While IO Interactive may be heavily focused on its inaugural James Bond game, 2026’s 007 First Light, it’s still providing ambitious new levels and updates for Hitman: World of Assassination and its new science fiction action game MindsEye. To continue to build hype for First Light and IOI’s growing partnership with the James Bond brand, the latest World of Assassination level is a Bond crossover, as Hitman protagonist Agent 47 targets Le Chiffre, the main villain of the 2006 movie Casino Royale. Available through July 6, 2025, the Le Chiffre event in World of Assassination features actor Mads Mikkelsen reprising his fan-favorite Bond villain role, not only providing his likeness but voicing the character as he confronts the contract killer in France. Den of Geek attended the first-ever in-person IO Interactive Showcase, a partner event with Summer Game Fest held at The Roosevelt Hotel in Hollywood. Mikkelsen and the developers shared insight on the surprise new World of Assassination level, with the level itself playable in its entirety to attendees on the Nintendo Switch 2 and PlayStation Portal. The developers also included an extended gameplay preview for MindsEye, ahead of its June 10 launch, while sharing some details about the techno-thriller. Matching his background from Casino Royale, Le Chiffre is a terrorist financier who manipulates the stock market by any means necessary to benefit himself and his clients. After an investment deal goes wrong, Le Chiffre tries to recoup a brutal client’s losses through a high-stakes poker game in France, with Agent 47 hired to assassinate the criminal mastermind on behalf of an unidentified backer. The level opens with 47 infiltrating a high society gala linked to the poker game, with the contract killer entering under his oft-used assumed name of Tobias Rieper, a facade that Le Chiffre immediately sees through. At the IO Interactive Showcase panel, Mikkelsen observed that the character of Le Chiffre is always one that he enjoyed and held a special place for him and his career. Reprising his villainous role also gave Mikkelsen the chance to reunite with longtime Agent 47 voice actor David Bateson since their ‘90s short film Tom Merritt, though both actors recorded their respective lines separately. Mikkelsen enjoyed that Le Chiffre’s appearance in World of Assassination gave him a more physical role than he had in Casino Royale, rather than largely placing him at a poker table. Of course, like most Hitman levels, there are multiple different ways that players can accomplish their main objective of killing Le Chiffre and escaping the premises. The game certainly gives players multiple avenues to confront the evil financier over a game of poker before closing in for the kill, but it’s by no means the only way to successfully assassinate him. We won’t give away how we ultimately pulled off the assassination, but rest assured that it took multiple tries, careful plotting, and with all the usual trial-and-error that comes from playing one of Hitman’s more difficult and immersively involved levels. Moving away from its more grounded action titles, IO Interactive also provided a deeper look at its new sci-fi game MindsEye, developed by Build a Rocket Boy. Set in the fictional Redrock City, the extended gameplay sneak peek at the showcase featured protagonist Adam Diaz fighting shadowy enemies in the futuristic city’s largely abandoned streets. While there were no hands-on demos at the showcase itself, the preview demonstrated Diaz using his abilities and equipment, including an accompanying drone, to navigate the city from a third-person perspective and use an array of weapons to dispatch those trying to hunt him down. MindsEye marks the first game published through IOI Partners, an initiative that has IOI publish games from smaller, external developers. The game did not have a hands-on demo at the showcase and, given its bug-heavy and poorly-received launch, this distinction is not particularly surprising. Build a Robot Boy has since pledged to support the game through June to fix its technical issues but, given the game’s hands-on access at the IOI Showcase, there were already red flags surrounding the game’s performance. With that in mind, most of the buzz at the showcase was unsurprisingly centered around 007 First Light and updates to Hitman: World of Assassination, and IO Interactive did not disappoint in that regard. Even with Hitman: World of Assassination over four years old now, the game continues to receive impressive post-release support from IO Interactive, both in bringing the title to the Nintendo Switch 2 and with additional DLC. At the showcase, IOI hinted at additional special levels for World of Assassintation with high-profile guest targets like Le Chiffre, without identifying who or if they’re also explicitly tied to the James Bond franchise. But with 007 First Light slated for its eagerly anticipated launch next year, it’s a safe bet that IOI has further plans to hype its own role in building out the James Bond legacy for the foreseeable future. The Hitman: World of Assassination special Le Chiffre level is available now through July 6, 2025 on all the game’s major platforms, including the Nintendo Switch 2. MindsEye is now on sale for PlayStation 5, Xbox Series X|S, and PC.

