Hoth is an ice planet in the Star Wars fictional universe. It first appeared in the 1980 film The Empire Strikes Back and has been a setting in Star Wars books and video games. Hoth is the sixth planet of a remote system of the same name, it is a terrestrial planet blanketed by snow and ice. The freezing climate, although habitable, is too cold for intelligent life to develop. Hoth is home to only a few species, including the towering, predatory wampa and the gray snow-lizards known as tauntauns. Both appear in The Empire Strikes Back. In the 1980 film The Empire Strikes Back, Hoth is the home of the Rebel Alliance's secret Echo Base, installed in natural caves formed by giant ice bubbles; the Rebels patrol the planet by riding indigenous tauntauns. At the start of the film, Luke Skywalker and his tauntaun are attacked by a wampa. Skywalker escapes and is rescued by Han Solo; when one of the Galactic Empire's probe droids uncovers the base, the Rebels are forced to evacuate. The Empire arrives and deploys ground forces to destroy the base, but the Rebels battle the AT-ATs with ground artillery and snowspeeders to stall them and evacuate.
Hoth has appeared in Star Wars books and video games. In the novel Darksaber, Luke Skywalker and his lover Callista travel to Hoth, where they encounter the same wampa that attacked Luke in Empire, but he swiftly kills it. In Shadows of the Empire, Hoth is one of several settings for Dash Rendar's adventures; the original draft of The Empire Strikes Back, written by Leigh Brackett, depicted an opening scene with Luke Skywalker on the ridge of an ice planet, though the name "Hoth" was given to the cloud planet at the time. The draft depicted Hoth's wampas attacking the Rebel base; the Hardangerjøkulen glacier near Finse, Norway served as the filming location for Hoth in The Empire Strikes Back. Scenes were filmed in subzero temperatures. For the battle scene, miniatures were used on a set that used microscopic glass bubbles and baking soda to mimic the snowy territory; the planetary attributes of the fictional planet Hoth have been scrutinized for scientific accuracy. Space.com said Hoth most resembled the extrasolar planet OGLE-2006-BLG-390, "With a surface temperature of -364 degrees Fahrenheit, it is nearly as frigid as Pluto."
Bruce Betts of The Planetary Society said the asteroid belt near Hoth meant that the planet would have difficulty staying in place. With Hoth being bombarded by asteroids, Betts said it would be unlikely for natural lifeforms to evolve on the planet. Jeanne Cavelos theorized in The Science of Star Wars that the frequency of meteoroids bombarding Hoth indicated that the planet was young since in older solar systems, the debris is more cleared out. Since Hoth has complex lifeforms, Cavolos said the planet's age may be older, in the range of several billion years; the author said Hoth could be similar to Earth in age but lack neighboring planets like Jupiter and Saturn to shelter it from meteoroid impacts. She said with the asteroid belt depicted in the film as close to Hoth that the belt was a source for meteoroids. CJ Miozzi, writing for The Escapist, said that Hoth was realistic as a single-biome planet, citing Jupiter's moon Europa as a similar example. Miozzi said the planet was depicted in the Star Wars books as being geologically active and having additional smaller lifeforms, including lichen.
The author said lichen on Earth was an important part of the food chain during winter months but that it could grow back outside these months. With Hoth perpetually iced over, Miozzi said lichen would not be sufficient to support a multi-tiered food chain that includes an apex predator, the wampa. List of Star Wars planets and moons Hoth in the Official Star Wars Databank Hoth on Wookieepedia, a Star Wars wiki
Star Wars: TIE Fighter
Star Wars: TIE Fighter is a 1994 Star Wars space flight simulator and space combat video game, a sequel in the Star Wars: X-Wing series. It places the player in the role of an Imperial starfighter pilot during events that occur between The Empire Strikes Back and Return of the Jedi; the game was produced by Lawrence Edward Kilham's Totally Games studio. Based on X-Wing's game engine, TIE Fighter supports Gouraud shading and adds gameplay features and craft not available in X-Wing. TIE Fighter was updated and re-released several times, it was a critical success, it is considered by some critics to be among the greatest video games of all time. The game's plot begins; as with X-Wing, the player's character is unnamed in the game. In addition to fighting Rebel Alliance forces, the player flies against pirates, combatants in a civil war, traitorous Imperial forces; the original game ends with the player preventing a coup against Emperor Palpatine and being rewarded during a large ceremony. Subsequent expansions focus on Admiral Thrawn's efforts to stop an Imperial traitor.
