taraxacum 88 chandelier by Achille Castiglioni (Flos). “When the world shuts down, I find some quiet time to draw. It’s something I do for myself, which makes me feel similar to how I do when I’m in the water.”—Simone BarlaamLate at night, Barlaam invents his alternative heroes inspired by the art he is surrounded by and the Italian comic books by his side during childhood, from Diabolik to Zerocalcare. “When the world shuts down, I find some quiet time to draw. It’s something I do for myself, which makes me feel similar to how I do when I’m in the water when I’m training. It’s an isolation that makes me focus on my body, on lightness, on harmony; I always feel a bit awkward on dry land but in the water I become agile and graceful,” Barlaam says.Dozens and dozens of sheets of paper can be found in the family’s home, essential material for this self-taught drawing talent. Illustrations from the Italian children’s story “Road to Cortina” can also be found in the flat. “In high school I reproduced one of the frescoes in the villa. I recreated it in color, although I usually prefer to work in black and white.” It’s part of his effort to engage an ever-growing audience, and to recount his journey to the 2026 Winter Olympics.Snow, the family’s Samoyed. The kitchen is by Binova, with Corian countertop. Venetian terrazzo floor. In one of the rooms, a reclaimed wood door. Rondò armchair (Armani/Casa). Beside the fireplace, double Parentesi lamp by Achille Castiglioni and Pio Manzù (Flos). Outside, evening descends over the Lombardy countryside and the beautiful back garden. The floors inside of the 17th-century villa are now a light, uniform Venetian terrazzo that highlights the thresholds of doors with a slightly darker hue. (The villa once operated as a spinning mill which irreparably damaged its original floors.) The doors themselves were recovered from the middle of fields where they had been discarded, covered with several layers of varnish. They have now been cleaned and left unfinished, beyond a light wax treatment, giving them their original appearance.

The video game-to-Hollywood pipeline is prepping for a doozy. A24 announced Elden Ring is the latest hit game slated to get a live-action adaptation, with Ex Machina and Civil War’s Alex Garland signed on to direct. What exactly the result will be is anyone’s guess, and fans aren’t quite sure whether to praise the sun or get ready for a flop.Suggested ReadingThe Most Sought After Elden Ring Sword Has A Storied History Share SubtitlesOffEnglishview videoSuggested ReadingThe Most Sought After Elden Ring Sword Has A Storied History Share SubtitlesOffEnglishThe brutal but massively acclaimed 2022 action-RPG has sold over 30 million copies, making it a straightforward choice for Hollywood to take a shot at in terms of the financial upside. But while some game movies have recently hit big at the box office, like Sonic, Mario, and Minecraft, others aimed at more mature audiences—like Borderlands—have been epic failures. The Elden Ring project doesn’t have a tentative release date yet and about the only other thing we know so far is that the production team includes some combination of: Peter Rice, Andrew Macdonald, Allon Reich, Vince Gerardis, and George R. R. Martin. That last name is important not just because he’s the author behind the Game of Thrones, but also because he collaborated with FromSoftware on Elden Ring’s story and world building. Precisely how much he was involved remains up for debate. Martin seems happy to involve himself in any creative endeavor that will delay him from finally finishing the last two books in his Song of Fire and Ice fantasy series, The Winds of Winter and A Dream of Spring. Elden Ring fans, a famously chill bunch, aren’t sure how to feel about the whole thing. Garland has been on a writing and directing blitz. Following his acclaimed sci-fi horror Ex Machina and his adaptation of the Annihilation books, he’s recently put out the American political horror flick Civil War, this year’s Iraq invasion movie Warfare, and a bunch of 28 Days Later spin-offs. How would his horror chops influence Elden Ring on the big screen? Given it’s an A24 production, there’s a good chance Garland and company will have a lot of latitude with the mood of an Elden Ring movie and how it’s shot, with more artistic license than a conventional game adaptation aimed at a mass audience might be offered. And of course there’s whatever role publisher Bandai Namco will play in all of this, as well as FromSoftware itself. Director Hidetaka Miyazaki has been integral to the studio’s unique brand of storytelling, including Elden Ring, but has no confirmed role in the adaptation at the moment.You should actually watch an interview Garland did with Naughty Dog’s Neil Druckmann if you want to get a good sense of how he thinks about storytelling in games and movies. I can imagine a very stoic, near wordless script that focuses an Elden Ring movie primarily on the mythology and horror of The Lands Between, which is in some ways comparable to zombie Camelot. FromSoftware’s boss creature designs, extravagant and larger-than-life, seem like a challenging fit for a live-action production without a Disney-level budget for special effects. Then again, the team on Godzilla Minus One proved you don’t need tons of money to make an incredible-looking monster movie. I wonder if Guillermo del Toro was offered a shot at Elden Ring and passed. It certainly seems more up his alley than Garland’s. .

