In MIT.nano’s laboratories, researchers use silicon wafers as the platform to shape transformative technologies such as quantum circuitry, microfluidic devices, or energy-harvesting structures. But these substrates can also serve as a canvas for an artist, as MIT Professor W. Craig Carter demonstrates in the latest One.MIT mosaic.

The One.MIT project celebrates the people of MIT by using the tools of MIT.nano to etch their collective names, arranged as a mosaic by Carter, into a silicon wafer just 8 inches in diameter. The latest edition of One.MIT — including 339,537 names of students, faculty, staff, and alumni associated with MIT from 1861 to September 2023 — is now on display in the ground-floor galleries at MIT.nano in the Lisa T. Su Building (Building 12).

“A spirit of innovation and a relentless drive to solve big problems have permeated the campus in every decade of our history. This passion for discovery, learning, and invention is the thread connecting MIT’s 21st-century family to our 19th-century beginnings and all the years in between,” says Vladimir Bulović, director of MIT.nano and the Fariborz Maseeh Chair in Emerging Technology. “One.MIT celebrates the MIT ethos and reminds us that no matter when we came to MIT, whatever our roles, we all leave a mark on this remarkable community.”

A team of students, faculty, staff, and alumni inscribed the design on the wafer inside the MIT.nano cleanrooms. Because the names are too small to be seen with the naked eye — they measure only microns high on the wafer — the One.MIT website allows anyone to look up a name and find its location in the mosaic.

Finding inspiration in the archives

The first two One.MIT art pieces, created in 2018 and 2020, were inscribed in silicon wafers 6 inches in diameter, slightly smaller than the latest art piece, which benefited from the newest MIT.nano tools that can fabricate 8-inch wafers. The first designs form well-known, historic MIT images: the Great Dome (2018) and the MIT seal (2020).

Carter, who is the Toyota Professor of Materials Processing and professor of materials science and engineering, created the designs and algorithms for each version of One.MIT. He started a search last summer for inspiration for the 2024 design. “The image needed to be iconic of MIT,” says Carter, “and also work within the constraints of a large-scale mosaic.”

Carter ultimately found the solution within the Institute Archives, in the form of a lithograph used on the cover of a program for the 1916 MIT rededication ceremony that celebrated the Institute’s move from Boston to Cambridge on its 50th anniversary.

Incorporating MIT nerdiness

Carter began by creating a black-and-white image, redrawing the lithograph’s architectural features and character elements. He recreated the kerns (spaces) and the fonts of the letters as algorithmic geometric objects.

The color gradient of the sky behind the dome presented a challenge because only two shades were available. To tackle this issue and impart texture, Carter created a Hilbert curve — a hierarchical, continuous curve made by replacing an element with a combination of four elements. Each of these four elements are replaced by another four elements, and so on. The resulting object is like a fractal — the curve changes shape as it goes from top to bottom, with 90-degree turns throughout.

“This was an opportunity to add a fun and ‘nerdy’ element — fitting for MIT,” says Carter.

To achieve both the gradient and the round wafer shape, Carter morphed the square Hilbert curve (consisting of 90-degree angles) into a disk shape using Schwarz-Christoffel mapping, a type of conformal mapping that can be used to solve problems in many different domains.

“Conformal maps are lovely convergences of physics and engineering with mathematics and geometry,” says Carter.

Because the conformal mapping is smooth and also preserves the angles, the square’s corners produce four singular points on the circle where the Hilbert curve’s line segments shrink to a point. The location of the four points in the upper part of the circle “squeezes” the curve and creates the gradient (and the texture of the illustration) — dense-to-sparse from top-to-bottom.

The final mosaic is made up of 6,476,403 characters, and Carter needed to use font and kern types that would fill as much of the wafer’s surface as possible without having names break up and wrap around to the next line. Carter’s algorithm alleviated this problem, at least somewhat, by searching for names that slotted into remaining spaces at the end of each row. The algorithm also performed an optimization over many different choices for the random order of the names. 

Finding — and wrangling — hundreds of thousands of names

In addition to the art and algorithms, the foundation of One.MIT is the extensive collection of names spanning more than 160 years of MIT. The names reflect students, alumni, faculty, and staff — the wide variety of individuals who have always formed the MIT community.

Annie Wang, research scientist and special projects coordinator for MIT.nano, again played an instrumental role in collecting the names for the project, just as she had for the 2018 and 2020 versions. Despite her experience, collating the names to construct the newest edition still presented several challenges, given the variety of input sources to the dataset and the need to format names in a consistent manner.

“Both databases and OCR-scanned text can be messy,” says Wang, referring to the electronic databases and old paper directories from which names were sourced. “And cleaning them up is a lot of work.”

Many names were listed in multiple places, sometimes spelled or formatted differently across sources. There were very short first and last names, very long first and last names — and also a portion of names in which more than one person had nearly identical names. And some groups are simply hard to find in the records. “One thing I wish we had,” comments Wang, “is a list of long-term volunteers at MIT who contribute so much but aren’t reflected in the main directories.”

Once the design was completed, Carter and Wang handed off a CAD file to Jorg Scholvin, associate director of fabrication at MIT.nano. Scholvin assembled a team that reflected One.MIT — students, faculty, staff, and alumni — and worked with them to fabricate the wafer inside MIT.nano’s cleanroom. The fab team included Carter; undergraduate students Akorfa Dagadu, Sean Luk, Emilia K. Szczepaniak, Amber Velez, and twin brothers Juan Antonio Luera and Juan Angel Luera; MIT Sloan School of Management EMBA student Patricia LaBorda; staff member Kevin Verrier of MIT Facilities; and alumnae Madeline Hickman '11 and Eboney Hearn '01, who is also the executive director of MIT Introduction to Technology, Engineering and Science (MITES).

When Paula Hammond first arrived on MIT’s campus as a first-year student in the early 1980s, she wasn’t sure if she belonged. In fact, as she told an MIT audience yesterday, she felt like “an imposter.”

However, that feeling didn’t last long, as Hammond began to find support among her fellow students and MIT’s faculty. “Community was really important for me, to feel that I belonged, to feel that I had a place here, and I found people who were willing to embrace me and support me,” she said.

Hammond, a world-renowned chemical engineer who has spent most of her academic career at MIT, made her remarks during the 2023-24 James R. Killian Jr. Faculty Achievement Award lecture.

Established in 1971 to honor MIT’s 10th president, James Killian, the Killian Award recognizes extraordinary professional achievements by an MIT faculty member. Hammond was chosen for this year’s award “not only for her tremendous professional achievements and contributions, but also for her genuine warmth and humanity, her thoughtfulness and effective leadership, and her empathy and ethics,” according to the award citation.

“Professor Hammond is a pioneer in nanotechnology research. With a program that extends from basic science to translational research in medicine and energy, she has introduced new approaches for the design and development of complex drug delivery systems for cancer treatment and noninvasive imaging,” said Mary Fuller, chair of MIT’s faculty and a professor of literature, who presented the award. “As her colleagues, we are delighted to celebrate her career today.”

In January, Hammond began serving as MIT’s vice provost for faculty. Before that, she chaired the Department of Chemical Engineering for eight years, and she was named an Institute Professor in 2021.

A versatile technique

Hammond, who grew up in Detroit, credits her parents with instilling a love of science. Her father was one of very few Black PhDs in biochemistry at the time, while her mother earned a master’s degree in nursing from Howard University and founded the nursing school at Wayne County Community College. “That provided a huge amount of opportunity for women in the area of Detroit, including women of color,” Hammond noted.

After earning her bachelor’s degree from MIT in 1984, Hammond worked as an engineer before returning to the Institute as a graduate student, earning her PhD in 1993. After a two-year postdoc at Harvard University, she returned to join the MIT faculty in 1995.

At the heart of Hammond’s research is a technique she developed to create thin films that can essentially “shrink-wrap” nanoparticles. By tuning the chemical composition of these films, the particles can be customized to deliver drugs or nucleic acids and to target specific cells in the body, including cancer cells.

To make these films, Hammond begins by layering positively charged polymers onto a negatively charged surface. Then, more layers can be added, alternating positively and negatively charged polymers. Each of these layers may contain drugs or other useful molecules, such as DNA or RNA. Some of these films contain hundreds of layers, others just one, making them useful for a wide range of applications.

“What’s nice about the layer-by-layer process is I can choose a group of degradable polymers that are nicely biocompatible, and I can alternate them with our drug materials. This means that I can build up thin film layers that contain different drugs at different points within the film,” Hammond said. “Then, when the film degrades, it can release those drugs in reverse order. This is enabling us to create complex, multidrug films, using a simple water-based technique.”

Hammond described how these layer-by-layer films can be used to promote bone growth, in an application that could help people born with congenital bone defects or people who experience traumatic injuries.

For that use, her lab has created films with layers of two proteins. One of these, BMP-2, is a protein that interacts with adult stem cells and induces them to differentiate into bone cells, generating new bone. The second is a growth factor called VEGF, which stimulates the growth of new blood vessels that help bone to regenerate. These layers are applied to a very thin tissue scaffold that can be implanted at the injury site.

Hammond and her students designed the coating so that once implanted, it would release VEGF early, over a week or so, and continue releasing BMP-2 for up to 40 days. In a study of mice, they found that this tissue scaffold stimulated the growth of new bone that was nearly indistinguishable from natural bone.

Targeting cancer

As a member of MIT’s Koch Institute for Integrative Cancer Research, Hammond has also developed layer-by-layer coatings that can improve the performance of nanoparticles used for cancer drug delivery, such as liposomes or nanoparticles made from a polymer called PLGA.

