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B&H cuts MacBook Airs to $899, MacBook Pros to $1,099, Mac mini just $699, plus $300 off iMacs


B&H is finishing Cyber Week with a bang, slashing prices on 2019 MacBook Air and MacBook Pro laptops, plus up to $300 off Apple’s latest iMacs. These deals match Cyber Monday pricing, with both standard and upgraded models available at hefty discounts. Shop the sale before sundown Eastern Time today.

Apple Cyber Week deals on MacBook Air and Pro

New Apple deals

Just in, B&H has issued price reductions on Apple’s latest Macs, with savings of up to $300 off and prices as low as $899. These Cyber Week Apple deals deliver Cyber Monday prices to those that missed out on Monday’s discounts. A variety of configurations are included in the sale, from standard MacBook Airs for $899, Mac minis for $699, and 13-inch MacBook Pros starting at just $1,099.99.

There isn’t much time to grab the flash deals, though, as B&H’s online checkout closes tonight at sundown Eastern. When online checkout resumes tomorrow night, there’s no guarantee these discounts will still be in effect.

2019 13-inch MacBook Pro deals

2019 13-inch MacBook Air deals

Mac mini deals

iMac deals

*Special activation instructions: To activate the discounts, you must shop through the pricing links in this post from a laptop, desktop or iPad. We apologize, but the offers cannot be redeemed through mobile apps at this time. Need help? Send us a note at [email protected] and we will do our best to assist.

Additional Apple deals

AppleInsider and Apple authorized resellers are also running additional exclusive savings on Apple hardware for the holidays that will not only deliver the lowest prices on many of the items, but also throw in bonus discounts on AppleCare, software and more. These deals are as follows:

Interested in additional Apple hardware? See if there is a Mac, iPad or Apple Watch deal that will save you $100s by checking out

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Adobe Acquire Oculus Medium

Adobe announced today that they have acquired Oculus Medium, a VR based content creation tool developed at Facebook’s Oculus division.

Details from the Adobe announcement:

Today, I am thrilled to welcome the amazing Medium team to the Adobe family. Born as an innovative VR authoring tool at Facebook’s Oculus division, the Medium team and technology are an exciting addition to Adobe as we aim to meaningfully accelerate our 3D and immersive efforts.

Medium has been a beacon of creativity in the VR space, pushing creative and technical boundaries of 3D modeling. The creative tool enables users to sculpt, model and paint in an immersive environment – to easily create characters, objects, environments, expressive works of art and more. The integration of Medium’s tools and technology will greatly contribute to our 3D and immersive strategy.

Medium also have a blog post about the acquisition, with details of how existing customers will be impacted:

To our passionate Medium users, nothing is changing for you today. And the app is currently still free when you activate your new Oculus Touch controllers on the Oculus Store. Stay tuned for more features, improvements, and other developments coming from Adobe in 2020 as Medium continues to evolve.

If you wish to learn more about the acquisition, be sure to check out the video below.

GameDev News



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The Sundial

Some time after the death of Panoptes, Infinite Mind and the City’s venture to the Infinite Forest:

Osiris stepped back to look upon his work. It towered stories above him.

The Sundial was complete, a shining beacon in Mercury’s sky. He needed only to seal the chronometric core, which lay bare at the center of the spire, and activate the Arc conduits that ran for miles under the planet’s surface.

Sagira circled the superstructure, scanning every inch of it.

“I don’t know about this,” she said. 

“I have full confidence. It’s your design.”

“That work was theoretical! If the Vanguard find out what you did to build it—“

“If this works, the Vanguard will find out either way.”

Sagira darted down as if to dive bomb her chosen, but stopped just short and met him eye to eyes.

“I know you feel guilty, but there’s no telling what will happen if you turn this thing on.”

“He’s dead because of me. I’ve made every precaution. I’ve had my Echoes check against trillions of disaster scenarios.” He turned to look at the fluctuating glow of the exposed chronometric core. “Mercury is the only planet that will be affected. Because that’s where he died.”