The discovery of water ice around a distant star is allowing scientists to study how the key ingredient for life is delivered to young planets beyond our solar system.

Matt Palmer is unapologetic about how to kill someone in his new movie, Fear Street: Prom Queen. “We spent a lot of time working out how to kill people,” Palmer tells Digital Trends in an exclusive interview. Palmer is the co-writer and director of Prom Queen, the fourth film in Netflix’s Fear Street franchise. While the first three Fear Street movies are considered a trilogy, Prom Queen is a standalone movie with new characters and stories. However, the common denominator is the setting, the town of Shadyside. Based on R.L. Stine’s novel, Fear Street: Prom Queen transports audiences to 1988. Senior prom is two days away, and six girls are running for prom queen. Two of them — the kind outcast, Lori Granger (India Fowler), and the popular bully, Tiffany Falconer (Fina Strazza) — are bitter rivals. Executing political maneuvers to win votes for a popularity contest is difficult enough. Yet the toughest challenge on prom night will be avoiding a masked murderer stalking the candidates. Recommended Videos Ahead, Palmer talks about the importance of needle drops, the key changes from book to screen, and how to execute the perfect kill. Alan Markfield / Netflix This interview has been edited for length and clarity. Digital Trends: I wanted to start with the needle drops. They stood out right away. What was the one ’80s song you knew had to be in Prom Queen? Matt Palmer: I’m Not Scared by Eighth Wonder. Why is that? I think there are bigger needle drops in terms of known songs, but that song, there’s something special about it. It was actually written by the Pet Shop Boys, which is why it’s such a good tune. But it’s a slightly lesser-known tune. It has this throbbing and pulsing. Very early on, I was like, this is what the prom looks like from the sounds. That pulsing and blaring thing. I feel like the whole tone of prom came from that song. Also, the lyrics as well. It’s a kind of Lori Granger story. That was the one. We switched things up during the edit. There were different tracks pulled out and changed to get the right energy. That was the one right from the beginning. That’s going right there after that kill, and it’s not going anywhere. With your musical process, are you a director and writer who builds a scene and knows exactly what song to put in? Is it more about getting a playlist from your music supervisor, running through things, and seeing what works? Take me through that musical element. It’s funny because, in the first movie I made, there is a lot of music in it, but it’s composed music. It goes under the radar. A lot of people with Calibre are like, “Oh, that’s great. There’s no music in it.” I’m like, “Eh, it’s kind of there. You’re just not noticing it.” But this one [Prom Queen] was a completely different assignment. You hear [Quentin] Tarantino talk quite a lot about how he’ll pull out a record and that’ll start the movie in his head. It was a lot more like that with this one, which was really fun. Like the Billy Idol one, you start to assemble montages around the music. It’s a very different way of working, but a really fun one. It’s quite addictive. I’d like to do it again. It’s like building a long playlist. Yeah, I spent two months at the very beginning, when we were just starting to write the movie, agonizing over this playlist. There were tunes that were key like You’re the Inspiration by Chicago. I had a whole scene where the Devil character dances with Lori. Then, we were like, we don’t need this scene. The scene isn’t helping the character or the film. And I was like, “But the music!” [Laughs] It was so hard to cut because I was so in love with the idea of setting a scene to that music, but it had to go. Sometimes, the images come from the music. Sometimes, it completely switches, like Sweet Dreams. The dance-off was going to be Prince, but Prince tunes are incredibly hard to license. Once Gloria was in, this wasn’t going anywhere. Even if we get Prince at the last minute, this [Gloria] is the tune. It’s funny how it happens. The morning I found Gloria, I was walking through the pre-production office, and a couple of hours later, it was playing in every room. I heard people singing Gloria, and I was like, OK. This is the tune. The spirit of the book is alive in the movie. I know some changes were made. Obviously, the name of the character Lizzie* is Lori. Why did you change her backstory? In the book, the girls are mean to each other in Prom Queen. … There’s a lot in the book, and it’s obviously from a