With its first gameplay reveal during this year's Day of the Devs, indie developer Something We Made finally showed off the sequel to their inaugural title TOEM: A Photo Adventure from 2021. This charming photography adventure brought an easygoing monochrome adventure to hundreds of fans and left us wanting more. TOEM 2 opens with the same plucky character from the first title dropped into the world with little more than ambition and a trusty camera. While the first game focused on ascending the TOEM mountain, I didn't catch nary a whiff of the actual motivations and reasoning for the journey this time around. Instead, I was given free reign to meander around the idyllic village and solve a variety of problems for the townsfolk, from trying to retrieve a potion of liquid courage for a scaredy-cat knight to taking photos of three goats in order to permit a bridge troll to let me pass. In my twenty or so minutes of play, I was able to help solve the small-scale problems of four individuals and be rewarded with a stamp for my collection each time. The camera remains the player's best tool in the world of TOEM 2 with players not only able to use their photography skills to solve the plights of the ordinary person, but also a variety of attachments to use as tools in your adventure. The very first unlockable upgrade I earned for my camera was a hammer upgrade that let me smash through select stone blocks that hindered my progression. Using the hammer is just like the other attachments from the first TOEM: simply point and shoot (or in this case, tap on the rocks). It took a moment to realize that there's a small minigame to using the hammer with players having to tap out morse code with short and long taps in order to break those rocks. 2 of 9 One puzzle I encountered was take a 3x3 cube of blocks and chisel away to make a matching sculpture to the quest giver. Rather than trying to memorize the layout or run back and forth between the source sculpture and what I was crafting, I stopped to take photos of each side of the cube and use those to remember the requested shape. The developers from Something We Made seemed surprised that this was a valid solution to their puzzle and it was nice to see the camera being used as a note taking device as well as the tool you'll use to take pictures of every animal around the landscape. New to TOEM 2 is also the addition of jumping, and in true platformer style, I had to test it out by jumping around on top of any short wall I could find and try to scale up the world. I couldn't find any unintended out-of-bounds areas, but I was at least able to find some climbable areas that would lead to new hats for the playable character. With jumping now on the menu, I wouldn't be surprised if the Honk attachment gets phased out for TOEM 2. Sadly, there's still a fair bit of time before TOEM 2 is ready to be in players' hands. Developer Something We Made and publisher popagenda have penciled in this quaint photographical adventure for 2026 across a slew of unannounced consoles as well as PC. Deal of the Day

This edition of the Venice Biennale includes 65 national pavilions, 11 collateral events, and over 750 participants in the international exhibition curated by Italian architect and engineer Carlo Ratti. Entitled Intelligens: Natural Artificial Collective, its stated aim is to make Venice a ‘living laboratory’. But Ratti’s exhibition in the Arsenale has been hit by mixed reviews. The AJ’s Rob Wilson described it as ‘a bit of a confusing mess’, while other media outlets have called the robot-heavy exhibit of future-facing building-focused solutions to the climate crisis a ‘tech-bro fever dream’ and a ‘mind-boggling rollercoaster’ to mention a few. It is a distinct shift away from the biennale of two years ago twhen Ghanaian-Scottish architect Lesley Lokko curated the main exhibitions, including 89 participants – of which more than half were from Africa or the African diaspora – in a convincing reset of the architectural conversation.Advertisement This year’s National Pavilions and collateral exhibits, by contrast, have tackled the largest themes in architecture and the world right now in a less constrained way than the main exhibitions. The exhibits are radical and work as a useful gauge for understanding what’s important in each country: decarbonisation, climate resilience, the reconstruction of Gaza, and an issue more prevalent in politics closer to home: gender wars. What's not to miss in the Giardini? British Pavilion (photography: Chris Lane) UK Pavilion The British Pavilion this year, which won a special mention from the Venetian jury, is housing a show by a British-Kenyan collab titled GBR – Geology of Britannic Repair. In it, the curators explore the links between colonialism, the built environment and geological extraction. Focusing on the Rift Valley, which runs from east Africa to the Middle East, including Palestine, the exhibition was curated by the Nairobi-based studio cave_bureau, UK-based curator, writer and Farrell Centre director Owen Hopkins and Queen Mary University professor Kathryn Yusoff. The pavilion’s façade is cloaked by a beaded veil of agricultural waste briquettes and clay and glass beads, produced in Kenya and India, echoing both Maasai practices and beads once made on Venice’s Murano, as currency for the exchange of metals, minerals and slaves. The pavilion’s six gallery spaces include multisensory installations such as the Earth Compass, a series of celestial maps connecting London and Nairobi; the Rift Room, tracing one of humans’ earliest migration routes; and the Shimoni Slave Cave, featuring a large-scale bronze cast of a valley cave historically used as a holding pen for enslaved people.Advertisement The show also includes Objects of Repair, a project by design-led research group Palestine Regeneration Team (PART), looking at how salvaged materials could help rebuild war-torn Gaza, the only exhibit anywhere in the Biennale that tackled the reconstruction of Gaza face-on – doing so impressively, both politically and sensitively. Read more here. Danish Pavilion (photography: Hampus Berndtson) Demark Pavilion A firm favourite by most this year, the Danish exhibition Build of Site, curated by Søren Pihlmann of Pihlmann Architects, transforms the pavilion, which requires renovation anyway, into both a renovation site and archive of materials. Clever, simple and very methodical, the building is being both renewed while at the same time showcasing innovative methods to reuse surplus materials uncovered during the construction process – as an alternative to using new resources to build a temporary exhibition. The renovation of the 1950s Peter Koch-designed section of the pavilion began in December 2024 and will be completed following the biennale, having been suspended for its duration. On display are archetypal elements including podiums, ramps, benches and tables – all constructed from the surplus materials unearthed during the renovation, such as wood, limestone, concrete, stone, sand, silt and clay. Belgian Pavilion (photography: Michiel De Cleene) Belgium Pavilion If you need a relaxing break from the intensity of the biennale, then the oldest national pavilion in the Giardini is the one for you. Belgium’s Building Biospheres: A New Alliance between Nature and Architecture brings ‘plant intelligence’ to the fore. Commissioned by the Flanders Architecture Institute and curated by landscape architect Bas Smets and neurobiologist Stefano Mancuso, the exhibit investigates how the natural ‘intelligence’ of plants can be used to produce an indoor climate – elevating the role of landscape design and calling for it to no longer serve as a backdrop for architecture. Inside, more than 200 plants occupy the central area beneath the skylight, becoming the pavilion’s centrepiece, with the rear space visualising ‘real-time’ data on the prototype’s climate