“Where will this stop? Who else will you decide deserves a second chance?”

“You know I can’t make another bargain like this one.”

“I just want to make sure you know that.” 

Osiris blinked. She rarely spoke this bluntly, and without irony.

“Hey, hey, hey!” came a far-off, echoing shout. “No! That ain’t right!”

The Drifter came into view from behind one of the Sundial’s auxiliary pylons, pointing a jabbing finger at Osiris’s machine.

Sagira narrowed her eye at the rogue Lightbearer and lowered herself to Osiris’s shoulder. “Why’s he here?” she asked quietly.

“I asked him to consult on the engineering work,” Osiris replied, crossing his arms.

 “You sicko,” the other man declared, walking a circle around the Warlock, his eyes darting along every surface of the Sundial around them.

As the Drifter rapped his knuckles on the north pylon, he mumbled, “Ghost, do the numbers.” An armored Ghost with a red eye unfolded out of transmat and began a scan pattern on each Sundial spire.

Drifter walked to the central spire and put his ear up against it. “This core…” he said, leaning close. His eyes darted back to Osiris. “It’s whispering.”

Osiris’s expression didn’t change; his arms didn’t uncross. “We’ll seal the core away. I understand the ramifications.”

“Good luck keeping that contained. Not something I would bargain with, hotshot.” Drifter stood up and beckoned his Ghost with two fingers. It floated earthward and unleashed a holographic array of statistics along the Sundial deck. 

The red light reflected off the Drifter’s eyes as he drank the numbers in.

“Your math checks out,” he said, finally, as his Ghost folded away. “It’ll work. But will you find him? At the exact moment that you need? No guarantees.”

“Let me worry about that,” Osiris said.

“Just one more question, then. Why all the fuss?”

“I owe him.”

“I owe a lotta people, Warlock. You’re opening the gates of hell with a Vex key.”

“When the Traveler brought me back, I had no friends. No family—”

“No one had anything in the Dark Age.”

“But Saint was always there. And I saw him grow from neophyte to demigod.”

Drifter shrugged. “We’ve all had to flex a little. Win a gun fight or two. It’s why we’re still here.”

“We all gain strength. But some Lightbearers never grasp a wider view of the world. They’re happy to stick to their ways… languish. When they could be so much more.”

Drifter chuckled and spat, saluting Osiris with a single finger. “I get by.”

“Of course you do. I’m like you.”

Drifter smirked.

“But Saint faced his fears and failure better than any of us, and never strayed from his path. He should get a chance to walk to the end.”

“He already did. But I’ll leave you to your devices. You lunatic.” The Drifter turned, hands in his pockets, to leave. “If you short-circuit the universe, you’re on your own.”

“If I make a mistake here, you might cease to exist,” Osiris replied.

“Maybe that wouldn’t be so bad.”

“We haven’t talked about payment.”

“If you live through this little experiment, you can be sure I’ll be back to collect.”

“Go home. There’s a Guardian you should meet,” Osiris said.

“Yeah, yeah. Hero. Red War. Can’t wait.”


A dozen Echoes flanked Osiris.

The Sundial spun and sparked above them, around them.

His Echoes vanished in staccato bursts of chronometric Arc, stepping not elsewhere, but elsewhen, as the Sundial fell silent.

Osiris could still see and feel through them as twelve of him walked the corridors of time. 

Where those halls were intersected by the Vex network, his Echoes hacked Hobgoblins and Minotaurs apart using Solar Swords powered by sheer will. They hid their shadows and stood still, unblinking, to avoid the Network Minds. Together, they pushed to corners that gave way to the Mercurian Dark Age.

From there, they separated, entering myriad moments of Saint’s visits to Mercury.

An Echo encounters a battle-hardened Saint at the mouth of Caloris Basin. Saint is a member of the Pilgrim Guard, and he and his fireteam descend on batteries of Vex Goblins, the bloom of heavy gunfire leading their way. This Saint is too early. The Echo does not approach.