different time. There are a lot of girls talking about boys. It was interesting as a man writing a female character. Not just one, but five girls lead the movie. It was really important to have great female producers. They were guiding me on that. If all the girls in the movie were just talking about guys, it would just feel like it was from a different time. You have to make it connect with a modern audience. I don’t think those kinds of interactions would really play today. Alan Markfield / Netflix The other thing is it’s a whodunit. If you’re working from source material where a whole lot of people in the world know who did it, you have to change the story so that people don’t know who did it because that’s the lifeblood of mystery. R.L. Stine is great. If you like stuff, take it. If you want to go in a different direction, take it. He’s very flexible. It gave us the freedom to launch off from a great premise and take it into some new characters and interesting directions. *In R.L. Stine’s book, the main character is named Lizzie McVay. In the movie, it’s Lori Granger. A lot of these kills are showcases for practical effects. Take me through building a kill. Do you want it to happen one way and then see if you can do it practically? Well, we would write what we wanted and then try and work out how we could do it. We’ll try and do this until someone says it’s kind of impossible. One of the things I’m pleased with the movie is it does feel like all of the kills are quite different. Quite early on, someone was like, “What’s the killer’s signature weapon?” I remember going to see the remake of My Bloody Valentine. He has his ax. It’s like every single kill is an ax. After four of them, I’m craving a chainsaw. This killer in Prom Queen will just grab things and have a few things handy. It opens the possibility of different kills. Even tonally, there’s one kill that I feel is much darker and scarier. There’s one that’s comedic and drawn out. There’s one that’s very abrupt and sudden and probably the goriest thing in it. It’s quite satisfying. I’ve watched a lot of slasher movies, and I’m unapologetically rabid about it. I like [Dario] Argento. What I like about Argento is you can feel when a kill is coming. There’s almost a ritual to it with Arengto and a contract with the audience. It’s like, “OK, it’s coming. It’s going to look cool, and I’m going to focus on my directorial skills. It’s going to be gory as f***.” Just bring it. I guess I come from that school of when a kill is coming, it’s like a sacred and special moment. You need to do something that’s going to satisfy the audience and maybe surprise them as well. Put elements in it and mix it all up. We spent a lot of time working out how to kill people. Alan Markfield / Netflix I would hope a director of a slasher thinks about it a lot, so that’s good. [Laughs] Probably too much. I was reading an interview about how you programmed a film festival and picked out movies to run all night. I’ll give you the choice here. You have Prom Queen as your first one. What are the next four movies to pair it with? So I wouldn’t play Prom Queen first. [Laughs] I’d play Prom Queen either third or fourth. I spent 15 years doing this, and honestly, it’s insane. OK, the things I learned. If you’re going to play a slow movie, play it second. The third spot should always be the most insane, crazy, mind-bending, psychotronic, f***** up thing. That creates an energy in the middle of the night. People feel like, “I’ve seen the craziest thing ever, so anything after this is a bonus. In the fourth slot, play something with a plot. People need something to grab onto at five in the morning. At one event, I played Child’s Play fourth. Child’s Play has a really good narrative and plot. The manager of the cinema was like, “My god. They’ve all woken up. They all look way more awake than they did after the third movie, and they’re all ready for the fifth one.” It took me a while to realize, but don’t play something long or too abstract at number four. Otherwise, people will fall asleep. It’s crazy. You don’t always get it right. I played Black Christmas second at the first one. It’s a great movie, but I got away with it. That’s the other thing. Anything that goes over an hour and a half, and you’re really dicing with death. That’s why Prom Queen is 87 minutes. I found with 87-minute movies, people tend to feel they were short and sharp. I liked it, and I didn’t get sleepy. I was like, can I make a movie that, if it was playing at four in the morning, wouldn’t get people bored? I’d probably play Prom Queen third or fourth. Fear Street: Prom Queen is now streaming on Netflix.