“We have a broad range of drug carriers that we can wrap this way. I think of them like a gobstopper, where there are all those different layers of candy and they dissolve one at a time,” Hammond said.

Using this approach, Hammond has created particles that can deliver a one-two punch to cancer cells. First, the particles release a dose of a nucleic acid such as short interfering RNA (siRNA), which can turn off a cancerous gene, or microRNA, which can activate tumor suppressor genes. Then, the particles release a chemotherapy drug such as cisplatin, to which the cells are now more vulnerable.

The particles also include a negatively charged outer “stealth layer” that protects them from being broken down in the bloodstream before they can reach their targets. This outer layer can also be modified to help the particles get taken up by cancer cells, by incorporating molecules that bind to proteins that are abundant on tumor cells.

In more recent work, Hammond has begun developing nanoparticles that can target ovarian cancer and help prevent recurrence of the disease after chemotherapy. In about 70 percent of ovarian cancer patients, the first round of treatment is highly effective, but tumors recur in about 85 percent of those cases, and these new tumors are usually highly drug resistant.

By altering the type of coating applied to drug-delivering nanoparticles, Hammond has found that the particles can be designed to either get inside tumor cells or stick to their surfaces. Using particles that stick to the cells, she has designed a treatment that could help to jumpstart a patient’s immune response to any recurrent tumor cells.

“With ovarian cancer, very few immune cells exist in that space, and because they don’t have a lot of immune cells present, it’s very difficult to rev up an immune response,” she said. “However, if we can deliver a molecule to neighboring cells, those few that are present, and get them revved up, then we might be able to do something.”

To that end, she designed nanoparticles that deliver IL-12, a cytokine that stimulates nearby T cells to spring into action and begin attacking tumor cells. In a study of mice, she found that this treatment induced a long-term memory T-cell response that prevented recurrence of ovarian cancer.

Hammond closed her lecture by describing the impact that the Institute has had on her throughout her career.

“It’s been a transformative experience,” she said. “I really think of this place as special because it brings people together and enables us to do things together that we couldn’t do alone. And it is that support we get from our friends, our colleagues, and our students that really makes things possible.”

A new set of advanced nanofabrication equipment will make MIT.nano one of the world’s most advanced research facilities in microelectronics and related technologies, unlocking new opportunities for experimentation and widening the path for promising inventions to become impactful new products.

The equipment, provided by Applied Materials, will significantly expand MIT.nano’s nanofabrication capabilities, making them compatible with wafers — thin, round slices of semiconductor material — up to 200 millimeters, or 8 inches, in diameter, a size widely used in industry. The new tools will allow researchers to prototype a vast array of new microelectronic devices using state-of-the-art materials and fabrication processes. At the same time, the 200-millimeter compatibility will support close collaboration with industry and enable innovations to be rapidly adopted by companies and mass produced.

MIT.nano’s leaders say the equipment, which will also be available to scientists outside of MIT, will dramatically enhance their facility’s capabilities, allowing experts in the region to more efficiently explore new approaches in “tough tech” sectors, including advanced electronics, next-generation batteries, renewable energies, optical computing, biological sensing, and a host of other areas — many likely yet to be imagined.

“The toolsets will provide an accelerative boost to our ability to launch new technologies that can then be given to the world at scale,” says MIT.nano Director Vladimir Bulović, who is also the Fariborz Maseeh Professor of Emerging Technology. “MIT.nano is committed to its expansive mission — to build a better world. We provide toolsets and capabilities that, in the hands of brilliant researchers, can effectively move the world forward.”

The announcement comes as part of an agreement between MIT and Applied Materials, Inc. that, together with a grant to MIT from the Northeast Microelectronics Coalition (NEMC) Hub, commits more than $40 million of estimated private and public investment to add advanced nano-fabrication equipment and capabilities at MIT.nano.

“We don’t believe there is another space in the United States that will offer the same kind of versatility, capability, and accessibility, with 8-inch toolsets integrated right next to more fundamental toolsets for research discoveries,” Bulović says. “It will create a seamless path to accelerate the pace of innovation.”

Pushing the boundaries of innovation

Applied Materials is the world’s largest supplier of equipment for manufacturing semiconductors, displays, and other advanced electronics. The company will provide at MIT.nano several state-of-the-art process tools capable of supporting 150- and 200-millimeter wafers and will enhance and upgrade an existing tool owned by MIT. In addition to assisting MIT.nano in the day-to-day operation and maintenance of the equipment, Applied Materials engineers will develop new process capabilities to benefit researchers and students from MIT and beyond.

“This investment will significantly accelerate the pace of innovation and discovery in microelectronics and microsystems,” says Tomás Palacios, director of MIT’s Microsystems Technology Laboratories and the Clarence J. Lebel Professor in Electrical Engineering. “It’s wonderful news for our community, wonderful news for the state, and, in my view, a tremendous step forward toward implementing the national vision for the future of innovation in microelectronics.”

Nanoscale research at universities is traditionally conducted on machines that are less compatible with industry, which makes academic innovations more difficult to turn into impactful, mass-produced products. Jorg Scholvin, associate director for MIT.nano’s shared fabrication facility, says the new machines, when combined with MIT.nano’s existing equipment, represent a step-change improvement in that area: Researchers will be able to take an industry-standard wafer and build their technology on top of it to prove to companies it works on existing devices, or to co-fabricate new ideas in close collaboration with industry partners.

“In the journey from an idea to a fully working device, the ability to begin on a small scale, figure out what you want to do, rapidly debug your designs, and then scale it up to an industry-scale wafer is critical,” Scholvin says. “It means a student can test out their idea on wafer-scale quickly and directly incorporate insights into their project so that their processes are scalable. Providing such proof-of-principle early on will accelerate the idea out of the academic environment, potentially reducing years of added effort. Other tools at MIT.nano can supplement work on the 200-millimeter wafer scale, but the higher throughput and higher precision of the Applied equipment will provide researchers with repeatability and accuracy that is unprecedented for academic research environments. Essentially what you have is a sharper, faster, more precise tool to do your work.”

Scholvin predicts the equipment will lead to exponential growth in research opportunities.

“I think a key benefit of these tools is they allow us to push the boundary of research in a variety of different ways that we can predict today,” Scholvin says. “But then there are also unpredictable benefits, which are hiding in the shadows waiting to be discovered by the creativity of the researchers at MIT. With each new application, more ideas and paths usually come to mind — so that over time, more and more opportunities are discovered.”

Because the equipment is available for use by people outside of the MIT community, including regional researchers, industry partners, nonprofit organizations, and local startups, they will also enable new collaborations.

“The tools themselves will be an incredible meeting place — a place that can, I think, transpose the best of our ideas in a much more effective way than before,” Bulović says. “I’m extremely excited about that.”

Palacios notes that while microelectronics is best known for work making transistors smaller to fit on microprocessors, it’s a vast field that enables virtually all the technology around us, from wireless communications and high-speed internet to energy management, personalized health care, and more.

He says he’s personally excited to use the new machines to do research around power electronics and semiconductors, including exploring promising new materials like gallium nitride, which could dramatically improve the efficiency of electronic devices.

Fulfilling a mission

MIT.nano’s leaders say a key driver of commercialization will be startups, both from MIT and beyond.

“This is not only going to help the MIT research community innovate faster, it’s also going to enable a new wave of entrepreneurship,” Palacios says. “We’re reducing the barriers for students, faculty, and other entrepreneurs to be able to take innovation and get it to market. That fits nicely with MIT’s mission of making the world a better place through technology. I cannot wait to see the amazing new inventions that our colleagues and students will come out with.”

Bulović says the announcement aligns with the mission laid out by MIT’s leaders at MIT.nano’s inception.

"We have the space in MIT.nano to accommodate these tools, we have the capabilities inside MIT.nano to manage their operation, and as a shared and open facility, we have methodologies by which we can welcome anyone from the region to use the tools,” Bulović says. “That is the vision MIT laid out as we were designing MIT.nano, and this announcement helps to fulfill that vision.”

It’s about the stupidest thing anyone could claim in defense of an unlawful detention and search, but Waterbury, CT police office Nicholas Andrzejewski did it anyway. He actually told a court (twice!) that someone respecting every single law applicable to them at the point of this unwelcome interaction was at least reasonable suspicion for a search, if not actual probable cause.

Here’s how this started, taken from the Second Circuit Appeals Court’s rejection [PDF] of the officer’s attempt to walk away from this civil rights suit:

At approximately 8:43 p.m. on November 12, 2018, Basel Soukaneh stopped his car with the engine running on the side of a street in Waterbury, Connecticut. Soukaneh’s iPhone GPS, located in a holder mounted to the car’s dashboard, was frozen, and he stopped his car to fix it. The area “was dark and [known as] a high crime area well known for prostitution, drug transactions and other criminal activity.”

Ah. The old boilerplate. These assertions about dark, high crime, drug area, blah blah blah presumably autofill whenever a cop starts a sentence explaining their reasonable suspicions on their incident report. It’s so overused and so devoid of actual facts that it’s become a parody of itself. Here’s Scott Greenfield’s take on this part of the officer’s narrative:

Was there articulable suspicion that a crime was being committed because Souhaneh stopped his car on the street? It was dark, as nights tend to be. It was in a high crime area, as is every area in pretty much any city anywhere. And yet, the court saw no problem with Andrzejewski demanding his license, for doing exactly what drivers are instructed to do by pulling over rather than driving while their attention is focused elsewhere. 