Though playing on the side of the Star Wars saga's villain, the game presents Imperial forces as maintainers of peace and order in a tumultuous galaxy, reinforced as the player character serves under the tactical genius Thrawn rather than the terrifying Darth Vader. The storyline is divided across thirteen tours of duty, seven in the original, three in each of the expansion packs, each of which has four to eight missions. Although some of the tours can be played out of order, individual missions within each battle are played linearly. Mission briefings and debriefings, in-flight communication advance the story. After selecting a pilot file, the player views the "concourse", a hub with doors to different features of the game. While the main focus of gameplay is completing battles, the concourse offers several other areas; the training simulator lets the player fly each of the pilotable Imperial craft through a complex obstacle course. The combat chamber offers four extra missions for each craft, ranging from training scenarios to historical reenactments of important missions.
There is a room to view mission recordings, a tech room to view information about every spacecraft that appears in the game. When the player selects a mission, he or she is given a briefing, consisting of a dialog describing the mission and an animated map illustrating vessel positions and basic flight patterns; the player may optionally read a list answers about the mission. In addition to the standard mission briefing covering primary objectives, there is another briefing given by a mysterious figure who belongs to the Emperor's Inner Circle; this person informs the pilot of optional secondary objectives and provides additional plot information. Completing the primary objectives allows the player to progress to the next mission and earn Imperial military promotion. In-flight gameplay is similar to X-Wing, played in first-person but with the option to switch to third-person. All flight takes place in space. Mission roles including dogfighting, escorting or disabling other craft, inspecting vehicles, attacking capital ships and space stations.
Initial missions place the player in unshielded TIE fighter variants. Laser cannons and ion cannons serve as short range weapons, damaging or disabling targets respectively; some starfighters carry limited number of torpedoes for additional range/firepower. As with X-Wing, the player needs to balance power allocation between weapons and shields; the player can change the firing modes of his or her fighter's weapons. If the ship possesses shields, the player chooses the shield balance between rear. Shields are rechargeable; when the player's craft is unshielded, enemy fire will damage the player's hull. Hull damage can disable systems, such as targeting computer. Disabled systems will be repaired. Hull damage may cause cockpit displays to break, rendering them useless for the remainder of the mission. Heavy hull damage will destroy the player's spacecraft; when the player's craft is destroyed before completing a mission, or the mission is otherwise a failure, the player can attempt the mission again.
However, the mission is still successful if the player's craft is destroyed after all primary mission objectives are completed. While based upon X-Wing, TIE Fighter does introduce several gameplay additions that made it less difficult than its predecessor; the targeting system allows players to target capital ships' and space stations' components, such as shield generators and weapons. Additionally, the targeting display shows a 3D model and relative orientation of the player's target. Mission
Academy of Interactive Arts & Sciences
The Academy of Interactive Arts & Sciences is a non-profit organization of video game industry professionals. It organizes the annual Design Innovate Communicate Entertain summit, better known as D. I. C. E. Which includes the presentations of the D. I. C. E. Awards. AIAS was founded in 1992 by Andrew Zucker, a lawyer in the entertainment industry that wanted to create a group for video games similar to the Academy of Motion Picture Arts and Sciences for the film industry, which organizes the annual Academy Awards, including the nomination and voting process, the televised events; as envisioned by Andrew Zucker, AIAS was to become a bridge between Silicon Valley and Hollywood, thus serving to link and provide a forum for dialogue between professionals in both technology and entertainment. AIAS co-promoted numerous events with organizations such as the Academy of Television Arts and Sciences, the Directors Guild of America and Women in Film. Zucker was able to assemble about 400 members of both gaming and entertainment industries, along with 40 industry leaders to organize their first awards show program, "Cybermania'94", hosted by Leslie Nielsen and Jonathan Taylor Thomas and broadcast on TBS.
