Reading Time: 10 minutes Picking an omnichannel marketing platform can feel like walking into a tech maze. Every vendor promises personalized customer experiences and 360-degree views. But behind the technical terminologies, most platforms just add noise. Right now, your customers expect seamless, intuitive experiences, whether they’re on your website, checking email, scrolling Instagram, or walking into your store. And they don’t care what platform you’re using. They care that it works. That it feels cohesive. And if your current tools can’t keep up, you’ll feel it in your churn rate, in your campaign ROI, and in the silence when nobody clicks. This article explains how to actually choose an omnichannel marketing automation platform that delivers a measurable, meaningful impact.   What is an Omnichannel Marketing Platform? An omnichannel marketing platform brings all your customer touchpoints—email, SMS, social, web, and more—into a single, unified connected system. It tracks customer behavior across different devices, personalizes communication in real time, and automates actions based on where each customer is in their journey. In short, such platforms allow you to completely harness omnichannel marketing — no more juggling five tools to launch a campaign or manually syncing customer profiles. It’s about delivering the right message, on the right channel, at exactly the right moment, without missing a beat. How Do Omnichannel Marketing Automation Platforms Work? At the core of omnichannel marketing platforms is automation, and it’s what makes them truly powerful. These tools don’t just streamline your marketing, they do the heavy lifting for you by intelligently responding to customer behavior in real time, on the right channel. Here’s how it works: Data Integration: The platform gathers data from every interaction your customers have with your brand, whether it’s a social media click, an email open, or a web visit. It stores and syncs that data, building a comprehensive customer profile. Behavioral Triggers: Based on that profile, the platform automatically triggers personalized actions. If a customer browses a product on your website and abandons it, the system can send them a targeted follow-up email with a discount. Or, if they engage with a post on Instagram, they might receive an SMS with relevant content. Multi-Channel Coordination: Instead of running isolated campaigns across different platforms, omnichannel automation makes sure your messaging is synchronized, no matter where your customer interacts with your brand. The experience is seamless regardless of whether it is conducted on a mobile device, desktop, or in-store. Ultimately, these platforms use automation to enable smarter, more personal marketing, allowing brands to swiftly reach their customers with the right message at the right time. Why is an Omnichannel Marketing Platform So Important for Marketing Teams? Marketing today is about being seen everywhere your customers are and delivering the right message in the right way. An omnichannel marketing platform makes that possible, and here’s why it’s crucial: Drives Better Engagement: Customers expect a smooth experience no matter where they interact with your brand. When your marketing is consistent across email, social media, and your website, it creates a sense of connection. More than just seeing your ads, they’re actually engaging with your brand in a way that feels personalized, familiar, and authentic. Makes Campaigns More Effective: With an omnichannel platform, you can monitor your campaigns in real-time and quickly adjust them if things aren’t going as planned. No more waiting for reports to trickle in. You can make changes on the fly, which means your marketing efforts are always aligned with what’s working at the moment. Allows for True Personalization: Forget generic messaging. An omnichannel marketing platform helps you gather data from every customer interaction, allowing you to tailor your approach based on what each customer is interested in. Builds Stronger Customer Relationships: When you engage with customers across multiple channels in a relevant, timely way, you make them feel seen and valued. This connection goes beyond a single sale. It turns casual buyers into loyal customers who trust your brand to deliver on their needs, no matter where they are. Delivers More Bang for Your Buck: The beauty of automation is that it frees up your team to focus on your omnichannel strategy, while the omnichannel marketing automation platform handles the routine tasks. This efficiency leads to better targeting, reduced costs, and a stronger ROI. You’re reaching the right customers at the right time without wasting effort. Helps You Make Smarter Decisions: All your customer data is centralized, so you’re not guessing anymore. Whether you need to optimize a campaign or uncover new opportunities, the insights provided by the platform allow you to make data-driven decisions that move your business forward. Responds to Customers in Real Time: When someone shows interest in your product, the last thing you want is to lose that momentum. Omnichannel marketing platforms trigger automatic follow-ups based on actions customers take, so they get the right message when they’re most interested, whether it’s through an email, text, or on social media. Keeps Your Brand Consistent: With everything tied together in one platform, your message, tone, and offers stay consistent across channels. No matter where a customer encounters your brand, they’ll have the same experience and brand recognition each time. Elevates the Customer Experience: When all of your channels work together, customers feel like they’re interacting with a brand that really gets them. The result? A better overall customer experience, which translates to stronger loyalty, higher engagement, and more referrals. In short, an omnichannel marketing platform is a game-changer for B2C marketing teams. It brings your efforts together in a way that’s efficient, intelligent, and most importantly, human, making it easier to engage your audience and deliver results.   