control performance. Spanish Pavilion (photography: Luca Capuano) Spain Pavilion One for the pure architecture lovers out there, models (32!), installations, photographs and timber structures fill the Spanish Pavilion in abundance. Neatly curated by architects Roi Salgueiro Barrio and Manuel Bouzas Barcala, Internalities shows a series of existing and research projects that have contributed to decarbonising construction in Spain. The outcome? An extensive collection of work exploring the use of very local and very specific regenerative and low-carbon construction and materials – including stone, wood and soil. The joy of this pavilion comes from the 16 beautiful timber frames constructed from wood from communal forests in Galicia. Polish Pavilion (photography: Luca Capuano) Poland Pavilion Poland’s pavilion was like Marmite this year. Some loved its playful approach while others found it silly. Lares and Penates, taking its name from ancient Roman deities of protection, has been curated by Aleksandra Kędziorek and looks at what it means and takes to have a sense of security in architecture. Speaking to many different anxieties, it refers to the unspoken assumption of treating architecture as a safe haven against the elements, catastrophes and wars – showcasing and elevating the mundane solutions and signage derived from building, fire and health regulations. The highlight? An ornate niche decorated with tiles and stones just for … a fire extinguisher. Dutch Pavilion (photography: Cristiano Corte) Netherlands Pavilion Punchy and straight to the point, SIDELINED: A Space to Rethink Togetherness takes sports as a lens for looking at how spatial design can both reveal and disrupt the often-exclusionary dynamics of everyday environments. Within the pavilion, the exhibit looks beyond the large-scale arena of the stadium and gymnasium to investigate the more localised and intimate context of the sports bar, as well as three alternative sports – a site of both social production and identity formation – as a metaphor for uniting diverse communities. The pavilion-turned-sports bar, designed by Koos Breen and Jeannette Slütter and inspired by Asger Jorn’s three-sided sports field, is a space for fluidity and experimentation where binary oppositions, social hierarchies and cultural values are contested and reshaped – complete with jerseys and football scarfs (currently a must-have fashion item) worn by players in the alternative Anonymous Allyship aligning the walls. Read Derin Fadina’s review for the AJ here. Performance inside the Nordic Countries Pavilion (photography: Venla Helenius) Nordic Countries Pavilion Probably the most impactful national pavilion this year (and with the best tote bag by far), the Nordic Countries have presented an installation with performance work. Curated by Kaisa Karvinen, Industry Muscle: Five Scores for Architecture continues Finnish artist Teo Ala-Ruona’s work on trans embodiment and ecology by considering the trans body as a lens through which to examine modern architecture and the built environment. The three-day exhibition opening featured a two-hour performance each day with Ala-Ruona and his troupe crawling, climbing and writhing around the space, creating a bodily dialogue with the installations and pavilion building itself, which was designed by celebrated Modernist architect Sverre Fehn. The American pavilion next door, loudly (country music!) turns its back on what’s going on in its own country by just celebrating the apathetical porch, making the Nordic Countries seem even more relevant in this crucial time. Read Derin Fadina’s review for the AJ here. German Pavilion (photography: Luca Capuano) Germany Pavilion An exhibit certainly grabbing the issue of climate change by its neck is the German contribution, Stresstest. Curated by Nicola Borgmann, Elisabeth Endres, Gabriele G Kiefer and Daniele Santucci, the pavilion has turned climate change into a literal physical and psychological experience for visitors by creating contrasting ‘stress’ and ‘de-stress’ rooms. In the dark stress room, a large metal sculpture creates a cramped and hot space using heating mats hung from the ceiling and powered by PVs. Opposite is a calmer space demonstrating strategies that could be used to reduce the heat of cities, and between the two spaces is a film focusing on the impacts of cities becoming hotter. If this doesn’t highlight the urgency of the situation, I’m not sure what will. Best bits of the Arsenale outside the main exhibitions Bahrain Pavilion (photography: Andrea Avezzù) Bahrain Pavilion Overall winner of this year’s Golden Lion for best national participation, Bahrain’s pavilion in the historic Artiglierie of the Arsenale is a proposal for living and working through heat conditions. Heatwave, curated by architect Andrea Faraguna, reimagines public space design by exploring passive cooling strategies rooted in the Arab country’s climate, as well as cultural context. A geothermal well and solar chimney are connected through a thermo-hygrometric axis that links underground conditions with the air outside. The inhabitable space that hosts visitors is thus compressed and defined by its earth-covered floor and suspended ceiling, and is surrounded by memorable sandbags, highlighting its scalability for particularly hot construction sites in the Gulf where a huge amount of construction is taking place. In the Arsenale’s exhibition space, where excavation wasn’t feasible, this system has been adapted into mechanical ventilation, bringing in air from the canal side and channelling it through ductwork to create a microclimate. Slovenian Pavilion (photography: Andrea Avezzù) Slovenia Pavilion The AJ’s Rob Wilson’s top pavilion tip this year provides an enjoyable take on the theme of the main exhibition, highlighting how the tacit knowledge and on-site techniques and skills of construction workers and craftspeople are still the key constituent in architectural production despite all the heat and light about robotics, prefabrication, artificial intelligence and 3D printing. Master Builders, curated by Ana Kosi and Ognen Arsov and organised by the Museum of Architecture and Design (MAO) in Ljubljana, presents a series of ‘totems’ –accumulative sculpture-like structures that are formed of conglomerations of differently worked materials, finishes and building elements. These are stacked up into crazy tower forms, which showcase various on-site construction skills and techniques, their construction documented in accompanying films. Uzbekistan Pavilion (photography: Luca Capuano) Uzbekistan Pavilion Uzbekistan’s contribution explores the Soviet era solar furnace and Modernist legacy. Architecture studio GRACE, led by curators Ekaterina Golovatyuk and Giacomo Cantoni have curated A Matter of Radiance. The focus is the Sun Institute of Material Science – originally known as the Sun Heliocomplex – an incredible large-scale scientific structure built in 1987 on a natural, seismic-free foundation near Tashkent and one of only two that study material behaviour under extreme temperatures. The exhibition examines the solar oven’s site’s historical and contemporary significance while reflecting on its scientific legacy and influence moving beyond just national borders. Applied Arts Pavilion (photography: Andrea Avezzù) V&A Applied Arts Pavilion Diller Scofidio + Renfro (DS+R) is having a moment. The US-based practice, in collaboration with V&A chief curator Brendan Cormier, has curated On Storage, which aptly explores global storage architectures in a pavilion that strongly links to the V&A’s recent opening of Storehouse, its new (and free) collections archive in east London. Featured is a six-channel (and screen) film entitled Boxed: The Mild Boredom of Order, directed by the practice itself and following a toothbrush, as a metaphor for an everyday consumer product, on its journey through different forms