While a second show was run in 1995, was the first awards program to be streamed over the Web, it drew far less audiences as the first. Video game industry leaders decided that they wanted to reform AIAS as a non-profit organization for the video game industry; the effort was backed by Peter Main of Nintendo, Tom Kalinske of Sega, Doug Lowenstein, founder of the Entertainment Software Association, with funding support from ESA. AIAS was formally refounded with game developer Glenn Entis as its first president. In 1998, AIAS' role was to handle the awards known as the Interactive Achievement Awards; these awards were nominated and selected by game developers that are members of the organization themselves, mimicking the means which the Academy Awards are voted upon by its members. Around 2000, the ESA pulled out of funding AIAS, leading AIAS members Richard Hilleman and Lorne Lanning to suggest that AIAS create the D. I. C. E. Summit, a convention centered around the presentation of the awards as a means to providing funding for the organization.
The Summit was aimed at industry executives and lead developers as a means to provide networking between various companies The D. I. C. E. Summit launched in 2002 in Las Vegas and has been run on an annual basis since. In addition to video games, AIAS saw these summits as a way to connect video games to other entertainment industries. Joseph Olin served as the AIAS president from 2004 to 2010. Rae opted to implement a number of changes to the Summit, shorting talk times to give more attention to the speakers, rebranding the awards as the D. I. C. E. Awards for the 2013 summit. Mike Fischer replaced Rae as president in 2016; as of 2017, AIAS's mission is "to promote and advance the worldwide interactive entertainment community, recognize outstanding achievements in the interactive arts and sciences, host an annual awards show, the DICE Awards, to enhance awareness of games as an interactive art form". The D. I. C. E. Summit is an annual multi-day gathering of video game executives held in Nevada. Established in 2002 by AIAS, the conference is host to the annual Entertainment Software Association's Interactive Achievement Awards.
The conference differs from other conferences in the industry in its emphasis on the business and production end of the industry, with a focus on trends and innovations in video game design. The conference specializes in providing a more intimate, orderly venue for select industry leaders to network. In 2007, a keynote speaker was added to open the event, which had traditionally begun with recreation before the introduction of presentations and panels. Official website
The Millennium Falcon is a fictional starship in the Star Wars franchise. The modified YT-1300 Corellian light freighter is commanded by Corellian smuggler Han Solo and his Wookiee first mate, Chewbacca. Designed by the Corellian Engineering Corporation, the modified YT-1300 is durable and modular, is stated as being the second-fastest vessel in the Star Wars canon; the Millennium Falcon first appears in Star Wars, subsequently in The Star Wars Holiday Special, The Empire Strikes Back, Return of the Jedi, Revenge of the Sith, The Force Awakens, The Last Jedi, Solo: A Star Wars Story. Additionally, the Falcon appears in a variety of Star Wars expanded universe materials, including books and games, it appears in the 2014 animated film The Lego Movie in Lego form, with Billy Dee Williams and Anthony Daniels reprising their roles of Lando Calrissian and C-3PO, Keith Ferguson voicing Han Solo. The ship had a more elongated appearance, but this design's similarity to the Eagle Transporters in Space: 1999 prompted Lucas to change the Falcon's design.
The original model was modified, re-scaled, used as Princess Leia's ship, Tantive IV. Modelmaker Joe Johnston had about four weeks to redesign the Falcon, Lucas's only suggestion to Johnston was to "think of a flying saucer". Johnston did not want to produce a "basic flying saucer", so he created the offset cockpit, forward cargo mandibles, rear slot for the engines; the design was simple enough to create in the four-week window. Johnston called production of the new Falcon design one of his most intense projects; the sound of the ship traveling through hyperspace comes from two tracks of the engine noise of a McDonnell Douglas DC-9, with one track out of synchronization with the other to introduce a phasing effect. To this, sound designer Ben Burtt added the hum of the cooling fans on the motion-control rig at Industrial Light & Magic. Visually, the Millennium Falcon was represented by external and internal sets. For Star Wars, a partial exterior set was constructed and the set dressed as Docking Bay 94 and the Death Star hangar.
Besides the functional landing gear, an additional support held up the structure and was disguised as a fuel line. The interior set included the starboard ring corridor, the boarding ramp, cockpit access tunnel, gun turret ladder, secret compartments, the forward hold; the cockpit was constructed as a separate set that could be rocked when the ship was supposed to shake. Several inconsistencies exist between the internal set and the external set, the cockpit access tunnel angle being the most noticeable; the effects models for Star Wars matched the design of the exterior set. The primary model was detailed with various kit parts; the ship was represented by a matte painting when Princess Leia sees it for the first time, showing the full upper surface. For the 1997 "Special Edition", a digital model replaces the effects model in several shots, is used in a new shot of the Falcon lifting off from Docking Bay 94. For The Empire Strikes Back, a new external set was constructed. In spring 1979, Marcon Fabrications, a heavy engineering firm that served the UK's petrochemical and oil industries, was hired to build a movable full-scale external model capable of "moving as if it were about to take off."