How to Choose the Right Omnichannel Marketing Platform for Your Team Choosing the right omnichannel marketing platform is a big decision for any team. It’s an investment that can elevate your marketing strategies, enhance omnichannel customer engagement, and improve overall performance. But with so many options available, how do you ensure you’re making the best choice for your team? Here are some key factors to think about. Integration Capabilities: Your platform needs to seamlessly integrate with the tools you already use, so you can focus on what really matters. Whether it’s your CRM, email marketing automation software, or social media platforms, you don’t want to waste time and energy managing multiple systems that don’t talk to each other. Ask yourself, how easily will this platform integrate with and support the tools and platforms you already use? Ease of Use and Customization: A platform that’s difficult to use is more of a burden than a help. Look for one that’s intuitive and easy for your team to get comfortable with. The last thing you want is a tool that causes frustration and slows things down. Think about how user-friendly the platform is for your team. Can you easily customize features to fit your unique needs? Data and Analytics: An omnichannel marketing platform should give you clear, actionable insights so you can make smart, informed decisions. Does the platform provide detailed omnichannel analytics that you can use to refine your campaigns? Can it help you track customer journeys and behaviors across channels? Scalability and Support: Your business is growing, and your platform needs to grow with it. The last thing you want is to outgrow your tool in six months and have to go through the hassle of switching to something new. Check whether the platform is scalable enough to accommodate your future growth. What level of customer support is offered, and how responsive is the team? Now that you have a sense of what to consider when choosing an omnichannel marketing automation platform, let’s dive into the key features to look for.   5 Key Features to Look for in an Omnichannel Marketing Automation Platform You can’t build a high-performing marketing engine founded on disconnected tools and vague customer data. If your team is working across five different platforms to run a single campaign, something’s broken. The tool you pick will either streamline your marketing or slow it down. So, forget the bells and whistles for a moment. What you really need are features that bring clarity to your customer experience. Here are the five features that serve as the foundation of a platform that can scale with your brand. 1. Unified Customer Profiles across Channels Modern marketing starts with understanding. A powerful omnichannel marketing platform should combine customer data from every touchpoint (website visits, email clicks, mobile app activity, purchase history, and other interactions) into a single, continuously updated profile. This unified view helps your team move from being ‘reactive’ to being ‘proactive’. Instead of blasting generic messages, you can deliver relevant content tailored to where that customer is in their journey. It’s the difference between feeling like a brand knows you… and feeling like it’s spam. 2. Behavior-Driven Automation Workflows Static email blasts are outdated. Customers expect relevant, timely communication based on how they engage with your brand. The platform you choose should let you create workflows that automatically trigger actions like sending a reminder, adjusting content, or changing the message channel, based on real-time behavior. For example, a user who browses a product but doesn’t buy it, should receive a well-timed nudge — maybe an email, or a push notification. The point is: your platform needs to adapt to customer intent and behavior, not force every lead down the same path. 3. Real-Time Analytics and Reporting You shouldn’t have to wait 48 hours to know if something flopped. You need to be able to tweak your omnichannel marketing automation strategy in real-time based on what’s happening right now. Does the platform offer real-time insights into campaign performance? Can you adjust tactics immediately based on live data? Also, no one wants 20 meaningless charts. Look for a platform that shows you the vital metrics, like clicks, conversions, and drop-offs, so your team can make quick, sure choices. 4. A Centralized Campaign Builder for Every Channel If you’re logging in and out of separate tools to handle email, SMS, web and mobile push notifications, and in-app messaging, something’s broken. Your omnichannel marketing platform should let you map and launch all of those in one place, from one logic flow. That way, if you’re running a product launch, you can build the entire experience—email, follow-up text, in-app message—all from the same workspace. This keeps your messaging consistent, and it saves your team loads of time. 5. Scalable Personalization Powered by AI Everyone talks about omnichannel personalization. But if it takes your team hours to set up basic name merges or segments, it’s not scalable. A strong platform should help you personalize campaigns at scale using AI, not by making you do more, but by automating based on real customer data. Whether that’s product recommendations, timing messages based on when someone usually engages, or switching up channels depending on preferences, the goal is simple: make it feel like a one-on-one conversation, not a broadcast.   