The first Mission: Impossible film came out in 1996 when star Tom Cruise was 34 years old. Fast-forward to Memorial Day weekend 2025: Cruise is 62, and there’s speculation that Mission: Impossible—The Final Reckoning could be the last movie in the franchise. Is this just a marketing ploy to get fans in theaters to kick off the summer blockbuster season? Who knows. Let’s take a look at the history of these films, their box-office earning power, and what Cruise himself has said about the movies over the years. A brief history of the Mission: Impossible franchise The Mission: Impossible films are based on the 1966 TV series of the same name, which was created by Bruce Geller. Peter Graves, who played Jim Phelps on the series, didn’t appear in the first film and was in fact very disappointed with it because his character was made to be the villain in the story, as CNN reported. Actor Jon Voight took the role. Even though this move upset other actors from the series and some fans, the box office numbers proved that fans soon got over this reversal of the source material. The franchise’s first four installments had different directors, while the last four were helmed by Christopher McQuarrie. Cruise has been among the producers of the films from the beginning. How does it stack up against other action franchises? The Mission: Impossible films continue to jockey for the title of highest-grossing Tom Cruise movie, according to Screen Rant. Each new installment tends to beat the previous contender. According to Box Office Mojo, the seven films in the franchise have earned a domestic lifetime gross of $1.3 billion, making Mission: Impossible the 23rd most-valuable movie franchise by that measure. To put that in perspective, the Marvel superhero franchise—No. 1 on the list—has earned $12.8 billion, followed by Star Wars ($5.1 billion), Disney live-action reimaginings ($3.5 billion), and Spider-Man ($3.3 billion). Compared to pure action-movie franchises, Mission: Impossible falls below James Bond ($2.3 billion) and the cars and costars of The Fast and the Furious ($2 billion), but it beats out Indiana Jones ($1.1 billion) and Tom Cruise’s own Top Gun franchise ($899 million). Why do fans think this might be the last Mission: Impossible movie? Originally, the latest two Mission: Impossible films were supposed to be a two-part story shot back-to-back. The second film was initially called Mission: Impossible—Dead Reckoning Part Two, with the name change being announced in October 2023. Part One was loved by critics but had a disappointing box office return. Further complicating the matter, Final Reckoning’s budget kept growing because of delays due to the COVID-19 pandemic and the actors’ and writers’ strikes. These setbacks caused tension in the production process and may have even accelerated conversations of the film becoming a more definitive conclusion to the franchise. While the creative team has not publicly spoken out about the stress of the delays, the title change signals to fans this might be the last time Ethan Hunt saves the world. “It is, I hope, the satisfying conclusion to a 30-year story arc,” director McQuarrie said in an interview with Empire in February. “I’m pretty confident that people are going to feel that the title was appropriate.” Cruise also seemed to confirm the end of an era on the red carpet at the New York premiere. “It’s the final! It’s not called ‘final’ for nothing,” he commented to The Hollywood Reporter. Two years ago he told the same publication he would make Mission: Impossible movies into his 80s. When asked about this, he clarified: “I actually said I’m going to make movies into my 80s; actually, I’m going to make them into my 100s.” Since everything eventually seems to get a reboot these days, it is not far-fetched to believe audiences might see Ethan Hunt again, especially if the box office numbers are impressive. No spoilers here, but several reviewers, including Clint Gage for IGN, point out that the plot of the film leaves room for future storytelling opportunities. Cruise has several film projects in development over the next several years, so it does appear that it is goodbye—at least for now—to the beloved franchise. Mission: Impossible—The Final Reckoning hits theaters in the United States on Friday, May 23.