of storage across the globe – from warehouse to distribution centre to baggage handlers down to the compact space of a suitcase. Also on display are large-format photographs of V&A East Storehouse, DS+R’s original architectural model and sketchbook and behind-the-scenes photography of Storehouse at work, taken by emerging east London-based photographers. Canal Café (photography: Marco Zorzanello) Canal café Golden Lion for the best participation in the actual exhibition went to Canal Café, an intervention designed by V&A East Storehouse’s architect DS+R with Natural Systems Utilities, SODAI, Aaron Betsky and Davide Oldani. Serving up canal-water espresso, the installation is a demonstration of how Venice itself can be a laboratory to understand how to live on the water in a time of water scarcity. The structure, located on the edge of the Arsenale’s building complex, draws water from its lagoon before filtering it onsite via a hybrid of natural and artificial methods, including a mini wetland with grasses. The project was recognised for its persistence, having started almost 20 years ago, just showing how water scarcity, contamination and flooding are still major concerns both globally and, more locally, in the tourist-heavy city of Venice. And what else? Holy See Pavilion (photography: Andrea Avezzù) The Holy See Much like the Danish Pavilion, the Pavilion of the Holy See is also taking on an approach of renewal this year. Over the next six months, Opera Aperta will breathe new life into the Santa Maria Ausiliatrice Complex in the Castello district of Venice. Founded as a hospice for pilgrims in 1171, the building later became the oldest hospital and was converted into school in the 18th century. In 2001, the City of Venice allocated it for cultural use and for the next four years it will be managed by the Dicastery for Culture and Education of the Holy See to oversee its restoration. Curated by architect, curator and researcher Marina Otero Verzier and artistic director of Fondaco Italia, Giovanna Zabotti, the complex has been turned into a constant ‘living laboratory’ of collective repair – and received a special mention in the biennale awards. The restoration works, open from Tuesday to Friday, are being carried out by local artisans and specialised restorers with expertise in recovering stone, marble, terracotta, mural and canvas painting, stucco, wood and metal artworks. The beauty, however, lies in the photogenic fabrics, lit by a warm yellow glow, hanging from the walls within, gently wrapping the building’s surfaces, leaving openings that allow movement and offer glimpses of the ongoing restoration. Mobile scaffolding, used to support the works, also doubles up as furniture, providing space for equipment and subdividing the interior. Togo Pavilion (photography: Andrea Avezzù) Togo Pavilion The Republic of Togo has presented its first pavilion ever at the biennale this year with the project Considering Togo’s Architectural Heritage, which sits intriguingly at the back of a second-hand furniture shop. The inaugural pavilion is curated by Lomé and Berlin-based Studio NEiDA and is in Venice’s Squero Castello. Exploring Togo’s architectural narratives from the early 20th century, and key ongoing restoration efforts, it documents key examples of the west African country’s heritage, highlighting both traditional and more modern building techniques – from Nôk cave dwellings to Afro-Brazilian architecture developed by freed slaves to post-independence Modernist buildings. Some buildings showcased are in disrepair, despite most of the modern structures remaining in use today, including Hotel de la Paix and the Bourse du Travail, suggestive of a future of repair and celebration. Estonian Pavilion (photography: Joosep Kivimäe) Estonia Pavilion Another firm favourite this year is the Estonian exhibition on Riva dei Sette Martiri on the waterfront between Corso Garibaldi and the Giardini.  The Guardian’s Olly Wainwright said that outside the Giardini, it packed ‘the most powerful punch of all.’ Simple and effective, Let Me Warm You, curated by trio of architects Keiti Lige, Elina Liiva and Helena Männa, asks whether current insulation-driven renovations are merely a ‘checkbox’ to meet European energy targets or ‘a real chance’ to enhance the spatial and social quality of mass housing. The façade of the historic Venetian palazzetto in which it is housed is clad with fibre-cement insulation panels in the same process used in Estonia itself for its mass housing – a powerful visual statement showcasing a problematic disregard for the character and potential of typical habitable spaces. Inside, the ground floor is wrapped in plastic and exhibits how the dynamics between different stakeholders influence spatial solutions, including named stickers to encourage discussion among your peers. Venice Procuratie (photography: Mike Merkenschlager) SMAC (San Marco Art Centre) Timed to open to the public at the same time as the biennale, SMAC is a new permanent arts institution in Piazza San Marco, on the second floor of the Procuratie, which is owned by Generali. The exhibition space, open to the public for the first time in 500 years, comprises 16 galleries arranged along a continuous corridor stretching over 80m, recently restored by David Chipperfield Architects. Visitors can expect access through a private courtyard leading on to a monumental staircase and experience a typically sensitive Chipperfield restoration, which has revived the building’s original details: walls covered in a light grey Venetian marmorino made from crushed marble and floors of white terrazzo. During the summer, its inaugural programme features two solo exhibitions dedicated to Australian modern architect Harry Seidler and Korean landscape designer Jung Youngsun. Holcim's installation (photography: Celestia Studio) Holcim x Elemental Concrete manufacturer Holcim makes an appearance for a third time at Venice, this time partnering with Chilean Pritzker Prize-winning Alejandro Aravena’s practice Elemental – curator of the 2016 biennale – to launch a resilient housing prototype that follows on from the Norman Foster-designed Essential Homes Project. The ‘carbon-neutral’ structure incorporates Holcim’s range of low-carbon concrete ECOPact and is on display as part of the Time Space Existence exhibition organised by the European Cultural Centre in their gardens. It also applies Holcim’s ‘biochar’ technology for the first time, a concrete mix with 100 per cent recycled aggregates, in a full-scale Basic Services Unit. This follows an incremental design approach, which could entail fast and efficient construction via the provision of only essential housing components, and via self-build. The Next Earth at Palazzo Diedo (photography: Joan Porcel) The Next Earth At Palazzo Diedo’s incredible dedicated Berggruen Arts and Culture space, MIT’s department of architecture and think tank Antikythera (apparently taking its name from the first-known computer) have come together to create the exhibition The Next Earth: Computation, Crisis, Cosmology, which questions how philosophy and architecture must and can respond to various planet-wide crises. Antikythera’s The Noocene: Computation and Cosmology from Antikythera to AI looks at the evolution of ‘planetary computation’ as an ‘accidental’ megastructure through which systems, from the molecular to atmospheric scales, become both comprehensible and composable. What is actually on display is an architectural scale video monolith and short films on AI, astronomy and artificial life, as well as selected artefacts. MIT’s Climate Work: Un/Worlding the Planet features 37 works-in-progress, each looking at material supply chains, energy expenditure, modes of practice and deep-time perspectives. Take from it what you will. The 19th International Venice Architecture Biennale remains open until Sunday, 23 November 2025.