5 Best Omnichannel Marketing Platforms to Increase Customer Engagement 1. MoEngage MoEngage is a powerful customer engagement platform built for B2C marketing teams that want to create seamless, personalized journeys across channels like email, mobile and web push notifications, SMS, WhatsApp, in-app messaging, web, and more. It’s designed to help brands understand their customers deeply and act on that understanding in real time. What makes MoEngage stand out is how it brings all your customer data into one unified platform, allowing you to automate complex journeys without jumping between tools or teams. Whether you’re re-engaging an app user, launching an omnichannel campaign, or sending a personalized offer, this platform makes it easy and efficient. No wonder so many brands switch to MoEngage! How Pricing Works: MoEngage offers a tiered pricing model based on Monthly Tracked Users (MTUs). The Growth plan starts around $750/month, but it depends on what features you want to use. Larger brands can opt for the Enterprise plan, which includes more advanced features, higher limits, and dedicated support. Best For: Growth-focused brands that want to deeply personalize customer experiences at scale, particularly in industries like Ecommerce, fintech, media, quick-service restaurants (QSRs), travel, and mobile-first apps. In fact, it’s the perfect Ecommerce marketing automation platform for omnichannel customer engagement. If your team values real-time insights, automation, and customer-centric engagement, MoEngage is likely a great fit. 2. Shopify Plus Shopify Plus is an enterprise-level Ecommerce platform designed to help brands deliver a seamless shopping experience across all customer touchpoints. It enables brands to sell on various platforms, including online stores, mobile apps, social media, and physical retail locations, all managed from a single dashboard. While Shopify Plus does a great job managing omnichannel commerce, it’s not as feature-rich on the marketing automation side. If your team is looking for deep personalization, behavioral segmentation, or advanced journey building, you’ll likely need to connect Shopify with a marketing automation software platform. How Pricing Works: Shopify Plus pricing varies based on specific business requirements and sales volumes. Best For: High-volume omnichannel retail marketers and brands looking for a scalable Ecommerce solution that offers basic omnichannel capabilities and centralized management of multiple sales channels. 3. ActiveCampaign ActiveCampaign does a great job of bridging marketing automation with a personal touch. It’s built for businesses that don’t just want to send mass emails, but send smart ones. The platform shines when it comes to customer segmentation, letting you trigger emails, SMS, or even site messages based on real behavior, not just assumptions. That said, it’s not the kind of tool you just open and instantly “get.” The automation builder is powerful, but there’s a learning curve. Still, once you set it up, it runs like a machine that’s personalized, timely, and way less manual effort than you’d expect. How Pricing Works: Pricing starts at $29 per month and scales based on contact volume and feature set. Plans can go up to $149/month or more, depending on business needs. Best For: Small to mid-sized businesses looking for a cost-effective, flexible marketing automation platform with strong segmentation and multichannel engagement tools. (No, we’re not getting into the omnichannel vs. multichannel marketing debate now). 4. HubSpot HubSpot is an all-in-one platform that helps brands grow by focusing on inbound marketing, sales, and customer service. It’s well-suited for those looking to integrate their marketing efforts across various channels, without the need for complex technical skills. Honestly, HubSpot’s strength is in inbound marketing and CRM. However, its capabilities in advanced omnichannel campaign automation aren’t as extensive as those in some other platforms. If you need highly sophisticated marketing features, you may want to look elsewhere. How Pricing Works: Pricing starts at $800 per month for the Marketing Hub. For full access to all features, the Enterprise plan starts at $3,600 per month. Best For: Brands that focus on inbound marketing and CRM, looking for a user-friendly platform to manage omnichannel efforts easily.   Migrate to a Better Omnichannel Marketing Platform Today One thing’s clear: not all omnichannel marketing platforms are created equal. The right platform should feel less like another tool and more like a strategic partner, helping you understand your audience, stay consistent across touchpoints, and make marketing smarter, not harder. MoEngage stands out for this very reason. In fact, our omnichannel marketing platform is built for teams who want more than just dashboards. It’s for marketers who want results. And the best part is, migrating to a customer engagement platform has never been easier. Want to see MoEngage in action? Book a demo today and explore what better marketing looks like. The post How to Choose an Omnichannel Marketing Platform appeared first on MoEngage.