At this year’s Mobidictum Business Conference, Lior Shekel, Director of Strategic Partnerships at ironSource, walked through 5 steps to launch a hit hyper-casual game today - including tips for marketability testing, soft launching, and global launching. Let’s dive in.Step 1: Run a marketability test on social networksThe first step to launching a hyper-casual game is running an initial marketability test on social media networks - this tells you its relative potential for success in the market. Facebook is typically the best place to start - it has a simple integration, it’s relatively fast and cheap to use, and offers a vast audience. Essentially, testing on Facebook gives you a general idea whether your game prototype matches your KPI goals.If test results on Facebook look promising, try marketability testing on other social networks like Google, Snapchat and TikTok. This will give you even broader confirmation that your game stands out among the competition.Step 2: Run a marketability test on SDK networksOnce initial KPIs are looking good, now it’s time to test on SDK networks. Why? SDK networks offer the biggest audience possible, and the biggest opportunity for your game to scale up during the global launch. Just because a game passes marketability on Facebook, doesn’t necessarily mean it will scale on an SDK network later on.To understand marketability on SDK networks, we look at eCPM, which is IPM multiplied by CPI. Like the chart shows, the campaigns that generate the highest eCPMs will be the ones to top the SDK networks’ data science ad serving models, winning the most impressions and scaling the fastest. Essentially, the higher the eCPM, the more the purchasing power your campaign has on the network.Step 3: Implement ad monetizationOnce your game’s KPIs look promising on both social media and SDK networks, you’re almost ready for launch. But first, you need to maximize your monetization opportunities through the game content itself. This includes adding more levels, A/B testing different placement and creative strategies, determining a basic game economy, and more.This way, before launch, you’re putting yourself in the best position to profit from your game, while ensuring your users have the most positive and exciting experience possible.Step 4: Run a soft launchNow it’s time to soft launch your game - releasing the product ahead of the scheduled launch is an opportunity to simulate real-world interactions. Since you’ve already tested your marketability, you can confidently soft launch on every ad network possible to increase your buying power.Some hyper-casual studios choose to initially soft launch on social networks, then later on SDKs - but we see that the most successful cases soft launch everywhere at once. Let’s dive into two different soft launch strategies.Going all inThe first strategy, the “all-in” launch, focuses on scaling up quickly to find the profitable and scalable sweet spot. It starts with a higher-than-average bid (we recommend around 20% higher), giving you a higher eCPM, as we mentioned earlier (remember CPI, or bid, is a factor of eCPM). By spending extra money, you’re increasing your eCPM - so you can scale quickly and top the charts, but your profit KPIs will drop as a result. To retain your revenue, we recommend capping this campaign at $500-1000 daily.Next, you lower your bid each day by no more than 10% - increasing the budget cap simultaneously. This process usually takes around 3 days, helping you reach your sweet spot when you can start granular bidding - carefully setting and adjusting different bids according to their source behavior. You should bid per source based on the quality that it’s generating for you, such as increasing bids in sources with a good ROAS.Staying conservativeConversely, a conservative launch is much more stable - but because it prioritizes profit, it scales much more slowly. With this strategy, you start with your target bid, which means your budget will likely be smaller, but will soon grow. At this stage, it’s crucial to prevent your game from reaching its budget cap - it harms the game’s positive trend and growth potential.To start granular bidding within 4-5 days, you should also be monitoring ROAS from day 1.Comparing four games that used one of these two strategies - every single one hit the top charts, with games using the “all-in” strategy staying there for a slightly longer time. Most importantly, despite the strategy, the games’ total revenue was virtually the same at the end of the day.Staying ahead of the curveNo matter which soft launch strategy you use, we recommend first launching in the US - it’s the biggest market offering the highest bids and eCPMs. From there, we recommend waiting 2-3 days before launching globally. To get maximum scale from your top sources, it’s best to optimize based on ROAS source bidding. Eventually, you can go on “auto-pilot” mode by turning on automated ROAS optimizer campaigns within each ad network - reducing workload for the whole team.As you global launch, keep these tips in mind:- Timing is everything - launch close to the weekend for longer retention and more playtime- Utilize your top-performing creatives and test new creatives - this improves IPM, which therefore boosts eCPM (eCPM = IPM x eCPI)- Call your users to action using different interactive and playable end cards to increase IPMStep 5: Automate and scale upCongrats! You’ve now global launched your game, new users are joining every day, and LTV is becoming much more accurate. Now is the best time to automate user acquisition, so you and your team can not only focus on acquiring the users, but also the game itself - and you can buy users much more efficiently.Not only does automation free your time, but it also uses highly accurate data - many ROAS optimizers today bid on an extremely granular level, for example per user and per ad request. This expands your reach because you can adjust your bids all the time, while your optimizer continues to optimize to scale and profit.By launching your hyper-casual game in a thoughtful way, you’re ensuring it’s on the best path for success - from the earliest marketability testing stages, all the way through post launch and automation.