Neowiz signs global rights to Shadowlight's inaugural game, Kill the Shadow "We were grateful to find a partner who shares our philosophy on game development," says Shadowlight CEO Image credit: Shadowlight News by Vikki Blake Contributor Published on June 4, 2025 Lies of P publisher Neowiz has signed a deal with Shadowlight for the global rights of the studio's inaugural game, Kill the Shadow. As spotted by GamesBeat, the Shanghai studio said Neowiz shared its "philosophy on game development," and emphasized the publisher's openness to collaborating. "What initially drew us to Shadowlight was a collaborative development philosophy to deliver premium narrative games for PC and console audiences,” said Neowiz CEO, Kim Seung-chul. "We look forward to working closely with the team to release Kill the Shadow globally, and we hope audiences find the same charm we experienced as we reveal more about the title.” CEO of Shadowlight said of the deal: "Neowiz is a reliable global publisher, and we were grateful to find a partner who shares our philosophy on game development. As we see the games industry evolve to be inclusive of other cultures, it’s important to have a publisher that is open to collaborating and emphasizing the significance of your content." Neowiz similarly signed a $8 million deal with Warsaw-based developer Zakazane at the end of last year to publish its upcoming neo-Western RPG. In 2023, Neowiz invested $17 million in Polish developer Blank Game Studios. It also acquired a 21% stake in the developer.

The inaugural edition of Shelter – a design fair on the occasion of NYCxDESIGN 2025, organized by the online collectible design platform Afternoon Light – was held on the third floor of Chelsea’s historic Starrett-Lehigh building. The 1930s-era daylit factory is an architectural relic from a time when industrial spaces of the same typology prioritized creative wellness through a structural-utilitarian-aesthetic unity. Its physicality provided an idyllic backdrop for the show’s eclectic, experimental design, which, when coupled with an expansive floorplate, promoted a sense of community among participants. More than 100 brands and makers across furniture, lighting, and product design converged on the bazaar of sorts to mingle with other trade professionals and media in what proved to be a creative convivance – something critical for in-person events looking to wrest audience attention and social currency back from the digital realm. Designers embraced the building’s ribbon-windowed, sun-drenched interior with some choosing to unfurl product-filled landscapes in lieu of walled booths while others opted for scene-building by erecting immersive sets. Aptly themed “Mart Nouveau,” Shelter’s successful launch has already positioned itself as a purveyor of taste and a collector of oddities in the best possible way. “We wanted to reference the industry-event tradition while also signaling that our activation is something entirely new… with a little aesthetic flair, too,” shares fair co-founder Minya Quirk. “Art Nouveau as a movement was about breaking from historical styles and creating something modern and forward-thinking, which we tempered by leaning into the larger concept of ‘shelter’ – protection, cover, the comfort of a hug.” Far from an exhaustive list, continue reading for a glimpse at 15 enchanting designers and the beguiling pieces that captured our attention at this year’s event. Matter.Made Matter.Made’s creative director and founder Jamie Gray launches the Delphi Pendant with star-like tubular detailing for a design that sparks great joy upon inspection. The versatile lighting collection is constructed of cast and machine brass paired with fluted glass in an homage to Greek columns. What’s more, the proprietary brass chain unlocks many use cases through customization as a pendant, sconce, and chandelier. N. Shook Reconfigurable, streamlined, and conceived as an architectural system. The Ledoux Prêt perforated shelving units, which revolve around a central spine, are satisfyingly thick with a lightness of form from their carefully calculated perforations. The cabinet doors swing on visible wooden hinges in an honest approach articulating their fully wooden joinery. Avram Rusu Studio Spring melds with summer in Psychogeography, a collaboration between Avram Rusu, Token, and Wallpaper Objects. The peachy-pink, biophilic glass orbs are whimsical by design suspended in space as they toe the line between sea creature and weeping botanicals. The sleek, bulbous forms and slightly organic folds pepper the collection with visual interest while enhancing their glow. Riffmade Riffmade’s Veil Curtain Desk is contemporary in appearance all the while deeply rooted in the domestic tradition that favors a slower pace. It supports a dynamic, modern work-life rhythm by hiding professional work stations behind a textile curtain and allowing users to create boundaries for the sake of their personal time. Jackrabbit Studio for Roll & Hill The Checa Stools commemorate Jackrabbit Studio’s first collection with New York-based, artisan manufacturer Roll & Hill. Each of the three options find themselves grounded in warmth, made even more inviting by Brett Miller’s inimitable round form-making, here inspired by the surface tension of water droplets. Ford Bostwick Finding furniture and lighting by way of architecture, designer Ford Bostwick takes the edge off rigid material forms with his indulgence in light and color. Lucy, the sculptural luminaire, can be stacked vertically or built out horizontally to create near-infinite linear combinations with her modules. She can be configured as a tower, room divider, wall feature, wall-mounted sconce, or ceiling-suspended pendant for a variety of programmatic needs. Yamazaki Home Smart brands like Yamazaki Home are approaching pet products with the same level of scrutiny and attention to detail as they would when designing goods for their human counterparts. The Tilted Pet Food Bowls elevate – quite literally – the dining experience for domesticated animals while creating a beautiful design object that doesn’t feel out of place in the contemporary home. Fort Standard Hardware Hardware bridges the gap