Anthropic on Thursday announced Claude Gov, its product designed specifically for U.S. defense and intelligence agencies. The AI models have looser guardrails for government use and are trained to better analyze classified information.The company said the models it’s announcing “are already deployed by agencies at the highest level of U.S. national security,” and that access to those models will be limited to government agencies handling classified information. The company did not confirm how long they had been in use.Claude Gov models are specifically designed to uniquely handle government needs, like threat assessment and intelligence analysis, per Anthropic’s blog post. And although the company said they “underwent the same rigorous safety testing as all of our Claude models,” the models have certain specifications for national security work. For example, they “refuse less when engaging with classified information” that’s fed into them, something consumer-facing Claude is trained to flag and avoid. Claude Gov’s models also have greater understanding of documents and context within defense and intelligence, according to Anthropic, and better proficiency in languages and dialects relevant to national security. Use of AI by government agencies has long been scrutinized because of its potential harms and ripple effects for minorities and vulnerable communities. There’s been a long list of wrongful arrests across multiple U.S. states due to police use of facial recognition, documented evidence of bias in predictive policing, and discrimination in government algorithms that assess welfare aid. For years, there’s also been an industry-wide controversy over large tech companies like Microsoft, Google and Amazon allowing the military — particularly in Israel — to use their AI products, with campaigns and public protests under the No Tech for Apartheid movement.Anthropic’s usage policy specifically dictates that any user must “Not Create or Facilitate the Exchange of Illegal or Highly Regulated Weapons or Goods,” including using Anthropic’s products or services to “produce, modify, design, market, or distribute weapons, explosives, dangerous materials or other systems designed to cause harm to or loss of human life.” At least eleven months ago, the company said it created a set of contractual exceptions to its usage policy that are “carefully calibrated to enable beneficial uses by carefully selected government agencies.” Certain restrictions — such as disinformation campaigns, the design or use of weapons, the construction of censorship systems, and malicious cyber operations — would remain prohibited. But Anthropic can decide to “tailor use restrictions to the mission and legal authorities of a government entity,” although it will aim to “balance enabling beneficial uses of our products and services with mitigating potential harms.” Claude Gov is Anthropic’s answer to ChatGPT Gov, OpenAI’s product for U.S. government agencies, which it launched in January. It’s also part of a broader trend of AI giants and startups alike looking to bolster their businesses with government agencies, especially in an uncertain regulatory landscape.When OpenAI announced ChatGPT Gov, the company said that within the past year, more than 90,000 employees of federal, state, and local governments had used its technology to translate documents, generate summaries, draft policy memos, write code, build applications, and more. Anthropic declined to share numbers or use cases of the same sort, but the company is part of Palantir’s FedStart program, a SaaS offering for companies who want to deploy federal government-facing software. Scale AI, the AI giant that provides training data to industry leaders like OpenAI, Google, Microsoft, and Meta, signed a deal with the Department of Defense in March for a first-of-its-kind AI agent program for U.S. military planning. And since then, it’s expanded its business to world governments, recently inking a five-year deal with Qatar to provide automation tools for civil service, healthcare, transportation, and more.See More:

On November 4, 2003, a doctor gave Jon Gluck some of the worst news imaginable: He had cancer — one that later tests would reveal as multiple myeloma, a severe blood and bone marrow cancer. Jon was told he might have as little as 18 months to live. He was 38, a thriving magazine editor in New York with a 7-month-old daughter whose third birthday, he suddenly realized, he might never see.“The moment after I was told I had cancer, I just said ‘no, no, no,’” Jon told me in an interview just last week. “This cannot be true.”Living in remissionThe fact that Jon is still here, talking to me in 2025, tells you that things didn’t go the way the medical data would have predicted on that November morning. He has lived with his cancer, through waves of remission and recurrence, for more than 20 years, an experience he chronicles with grace and wit in his new book An Exercise in Uncertainty. That 7-month-old daughter is now in college.RelatedWhy do so many young people suddenly have cancer?You could say Jon has beaten the odds, and he’s well aware that chance played some role in his survival. (“Did you know that ‘Glück’ is German for ‘luck’?” he writes in the book, noting his good fortune that a random spill on the ice is what sent him to the doctor in the first place, enabling them to catch his