Any reasonable person will read this and realize that this self-proclaimed reasonable cop’s narrative has at least a couple of strikes against it. And that’s well before Officer Andrzejewski decided to convert this truly unnecessary non-stop into a full blown invasion of the interior of Soukaneh’s car and a constantly escalating series of rights violations.

Within seconds after Soukaneh stopped his car, Officer Nicholas Andrzejewski approached the vehicle, knocked on the driver’s side window, and according to Soukaneh, loudly demanded Soukaneh’s driver’s license. The interior vehicle light was on, so although the area was dark, Andrzejewski could see the activity inside of the car when he approached the window. As Soukaneh complied and handed his license over, he also provided Andrzejewski with a facially valid firearms permit. While doing so, Soukaneh also disclosed to Andrzejewski that, per the permit, he was in lawful possession of a pistol that was located in the driver’s side door compartment.

That this is being recounted in a court decision means the officer didn’t just take a look at the permit and wish Soukaneh a good evening. No, it went the other way. And it’s the sort of thing you need to shove directly in the eyeballs of every bootlicking person, police union rep, politician, and law enforcement official who claims police brutality only exists because people “don’t comply” and should just stop “breaking the law.” All laws were followed. Soukaneh did better than simply comply, he volunteered information. And this is what he got for being a model law-abiding citizen.

Following that exchange, Andrzejewski ordered Soukaneh out of the vehicle. According to Soukaneh’s description, Andrzejewski then violently “dragged [him] out of the car,” pushed him to the ground, yelled and screamed at him, handcuffed him, and pat-searched his person, recovering neither a weapon nor contraband. Andrzejewski then “shoved [Soukaneh] into the rear area of [Andrzejewski’s police] cruiser,” and left Soukaneh “bent over and partially on the floor of the vehicle.” Soukaneh remained “in that position, facing down and unable to see, until another police officer came along several minutes later and helped him sit up.”

Once the other officer repositioned Soukaneh in the cruiser, Soukaneh saw Andrzejewski search his “entire car, both front and rear,” as well as the car’s trunk. After the search, Andrzejewski returned to the cruiser and kept Soukaneh handcuffed and detained in it for an additional half hour, during which time “a group of seven to ten police officers gathered.” Id. At one point, Andrzejewski began writing on his onboard computer and turned to a fellow officer who had arrived at the scene and asked, “What should I write him up for?” The other officer laughed and the sergeant, who had also since arrived, told Andrzejewski what to write.

Unsurprisingly, the lower court rejected the officer’s request for immunity, pointing out that while the initial encounter may have been justified, nothing that followed that (pulling Soukaneh from the car, handcuffing him, searching his vehicle, detaining him for another half-hour while trying to figure out what to cite him with) was supported by probable cause.

The Second Circuit comes to the same conclusion. Simply being made aware Soukaneh possessed an item millions of Americans also own legally is not probable cause for anything the officer did past that point.

On the facts before us, Andrzejewski does not provide an articulable reason why he, or any
other reasonable officer, could conclude that there was probable cause to believe that Soukaneh possessed his firearm unlawfully in violation of Section 29-38(a). To find otherwise would consign those validly carrying firearms pursuant to a license to automatic detention because it would effectively presume that gun permits are invalid until proven valid, or that lawfully owned guns are per se contraband until proven otherwise. Such a finding would effectively render armed individuals’ Fourth Amendment rights meaningless when they are lawfully carrying firearms.

The same goes for the officer’s attempt to invoke qualified immunity by claiming no case on point would have made him aware he was not allowed to so thoroughly and lengthily violate this person’s rights. The Second Circuit says it’s not even sure why it’s spending so much time discussing this because it’s blatantly clear what happened here isn’t permissible under the Fourth Amendment.

This is not a close case, about which reasonable officers could differ. The law as it stood at the time of the events in question left no doubt that a person in possession of a firearm and a facially valid permit for that firearm had a clearly established right to be free from the kind of forcible and prolonged detention to which Soukaneh was subjected, absent any objective reason to suspect that the permit was forged or otherwise invalid.

That covers the forcible removal of Soukaneh from his car, his handcuffing, the search of his car, and his extended detention while the officer tried to come up with something to justify his actions after the fact.

It goes back to the lower court. But I imagine it will only be there briefly before Soukaneh is offered a settlement. Hopefully, that settlement will come hand-in-hand with the firing of Officer Andrzejewski. If this is the one time he got caught, just imagine what he’s gotten away with.

Unity has released its financial results for the three months ended June 30, 2024, showing a decrease in revenue which "exceeded previous guidance" of between $420 million and $425 million for Q2.

It also announced the departure of CFO Luis Visoso, who joined the firm in 2021, and the appointment of current chief accounting officer Mark Barrysmith as interim CFO, followed by another two executive hires.

Create Solutions was the biggest revenue for Unity's business this quarter, which came primarily from game subscriptions (which grew 14%) and industries – the latter making up 18% of Create Solutions total revenue.

Read more

Sometimes it works but sometimes it just doesn't. Maybe it has something to do with gravity or drag?

using System.Collections;
using System.Collections.Generic;
using UnityEngine;

public class BirdScript : MonoBehaviour
{
    public Rigidbody2D myRigidbody;
    public float flapStrenght;

    // Start is called before the first frame update (plays ony once)
    void Start()
    {
        gameObject.name = "Roger";
    }

    // Update is called once per frame
    void Update()
    {
        if (Input.GetKeyDown(KeyCode.Space) == true) 
        {
            myRigidbody.velocity = Vector2.up * flapStrenght;
        }
    }
}

I am trying to change a material of a game object in dnspy, however I am not sure where the materials would be. I have looked in assembly-csharp.dll,. Also, if or when I can find the materials, is it possible to edit them to my own in dnspy? If so how? Thank for help.

I made my pixel font and imported it into Unity using TextMeshPro. It works perfectly everywhere except InputFields. When I change Font Asset to my font, the input looks like in the picture. I don't think that the problem is in font, because it works with text, buttons, toggles and dropdowns perfectly. What might have caused this? font ttf is here

A Gameobject sprite, a Texture2D which is written into using "Texture2D.ReadPixels" works/is visible in the Editor/Play Mode but is not/is invisible when built.

The Texture2D is written to with the RT at timed intervals, and when the game is first built, before the interval where RT is written to by the game, the RT seems to work, but as soon as it's written to by the script, it disappears.

What's odd is, I've tried replacing the Sprite with an Image and instead of using the Texture2D using a material with the RenderTexture itself, but that is invisible when built as well.

The fact that the Texture2D sprite appears before being written to would make me think it's not an inability to render, but an error with the Texture2D being written to, but that doesn't explain why the RenderTexture itself doesn't appear when used as an Image.

Overall, I'm just really confused and don't know what's going on or what to do.

Part of the code where the RT is written into the Texture2D:

public Texture2D CameraFeed;
    
    [...]
    

IEnumerator RefreshCamera(float RefreshRate)
{
        
    yield return new WaitForSeconds(RefreshRate);
    yield return new WaitForEndOfFrame();
    
    CameraFeed.Reinitialize(1, 1);
    CameraFeed.SetPixel(1,1, Color.black);
    CameraFeed.Reinitialize(510, 492);

    if(SelectedCamera == DiningRoom && CameraPowers.DiningRoomPower > 0)
    {
        RenderTexture.active = DiningRoomRT;
        CameraFeed.ReadPixels(new Rect(0, 0, DiningRoomRT.width, DiningRoomRT.height), 0, 0);
        CameraFeed.Apply();
    }
    [...]
    //Terminal
    
    TerminalLinesVisible = 0;
    TerminalTimer = 0;
    
    //
    
    StartCoroutine(RefreshCamera(RefreshRate));
    
    
}

I am using URP and would like to have 2D and 3D objects in the scene affected by lights.

This is not supported by Unity, however the docs said that one can use "Camera Stacking" for this exact case.

While interoperability between the respective Lights and Renderers may be developed in the future, currently a combination of 2D and 3D Lights and 2D and 3D Renderers in a single Scene can be achieved by using the camera stacking technique.

It does not work. I added two cameras first - base, second - overlay. Both with 3d renderer. Then added overlay camera to stack in base camera, then switched it's renderer to 2d renderer. Here is the message i get:

Only cameras with compatible renderer types can be stacked. The camera: Camera_1 are using the renderer Renderer2D, but the base camera: Camera are using UniversalRenderer. Will skip rendering

One option I have is to use 3D lights only.

I was considering trying the inventory, attributes, and dialogue assets made by this creator. Before I download them, I wanted to take a look at any tutorials or documentation for their assets. I didn't find much, their github only has a simple readme file in the repos for the three assets that I wanted to check out. And the only other thing I found was the page they said was their documentation on their publishers page. It took me to a site that was flagged as suspicious by MacAfee before I went there, and when I went ahead, I saw it was weird looking, so I got out of there immediately. Does anyone know if their assets or website is safe? Would you recommend using their assets, or should I find others to use? For example, are their assets easy to use and work without many errors or changes to their code, are they high quality?

I'm trying to make a pickup and drop script by myself and every time the game calls the pickup function, it seemed to cause memory leaks and freezes the game for few seconds. After those few seconds, the items does get picked up but the fps drops significant and the drop function seems to do fine.