Built in secrecy under the project code name Magic Roundabout, the company leased the 1930s Western Sunderland Flying Boat hangar in Pembroke Dock, West Wales. The model, which took three months to construct, weighed over 25 long tons, measured 65 feet in diameter and 20 feet high, used compressed air hover pads for up to 1.5 inches of hover-height movement around the set. It was disassembled and shipped to Elstree Studios, for filming. Today, the Pembroke Dock museum has an exhibit about the project. Along with the full-size mock-up of the Falcon, a new miniature model was created for Star Wars: Episode V - The Empire Strikes Back to allow ILM to film more intricate in-flight rolls and pitches that were not possible with the five-foot model; this model was able to be mounted on a gimbal that allowed ILM to simulate difficult maneuvers as the ship attempted to outrun Imperial TIE fighters during the asteroid-field-escape scene from the film. The new model, which measured at 32 inches in length, had several surface features that differed from the five-foot model including updated landing gear and different surface greeblies.
The 32" model was the version of the Millennium Falcon most depicted in toys, model kits, promotional materials for the Star Wars universe prior to the release of The Force Awakens. The model was reused for Episode VI: Return of the Jedi; as in Star Wars, the location set was changed around the ship set. The only major design change was to add landing gear where the disguised fuel line had been in Star Wars; as this set included the port side, that gave the set seven landing gears. The internal set was refitted from A New Hope and featured a sliding cockpit door, a larger cargo hold, an additional corridor to port, an equipment room. Two new interior sets were created that are not shown to connect to the rest of the set: a top hatch that Lando Calrissian uses to rescue Luke Skywalker, the compartment where Luke rests on a bunk; the 5-foot-long effects model from Star Wars was modified to reflect the additional landing gear, several new models were built, including one the size of a U. S. Quarter Dollar.
For the 1997 Special Edition, a CGI model replaced the e
Google Books is a service from Google Inc. that searches the full text of books and magazines that Google has scanned, converted to text using optical character recognition, stored in its digital database. Books are provided either by publishers and authors, through the Google Books Partner Program, or by Google's library partners, through the Library Project. Additionally, Google has partnered with a number of magazine publishers to digitize their archives; the Publisher Program was first known as Google Print when it was introduced at the Frankfurt Book Fair in October 2004. The Google Books Library Project, which scans works in the collections of library partners and adds them to the digital inventory, was announced in December 2004; the Google Books initiative has been hailed for its potential to offer unprecedented access to what may become the largest online body of human knowledge and promoting the democratization of knowledge. However, it has been criticized for potential copyright violations, lack of editing to correct the many errors introduced into the scanned texts by the OCR process.
As of October 2015, the number of scanned book titles was over 25 million, but the scanning process has slowed down in American academic libraries. Google estimated in 2010 that there were about 130 million distinct titles in the world, stated that it intended to scan all of them. Results from Google Books show up in both the universal Google Search and in the dedicated Google Books search website. In response to search queries, Google Books allows users to view full pages from books in which the search terms appear if the book is out of copyright or if the copyright owner has given permission. If Google believes the book is still under copyright, a user sees "snippets" of text around the queried search terms. All instances of the search terms in the book text appear with a yellow highlight; the four access levels used on Google Books are: Full view: Books in the public domain are available for "full view" and can be downloaded for free. In-print books acquired through the Partner Program are available for full view if the publisher has given permission, although this is rare.
Preview: For in-print books where permission has been granted, the number of viewable pages is limited to a "preview" set by a variety of access restrictions and security measures, some based on user-tracking. The publisher can set the percentage of the book available for preview. Users are restricted from downloading or printing book previews. A watermark reading "Copyrighted material" appears at the bottom of pages. All books acquired through the Partner Program are available for preview. Snippet view: A'snippet view' – two to three lines of text surrounding the queried search term – is displayed in cases where Google does not have permission of the copyright owner to display a preview; this could be because Google can not identify the owner declined permission. If a search term appears many times in a book, Google displays no more than three snippets, thus preventing the user from viewing too much of the book. Google does not display any snippets for certain reference books, such as dictionaries, where the display of snippets can harm the market for the work.