cancer early.) Cancer is still a terrible health threat, one that is responsible for 1 in 6 deaths around the world, killing nearly 10 million people a year globally and over 600,000 people a year in the US. But Jon’s story and his survival demonstrate something that is too often missed: We’ve turned the tide in the war against cancer. The age-adjusted death rate in the US for cancer has declined by about a third since 1991, meaning people of a given age have about a third lower risk of dying from cancer than people of the same age more than three decades ago. That adds up to over 4 million fewer cancer deaths over that time period. Thanks to breakthroughs in treatments like autologous stem-cell harvesting and CAR-T therapy — breakthroughs Jon himself benefited from, often just in time — cancer isn’t the death sentence it once was.Our World in DataGetting better all the timeThere’s no doubt that just as the rise of smoking in the 20th century led to a major increase in cancer deaths, the equally sharp decline of tobacco use eventually led to a delayed decrease. Smoking is one of the most potent carcinogens in the world, and at the peak in the early 1960s, around 12 cigarettes were being sold per adult per day in the US. Take away the cigarettes and — after a delay of a couple of decades — lung cancer deaths drop in turn along with other non-cancer smoking-related deaths.But as Saloni Dattani wrote in a great piece earlier this year, even before the decline of smoking, death rates from non-lung cancers in the stomach and colon had begun to fall. Just as notably, death rates for childhood cancers — which for obvious reasons are not connected to smoking and tend to be caused by genetic mutations — have fallen significantly as well, declining sixfold since 1950. In the 1960s, for example, only around 10 percent of children diagnosed with acute lymphoblastic leukemia survived more than five years. Today it’s more than 90 percent. And the five-year survival rate for all cancers has risen from 49 percent in the mid-1970s to 69 percent in 2019. We’ve made strikes against the toughest of cancers, like Jon’s multiple myeloma. Around when Jon was diagnosed, the five-year survival rate was just 34 percent. Today it’s as high as 62 percent, and more and more people like Jon are living for decades. “There has been a revolution in cancer survival,” Jon told me. “Some illnesses now have far more successful therapies than others, but the gains are real.”Three cancer revolutions The dramatic bend in the curve of cancer deaths didn’t happen by accident — it’s the compound interest of three revolutions.While anti-smoking policy has been the single biggest lifesaver, other interventions have helped reduce people’s cancer risk. One of the biggest successes is the HPV vaccine. A study last year found that death rates of cervical cancer — which can be caused by HPV infections — in US women ages 20–39 had dropped 62 percent from 2012 to 2021, thanks largely to the spread of the vaccine. Other cancers have been linked to infections, and there is strong research indicating that vaccination can have positive effects on reducing cancer incidence. The next revolution is better and earlier screening. It’s generally true that the earlier cancer is caught, the better the chances of survival, as Jon’s own story shows. According to one study, incidences of late-stage colorectal cancer in Americans over 50 declined by a third between 2000 and 2010 in large part because rates of colonoscopies almost tripled in that same time period. And newer screening methods, often employing AI or using blood-based tests, could make preliminary screening simpler, less invasive and therefore more readily available. If 20th-century screening was about finding physical evidence of something wrong — the lump in the breast — 21st-century screening aims to find cancer before symptoms even arise.Most exciting of all are frontier developments in treating cancer, much of which can be tracked through Jon’s own experience. From drugs like lenalidomide and bortezomib in the 2000s, which helped double median myeloma survival, to the spread of monoclonal antibodies, real breakthroughs in treatments have meaningfully extended people’s lives — not just by months, but years.Perhaps the most promising development is CAR-T therapy, a form of immunotherapy. Rather than attempting to kill the cancer directly, immunotherapies turn a patient’s own T-cells into guided missiles. In a recent study of 97 patients with multiple myeloma, many of whom were facing hospice care, a third of those who received CAR-T therapy had no detectable cancer five years later. It was the kind of result that doctors rarely see. “CAR-T is mind-blowing — very science-fiction futuristic,” Jon told me. He underwent his own course of treatment with it in mid-2023 and writes that the experience, which put his cancer into a remission he’s still in, left him feeling “physically and metaphysically new.”A welcome uncertaintyWhile there are still more battles to be won in the war on cancer, and there are certain areas — like the rising rates of gastrointestinal cancers among younger people — where the story isn’t getting better, the future of cancer treatment is improving. For cancer patients like Jon, that can mean a new challenge — enduring the essential uncertainty that comes with living under a disease that’s controllable but which could always come back. But it sure beats the alternative.“I’ve come to trust so completely in my doctors and in these new developments,” he said. “I try to remain cautiously optimistic that my future will be much like the last 20 years.” And that’s more than he or anyone else could have hoped for nearly 22 years ago. A version of this story originally appeared in the Good News newsletter. Sign up here!See More: Health