In this tutorial, we demonstrated how Microsoft’s AutoGen framework empowers developers to orchestrate complex, multi-agent workflows with minimal code. By leveraging AutoGen’s RoundRobinGroupChat and TeamTool abstractions, you can seamlessly assemble specialist assistants, such as Researchers, FactCheckers, Critics, Summarizers, and Editors, into a cohesive “DeepDive” tool. AutoGen handles the intricacies of turn‐taking, termination conditions, and streaming output, allowing you to focus on defining each agent’s expertise and system prompts rather than plumbing together callbacks or manual prompt chains. Whether conducting in‐depth research, validating facts, refining prose, or integrating third‐party tools, AutoGen provides a unified API that scales from simple two‐agent pipelines to elaborate, five‐agent collaboratives. !pip install -q autogen-agentchat[gemini] autogen-ext[openai] nest_asyncio We install the AutoGen AgentChat package with Gemini support, the OpenAI extension for API compatibility, and the nest_asyncio library to patch the notebook’s event loop, ensuring you have all the components needed to run asynchronous, multi-agent workflows in Colab. import os, nest_asyncio from getpass import getpass nest_asyncio.apply() os.environ["GEMINI_API_KEY"] = getpass("Enter your Gemini API key: ") We import and apply nest_asyncio to enable nested event loops in notebook environments, then securely prompt for your Gemini API key using getpass and store it in os.environ for authenticated model client access. from autogen_ext.models.openai import OpenAIChatCompletionClient model_client = OpenAIChatCompletionClient( model="gemini-1.5-flash-8b", api_key=os.environ["GEMINI_API_KEY"], api_type="google", ) We initialize an OpenAI‐compatible chat client pointed at Google’s Gemini by specifying the gemini-1.5-flash-8b model, injecting your stored Gemini API key, and setting api_type=”google”, giving you a ready-to-use model_client for downstream AutoGen agents. from autogen_agentchat.agents import AssistantAgent researcher = AssistantAgent(name="Researcher", system_message="Gather and summarize factual info.", model_client=model_client) factchecker = AssistantAgent(name="FactChecker", system_message="Verify facts and cite sources.", model_client=model_client) critic = AssistantAgent(name="Critic", system_message="Critique clarity and logic.", model_client=model_client) summarizer = AssistantAgent(name="Summarizer",system_message="Condense into a brief executive summary.", model_client=model_client) editor = AssistantAgent(name="Editor", system_message="Polish language and signal APPROVED when done.", model_client=model_client) We define five specialized assistant agents, Researcher, FactChecker, Critic, Summarizer, and Editor, each initialized with a role-specific system message and the shared Gemini-powered model client, enabling them to gather information, respectively, verify accuracy, critique content, condense summaries, and polish language within the AutoGen workflow. from autogen_agentchat.teams import RoundRobinGroupChat from autogen_agentchat.conditions import MaxMessageTermination, TextMentionTermination max_msgs = MaxMessageTermination(max_messages=20) text_term = TextMentionTermination(text="APPROVED", sources=["Editor"]) termination = max_msgs | text_term team = RoundRobinGroupChat( participants=[researcher, factchecker, critic, summarizer, editor], termination_condition=termination ) We import the RoundRobinGroupChat class along with two termination conditions, then compose a stop rule that fires after 20 total messages or when the Editor agent mentions “APPROVED.” Finally, it instantiates a round-robin team of the five specialized agents with that combined termination logic, enabling them to cycle through research, fact-checking, critique, summarization, and editing until one of the stop conditions is met. from autogen_agentchat.tools import TeamTool deepdive_tool = TeamTool(team=team, name="DeepDive", description="Collaborative multi-agent deep dive") WE wrap our RoundRobinGroupChat team in a TeamTool named “DeepDive” with a human-readable description, effectively packaging the entire multi-agent workflow into a single callable tool that other agents can invoke seamlessly. host = AssistantAgent( name="Host", model_client=model_client, tools=[deepdive_tool], system_message="You have access