*Attached to the Item holder

using UnityEngine;

public class PickupController : MonoBehaviour
{
    public GameObject itemHolder;

    public bool slotFull;

    private GameObject currentObject;

    private IPickable pickupScript;

    public void PickUp(GameObject pickupObject)
    {

        if (pickupObject == null)
        {
            Debug.LogError("Pickup Object is null");
            return;
        }

        slotFull = true;
        currentObject = pickupObject;
        pickupScript = pickupObject.GetComponentInChildren<IPickable>(); //I'm trying to get the WheelRange.cs script

        Debug.Log(pickupObject.gameObject.name);

        if (pickupScript == null)
        {
            Debug.LogError("pickupScript is null.");
            return;
        }


        currentObject.transform.SetParent(itemHolder.transform);

        pickupScript.OnItemPickup();

        currentObject.transform.localPosition = Vector3.zero;
        currentObject.transform.localRotation = Quaternion.identity;
    }

    public void Drop()
    {
        slotFull = false;
        currentObject.transform.SetParent(null); //Removes the parent
        pickupScript.OnItemDrop();
    }
}

*Attached to WheelRange gameobject

using UnityEngine;

public class WheelRange : MonoBehaviour, IPickable
{
    
    [SerializeField] private Canvas canvas;
    [SerializeField] private BoxCollider boxCollider;
    [SerializeField] private PickupController pickupScript;
    private GameObject parentObject;
    private bool beingUsed;
    private float distToGround;


    void Start()
    {
        beingUsed = false;
        canvas.gameObject.SetActive(false);
        parentObject = this.transform.parent.gameObject; //Gets the actual wheel gameobject
        distToGround = boxCollider.bounds.extents.y;
    }
    public void OnItemPickup()
    {
        beingUsed = true;
        pickupScript.PickUp(parentObject);

        boxCollider.gameObject.SetActive(false);
        canvas.gameObject.SetActive(false);
        
    }

    public void OnItemDrop()
    {
        beingUsed = false;
        boxCollider.gameObject.SetActive(true);
        
    }



    //Rest of these functions probably doesn't apply to the error
    bool IsGrounded()
    {
        return Physics.Raycast(parentObject.transform.position, Vector3.down, distToGround + 0.1f);

    }

    void OnTriggerEnter(Collider other)
    {
        if (other.gameObject.tag == "Player") canvas.gameObject.SetActive(true);
    }

    void OnTriggerExit(Collider other)
    {
        if (other.gameObject.tag == "Player") canvas.gameObject.SetActive(false);
    }
}

The interface

public interface IPickable
{
    void OnItemPickup();

    void OnItemDrop();
}

I have connected the meta quest 3 to my computer via USB cable and allowed debugging on the device.

I have opened the default VR template from Unity Hub, without any alterations.

In Unity I select "build and run" for the default scene. This gives the following messages:

• Application installed to device "2G0Y...ZK [Quest 3]".
• Build completed with a result of 'Succeeded' in 11 seconds (10622 ms).

The problem is that the app does not appear on the Meta Quest at all...! The quest does not respond at all. There are no error messages.

I have an old project that I need to run on Unity 2022.3.40. It uses post process behavior and post process works absolutely fine in the editor, just as before migrating to new Unity. But when I make an Android build and run it, bloom makes bright surfaces black or bluish. From what I found, post process behavior shows artifacts on Unity 2018 and newer. I can't switch to post process stack because I'm not able to recreate the effects in there.

Here is how it is in the build:

and here in the editor:

The settings for bloom in the post processing profile:

I'm using post process behavior 1.0.4

The artifacts only happen on mobile. According to RenderDoc, uber shader caused this.

I created a tile map with default cell size 1,1. Then I created a palette with the same cell size but they are not the same. In the palette they do not fill the entire cell and changing the pixels per units does not affect the palette. I have the problem that the floor tiles are not the same size with the tiles that should go under so I tried to resize them in palette to fill the whole cell but in the game it was way bigger then 1 cell

This is the full error:

NullReferenceException: Object reference not set to an instance of an object.

Variable activeWeapon is set to an instance in the Unity editor. The problem occurs when setting the bullet.transform.position. I can follow the Debugger and see that activeWeapon is not null when I step into and after that line. But when I step out of the function, then I get the error above. Even when I use activeWeapon.transform I get the same error.

Using the player's transform shoots the bullet from the player, and not from the active weapon's position.

public void weaponAttack()
{
    GameObject bullet = ObjPoolWeapon.Instance.GetPooledObj();
    //Vector3 spawnLocation = activeWeapon.transform.position + activeWeapon.spawnLocationWM;
    **bullet.transform.position = activeWeapon.spawnLocationGO.transform.position;**
    bullet.transform.rotation = Quaternion.identity;
    bullet.SetActive(true);
}

I am working on a character controller for a 3D platformer in Unity. I cannot find an approach that satisfies me.

I have experimented with these approaches in order to learn about their virtues and pitfalls:

1. Rigidbody + CapsuleCollider + native physics system (gives you something like Fall Guys)
2. Rigidbody + CapsuleCollider + custom velocity handling, only using physics system to resolve collisions (this method is illustrated in Catlike Coding tutorial here)
3. Built-in CharacterController
4. Custom character controller that uses Unity methods to detect geometric collisions, but does its own collision resolution via depenetration (this method is illustrated in Roystan Ross tutorial here)

See also this video by iHeartGameDev summarizing different approaches.

For my particular use case, each one of these has been better than the last.

After following Roystan's tutorial, I am a big fan of the pushback method of handling collision. Rather than use casts to catch collision before you move your object, you move your object, then find collisions, then resolve them using depenetration.

Roystan's method represents the character as a stack of three spheres for the same reason people favor capsule colliders in 3D: it makes handling slopes much easier (and also because depenetration is easier when you think in terms of spheres).

But the thing I am struggling with is that I don't want the player to be able to slide up or down ledges when traversing them.

Basically, when jumping up or walking off a ledge, I want my character to be treated as a box.

So I am struggling to find a way to accommodate both of the following:

• I want to support sloped MeshCollider ground (not too noisy, but will definitely be possible to have 4 collision points at a time)
• I want ledge traversal (up and down) to treat my player as a box

Here are diagrams illustrating what you normally get with a capsule, versus what I want.

Down ledge:

Up ledge:

My thinking is that I have two options:

1. Represent the character as a box and use box depenetration techniques to move him along sloped ground (for example, using Unity's ComputePenetration())
2. Represent the character as a capsule (or stack of three spheres like in Roystan's tutorial) and add special case logic to get the boxy ledge traversal I want

One problem I can foresee with approach 1 is properly doing the depenentration on noisy sloped ground, and one problem I can foresee with approach 2 is properly writing the special cases. (My game is relatively low-poly and retro-styled, so I wouldn't mind the player not appearing perfectly flush with slopes that comes with the box representation of approach 1.)

In any event, I am just looking for advice on how to proceed with this problem. How can I get the boxy handling of ledges while also getting traversal on sloped MeshCollider terrain.

Is either of these approaches better than the other for what I am after, and is there an alternative approach I haven't considered?

I have an issue with the tank character. The Unity's navmesh agent only has a cylinder shape, so when the enemies are nearby, it causes unwanted results. If the navmesh is too big(to cover the entire tank body), the enemies can't approach the side of the vehicle. If the navmesh is too small(only covering the center), the enemies pass through the front of the car and back. Putting the collider doesn't make any changes, the unity's navmesh agent ignores whether it has a collider. How do I make navmeshagent shape fit the mesh?

Learning how to program in Unity, so bare with me. I'm making a game called Flappy Bird and I'm having issues with my z-rotation boundaries. Let's say I have some gameObject (call it Bird) that goes up and falls down from the y-axis. However, I want this bird, when it goes down, the z-axis rotates clockwise (so negative rotation). Once it starts falling down, the z-values in the rotation ramps from 0 to -90 in float values. Now, my bird should not keep spinning but stay fixed to the limit until I start flying again. When I make my fly action, the bird should reset the z-rotation back to 0 in a gradual manner, not -45 to 0 immediately.

From what I have achieved, there was no luck for me to stop the spin on the bird. It is just continuously spinning without stopping from the range I want. My range is from 0 to -45 z-axis rotation.

I have tried to play around with the transformation of my z values to get an idea, but nada. From what I have gathered and tried, I was playing around with the eulerAngles values, Rigidbody.freezeRotation(), transform.Rotate() method, and even the Quanterion.Euler() method.

here is the code function example I'm making:

public float zTest;
public Vector3 movementDirection;

private void FallSpeed()
{
    movementDirection.y +=  my_gravity * Time.deltaTime; //my_gravity is set to -9.81f
    transform.position += movementDirection * Time.deltaTime;
    zTest += 1 * movemenntDirection.y;
    transform.rotation = Quaternion.Euler(0, 0, zTest);
    if ((transform.rotation.z >= -45.0f && transform.rotation.z <= 0.0f))
    {
        transform.Rotate(0, 0, zTest); //I have a feeling this is completely bad, but I was trying to reset my rotation values.
        // transform.rotation = Quaternion.Euler(0, 0, zTest); //Another way I was trying it
        // currentEuler = new Vector3(transform.rotation.x, transform.rotation.y, -69); //Another way I was trying it
    }
}

To be honest, a lot of reading documentation made me more confused in how this interaction is happening and I'm not fully thinking straight at this point. Anyone has suggestions in tackling this problem or pointing me to the right direction? If anything, I will make more edits if needed for clarification and documentation for myself and others.

I am trying to create a confiner for my camera using the bounds of a collider, the issue is that when I hit the wall of the confiner, I need to disable the camera movement, but since I disable it, I now cannot move it at all.