Something to look forward to: This year's Summer Game Fest presentation ended with a reveal trailer for Resident Evil Requiem, which Capcom confirmed is the ninth mainline title in the long-running survival horror game series. Details on the upcoming title are scant, but it is set to launch on PC and current-generation consoles in a few months. Capcom has not yet revealed gameplay details for Resident Evil Requiem, as the initial trailer focuses on the story, characters, and locations. The game's scenario appears to draw heavily from the franchise's history, likely to celebrate the 30th anniversary of the original Resident Evil's 1996 release. Much of the trailer highlights the ruins of Raccoon City, suggesting that players will revisit the setting of the series' first three entries. Brief shots clearly show the decayed remains of the city's police station – where much of Resident Evil 2 and 3 took place – with layouts that appear nearly identical to those in the 2019 and 2020 remakes. Another shot depicts the city's deserted landscape, featuring a crater at its center left by the missile that destroyed the town following the events of RE3. Additionally, the game's protagonist is FBI agent Grace Ashcroft, the daughter of one of the main characters from Resident Evil Outbreak, an online multiplayer spin-off released for the PlayStation 2 in 2003. The game's website mentions technological advancements, suggesting it will showcase the next evolution of Capcom's RE Engine. This graphics engine debuted in 2017 with Resident Evil 7, which was known for its impressive level of realism and surprisingly fast performance. However, more recent titles using the engine, such as Dragon's Dogma II and the enormously successful Monster Hunter Wilds, are far more demanding, in part due to their massive open-world environments. Capcom's shift toward open-world games has led some to speculate that the next Resident Evil title might adopt a similar gameplay structure, representing a stark contrast to the franchise's traditional preference for isolated locations. A ruined city would provide a fitting backdrop for such a radical change, but it's difficult to say what Capcom has planned. // Related Stories Other games revealed this week include Atomic Heart II, Game of Thrones: War for Westeros, Dying Light: The Beast, Lego Voyagers, Killer Inn, Felt That Boxing, Nioh 3, 007 First Light, Lumines Arise, Marvel Tōkon, Thief VR, Mortal Kombat Legacy Kollection, and more. More new titles are expected to debut this weekend during the Xbox Games Showcase 2025 on Sunday, June 8, at 1 pm ET. Resident Evil Requiem launches on February 27 on Steam, PlayStation 5, and Xbox Series consoles.

WWDC 2025, Apple’s annual developers conference, starts at 10 a.m. PT / 1 p.m. ET. Monday. Last year’s event was notable for its focus on AI, and this year, there is considerable pressure on the company to build on its promises, and to change the narrative after months of largely negative headlines. As in previous years, the company will focus on software updates and new technologies, including the next version of iOS, which is rumored to have the most significant design changes since the introduction of iOS 7. But iOS 19 (or 26, if other rumors about the new naming system are true) isn’t the only thing the company will announce at WWDC 2025. Here’s how you can watch the keynote livestream. iOS is getting the most dramatic design change in over a decade When Apple introduced a major overhaul to iOS back in 2013 with the launch of iOS 7, it felt jarring for many users with the shift from the prior skeuomorphic design with gradients and real-world textures to the more colorful, but flat, design style that reflected Apple’s then chief design officer Jony Ive’s taste for minimalism. Now, new reports suggest that an upcoming redesign could provoke a similar level of reaction. Reports suggest the new design may have elements referencing visionOS, the software powering Apple’s spatial computing headset, the Apple Vision Pro. If true, that means the new OS could feature a transparent interface and more circular app icons that break away from the traditional square format today. This visual redesign could be implemented across all of Apple’s ecosystem (including even CarPlay), according to Bloomberg, providing a more seamless experience for consumers moving between their different devices. Techcrunch event Save $200+ on your TechCrunch All Stage pass Build smarter. Scale faster. Connect deeper. Join visionaries from Precursor Ventures, NEA, Index Ventures, Underscore VC, and beyond for a day packed with strategies, workshops, and meaningful connections. Save $200+ on your TechCrunch All Stage pass Build smarter. Scale faster. Connect deeper. Join visionaries from Precursor Ventures, NEA, Index Ventures, Underscore VC, and beyond for a day packed with strategies, workshops, and meaningful connections. Boston, MA | July 15 REGISTER NOW