Neither does the Echo who watches in a dark corner as Saint’s jumpship lands at a Lighthouse at the Caloris Spires. Its interior is cloaked in shadow. The Cult of Osiris’s retrofit of the structure isn’t due for another age. Saint comes here to keep it clear of Vex attempting to reclaim it. He lights the darkness as he tears Minotaurs apart with Solar fists.

An Echo crouches on a cliffside out of sight as, far below, Saint uses his Solar Light to cut through the armor-plated Mercurian soil. Solitary stones line a series of holes that stretch for a dozen meters to either side.

An Echo hides in burning light as Saint works shoulder to shoulder with the Sunbreakers to construct the Burning Forge. Their hammering and soldering with Solar knuckles and sledges draws a silent parade of Vex to the building site. The Sunbreakers take turns stepping away from construction to dismantle the intruders using the same Solar implements.

An Echo spies Saint from a vantage point on the high plains of the Fields of Glass. The Titan fights for his life against purple-bannered Fallen, bearing the same symbol as modern Dusk soldiers. They are the House of Rain, the lowest House. The burning camp around them is curiously absent of bodies—but Osiris has heard Saint tell this story before. One of Saint’s first missions for the Speaker brought him to Mercury in a failed attempt to “re-take” that planet for humanity. They had not known at the time that the Vex had already started to transform the “garden world” into a machine. House Rain followed Saint’s jumpship and waited ’til the expedition had made camp. Then the Fallen annihilated the colonists Saint was charged to protect and beat him to within an inch of his life. The Echo lives that story first-hand now, and finds himself looking away at the terraformed vegetation at his feet instead. It’s already half machine—grass and metal blades growing beside each other under his boots. A Ketch roars down from the sky and rains heavy munitions on the battlefield, and the Echo’s vantage point fills with rolling clouds of dust. The Echo takes his leave. He’s seen enough.


Osiris’s Echoes scour Saint-14’s timeline on Mercury. But the corridors of time refuse to give way to the moment they need: Saint and the Martyr Mind in the depths of the Infinite Forest. The Echoes work tirelessly for weeks, then months in the space between moments. In desperation, he splits the dozen copies into many thousands more as the work continues fruitlessly.

One Echo stays for years against Osiris’s orders. He has never lost control of one before; he didn’t think that was even possible. He and the Echoes are the same. He feels this aberrant copy lose his sense of self. Another few years in, he feels this Echo press the touch of cold metal to his head. 

And then he feels nothing. 

Two Echoes wander into the corridors of time with orders not to stop. Brute force has worked for Osiris before. To this day, he can still feel them. Their search continues.

The rest eventually succumb to Vex security measures where the network intersects with the corridors of time. Even Osiris’s Light has limits.

None of the Echoes ever approaches a Saint. They never find the right one.


Osiris sat quietly at the base of the Sundial. No time had passed since the machine’s activation, but he had just lived a multitude of lives.

Sagira hovered over his shoulder and asked, hopefully, “Did it work?”

The Warlock stood, and made his way to the southern border of the Sundial. “Shut it down. Wrap everything in a stealth skin. Let nothing, no one, find it.”

Osiris disappeared into an incandescent flame.

Sagira stared at the Sundial’s central spire.

“Dammit,” she whispered.

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Microsoft Ireland teacher on the impact of role models: ‘I firmly believe you can’t be what you can’t see’

“Bluebell is in a disadvantaged area, and when I have kids come in from similar areas, I always tell them where I’m from. And they’re like, ‘No, you’re not!’” she says. “Because to them, seeing someone from Bluebell working at Microsoft is a big deal. And I just hope that they think, ‘If she works here, I can work here.’”

After a recent class, a student thanked Amanda and told her that she’d only seen men code before. The chance to code alongside other girls was something she’d never imagined.

“That was a ‘whoa’ moment for me.” Amanda pauses and then sighs with disappointment. “Of course, I know the statistics about women in the tech industry. But to actually have a student say that made the reality and the impact so much more real.”