I've tried all I can think of like storing the last "valid" position and restoring it if confiner is hit, but that does not seem to work.

void HandleInput()
    {
        if (inputDisabled)
            return;

        //Speed controls
        if (Input.GetKey(KeyCode.LeftShift))
        {
            movementSpeed = fastSpeed;
        }
        else
        {
            movementSpeed = normalSpeed;
        }

        // Adjust movement speed based on camera zoom
        movementSpeed *= (cameraTransform.localPosition.y / zoomSpeedFactor);

        Vector3 adjustedForward = transform.forward;
        adjustedForward.y = 0;

        //Movement controls
        if (Input.GetKey(KeyCode.W) || Input.GetKey(KeyCode.UpArrow))
        {
            newPosition += (adjustedForward * movementSpeed);
        }
        if (Input.GetKey(KeyCode.S) || Input.GetKey(KeyCode.DownArrow))
        {
            newPosition += (adjustedForward * -movementSpeed);
        }
        if (Input.GetKey(KeyCode.D) || Input.GetKey(KeyCode.RightArrow))
        {
            newPosition += (transform.right * movementSpeed);
        }
        if (Input.GetKey(KeyCode.A) || Input.GetKey(KeyCode.LeftArrow))
        {
            newPosition += (transform.right * -movementSpeed);
        }

        //Zoom controls
        if (Input.mouseScrollDelta.y != 0 && !EventSystem.current.IsPointerOverGameObject())
        {
            newZoom -= Input.mouseScrollDelta.y * zoomAmount;
            newZoom.y = ClampValue(newZoom.y, zoomClamp.x, zoomClamp.y);
        }

        if (!collider.bounds.Contains(newPos)) //DISABLE MOVEMENT
            return;

        transform.position = Vector3.Lerp(transform.position, newPosition, Time.unscaledDeltaTime * acceleration);
        cameraTransform.localPosition = Vector3.Lerp(cameraTransform.localPosition, newZoom, Time.unscaledDeltaTime * acceleration);
    }

I have a prefab with a custom GridModel component which has a custom editor. For some reason whenever I edit a value in Prefab Mode, the value doesn't save in the prefab asset and vice versa. How can I fix this issue?

Here is my code:

public class GridModel : MonoBehaviour, IGridModel
{
    public Vector2Int dimensions;
}

[CustomEditor(typeof(GridModel))]
public class GridModelEditor : Editor
{
    private GridModel gridModel;

    void OnEnable()
    {
        gridModel = (GridModel)target;
    }

    public override void OnInspectorGUI()
    {
        gridModel.dimensions = EditorGUILayout.Vector2IntField("Size", gridModel.dimensions);
    }
}

I'm struggling with a wee issue where if my character walks up a slope he slides back down when at rest, and bounces down when running down the slope. I've followed a few videos but none seem to address the issue. I've posted my movement code so far and I'm not opposed to fundamentally changing this, however with the other aspects of my game, the rigid body and collider setup seems to be working quite well. Any ideas?

 //inputs
    if (Input.GetKey(buttonKey["Left"]))
    {
        inputHorizontal = -1;
    }
    else if (Input.GetKey(buttonKey["Right"]))
    {
        inputHorizontal = 1;
    }
    else
    {
        inputHorizontal = 0;
    }

    //jump
    if (Input.GetKey(buttonKey["Jump"]) && isgrounded.Grounded && canJump)
    {
        jump();
        jumpTimerCurrent = 0;
        canJump = false;
    }

    if (jumpTimerCurrent <= jumpTimerReset)
    {
        jumpTimerCurrent += Time.fixedDeltaTime;
    }
    else
    {
        canJump = true;
    }

 void FixedUpdate()
{
    rb.velocity = new Vector2(inputHorizontal * Time.fixedDeltaTime * runSpeed, rb.velocity.y);
}

    void jump()
{
    rb.velocity = new Vector2(rb.velocity.x, 0.0f);
    rb.AddForce(Vector2.up * jumpForce, ForceMode.Force);
}

I'm coding a small game on Unity to control with the Emotiv Epoc headset. However, as I'm new to Unity, I'm having some trouble setting everything up to connect the device with my game.

I downloaded the SDK from Github and tried the sample project and worked fine, but I can't translate that to my own project. I opened an issue on that github repository and I was suggested to use this new plugin.

What I see is that there's a file called EdkDll.cs that contains all the functions that I'll need in my project. I suppose that I have to build it to create the .dll that will be used on Unity, but when I try to do so on Visual Studio or MonoDevelop (and after adding the reference to UnityEngine.dll), a big part of the EdkDll.cs goes gray and I get an error on the calls to the grayed functions ("... doesn't exist in the current context"). I tried changing the .NET framework from 3.5 to other, but that didn't work either.

I think it can't be so complicated and there must be something I'm doing wrong, or maybe there's another way of getting the EdkDll.cs functions to be available from the scripts in my project.

EDIT:

In the example provided in the SDK (here), there's a script that controls the connection to the device (EmotivCtrl.cs) and another to control the player (playerCtrl.cs), and also others to control the camera and a text window, but I think I should be able to make my project work without those. The thing is that I don't understand where or how is the connection script called, because if I include it in the assets folder of my project and put a print inside the Awake method, it never shows.

My guess is that is called here (movm.cs): EmoEngine.Instance.EmoStateUpdated += new EmoEngine.EmoStateUpdatedEventHandler(engine_EmoStateUpdated);, but the function engine_EmoStateUpdated doesn't seem to be accessed either.

These are the scripts to control the device and the player of my project:

movm.cs (to control the player):

using System.Collections;
using System.Collections.Generic;
using UnityEngine;

public class movm : MonoBehaviour
{
    private Rigidbody rb;
    EmoEngine engine;

    void engine_EmoStateUpdated(object sender, EmoStateUpdatedEventArgs e)
    {
        Debug.Log("empieza engine");
        EmoState es = e.emoState;
        Debug.Log("despues");
        /*if (e.userId != 0) 
            return;*/
        Debug.Log("Corrent action: " + es.MentalCommandGetCurrentAction().ToString());
        if (es.MentalCommandGetCurrentAction() == EdkDll.IEE_MentalCommandAction_t.MC_PUSH)
        {
            //Vector3 movement = new Vector3(cam.transform.forward.x, cam.transform.forward.y, cam.transform.forward.z);
            //rb.AddForce(movement * speed);
            rb.AddForce(Vector3.up);
            Debug.Log("Push");
        }
    }
    // Start is called before the first frame update
    void Start()
    {
        Debug.Log("empieza movm");
        rb = GetComponent<Rigidbody>();
        Debug.Log("rigid");
        EmoEngine.Instance.EmoStateUpdated += new EmoEngine.EmoStateUpdatedEventHandler(engine_EmoStateUpdated);
        Debug.Log("asdasd");
    }

    void FixedUpdate()
    {
        if (Input.GetKey("w"))
        {
            gameObject.transform.Translate(2f * Time.deltaTime, 0, 0);
        }
    }

}

EmotivCtrl.cs (to connect to the Emotiv Epoc device):

using UnityEngine;
using UnityEngine.UI;
using System.Collections;
using System.Collections.Generic;

public class EmotivCtrl : MonoBehaviour {
    public GameObject modal;
    public Text message_box;
    public InputField userName;
    public InputField password;
    public InputField profileName;

    public static EmoEngine engine;
    public static int engineUserID = -1;
    public static int userCloudID = 0;
    static int version  = -1; 

    /*
     * Create instance of EmoEngine and set up his handlers for 
     * user events, connection events and mental command training events.
     * Init the connection
    */
    void Awake () 
    {
        Debug.Log("awake");
        engine = EmoEngine.Instance;
        engine.UserAdded                      += new EmoEngine.UserAddedEventHandler (UserAddedEvent);
        engine.UserRemoved                    += new EmoEngine.UserRemovedEventHandler (UserRemovedEvent);
        engine.EmoEngineConnected             += new EmoEngine.EmoEngineConnectedEventHandler (EmotivConnected);
        engine.EmoEngineDisconnected          += new EmoEngine.EmoEngineDisconnectedEventHandler (EmotivDisconnected);
        engine.MentalCommandTrainingStarted   += new EmoEngine.MentalCommandTrainingStartedEventEventHandler (TrainingStarted);
        engine.MentalCommandTrainingSucceeded += new EmoEngine.MentalCommandTrainingSucceededEventHandler (TrainingSucceeded);
        engine.MentalCommandTrainingCompleted += new EmoEngine.MentalCommandTrainingCompletedEventHandler (TrainingCompleted);
        engine.MentalCommandTrainingRejected  += new EmoEngine.MentalCommandTrainingRejectedEventHandler (TrainingRejected);
        engine.MentalCommandTrainingReset     += new EmoEngine.MentalCommandTrainingResetEventHandler (TrainingReset);
        engine.Connect ();
        Debug.Log("fini");
    }

    /*
     * Init the user, password and profile name if you want it
    */
    void Start(){
        Debug.Log("START");
        userName.text = "";
        password.text = "";
        profileName.text = "";
    }

    /*
     * Call the ProcessEvents() method in Update once per frame
    */
    void Update () {
        engine.ProcessEvents ();
    }

    /*
     * Close the connection on application exit
    */
    void OnApplicationQuit() {
        Debug.Log("Application ending after " + Time.time + " seconds");
        engine.Disconnect();
    }