iOS will change its naming system According to Bloomberg, Apple will announce a change in the naming system for iOS at this year’s WWDC. Instead of announcing the next version of iOS as iOS 19, Apple’s operating systems will shift to being named by year. That means we could be set to see the launch of iOS 26 instead, alongside the OSes for other products, including adOS 26, macOS 26, watchOS 26, tvOS 26, and visionOS 26. Apple may keep the AI news light this year While it might be challenging to top the news related to Apple Intelligence at WWDC 2024, the company is expected to share a few updates on the AI front. The company has seemingly been caught flat-footed in the AI race, making announcements about AI capabilities that had yet to ship, leading even some Apple pundits to accuse the company of touting vaporware. While Apple has launched several AI tools like Image Playground, Genmoji, Writing Tools, Photos Clean Up, and more, its promise of an improved Siri, personalized to the end user and able to take action across your apps, has been delayed. Meanwhile, Apple has turned to outside companies like OpenAI to give its iPhone a boost in terms of its AI capabilities. At WWDC, it may announce support for other AI chatbots, as well. With Jony Ive now working with Sam Altman on an AI hardware device, Apple is under pressure to catch up on AI progress. Image Credits:Nikolas Kokovlis/NurPhoto / Getty Images In addition, reports suggest that Apple’s Health app could soon incorporate AI technology, which could include a health chatbot and generative AI insights that provide personalized health-related suggestions based on user data. Additionally, other apps, such as Messages, may receive enhancements with AI capabilities, including a translation feature and polls that offer AI-generated suggestions, per 9to5Mac. Apple will likely make the most of a number of smaller OS updates that involve AI, given its underwhelming progress. Reports suggest that these updates could include AI-powered battery management features and an AI-powered Shortcuts app, for instance. iPhone users may get a dedicated gaming app Bloomberg confirmed a 9to5Mac report that said Apple is developing a dedicated gaming app that will replace the aging Game Center app. The app could include access to Apple Arcade’s subscription-based game store, plus other gaming features like leaderboards, recommendations, and ways to challenge your friends. It could also integrate with iMessage or FaceTime for remote gaming. Image Credits:Gabby Jones/Bloomberg / Getty Images Updates to Mac, Watch, TV, and more Along with the new design, reports suggest that Apple’s other operating systems will get some polish, too. For instance, macOS may also see the new gaming app and benefit from the new AirPods features. It’s also expected to be named macOS Tahoe, in keeping with Apple’s naming convention that references California landmarks. Apple TV may get a visual overhaul, but also changes to its user interface, the new gaming app, and other features. AirPods to get new features In addition to Messages getting a translation feature, Bloomberg reported that Apple could also bring a live-translate language feature to its AirPods wireless Bluetooth earbuds, allowing real-time translation during conversations. The iPhone will translate spoken words from another language for the user and will also translate the user’s response back into that language. A new report from 9to5Mac also suggests that AirPods may get new head gestures to complement today’s ability to either nod or shake your head to respond to incoming calls or messages. Plus, AirPods may get features to auto-pause music after you fall asleep, a way to trigger the camera via Camera Control with a touch, a studio-quality mic mode, and an improved pairing experience in shared AirPods. Image Credits:Darrell Etherington Apple Pencil upgrade According to reports, the Apple Pencil is also receiving a new update, one that will benefit users who wish to write in Arabic script. In an effort to cater to customers in UAE, Saudi Arabia, and India, Apple is reportedly launching a new virtual calligraphy feature in iPadOS 19. The company may also introduce a bi-directional keyboard so users can switch between Arabic and English on iPhones and iPads. No hardware announcements? There haven’t been any rumors regarding new devices, because no hardware is ready for release yet, according to Bloomberg. Although it’s always possible that the company will surprise us with a new Mac Pro announcement, most reports are saying this is highly unlikely at this point. Some reports indicate that Apple may also announce support for a new input device for its Vision Pro: spatial controllers. The devices would be motion-aware and designed with interaction in a 3D environment in mind, 9to5Mac says. In addition, Vision Pro could get eye-scrolling support, enabling users to scroll through documents on both native and third-party apps. Bloomberg had reported in November that Apple was expected to announce a smart home tablet in March 2025, featuring a 6-inch touchscreen and voice-activated controls. The device was said to include support for Home Control, Siri, and video calls, but has yet to launch. Following the discovery of a filing for “HomeOS” by PMC’s Parker Ortolani, speculation has arisen that Apple may unveil the software for the device at WWDC.