between architecture and decorative objects, but few function with excellence at both. Fort Standard successfully expands into architectural hardware with beautiful home solutions through their Concave Collection. The slightly oversized handles boast a visual and physical weight that is hard to ignore. And, they are available in a variety of dimensions to accommodate a wide range of applications. M.Pei Studio (as curated by Colony) Maggie Pei presented her Portico Console Table and Wall Hanging Mirror as M. Pei Studio within a capsule showcase for Colony – a community of independent furniture, lighting, textile, and objects designers brought together by curator Jean Lin. Pei’s portico is monumental, meant for entryways that command passersby to gaze at and inspire a moment of personal reflection. A Space Studio Marble is arguably one of the trade’s most venerable building materials and A Space Studio takes a ‘waste not, want not’ approach to their use of it. The studio’s Slanted Armchair No. 1 is seductive, cut from a single sheet of Indian Onyx and leaning into its angular architecture. Michiko Sakano Studio Brooklyn-based, multi-hyphenate maker Michiko Sakano is all about duality. Her practice is an amalgam of art and design while her work blends utility with aesthetics. This current collection on view, Stacks, builds on previous explorations of jewelry. Here, rigid glass bangles of varying thicknesses and opacities are caught in tension as they melt into the layers below. It explores an inherent contrast between softness and structure, the negotiation between tradition and experimentation, and exemplifies Sakano’s skills as a fabricator when they meet her creative impulses. John Wells Heavy Metal & FDK Junior In a shared exhibition space, the natural patination of John Wells’ ES-07 Sconces complemented the iridescence found on Fernando Kabigting’s wall sconce from his collection 01 Capsule: Rooted in Nature. The two share a propensity for narrative driven design with contrasting approaches to storytelling through material finish and edgework. Wells’ sconces comprise stacked, terraced plates backed by LED strip lighting that echo elements of Art Deco design, while Kabigting looks to nature pulling inspiration from capillary waves caused by a droplet of water or the crinkled edge of crisp leaves. Heako Studio A good lede can make or break a story with its power to pull readers in. The same goes for objects with compelling visual contrast, which commands an audience. Soul-born artist Hea Ko knows how to craft a strong design narrative as demonstrated by the Himalaya Lunar Lamp. With this piece Ko creates a vignette distilling the serene yet powerful juxtaposition of the moon in dialogue with the snow-capped peaks of the Himalayas – and bridging the natural with the celestial. Garnier Pingree Good collage is esoteric, expressive, and sometimes elusive, relying on chance for the perfect amalgamation of media. Marie Garnier and Asa Pingree, the duo behind Garnier Pingree, present the Claude Mirror I – a collage of simple shapes, a primary color, and superimposed textures – above their ‘A’ chair in a delightful display of materiality and wit. The seat offers a variety of ways to engage with comfort and even a little humor while settling in to relax.

The Photography Seoul Museum of Art (PhotoSeMA) officially opened its doors in May 2025, marking a significant milestone as South Korea’s first public institution solely dedicated to the art of photography. Situated in the Dobong District of northeastern Seoul, this architectural marvel is the result of a collaboration between Austrian firm Jadric Architektur and Korean studio 1990uao Architects. The museum’s dynamic, twisting facade not only serves as a visual landmark but also symbolizes the fluidity and transformative nature of photography itself. Spanning six levels, four above ground and two below, the museum encompasses a total area of 7,048 square meters. Its design emphasizes the interplay between light and space, with broad concrete surfaces and filtered lighting creating an environment conducive to introspection and artistic appreciation. Designers: Jadric Architektur and 1990uao Architects Interior spaces are thoughtfully punctuated by voids and light wells, allowing natural light to shape the visitor experience throughout the day. The building’s exterior features a twisting monolithic shape that integrates seamlessly with the surrounding public space, inviting visitors to engage with the museum both inside and out. This design choice reflects the architects’ intention to create a “walk-in object” that fosters community interaction and cultural engagement. PhotoSeMA’s opening is marked by two inaugural exhibitions that delve into the history and evolution of Korean photography. The Radiance: Beginnings of Korean Art Photography showcases seminal works by artists such as Jung Haechang, Lim Suk Je, Lee Hyungrok, Cho Hyundu, and Park Youngsook. Drawing from a collection of over 20,000 works and archival materials dating from the 1920s to the 1990s, the exhibition offers a comprehensive look at the medium’s development in Korea. Meanwhile, Storage Story features contemporary artists Dongsin Seo, Won Seoung Won, Jihyun Jung, Joo Yongseong, Melmel Chung, and Oh Jooyoung. This exhibition explores the museum itself as a subject, examining themes of classification, memory, and the evolving role of cultural institutions in society. As part of the Seoul Museum of Art (SeMA) network, PhotoSeMA extends the institution’s reach and reinforces its commitment to diverse artistic expressions. The museum not only provides a dedicated space for photographic art but also contributes to the cultural revitalization of the Dobong District, aligning with the city’s broader efforts to establish a “cultural mile” in the area. With its innovative design and focused curatorial approach, the Photography Seoul Museum of Art stands as a testament to the dynamic intersection of architecture and photography, offering visitors a unique space to explore and appreciate the visual narratives that shape our world. The post South Korea’s first public museum for photography now open first appeared on Yanko Design.