    /*
     * Several methods for handling the EmoEngine events.
     * They are self explanatory.
    */
    void UserAddedEvent(object sender, EmoEngineEventArgs e)
    {
        message_box.text = "User Added";
        engineUserID = (int)e.userId;
    }

    void UserRemovedEvent(object sender, EmoEngineEventArgs e)
    {
        message_box.text = "User Removed";  
    }

    void EmotivConnected(object sender, EmoEngineEventArgs e)
    {
        Debug.Log ("conectado");
        message_box.text = "Connected!!";
    }

    void EmotivDisconnected(object sender, EmoEngineEventArgs e)
    {
        message_box.text = "Disconnected :(";
    }

    public bool CloudConnected()
    {
        if (EmotivCloudClient.EC_Connect () == EdkDll.EDK_OK) {
            message_box.text = "Connection to server OK";
            if (EmotivCloudClient.EC_Login (userName.text, password.text)== EdkDll.EDK_OK) {
                message_box.text = "Login as " + userName.text;
                if (EmotivCloudClient.EC_GetUserDetail (ref userCloudID) == EdkDll.EDK_OK) {
                    message_box.text = "CloudID: " + userCloudID;
                    return true;
                }
            } 
            else 
            {
                message_box.text = "Cant login as "+userName.text+", check password is correct";
            }
        } 
        else 
        {
            message_box.text = "Cant connect to server";
        }
        return false;
    }

    public void SaveProfile(){
        if (CloudConnected ()) {
            int profileId = -1;
            EmotivCloudClient.EC_GetProfileId(userCloudID, profileName.text);
            if (profileId >= 0) {
                if (EmotivCloudClient.EC_UpdateUserProfile (userCloudID, (int)engineUserID, profileId) == EdkDll.EDK_OK) {
                    message_box.text = "Profile updated";
                } else {
                    message_box.text = "Error saving profile, aborting";
                }
            } else {
                if (EmotivCloudClient.EC_SaveUserProfile (
                    userCloudID, engineUserID, profileName.text, 
                    EmotivCloudClient.profileFileType.TRAINING) == EdkDll.EDK_OK) {
                    message_box.text = "Profiled saved successfully";
                } else {
                    message_box.text = "Error saving profile, aborting";
                }
            }
        }

    }

    public void LoadProfile(){
        if (CloudConnected ()) {
            int profileId = -1;
            EmotivCloudClient.EC_GetProfileId(userCloudID, profileName.text);

            if (EmotivCloudClient.EC_LoadUserProfile (
                userCloudID, (int)engineUserID, 
                profileId, 
                (int)version) == EdkDll.EDK_OK) {
                message_box.text = "Load finished";
            } 
            else {
                message_box.text = "Problem loading";
            }
        }
    }

    public void TrainPush(){
        engine.MentalCommandSetTrainingAction((uint)engineUserID, EdkDll.IEE_MentalCommandAction_t.MC_PUSH);
        engine.MentalCommandSetTrainingControl((uint)engineUserID, EdkDll.IEE_MentalCommandTrainingControl_t.MC_START);
    }

    public void TrainNeutral(){
        engine.MentalCommandSetTrainingAction ((uint)engineUserID, EdkDll.IEE_MentalCommandAction_t.MC_NEUTRAL);
        engine.MentalCommandSetTrainingControl((uint)engineUserID, EdkDll.IEE_MentalCommandTrainingControl_t.MC_START);
    }

    public void TrainingStarted(object sender, EmoEngineEventArgs e){
        message_box.text = "Trainig started";
    }

    public void TrainingCompleted(object sender, EmoEngineEventArgs e){
        message_box.text = "Training completed!!";
    }

    public void TrainingRejected(object sender, EmoEngineEventArgs e){
        message_box.text = "Trainig rejected";
    }

    public void TrainingSucceeded(object sender, EmoEngineEventArgs e){
        message_box.text = "Training Succeeded!!";
        //modal.GetComponent<MessageBox> ().init ("Training Succeeded!!", "Do you want to use this session?", new Decision (AceptTrainig));
    }

    public void AceptTrainig(bool accept){
        if (accept) {
            engine.MentalCommandSetTrainingControl ((uint)engineUserID, EdkDll.IEE_MentalCommandTrainingControl_t.MC_ACCEPT);
        } else {
            engine.MentalCommandSetTrainingControl ((uint)engineUserID, EdkDll.IEE_MentalCommandTrainingControl_t.MC_REJECT);
        }
    }

    public void TrainingReset(object sender, EmoEngineEventArgs e){
        message_box.text = "Command reseted";
    }

    public void Close(){
        Application.Quit ();
    }
}

I am using projectors for shadows...When I use particles for bike speed up i.e., nitro speed the particles get cutout by those shadows....

Here is screenshot of it,

Here is my shader code of projectors ,

Shader "Projector/Projector Multiply Black"
{
    Properties
    {
        _ShadowTex("Cookie", 2D) = "gray" { TexGen ObjectLinear }
    _ShadowStrength("Strength",float) = 1
    }

        Subshader
    {
        Tags{ "RenderType" = "Transparent"  "Queue" = "Transparent+100" }
        Pass
    {
        ZWrite Off

        //Fog { Mode Off }

        Blend DstColor Zero

        CGPROGRAM
#pragma vertex vert
#pragma fragment frag
#pragma fragmentoption ARB_fog_exp2
#pragma fragmentoption ARB_precision_hint_fastest
#include "UnityCG.cginc"


        struct v2f
    {
        float4 pos : SV_POSITION;
        float2 uv_Main     : TEXCOORD0;
    };

    sampler2D _ShadowTex;
    float4x4 unity_Projector;
    float _ShadowStrength;

    v2f vert(appdata_tan v)
    {
        v2f o;


        o.pos = mul(UNITY_MATRIX_MVP, v.vertex);

        o.uv_Main = mul(unity_Projector, v.vertex).xy;


        return o;
    }

    half4 frag(v2f i) : COLOR
    {
        half4 tex = tex2D(_ShadowTex, i.uv_Main);
        half strength = (1 - tex.a*_ShadowStrength);
        tex = (strength,strength,strength,strength);
        return tex;
    }
        ENDCG

    }
    }
}

Here is my particle code,

// Simple additive particle shader.

Shader "Custom/Particle additive"
{
Properties
{
    _MainTexture ("Particle Texture (Alpha8)", 2D) = "white" {}
}

Category
{
    Tags { "Queue"="Transparent" "IgnoreProjector"="True" "RenderType"="Transparent" }
    Blend SrcAlpha One
    Cull Off Lighting Off ZWrite Off Fog {Color (0,0,0,0)}

    BindChannels
    {
        Bind "Color", color
        Bind "Vertex", vertex
        Bind "TexCoord", texcoord
    }

    SubShader
    {
        Pass
        {
            SetTexture [_MainTexture]
            {
                combine primary, texture * primary
            }
        }
    }
}
}

One of our favourite things is sharing the stories of amazing young people, volunteers, and educators who are using their passion for technology to create positive change in the world around them.

Recently, we had the pleasure of speaking with Isabel, a computer science teacher at Barton Peveril Sixth Form College in Eastleigh, England. She told us her fascinating journey from industry to education, along with how she is helping to make the tech space inviting to all.

From industry to the classroom: Isabel’s journey to encourage diversity in tech

Isabel’s path to working in the tech sector started with her early exposure to engineering thanks to her father’s career in telecoms.

“I find this is true for a lot of female engineers my age: you will find that their dad or their uncle was an engineer. I remember that when I made the decision to study engineering, my teachers asked me if I was sure that it was something I wanted to do.”

Isabel pursued a degree in engineering because she loved the technical aspects, and during her studies she found a passion for programming. She went to work as a software engineer in Hampshire, contributing to the development of 3G mobile phone technology.

Despite enjoying her career in tech, Isabel felt a strong pull towards teaching due to her long-standing involvement with youth groups and a desire to give back to the community.

“While I was at university in London, I took part in a scheme where we could go into local primary schools and help with their science teaching. At the time, I just thought this was my way of giving back, I hadn’t really thought of it as a career. But actually, after a while, I thought ‘I’m enjoying this programming, but I really liked helping the young kids as well’.”

The transition wasn’t easy, as Computer Science was not widely taught in schools at the time, but Isabel persevered, teaching IT and Media to her classes as well.

Once Isabel settled into her teaching role, she began thinking about how she could tackle a problem she noticed in the STEM field.

Championing diversity in tech

Having experienced first-hand what it was like to be the only woman in STEM spaces, Isabel’s commitment to diversity in technology is at the core of her teaching philosophy. She works hard to create an inclusive environment and a diversity of opportunities in her classroom, making sure girls feel encouraged to pursue careers in tech through exploring various enrichment activities.

Isabel focuses on enrichment activities that bridge the gap between academic learning and real-world application. She runs various projects and competitions, ensuring a balanced representation of girls in these initiatives, and gives her students the opportunity to participate in programs like the Industrial Cadets, Student Robotics, and Coolest Projects. 

Isabel told us that she feels these opportunities provide essential soft skills that are crucial for success in any career.

“The A level environment is so academic; it is heavily focused on working on your own on very abstract topics. Having worked in industry and knowing the need to collaborate, I found that really hard. So I’ve always made sure to do lots of projects with my students where we actually work with real engineers, do real-world projects. I believe strongly in teaching soft skills like team working, project management, and time management.”

Harnessing trusted resources

A key resource in Isabel’s teaching toolkit is the Ada Computer Science platform. She values its reliability and the timely updates to the topics, which are crucial in a rapidly evolving subject like Computer Science.

She said she encourages both her students and fellow teachers, especially those who have retrained in Computer Science, to use the platform as a resource. 

“Ada Computer Science is amazing. We know we can rely on saying to the students ‘look on Ada, the information will be correct’ because I trust the people creating the resources. And we even found ourselves as teachers double-checking things on there. We struggle to get Computer science teachers, so actually only two of us are Computer Science teachers, and the other three are Maths teachers we have trained up. To be able to say ‘if you are not sure about something, look on Ada’ is a really nice thing to have.”