In the next year, Amanda hopes to reach more students through DreamSpace by traveling to rural areas, training more teachers, and even creating mini-DreamSpace environments at schools—colorful and comfortable corners within classrooms where students can learn together.A woman laughs while two younger women look at a computer screen and point. They are having fun learning.

“I firmly believe you can’t be what you can’t see,” Amanda says.

“I want to show students that it doesn’t matter where you live. It’s doesn’t matter what you’ve done. It doesn’t matter what your parents do. You can do this; it’s possible for you.”


Back at Colaiste Pobail Setanta, Amanda hugs her former coworkers good-bye and heads out of her old science lab. As her hand swipes an empty student desk, she thinks lovingly about the past. She loves what she does now—growing her own skills in new ways—but she’ll always remember where she came from.

Making her way to the exit, Amanda walks past the front office receptionist—a new employee who didn’t work there when Amanda was a teacher at the school.

“Hello, I’m Amanda. I used to teach here.”

“Hmm. What do you do now?” the receptionist asks, assuming Amanda has left the vocation as well as the school.

“Oh, I still teach,” she says, her face lighting up with pride. “But now, I’m a teacher at Microsoft.”


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Late And Beloved Nintendo President Satoru Iwata Would Have Turned 60 Today


Ex-Nintendo president and video game legend, Satoru Iwata, was born on 6th December 1959. Today, he would have celebrated his 60th birthday.

Iwata-san stepped up to the role of Nintendo’s fourth company president back in 2002, a position he held right up until his untimely passing in July 2015. If you followed Nintendo during those years, you won’t need us to tell you how adored he was within the community, both from the company’s fans, and seemingly from everyone within Nintendo’s very own hallowed halls, too.

Of course, the great man has received numerous tributes over the last few years – including a posthumous lifetime achievement award and more recently a book celebrating his life – but we wanted to take this opportunity to raise a toast once more. Happy birthday, Mr. Iwata, and thank you for so many wonderful years.

Here’s one of our favourite moments from the Year of Luigi:

Further Reading: Obituary: Satoru Iwata

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Review: Assassin’s Creed: The Rebel Collection – A Pair Of Brilliant Seafaring Adventures, And More Besides

Back in May this year, we reviewed Assassin’s Creed III Remastered for Switch and didn’t have a great deal good to say about it. It’s been patched since – and plays a considerably better game for it – but upon release, it was pretty much a buggy, blurry shambles with a stuttering framerate and a pretty big disappointment for Assassin’s Creed fans. We may be forgiven then, perhaps, for having not been overly optimistic about this pirate-flavoured Rebel Collection which brings together Assassin’s Creed IV: Black Flag – arguably the very pinnacle of the “classic” Assassin’s Creed games pre-Origins and Odyssey – and Assassin’s Creed Rogue, the PS3/Xbox 360 title which is pretty much Black Flag 2 in all but name.

However, any concerns we may have had have been roundly dismissed in short order as this is a mostly fantastic port – especially in the case of Black Flag – that manages to squeeze an absolutely massive amount of rum-soaked high-seas hijinks onto Nintendo’s portable console in an impressively smooth fashion and with nary a bug in sight.

Indeed, it’s the headline act here – 2014’s excellent Assassin’s Creed IV: Black Flag – that’s the star of the show in every way. Locked at 720p in handheld and 1080p when docked, we didn’t notice a significant stutter or wobble from its 30fps target whatsoever during our time with the game; even during the busiest of flamboyant chase sequences or thunderous sea-based battles, this port delivers the goods and looks great whilst doing so.

Of course, as is to be expected, there have had to be some graphical sacrifices made on Switch and they’re really most noticeable in docked mode – the odd blurred texture here or lack of detail there – but all of the atmospheric volumetric effects, lighting and gloriously evocative open seas have been miraculously kept intact. This is Black Flag how you remember it – OK, perhaps not graphically on a par with the PS4/Xbox One versions of the game but it’s close – and we also get lovely Switch exclusive motion-controlled aiming for guns, pistols and ship weapons, as well as HD Rumble and all of the DLC that’s been released for the game thus far, including Aveline and the properly excellent Freedom Cry.