to a DeepDive tool for in-depth research." ) We create a “Host” assistant agent configured with the shared Gemini-powered model_client, grant it the DeepDive team tool for orchestrating in-depth research, and prime it with a system message that informs it of its ability to invoke the multi-agent DeepDive workflow. import asyncio async def run_deepdive(topic: str): result = await host.run(task=f"Deep dive on: {topic}") print("🔍 DeepDive result:\n", result) await model_client.close() topic = "Impacts of Model Context Protocl on Agentic AI" loop = asyncio.get_event_loop() loop.run_until_complete(run_deepdive(topic)) Finally, we define an asynchronous run_deepdive function that tells the Host agent to execute the DeepDive team tool on a given topic, prints the comprehensive result, and then closes the model client; it then grabs Colab’s existing asyncio loop and runs the coroutine to completion for a seamless, synchronous execution. In conclusion, integrating Google Gemini via AutoGen’s OpenAI‐compatible client and wrapping our multi‐agent team as a callable TeamTool gives us a powerful template for building highly modular and reusable workflows. AutoGen abstracts away event loop management (with nest_asyncio), streaming responses, and termination logic, enabling us to iterate quickly on agent roles and overall orchestration. This advanced pattern streamlines the development of collaborative AI systems and lays the foundation for extending into retrieval pipelines, dynamic selectors, or conditional execution strategies. Check out the Notebook here. All credit for this research goes to the researchers of this project. Also, feel free to follow us on Twitter and don’t forget to join our 95k+ ML SubReddit and Subscribe to our Newsletter. Asif RazzaqWebsite |  + postsBioAsif Razzaq is the CEO of Marktechpost Media Inc.. As a visionary entrepreneur and engineer, Asif is committed to harnessing the potential of Artificial Intelligence for social good. His most recent endeavor is the launch of an Artificial Intelligence Media Platform, Marktechpost, which stands out for its in-depth coverage of machine learning and deep learning news that is both technically sound and easily understandable by a wide audience. The platform boasts of over 2 million monthly views, illustrating its popularity among audiences.Asif Razzaqhttps://www.marktechpost.com/author/6flvq/Microsoft AI Introduces Magentic-UI: An Open-Source Agent Prototype that Works with People to Complete Complex Tasks that Require Multi-Step Planning and Browser UseAsif Razzaqhttps://www.marktechpost.com/author/6flvq/Anthropic Releases Claude Opus 4 and Claude Sonnet 4: A Technical Leap in Reasoning, Coding, and AI Agent DesignAsif Razzaqhttps://www.marktechpost.com/author/6flvq/Technology Innovation Institute TII Releases Falcon-H1: Hybrid Transformer-SSM Language Models for Scalable, Multilingual, and Long-Context UnderstandingAsif Razzaqhttps://www.marktechpost.com/author/6flvq/Google DeepMind Releases Gemma 3n: A Compact, High-Efficiency Multimodal AI Model for Real-Time On-Device Use

After three seasons, Amazon’s live-action take on Robert Jordan and Brandon Sanderson’s Wheel of Time series is coming to an end. Though The Wheel of Time‘s third season was hailed by fans as the show’s strongest chapter yet, Deadline reports that Amazon has decided not to bring it back due to its relatively high production costs and flagging viewership numbers. Similar to Amazon’s Rings of Power series, The Wheel of Time was clearly a play to produce another Game of Thrones-style hit. When the series first debuted in 2021, it managed to capture an impressively large audience and become one of Amazon’s most-watched programs. But those numbers dwindled in subsequent seasons, leading Amazon to call it quits. Speaking to The Hollywood Reporter back in April right after The Wheel of Time‘s third season concluded, showrunner Rafe Judkins said that when when he and his team were first shopping the series around to studios, they ultimately chose Amazon as a production partner because it “felt like a place where they do want to invest in shows for the long term.” “There are not a lot of places doing that anymore,” Judkins said. “For Wheel of Time, it’s really important for us to be somewhere that does want to invest in shows for the long term and not just for the splash and leave.”