Ivanka Trump has made it clear that she's done with politics. That hasn't stopped her and husband Jared Kushner from remaining an influential political couple.They have not formally reprised their roles as White House advisors in President Donald Trump's second administration, but they've remained present in Donald Trump's political orbit.While Ivanka Trump opted out of the 2024 campaign trail, she and Kushner still appeared at the Republican National Convention, Donald Trump's victory party on election night, and the inauguration. Kushner also reportedly served as an informal advisor ahead of Donald Trump's trip to the Middle East in May, CNN reported.Ivanka Trump, who is Donald Trump's eldest daughter, converted to Judaism before marrying Kushner in 2009. They have three children: Arabella, Joseph, and Theodore.Here's a timeline of Ivanka Trump and Kushner's relationship. 2007: Ivanka Trump and Jared Kushner met at a networking lunch arranged by one of her longtime business partners. Ivanka Trump and Jared Kushner in 2007. PAUL LAURIE/Patrick McMullan via Getty Images Ivanka Trump and Kushner were both 25 at the time."They very innocently set us up thinking that our only interest in one another would be transactional," Ivanka Trump told Vogue in 2015. "Whenever we see them we're like, 'The best deal we ever made!'" 2008: Ivanka Trump and Kushner broke up because of religious differences. Jared Kushner and Ivanka Trump in 2008. Patrick McMullan/Patrick McMullan via Getty Images Kushner was raised in the modern Orthodox Jewish tradition, and it was important to his family for him to marry someone Jewish. Ivanka Trump's family is Presbyterian. 2008: Three months later, the couple rekindled their romance on Rupert Murdoch's yacht. Ivanka Trump and Jared Kushner in 2008. David X Prutting/Patrick McMullan/Patrick McMullan via Getty Images In his memoir, "Breaking History," Kushner wrote that Murdoch's then-wife, Wendi Murdoch, was a mutual friend who invited them both on the yacht. May 2009: They attended the Met Gala together for the first time. Jared Kushner and Ivanka Trump at the Met Gala. BILLY FARRELL/Patrick McMullan via Getty Images The theme of the Met Gala that year was "The Model As Muse." Ivanka Trump wore a gown by designer Brian Reyes. July 2009: Ivanka Trump completed her conversion to Judaism, and she and Kushner got engaged. Jared Kushner and Ivanka Trump in 2009. Billy Farrell/Patrick McMullan/Patrick McMullan via Getty Images Kushner proposed with a 5.22-carat cushion-cut diamond engagement ring.Ivanka Trump told New York Magazine that she and her fiancé were "very mellow.""We go to the park. We go biking together. We go to the 2nd Avenue Deli," she said. "We both live in this fancy world. But on a personal level, I don't think I could be with somebody — I know he couldn't be with somebody — who needed to be 'on' all the time." October 2009: Ivanka Trump and Kushner married at the Trump National Golf Club in New Jersey. Jared Kushner and Ivanka Trump on their wedding day. Brian Marcus/Fred Marcus Photography via Getty Images The couple invited 500 guests, including celebrities like Barbara Walters, Regis Philbin, and Anna Wintour, as well as politicians such as Rudy Giuliani and Andrew Cuomo. July 2011: The couple welcomed their first child, Arabella. Ivanka Trump and Jared Kushner with Arabella Kushner. Robin Marchant/Getty Images "This morning @jaredkushner and I welcomed a beautiful and healthy little baby girl into the world," Ivanka announced on X, then Twitter. "We feel incredibly grateful and blessed. Thank you all for your support and well wishes!" October 2013: Ivanka Trump gave birth to their second child, Joseph. Ivanka Trump with Arabella Rose Kushner and Joseph Frederick Kushner in 2017. Alo Ceballos/GC Images He was named for Kushner's paternal grandfather Joseph and given the middle name Frederick after Donald Trump's father. March 2016: Kushner and Ivanka Trump welcomed their third child, Theodore, in the midst of Donald Trump's presidential campaign. Ivanka Trump carried her son Theodore as she held hands with Joseph alongside Jared Kushner and daughter Arabella on the White House lawn. SAUL LOEB/AFP via Getty Images "I said, 'Ivanka, it would be great if you had your baby in Iowa.' I really want that to happen. I really want that to happen," Donald Trump told supporters in Iowa in January 2016.All three of the couple's children were born in New York City. May 2016: They attended the Met Gala two months after Ivanka Trump gave birth. Jared Kushner and Ivanka Trump attend the Met Gala. Kevin Mazur/WireImage Ivanka Trump wore a red Ralph Lauren Collection halter jumpsuit.On a 2017 episode of "The Late Late Show with James Corden," Anna Wintour said that she would never invite Donald Trump to another Met Gala. January 2017: Ivanka Trump and Kushner attended Donald Trump's inauguration and danced together at the Liberty Ball. Ivanka Trump and Jared Kushner on Inauguration Day. Photo by Rob Carr/Getty Images The Liberty Ball was the first of three inaugural balls that Donald Trump attended. January 2017: After the inauguration, Ivanka and Kushner relocated to a $5.5 million home in the Kalorama section of Washington, DC. Jared Kushner and Ivanka Trump's house in Washington, DC. PAUL J. RICHARDS/AFP via Getty Images Ivanka Trump and Kushner rented the 7,000-square-foot home from billionaire Andrónico Luksic for $15,000 a month, The Wall Street Journal reported. May 2017: They accompanied Donald Trump on his first overseas trip in office. Jared Kushner and Ivanka Trump with Pope Francis. Vatican Pool - Corbis/Corbis via Getty Images Kushner and Ivanka Trump both served as advisors to the president. For the first overseas trip of Donald Trump's presidency, they accompanied him to Saudi Arabia, Israel, the Vatican, and summits in Brussels and Sicily. October 2019: The couple celebrated their 10th wedding anniversary with a lavish party at Camp David. Ivanka Trump and Jared Kushner