Playing through Black Flag in portable mode is actually something of a revelation. With its absolutely enormous world map stuffed to the brim with secrets and treasures, it becomes apparent that this is a game that’s actually perfectly suited to dipping in and out of in handheld. Missions tend to be pretty short with a handful of fun additional objectives to give them replayability and you can polish most of them off in twenty minutes or so, give or take the odd long exposition-heavy chapter. So too the seemingly endless islands dotted around the map to discover, each one with a check-list of treasure chests, viewpoints, hostages and other activities that are just perfect for jumping in and cleaning up in a quick portable session.

Experiencing this adventure again, it’s easy to see why Assassin’s Creed IV: Black Flag became such a fan favourite over the years. Besides the beefy main campaign here, starring one of the series’ most charismatic and straight-up fun protagonists, you’ve got an absolute wealth of fun side activities to partake in as you breeze around the Caribbean. Of course, there’s the amazing naval combat, the feather in Black Flag’s cap, taken from Assassin’s Creed III and turned to pure gold here; it just never gets old and still feels and looks amazing. Battling it out with a particularly large enemy ship during a huge storm as the violent dark seas swell around your craft is worth the price of admission alone, to be quite honest. But there’s also a ton of side quests, assassin’s contracts, naval contracts, ship and weapon upgrades, crafting, hunting, harpooning, rescuing your pirate brethren and treasure maps hunts to get completely lost in as well – and all of it is here on Switch, looking and performing as good as we could ever really have hoped.

Of course, there are some negatives. As good as Black Flag is, it suffers from some of the same problems as many of the series’ other outings. Parkour can be sticky and fiddly, scraps can break down into farce very easily and controls can generally feel quite unwieldy at times. You’ll find yourself caught out during stealth missions because protagonist Edward decides to get stuck to some bit of scenery, jumps up to grab a branch instead of ducking down into a bush or refuses to jump from a wall in time to hide from your enemies. It’s all part of these game really; stuff that didn’t ever really get properly ironed out until Origins and Odyssey.

Alongside the swashbuckling adventures of Edward Kenway, you’ve also got Shay Patrick Cormac’s Templar turn in Assassin’s Creed Rogue. We won’t give away too much in terms of story here, but Rogue was a bit of a departure for the series, with a central protagonist who turns his back on the assassins to walk the path of the series’ staple enemies. Shay’s adventure was originally released as a bit of a stop-gap on PS3 and 360 as they came to the end of their lives, and in some respects, it shows. It’s not graphically as strong as Black Flag, its story and voice-acting (those Irish accents, yeeesh!) pale in comparison and its main campaign doesn’t take too long to blast through should you eschew the bevvy of side activities and collectables its got for you to hoover up.

However, this is still, for our money, one of the most entertaining of the main Assassin’s Creed games simply by virtue of the fact it takes what made the stellar Black Flag so entertaining and just gives you more of it. In fact Assassin’s Creed Rogue knows exactly what it is in this respect and wastes absolutely no time in getting you back into that sweet Black Flag groove, with Shay commandeering his very own set of sea-wheels in the pre-credits sequence, letting players loose on the frigid North Atlantic waters as quickly as it can.

In terms of this particular port, Assassin’s Creed Rogue doesn’t fare quite as well as its majestic counterpart. Graphically – and again, this could be down to those PS3/360 roots – it’s not as strong as Black Flag; fine details on clothes and faces are missing and levels are noticeably drabber. In handheld it still manages to hold that 30fps target for the most part – even during a sequence which sees an entire city spectacularly razed to the ground – but we did notice what we are assuming is resolution scaling working its magic; things becoming blurry here and there as the game struggles to keep things running smoothly.