The ongoing challenge and hope for the future

Despite her efforts, Isabel acknowledges that progress in getting more girls to pursue tech careers is slow. Many girls still view tech as an uninviting space and feel like they don’t belong when they find themselves as one of a few girls — if not the only one — in a class. But Isabel remains hopeful that continuous exposure and positive experiences can change these perceptions.

“I talk to students who are often the only girl in the class and they find that really hard. So, if at GCSE they are the only girl in the class, they won’t do [the subject] at A level. So, if we leave it until A level, it is almost too late. Because of this, I try as much as I can to get as many girls as possible onto my engineering enrichment projects to show them as many opportunities in engineering as possible early on.”

Her work with organisations like the UK Electronics Skills Foundation reflects her commitment to raising awareness about careers in electronics and engineering. Through her outreach and enrichment projects, Isabel educates younger students about the opportunities in these fields, hoping to inspire more girls to consider them as viable career paths.

Looking ahead

As new technology continues to be built, Isabel recognises the challenges in keeping up with rapid changes, especially with fields like artificial intelligence (AI). She stays updated through continuous learning and collaborating with her peers, and encourages her students to be adaptable and open to new developments. “The world of AI is both exciting and daunting,” she admits. “We need to prepare our students for a future that we can hardly predict.”

Isabel’s dedication to teaching, her advocacy for diversity, and her efforts to provide real-world learning opportunities make her an inspiring educator. Her commitment was recognised by the Era Foundation in 2023: Isabel was named as one of their David Clark Prize recipients. The award recognises those who “have gone above and beyond the curriculum to inspire students and showcase real-world engineering in the classroom”.

Isabel not only imparts technical knowledge — she inspires her students to believe in their potential, encouraging a new generation of diverse tech professionals. 

If Isabel’s story has inspired you to encourage the next generation of young tech creators, check out the free teaching and training resources we provide to support your journey.

If you are working in Computer Science teaching for learners age 14 and up, take a look at how Ada Computer Science will support you. 

The post Celebrating the community: Isabel appeared first on Raspberry Pi Foundation.

NBA 2K24 runs on the new ProPLAY system, which translates real-life NBA footage into the game as animations. The smoothness and realism of the game that we have repeatedly praised in this review can be attributed to this change. The new animations we see from this system include dribble moves, jump shots, dunks, and even celebrations. This makes every single NBA player feel unique to use. Because 2K is ultimately a video game, the animations they used have generally been a lot more fast-paced when compared to its real-life counterpart to make it match with the programming. This time around, the animations are exactly how they are in real life, slowing the game down a little bit and further resembling real basketball games.

Is $69.99 Worth It? Evaluating NBA 2K24's Pricing

Despite being the best basketball game right now, NBA 2K24 is priced starting at $69.99. This is not the kind of title for players used to buy cheap PS5 games, however, some retailers manage to lower the price a little, so you can benefit from the reduction. It may seem like a reasonable price, and to most it is. However, players who enjoy online MyPlayer game modes are once again going to have to go through either a tedious grind or a 99OVR-sized hole in their pockets. It’s excellent value for the money for players who enjoy their quick-play games and MyLeagues, but there’s no doubt that the MyPlayer game modes are going to require big investments, whether it be time-wise or financially.

An Annual Tradition: NBA 2K24's Release Pattern

Despite the annual release pattern that 2K still implements, NBA 2K24 has succeeded in taking the right steps for the development of basketball games. Apart from improvements in terms of visuals, the gameplay here feels so authentic and fluid thanks to the responsive controls. Even though there are changes, veteran players will still feel familiar with the gameplay presented. If you are one of those people who buy annual games only when there are big changes, now is the time for you to buy NBA 2K24.

Authenticity and Fluidity: NBA 2K24's Gameplay

The NBA 2K24 Gameplay reveal is live, marking the first of many expected to arrive over the next three-plus weeks. As many fans know, gameplay is everything in video games and consists of the very essence each caters. In sports video games, this is especially the case, where the smallest of blemishes can stick out like a sore thumb and cause an unpleasant experience. NBA 2K24's soundtrack harmonizes seamlessly with the on-screen action, elevating the gaming experience to a sensory masterpiece that resonates with every pass and slam dunk. Everything works together to provide the best sports simulation possible.

Conclusion: Unveiling the Future of NBA 2K

Overall, I'll say NBA 2K24 delivers an enjoyable gameplay experience. Both casual and hardcore players will have fun (and some complaints) playing NBA 2K24. While it doesn't introduce drastic changes, this decision aligns with the incremental delivery philosophy, or in other words: "If it ain't broke, don't fix it." Maintaining the core gameplay experience seems to be the guiding idea, and it is a good one, guaranteeing a predictable result. As it is, NBA 2K24 is among the best sports video games today. However, a minor issue arises when players occasionally move too quickly into the paint, leading to turnovers with minimal input. While this doesn't happen frequently, it's worth noting.

"Assassin's Creed Mirage" invites me into its meticulously designed world where every sensation is amplified, moments are art forms unto themselves and stealthy visuals form an adventure lasting far after my controller has been put aside.

Moonlit Chases and Rooftop Escapes in "Assassin's Creed Mirage"

Under the moonlit sky of Baghdad, I found my sense of adventure through "Assassin's Creed Mirage." In these intimate nighttime moments of playback, visuals, and gameplay combined harmoniously for an incredible gaming experience that left an imprintful memory behind. Baghdad comes alive when illuminated by its soft moonlight at nightfall. From street corners and rooftops alike, I enjoy exploring this fascinating dreamscape, where architectural masterpieces light up beautifully against each building's historical importance.

Stealth takes on new meaning during moonlit pursuits. Following my targets through narrow alleyways and alleys becomes like hunting prey at night - my shadowy presence becomes like that of an invisible predator of the night! Buy new PS5 games and experience the grandeur of Assassin's Creed Mirage. Visuals capture all the tension and thrill associated with encounters such as this; making every leap or rooftop confrontation a sensory delight that further immerses me into "Assassin's Creed Mirage!"

"Assassin's Creed Mirage" Offers Time-bending Stealth in Baghdad

At the center of Baghdad's history and mystery lies "Assassin's Creed Mirage," I find myself involved in a web of conspiracies as I play Basim in "Assassin's Creed Mirage." Visuals blend seamlessly between past and present time periods creating an unforgettable tapestry as time is warped to my benefit as Basim manipulates time to his benefit.

Stealth becomes my specialty as I navigate this mysterious landscape. I become an unseen observer, peering around corners while listening in on conversations or following leads through winding alleyways. Much like the intricate web of conspiracies in Assassin's Creed Mirage, your gaming experience becomes more enthralling when you buy cheap PS5 games. Blending seamlessly with this vibrant crowd becomes essential, with my hooded figure seemingly dissolving into its chaos almost imperceptibly.

Assassin's Creed Mirage: Light and Shadow

The sensory richness of this experience was truly stunning. From tantalizing spices wafting through the air, tantalizing my senses and transporting me right back into Baghdad; merchant chatter ranging from haggling and friendly bantering all the way through haggling; cacophonous merchant traffic providing depth and dimension into this virtual reality world; even distant calls to prayer sending haunting melodies across cityscapes enveloped me completely, blurring reality from virtuality altogether.

Uncover Baghdad's Hidden Gems in "Assassin's Creed Mirage"

Exploring Baghdad as Basim from "Assassin's Creed Mirage", I find myself drawn deeper into its ancient beauty and history. Assassin's Creed Mirage is a masterpiece that deserves its place among the best PS4 games, offering unparalleled storytelling and captivating gameplay.

Baghdad comes to life vividly as I explore its historic landmarks with unparalleled detail, their intricate details reflecting all of the hard work gone into recreating this remarkable city. Walking the streets I feel immersed in an active, evolving world where every artifact or relic I encounter provides another treasure chest of history to uncover.

Conclusion

Experience something beyond simple gameplay by becoming immersed in an atmosphere in which every sense is amplified and every moment charged with significance. I am so happy I've bought Assassin's Creed Mirage! I no longer play but inhabit Baghdad itself through Basim; being part of its intricate tapestry will leave an unforgettable memory on your mind long after putting away your controller!

Nintendo.co.uk microsite – Wikipedia page

Next year, I’ll be blogging for 15 years. I have taken a look at quite a lot of games. Now, if you go back to the start of this blog, you might notice that I only started in May 2013. The three years before that, I wrote a personal life blog in my native language. I have since deleted that for personal reasons and started blogging in English in 2013. On my Dutch blog, I wrote an article about Another Code – Two Memories, but I haven’t written one for my English blog. Yet, I have mentioned it in 2014 in a top 25 list of my favorite DS games of all time. I have written an article on the Wii sequel called Another Code: R – A Journey Into Lost Memories in 2013. While my old articles aren’t up to my personal standards anymore, I still leave them up to see the growth I have gone through over the years. Now, these two titles became classics in my eyes. When Cing went under, I didn’t hold up hope of these games ever seeing a sequel or a remake. But, we got a big surprise this year. Suddenly, both games were coming to the Nintendo Switch and not only that, they were remade from the ground up. Did these two games grow like I did in my writing, or is it something that should be better left to the past? Well, that’s what I’m going to discover with you in this article. Feel free to leave a comment in the comment section with your thoughts and/or opinions on the game and/or the content of the article, but now, let’s dive right in.

Editorial note: shameless self-promotion: if you want to see me and my buddy Klamath playing through this title… We started streaming it. So, more opinions can be found in the streams. Here is a link to the playlist.