Not Ready Resident Evil 9 is real, arriving next year, and it's looking like it'll be amping up the horror once more Everyone hoped that Summer Game Fest would see the next Resident Evil finally revealed, and the show sure delivered. Image credit: Capcom/Summer Game Fest News by Sherif Saed Contributing Editor Updated on June 6, 2025 The impending announcement of Resident Evil 9 has been sort of hovering around for what felt like months. Insiders have been claiming for a while that we were about to see it at this or that show, but it somehow never materialised - and it looks like today's the day that's finally changed. During today’s Summer Game Fest kick-off showcase, Capcom delivered a brief message about the upcoming sequel in the legendary horror series. In a short video, Jun Takeuchi thanked fans for their support of the Resident Evil series and stated that there'll be more news soon, when the developer is ready. This lead most to believe that we wouldn't be seeing Resident Evil 9 today, but as the show closed, everyone was surprised. To see this content please enable targeting cookies. A horrifying brief trailer, Resident Evil 9 is being dubbed Resident Evil Requiem, and looks to be inviting players into a much scarier experience - akin to Resident Evil Biohazard - this time around. The better news? It'll be playable as of February 27, 2026. The game has actually been teased by Capcom in recent videos from the publisher, such as the one published to celebrate Resident Evil 4 selling 10 million copies. It was so subtle, however, you may not have spotted it. Resident Evil 9 is being said to represent a big step forward for the series, though maybe not quite to the degree earlier reports have made it out to be; time will only tell. There’s obviously plenty we still do not know, including how much of the final game will resemble those leaks. Either way, Capcom have been doing this a while now, and it'll no doubt be the survival horror-action romp all Resi fans have been waiting for. As it’s often the case, however, more will certainly be revealed between now Resident Evil 9’s launch next year. The game is in development for PC, PS5, and Xbox Series X/S.

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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.

TechTarget and Informa Tech’s Digital Business Combine.TechTarget and InformaTechTarget and Informa Tech’s Digital Business Combine.Together, we power an unparalleled network of 220+ online properties covering 10,000+ granular topics, serving an audience of 50+ million professionals with original, objective content from trusted sources. We help you gain critical insights and make more informed decisions across your business priorities.Subway Surfers Blast developer Outplay Entertainment has laid off 21 workersSubway Surfers Blast developer Outplay Entertainment has laid off 21 workers'This step was taken to align our operations with current business.'Chris Kerr, Senior Editor, NewsJune 5, 20251 Min ReadImage via OutplaySubway Surfers Blast and Angry Birds Pop developer Outplay Entertainment has laid off 21 employees.The Scottish studio confirmed the news in a email sent to MobileGamer.biz and said the layoffs were made in response to "current business realities.""This step was taken to align our operations with current business realities and to support a strategic shift toward partnering with publishers for future game releases," wrote Outplay CEO Douglas Hare in the email."This was not a decision we took lightly. We are incredibly grateful to the talented individuals affected, many of whom have made lasting contributions to our games and culture. We are doing everything we can to support them through this transition."Outplay was established in 2010 and is based in Dundee. The company styles itself as the largest independent mobile studio in the UK and claims its roster of titles has amassed over 160 million downloads to date. It now joins a chorus of other studios across the world in making layoffs.Those cuts are frequently made to adapt to what companies often refer to as "headwinds" or the "business realities" of an industry that is still reckoning with the over-investment and bad bets made by decision-makers during the pandemic.In recent months, companies such as People Can Fly, EA, Niantic, Playtime, Meta, Mighty Yell, Devolver, and PlaySide, Embracer, and Cyan Worlds have all made significant cuts. It is, unfortunately, a trend that has become something of a permanent fixture across the video game industry.Related:Read more about:Layoffs & Studio ClosuresTop StoriesAbout the AuthorChris KerrSenior Editor, News, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, and PocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like

Owlcat Games’ countdown led to an announcement at the Future Games Show Summer Showcase for a brand new title, one completely unlike its previous games. The Expanse: Osiris Reborn is in development on Unreal Engine 5 for Xbox Series X/S, PS5, and PC. Check out the first trailer below. It starts with a space crew attacking a fortified asteroid, using zero gravity to take out threats. During one firefight, they deploy a drone (which targets an explosive barrel to eliminate enemies) and a riot shield, which can soak up damage and base threats. Eventually, they happen upon some people contaminated by crystals. The trailer then cuts to some pre-alpha gameplay, showcasing third-person, cover-based shooting. Some set pieces involve traversing zero gravity outside of space stations and futuristic settlements. Stay tuned for more details on The Expanse: Osiris Reborn in the coming months. Owlcat is also working on a new Warhammer 40,000 CRPG called Dark Heresy. Head here for more details.