In docked mode, graphical anomalies stand out more; there’s clipping of textures here and there and some odd shadow flickering and pop-in. The framerate too – most noticeably during hectic sword fights with numerous enemies – struggles. We didn’t notice any real stuttering, but things definitely felt a little stodgy on the control front from time to time. However, having said all of that, this is nowhere near reaching the level of problems Assassin’s Creed III Remastered initially had on Nintendo’s little console. Nothing we experienced during our time with any of the content on offer here took us out of the game or stopped us from thoroughly enjoying the experience. There are zero sound problems whatsoever (something that was a huge issue with Assassin’s Creed III) and really the issues we have here, certainly in terms of the graphics in Rogue, are things we’ve seen discussed before in reference to other versions of that particular game.

So in summary, for ye mangy sea-dogs who weren’t fully paying attention, Assassin’s Creed IV: Black Flag looks and plays phenomenally well on Switch, and is the complete package with all DLC included. Rogue struggles from time to time, especially in docked, but it still plays a great game and is pretty much perfectly smooth in portable. Aveline and Freedom Cry – between them providing another five or six hours of content, are on a par with Black Flag in terms of performance. Ubisoft Club too, although perhaps not the most exciting thing in the world, has been really smoothly integrated here, with lots of fun challenges to take part in and a ton of cool outfits and ship goodies to work towards unlocking. It just gives the whole package that final little chef’s kiss and keeps it on an even keel with other console versions.


Assassin’s Creed: The Rebel Collection has come as something of a surprise to us after the disappointment of Assassin’s Creed III Remastered. Here are two excellent swashbuckling epics ported to Nintendo’s console in fine fashion. Black Flag is a revelation in portable mode and looks and performs almost flawlessly as you blast your way around the Caribbean on Edward Kenway’s captivating pirate adventures. Rogue, although it struggles to keep up slightly here and there, is always eminently playable and together with the excellent Freedom Cry, they give Assassin’s Creed fans something they’ve wanted for a very long time now – this is handheld Assassin’s Creed at a standard we weren’t particularly sure we’d ever see on Switch.

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Game of Drones competition aims to advance autonomous systems

Image from Game of Drones simulation

Drone racing has transformed from a niche activity sparked by enthusiastic hobbyists to an internationally televised sport. In parallel, computer vision and machine learning are making rapid progress, along with advances in agile trajectory planning, control, and state estimation for quadcopters. These advances enable increased autonomy and reliability for drones. More recently, the unmanned aerial vehicle (UAV) research community has begun to tackle the drone-racing problem. This has given rise to competitions, with the goal of beating human performance in drone racing.

At the thirty-third Conference on Neural Information Processing Systems (NeurIPS 2019), the AirSim research team is working together with Stanford University and University of Zurich to further democratize drone-racing research by hosting a simulation-based competition, Game of Drones. We are hosting the competition on Microsoft AirSim, our Unreal Engine-based simulator for multirotors. The competition focuses on trajectory planning and control, computer vision, and opponent drone avoidance. This is achieved via three tiers:

  • Tier 1 Planning only: The participant’s drone races tête-à-tête with a Microsoft Research opponent racer. The goal is to go through all gates in the minimum possible time, without hitting the opponent drone. Ground truth for gate poses, the opponent drone pose, and the participant drone are provided. These are accessible via our application-programming interfaces (APIs). The opponent racer follows a minimum jerk trajectory, which goes through randomized waypoints selected in each gate’s cross section.
  • Tier 2 Perception only: This is a time trial format where the participants are provided with noisy gate poses. There’s no opponent drone. The next gate will not always be in view, but the noisy pose returned by our API will steer the drone roughly in the right direction, after which vision-based control would be necessary.
  • Tier 3 – Perception and Planning: This combines Tier 1 and 2. Given the ground truth state estimate for participant drone and noisy estimate for gates, the goal is to race against the opponent racer without colliding with it.

The animation on the left below shows the ground truth gate poses (Tier 1), while the animation on the right shows the noisy gate poses (Tier 2 and Tier 3). In each animation, the drone is tracking a minimum jerk trajectory using one of our competition APIs.

Image shows the ground truth gate poses

The following animation shows a segment of one of our racing tracks with two drones racing against each other. Here “drone_2” (pink spline) is the opponent racer going through randomized waypoints in each gate cross section, while “drone_1” (yellow spline) is a representative competitor going through the gate centers.