The Remembering Of A Remake

In this game, we follow the adventures of Ashley Mizuki Robins. In the first part of the game, Ashley got a letter from her presumed dead father to come to Blood Edward island to meet him on the day right before her 14th birthday. On that journey, she meets a ghost named D, who has lost his memories.

In the second part of the game, we fast-forward two years. Ashley takes a camping trip to a lake. When she arrives at lake Juliet, she gets flashbacks from when she was very little. Not only that, she meets a young boy whose father wanted to build a holiday resort at that lake but was blamed for the pollution of the lake.

Since this game is a point-and-click game and is quite story depended, I’m not going to talk more about the story than the two small blurbs above. In terms of the story, this game tells a very heartfelt story with very nice life lessons. The writing in this game is extremely well done. The build up towards the ending of the story is very natural and stays true to the themes of the game. The biggest theme in this game is memories and history. Overall, this game is quite relaxing, and the story is never really in a rush to move forward.

New in this version is that there is voice acting. While not the whole game is voice acted, most of it is and the non voice acted scenes have little grunts and vocalizations to indicate the emotions of what’s being told. I have to say that the voice acting in this game is fantastic. I wish the voice actors of this game had more of an online presence, since I had a hard time finding other works by these voice actors. The fact that these voice actors didn’t really promote that they worked on this game on their socials is a shame.

The voice acting in this game brings so much charm to the game. For this article, I replayed parts of the original DS and Wii game and I kept hearing those characters talk in the voice of the remakes. They fit the characters like a glove, which is a hard thing to do since when you have voiceless characters… Everybody has their voice in their head, and that doesn’t always match up with the official voice acting.

Now, in terms of differences between the original games and this remake… There are quite a lot of things. On the Cing wiki, there is a long list of changes. But I would highly advise you don’t read that before you finished the game. Since, it contains a lot of spoilers. I can say this without spoiling anything. The list of changes on the game article page has no real spoilers. If you haven’t played the originals, you won’t really notice a lot of the changes. Especially because most of the changes are done to improve the flow of the game and the story. Other changes have been done because some puzzles used the special features of the Nintendo DS or the Nintendo Wii in unique ways.

Arc System Works worked together with several members of the original development team, and I have to say that it really feels like this is the definitive way to experience these stories. Both stories now flow into each other, and it feels more like one big story. If you didn’t know better, you could think it’s just one huge game with those major chapters. They have done an amazing job of translating the story into a modern area without destroying the original messages and atmosphere of the story.

Fuzzy memories make imperfections

In terms of visuals, this game goes for a cel shaded look. This makes the remake of the original DS game look more in line with the Wii title. In the original DS game, the game was played as a top-down puzzle game, with some moments you could see a 2D scene that you could explore.

Visually, this game is quite detailed and looks amazing. Yet, I have noticed some rough models here and there. A book here, a window there. Some of them really stick out like a sore thumb. Now, I might be very critical on these things since I review games as a hobby. But let me tell you this as well. Overall, this game looks amazing. Timeless even. There are only a handful of objects that could use some touching up.

I have the same opinion on the animations. Overall, the animations are fantastic. Seeing the first game in 3D was breathtaking. It brought the game to life in such a different way, and I’m all for it. There were a few stiff animations, but if you aren’t looking for them, I can guarantee you that you won’t notice most of them. I especially love the comic book style cutscenes where the characters speaking go inside their own square next to each other. The animations in these cutscenes add some charm to this game, it makes the more relaxing nature of this game shine even brighter.

The controls of this game are excellent. Sometimes the motion control puzzles are a little bit wonky, but overall they work perfectly. The only thing I really don’t like is how, by the press of a button, you can see the orientation of Ashley. Now, what do I dislike about this? Well, it has a sort of build in walkthrough attached to it. This is something that’s too easily accessible, and I have pressed the button too many times.

Something I’m mixed about is how the additional lore spots are now somewhat easier to find. In the original DS game, you could find special cartridges with additional story lore on them. In this game, the hiding spot is located on your map. So, if you have missed one, you can quickly see on your map in which room you need to look. Now, some of them are hidden in very tricky places. During the stream, I have seen Klamath walk past two of them several times. If you want all the additional lore, you will have to keep your eyes peeled.

If you have played any point-and-click adventure game, you’ll know what to expect here. Personally, I compare this game quite a lot to Broken Sword 3, but without the platforming. You can explore the environment, and you have to solve various puzzles. Something unique is that you can also take pictures. And let me tell you, keep every mechanic the game teaches you in mind. The fact you can take pictures is something that is going to be quite helpful during the solving of the puzzles.

The only complaint I have is that solving some puzzles have a bit too much menu work involved. I especially remember one puzzle in the first part of the game where you have to weigh coins. Instead of them being all five on the table, you have to take them from your inventory each and every time. And the annoying part is that the last two you used, move to the last spot in your inventory. There are a handful of puzzles where some quality of life improvements would be very welcome.

Relaxing with puzzles

There are some amazing new features in this game as well. One of my favorite things is that you can access a big board where all the relationships between the characters are mapped out. Not only that, when you open the profile, you can read a small note about them. If you click on Ashley’s profile, you will read a small hint on what to do next. So, if you put this game down for a while, you can catch yourself up quite quickly.

Also, something I adore is the attention to detail in this game. For example, in one of the puzzles, Ashley digs into a building blocks box. After she found what she was looking for, you will notice a small building she built next to the box with the blocks she took out. There are various other moments like this, and it adds to the charm and realism of this game quite a lot.

The more relaxing nature of this game not only comes through the visuals and gameplay, but also through the music. The music in this game is a rather calming and relaxing soundtrack. The main motive is piano through the whole soundtrack. Other major instruments are violin and acoustic guitar. The soundtracks fit this game like a glove. Now, it is tense when it needs to be, but it never steps out of its lane. It keeps being that relaxing soundtracks that brings this game more to life, and I have no complaints about it.

The biggest strength of this game is the charm of it all. The writing, the music, the sound effects, the puzzles… It all flows together so well. While the game is only roughly 15 hours long, if you know what you are doing, it’s a very enjoyable time to play through. In this remake, the game also auto saves now but outside of cutscenes, you can save at any time in 15 different save slots.

Currently, I’m over midway in the second part of the game and I have been enjoying it quite a lot. While the game has it’s minor shortcomings like some rough object models and some annoying menu’ing during puzzles… I’m falling in love with these titles all over again. If you would ask me if the remakes or the originals are better, I’d have to say both. Both versions still have their charm but if you want to experience both these titles, I’d really advice to go for the Switch version. Since, it brings both titles together in a lot better way.

I mostly have minor complaints about these remakes. Like how silly it is that you can only have ten pictures saved and deleting them is a bit too fincky. But overall, the issues I have with this game are mostly minor. Maybe a bit more time in the oven or a polishing patch will bring this game to perfection.

A lot of other reviewers are giving this game lower marks since it’s slower paced or it’s a remake of a rather obscure duology. I personally disagree with these lower scores. These two games deserve another chance in the lime light since they are quite amazing games. I personally don’t mind the slower paced gameplay, since it’s refreshing to be able to wind down with a slower game. On top of that, if you look at the care the developers put into remaking this game and bringing it to modern audiences while not chaging too much to alienate fans of the original is such a fine line to walk on… And they never fell off that line in my opinion.

I can totally understand that this game isn’t everybody’s cup of tea. But, the complaints that this game is linear and doesn’t have a lot of replay value, I find ridiculous. I mean, does every game need to have a lot of replay value and let you explore a wide open world? No, it’s okay to play a game where you need to go from point A to B. It’s okay that the story looses some of it’s charm because you know how it’s going to end. It’s how that experience impacts you, that’s what matters.

The reason why I’m so happy to see remakes of these DS and Wii titles is because we now have remakes of amazing titles like this one and Ghost Trick for example. Now, because these two games have been remade, I’m holding out hope that Cing’s other titles like the amazing Hotel Dusk and it’s sequels are being remade as well. And if they are, I hope the same team is working on them since the love and care they placed into remaking these two titles is amazing.

I remember Klamath’s reaction when I suggested this game for streaming. He was worried that it was going to have low numbers and not a lot of interest. But, after our first stream, he started calling this game a hidden gem. I mean, if this game can have that kind of an impact on somebody who loves point-and-click games and the fact that we had a very high number of viewers watching our streams, it must mean something.

This game has a lot of impact and I hope that others who enjoy puzzle, adventure and/or point-and-click games give this game a chance. It’s something different especially since it’s slower paced but if you let it take you by the hand and if you walk along the journey, you won’t regret the powerful journey you are going on. It’s a journey that will stick with you and sometimes a memory will pop back into your head. You’ll remember the fun and relaxing times you had with this game. While the game isn’t perfect, the positives far outweigh the negatives and it’s one of those games where going along with the ride is the most important. Since, the ride of this game is one of the best point-and-click games I have ever played.

And with that said, I have said everything I wanted to say about this game for now. I want to thank you so much for reading this article and I hope you enjoyed reading it as much as I enjoyed writing it. I’m curious to hear what you thought about this game and/or the content of this article. So, feel free to leave a comment in the comment section down below. I also hope to welcome you in another article, but until then have a great rest of your day and take care.

Discover the Overwatch Coach Chatbot, a new tool designed to help players improve their skills with custom improvement plans. Try it out and provide feedback to help us make it better!

The post Introducing the Overwatch Coach Chatbot: Your Personalized Path to Improvement first appeared on Two Average Gamers.

The post Introducing the Overwatch Coach Chatbot: Your Personalized Path to Improvement appeared first on Two Average Gamers.