Google maintains. No preview: Google displays search results for books that have not been digitized; as these books have not been scanned, their text is not searchable and only the metadata such as the title, publisher, number of pages, ISBN, subject and copyright information, in some cases, a table of contents and book summary is available. In effect, this is similar to an online library card catalog. In response to criticism from groups such as the American Association of Publishers and the Authors Guild, Google announced an opt-out policy in August 2005, through which copyright owners could provide a list of titles that it did not want scanned, Google would respect the request. Google stated that it would not scan any in-copyright books between August and 1 November 2005, to provide the owners with the opportunity to decide which books to exclude from the Project. Thus, Google provides a copyright owner with three choices with respect to any work: It can participate in the Partner Program to make a book available for preview or full view, in which case it would share revenue derived from the display of pages from the work in response to user queries.
It can let Google scan the book under the Library Project and display snippets in response to user queries. It can opt out of the Library Project. If the book has been scanned, Google will reset its access level as'No preview'. Most scanned works are commercially available. In addition to procuring books from libraries, Google obtains books from its publisher partners, through the "Partner Program" – designed to help publishers and authors promote their books. Publishers and authors submit either a digital copy of their book in EPUB or PDF format, or a print copy to Google, made available on Google Books for preview; the publisher can control the percentage of the book available for preview, with the minimum being 20%. They can choose to make the book viewable, allow users to download a PDF copy. Books can be made available for sale on Google Play. Unlike the Library Project, this does not raise any copyright concerns as it is conducted pursuant to an agreement with the publisher; the publisher can choose to withdraw from the agreement at any time.
For many books, Google Books displays the original page numbers. However, Tim Pa
Video game genre
A video game genre is a classification assigned to a video game based on its gameplay interaction rather than visual or narrative differences. A video game genre is defined by a set of gameplay challenges and are classified independently of their setting or game-world content, unlike other works of fiction such as films or books. For example, a shooter game is still a shooter game, regardless of when it takes place; as with nearly all varieties of genre classification, the matter of any individual video game's specific genre is open to personal interpretation. Moreover, each individual game may belong to several genres at once; the first attempt to classify different genres of video games was made by Chris Crawford in his book The Art of Computer Game Design in 1984. In this book, Crawford focused on the player's experience and activities required for gameplay. Here, he stated that "the state of computer game design is changing quickly. We would therefore expect the taxonomy presented to become obsolete or inadequate in a short time."
Since among other genres, the platformer and 3D shooter genres, which hardly existed at the time, have gained a lot of popularity. As hardware capabilities have increased, new genres have become possible, with examples being increased memory, the move from 2D to 3D, new peripherals and location. Though genres were just interesting for game studies in the 1980s, the business of video games expanded in the 1990s and both smaller and independent publishers had little chance of surviving; because of this, games settled more into set genres that larger publishers and retailers could use for marketing. Due to "direct and active participation" of the player, video game genres differ from literary and film genres. Though one could state that Space Invaders is a science-fiction video game, such a classification "ignores the differences and similarities which are to be found in the player's experience of the game." In contrast to the visual aesthetics of games, which can vary it is argued that it is interactivity characteristics that are common to all games.
Descriptive names of genres take into account the goals of the game, the protagonist and the perspective offered to the player. For example, a first-person shooter is a game, played from a first-person perspective and involves the practice of shooting; the term "subgenre" may be used to refer to a category within a genre to further specify the genre of the game under discussion. Whereas "shooter game" is a genre name, "first-person shooter" and "third-person shooter" are common subgenres of the shooter genre. Other examples of such prefixes are real-time, turn based, side-scrolling; the target audience, underlying theme or purpose of a game are sometimes used as a genre identifier, such as with "games for girls," games for cats,"Christian game" and "Serious game" respectively. However, because these terms do not indicate anything about the gameplay of a video game, these are not considered genres. Video game genres vary in specificity, with popular video game reviews using genre names varying from "action" to "baseball."