This animation shows a segment of one of our racing tracks with two drones racing against each other

The competition is being run in two stages—an initial qualification round and a final round. A set of training binaries with configurable racetracks was made available to the participants initially, for prototyping and verification of algorithms on arbitrary racetracks. In the qualification stage (Oct 15th to Nov 21st), teams were asked to submit their entries for a subset or all of the three competition tiers.  117 teams registered for the competition worldwide, with 16 unique entries that have shown up on the qualification leaderboard.

We are now running the final round of the competition and the corresponding leaderboard is available here. All of the information for the competition is available at our GitHub repository, along with the training, qualification, and final race environments.

Engineering-wise, we introduced some new APIs in AirSim specifically for the competition, and we’re continually adding more features as we get feedback. We highlight the main components below:

In the long term, we intend to keep the competition open, and we will be adding more racing environments after NeurIPS 2019. While the first iteration brought an array of new features to AirSim, there are still many essential ingredients for trustable autonomy in real-world scenarios and effective simulation-to-reality transfer of learned policies. These include reliable state estimation; camera sensor models and motion blur; robustness to environmental conditions like weather, brightness, and diversity in texture and shape of the drone racing gates; and robustness against dynamics of the quadcopter. Over the next iterations, we aim to extend the competition to focus on these components of autonomy as well.

For more of the exciting work Microsoft is doing with AirSim, see our blog post on Ignite 2019.

Acknowledgements: This work would not have been possible without the substantial team effort behind the scenes by all members of the organizing team—Ratnesh Madaan, Nicholas Gyde, Keiko Nagami, Matthew Brown, Sai Vemprala, Tim Taubner, Eric Cristofalo, Paul Stubbs, Jim Piavis, Guada Casuso, Mac Schwager, Davide Scaramuzza, and Ashish Kapoor.

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Football Manager 2020 Touch Kicks Off On Switch Next Week


Initially scheduled to arrive on Nintendo’s platform this November, it has now been revealed that Football Manager 2020 Touch will be launching on Switch next week.

You’ll be able to get your hands on the latest edition of the popular football management sim on 10th December, as confirmed by this official social media post below. The ‘Touch’ edition available on Switch is a simplified version of the full-fat release available elsewhere, but past releases show that you can still have a good time with it regardless.

The game has been available on other platforms like PC, Mac and Google Stadia for a couple of weeks now, with the main, non-Touch version generating pretty favourable reviews.

Are you a Football Manager > FIFA kind of footie fan? Let us know if you’ll be buying this one next week with a comment below.

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Is It Wrong To Try To Pick Up Girls In A Dungeon? Scores 2020 Western Switch Release

Despite having one of the cringiest names to ever grace a video game, Is It Wrong To Try To Pick Up Girls In A Dungeon? – Infinite Combate is heading to Nintendo Switch in the west, it has been confirmed.

The announcement comes from PQube and MAGES, both of which have confirmed that the game – an RPG based on the popular manga and anime series also known as DanMachi – will arrive on Nintendo’s platform both physically and digitally in 2020.

You can get a taste of what this one’s all about in the brand new trailer above, but we also have an official description for you:

Is It Wrong To Try To Pick Up Girls In A Dungeon? – Infinite Combate is set in a fantasy realm where gods have limited their divine powers in search of excitement and to experience the hardships of the lower world. To interact with humans, each deity has founded a Familia, which are groups that adventurers can join to socialise and support each other, before they set out into the dangerous labyrinth called Dungeon.

The gameplay is an exciting mix between dungeon crawling with RPG elements and a visual novel-style story, including events from the first Is It Wrong To Try To Pick Up Girls In A Dungeon? anime season and new content! Apart from the extensive Story Mode, players will be able to test their skills in procedurally-generated Extra Dungeons and find out more about other characters during Date Events.

Danmachi 4

Does this seem like it could be your cup of tea? Are you a fan of the anime already? Tell us below.