at a state dinner. MANDEL NGAN/AFP via Getty Images All of the Trump and Kushner siblings were in attendance. A White House official told CNN that the couple was covering the cost of the party, but Donald Trump tweeted that the cost would be "totally paid for by me!" August 2020: Ivanka Trump spoke about moving their family to Washington, DC, at the Republican National Convention. Jared Kushner and Ivanka Trump at the Republican National Convention. SAUL LOEB/AFP via Getty Images "When Jared and I moved with our three children to Washington, we didn't exactly know what we were in for," she said in her speech. "But our kids loved it from the start." December 2020: Ivanka Trump and Kushner reportedly bought a $32 million empty lot in Miami's "Billionaire Bunker." Jared Kushner and Ivanka Trump's plot of land in Indian Creek Village. The Jills Zeder Group; Samir Hussein/WireImage/Getty Images After Donald Trump lost the 2020 election, Page Six reported that the couple purchased a 1.8-acre waterfront lot owned by singer Julio Iglesias, Enrique Iglesias' father, in Indian Creek Village, Florida.The island where it sits has the nickname "Billionaire Bunker" thanks to its multitude of ultra-wealthy residents over the years, including billionaire investor Carl Icahn, supermodel Adriana Lima, and former Miami Dolphins coach Don Shula. January 2021: They skipped Joe Biden's inauguration, flying with Donald Trump to his Mar-a-Lago residence in Palm Beach, Florida, instead. Ivanka Trump, Jared Kushner, and their children prepared for Donald Trump's departure on Inauguration Day. ALEX EDELMAN/AFP via Getty Images Donald Trump did not attend Biden's inauguration, breaking a long-standing norm in US democracy. While initial reports said that Ivanka Trump was planning to attend the inauguration, a White House official told People magazine that "Ivanka is not expected to attend the inauguration nor was she ever expected to." January 2021: The couple signed a lease for a luxury Miami Beach condo near their Indian Creek Village property. Arte Surfside. Antonio Citterio Patricia Viel Ivanka Trump and Kushner signed a lease for a "large, unfurnished unit" in the amenities-packed Arte Surfside condominium building in Surfside, Florida.Surfside, a beachside town just north of Miami Beach that's home to fewer than 6,000 people, is only a five-minute drive from Indian Creek Island, where they bought their $32 million empty lot. April 2021: Ivanka Trump and Kushner reportedly added a $24 million mansion in Indian Creek Village to their Florida real-estate profile. Ivanka Trump and Jared Kushner on a walk in Florida. MEGA/GC Images The Real Deal reported that Ivanka and Kushner purchased another Indian Creek property — this time, a 8,510-square-foot mansion situated on a 1.3-acre estate. June 2021: Several outlets reported that the couple began to distance themselves from Donald Trump due to his fixation on conspiracy theories about the 2020 election. Ivanka Trump and Jared Kushner behind Donald Trump. Kevin Lamarque/Reuters CNN reported that Trump was prone to complain about the 2020 election and falsely claim it was "stolen" from him to anyone listening and that his "frustrations emerge in fits and starts — more likely when he is discussing his hopeful return to national politics."While Ivanka and Kushner had been living in their Miami Beach condo, not far from Trump's Mar-a-Lago club in Palm Beach, Florida, they'd visited Trump less and less frequently and were absent from big events at Mar-a-Lago, CNN said.The New York Times also reported that Kushner wanted "to focus on writing his book and establishing a simpler relationship" with the former president. October 2021: Ivanka Trump and Kushner visited Israel's parliament for the inaugural event of the Abraham Accords Caucus. Jared Kushner and Ivanka Trump in Israel. AHMAD GHARABLI/AFP via Getty Images The Abraham Accords, which Kushner helped broker in August 2020, normalized relations between Israel and the United Arab Emirates, Bahrain, Sudan, and Morocco.During their visit, Ivanka Trump and Kushner met with then-former Prime Minister Benjamin Netanyahu and attended an event at the Museum of Tolerance Jerusalem with former US Secretary of State Mike Pompeo. August 2022: Kushner released his memoir, "Breaking History," in which he wrote about their courtship. Jared Kushner. John Lamparski/Getty Images for Concordia Summit "In addition to being arrestingly beautiful, which I knew before we met, she was warm, funny, and brilliant," he wrote of getting to know Ivanka Trump. "She has a big heart and a tremendous zest for exploring new things."He also wrote that when he told Donald Trump that he was planning a surprise engagement, Trump "picked up the intercom and alerted Ivanka that she should expect an imminent proposal." November 2022: Kushner attended Donald Trump's 2024 campaign announcement without Ivanka Trump. Kimberly Guilfoyle, Jared Kushner, Eric Trump, and Lara Trump at Donald Trump's presidential campaign announcement. Jonathan Ernst/Reuters Ivanka Trump released a statement explaining her absence from the event."I love my father very much," her statement read. "This time around, I am choosing to prioritize my children and the private life we are creating as a family. I do not plan to be involved in politics. While I will always love and support my father, going forward I will do so outside the political arena." July 2024: Ivanka Trump and Kushner made a rare political appearance at the Republican National Convention. Donald Trump and Melania Trump onstage with Ivanka Trump and Jared Kushner. Jason Armond/Los Angeles Times via Getty Images Ivanka Trump did not campaign for her father or give a speech as she had at past Republican National Conventions, but she and Jared Kushner joined Trump family members onstage after Donald Trump's remarks. November 2024: They joined members of the Trump family in Palm Beach, Florida, to celebrate Donald Trump's election victory.