In this practice, basic themes and more fundamental characteristics are used alongside each other. A game may combine aspects of multiple genres in such a way that it becomes hard to classify under existing genres. For example, because Grand Theft Auto III combined shooting and roleplaying in an unusual way, it was hard to classify using existing terms. Since the term Grand Theft Auto clone has been used to describe games mechanically similar to Grand Theft Auto III; the term roguelike has been developed for games that share similarities with Rogue. Elements of the role-playing genre, which focuses on storytelling and character growth, have been implemented in many different genres of video games; this is because the addition of a story and character enhancement to an action, strategy or puzzle video game does not take away from its core gameplay, but adds an incentive other than survival to the experience. According to some analysts, the count of each broad genre in the best selling physical games worldwide is broken down as follows.
The most popular genres are Shooter, Role-playing and Sports, with Platformer and Racing having both declined in the last decade. Puzzle games have declined when measured by sales, however, on mobile, where the majority of games are free-to-play, this genre remains the most popular worldwide. List of video game genres
Future plc is a British media company founded in 1985. It publishes more than 50 magazines in fields such as video games, films, photography and knowledge, it is a constituent of the FTSE Fledgling Index. The company owns the US company Future US; the company was founded as Future Publishing in Somerton, Somerset in 1985 by Chris Anderson with the sole magazine Amstrad Action. An early innovation was the inclusion of free software on magazine covers, the first company to do so. In the 1990s, the company published Arcane, a magazine which focused on tabletop games. Anderson sold Future to Pearson PLC for £52.7m in 1994, but bought it back in 1998, with Future chief executive Greg Ingham and Apax Venture Partners, for £142m. In 2001, Anderson left Future. In 2007, the State of Texas filed a lawsuit against Future plc for violating the Children's Online Privacy Protection Act; the lawsuit alleges that the Future plc owned website GamesRadar "failed to include necessary disclosures and obtain parental consent before collecting personal information from children."
The owner of the other websites settled in March 2008, though the final disposition against Future plc is not public record. In November 2009, Future reported a fall in profits from £9.5 million to £3.7 million in the fiscal year that ended 30 September 2009. Future attributed this to problems with their US market, hit by a fall in the general advertising market. In March 2010, Future announced that it was exploring the possibility of reviving its GamesMaster brand on television; the video games show had run from 1992 until 1998 but while the spin-off magazine continued to be published for a further 20 years, its last issue hit the newsstands on 1 November 2018. Future won the Association of Online Publishers Consumer Digital Publisher of the Year Award for the third year in a row in 2010. Future published the official magazines for the consoles of all three major games console manufacturers; the company had a period of shuttering print media properties in favour of digital media, closing many titles and selling off others.
In January 2012, Future sold its U. S. consumer music magazines, including Guitar World and Revolver, to NewBay Media for $3 million. In April 2013, it completed the sale of major components of its UK media-music brands for £10.2 million to Team Rock Ltd. In September 2013 – but bought these back for £800,000 in 2017 after Team Rock went into administration. In August 2013, Future acquired two Australian computing titles, APC and TechLife from Bauer Media Group. Future announced it would cut 55 jobs from its UK operation as part of a restructuring to adapt "more to the company's rapid transition to a digital business model." The company announced in March 2014 that it would close all of its U. S.-based print publications and shift U. S. print support functions such as consumer marketing and editorial leadership for Future's international print brands to the UK. In 2014, Future sold its sport and craft titles to Immediate Media, its auto titles to Kelsey Media. In 2016, Future started to expand its web portfolio through a series of acquisitions.
It bought Blaze Publishing to diversify into the shooting market and acquired Noble House Media to increase its interest in telecoms media. Future completed the purchase of rival specialist magazine publisher Imagine on 21 October 2016 after receiving approval from the Competition and Markets Authority. In 2018, Future made further major acquisitions, it bought the What Hi-Fi?, FourFourTwo, Practical Caravan and Practical Motorhome brands from Haymarket. Future acquired NewBay Media, publisher of numerous broadcast, professional video, systems integration trade titles, as well as several consumer music magazines.. It intends to complete the acquisition of U. S. B2C publisher Purch for $132m by September 2018. Future purchased nextmedia computing and tech assets in the same month and incorporating PC PowerPlay articles into the online versions of PC Gamer. In January 2019, Future sold some B2B brands to Datateam Media Group. In February 2019, Future acquired Mobile Nations including Android Central, iMore, Windows Central and Thrifter.
In March 2014, it was announced that the company's CFO Zillah Byng-Maddick would become the company's fourth CEO in nine years on 1 April 2014 after Mark Wood, CEO since 2011, stepped down. Richard Huntingford is chairman. Official website