Presenting rFactor, the racing simulation series from Image Space Incorporated and now Studio 397. After successfully creating over a dozen products in the previous ten years, including the Formula One and NASCAR franchise games for EA Sports, Image Space took the next logical step in creating a completely new technology base and development process. This new isiMotor 2.0 environment became the foundation on which many exciting products were built for years to come.
The newest creation, rFactor 2, creates a dynamic racing environment that for the first time put you the driver into a racing simulator, instead of just a physics simulator. Changing tires, track surfaces, grip, weather and lighting make rFactor 2 a true challenge to any sim racer.
If you're looking for up-to-date visuals, advanced physics, first-party Studio 397-produced content, and licensed vehicles from major manufacturers and racing series, then rFactor 2 is for you. Want access to a massive amount of third-party mods including dirt racing and drag racing, all working on the open rFactor modding platform? rFactor is what you should be looking at.
Both rFactor and rFactor 2 can be found on Steam (an online digital download games library).
The 2017 Formula E Visa Vegas eRace had a $1,000,000 prize pool, and used rFactor 2 as their simulator. The event and $200,000 1st-place prize was won by Bono Huis, a five time rFactor Formula Sim Racing Champion.
McLaren's World's Fastest Gamer contest promised a role with the Formula 1 team as one of its official simulator drivers, and they used rFactor 2 for their opening and final rounds. The event and role at McLaren was won by Rudy van Buren, a qualifier from the rFactor 2 opening round.
While sim racing eSports are still an emerging field, it's obvious from the results so far that the rFactor 2 simulation platform gives the flexibility in content and features required. This is the simulator you need to take part in events like those above, or upcoming events organized by Studio 397 in a competitive competition structure now in-development.
These films were anthropology on celluloid. Consider Adoor’s Elippathayam (The Rat Trap, 1981). The film tells the story of a crumbling feudal landlord who refuses to adapt to the post-land-reform era. He sits on his veranda with a shotgun, waiting for rats, unaware that the world outside has redistributed his wealth. This is not just a story; it is a thesis on the death of the feudal Janmi (landlord) system in Kerala. For a Malayali viewer, the rotting mangoes and the protagonist’s unwashed mundu (traditional dhoti) trigger an ancestral memory of a fading aristocracy.
In the 2010s, director Lijo Jose Pellissery turned this humor dark. In Amen (2013) and Ee.Ma.Yau (2018), he explored the Catholic and Hindu death rituals of Kerala. Ee.Ma.Yau is a masterpiece of cultural dissection: a poor fisherman in the Latin Catholic tradition fights to give his father a grand funeral, complete with the traditional pallayo (coffin) and fireworks. The film is hilarious and tragic, using the chaos of the funeral to expose the transactional nature of faith in coastal Kerala. For a non-Malayali, the humor might seem abrasive; for a native, it is a documentary. The last decade has witnessed what critics call the "New Wave" or "Neo-noir wave" of Malayalam cinema. Driven by OTT platforms (Amazon Prime, Netflix, Sony Liv), these films have shed the last vestiges of cinematic gloss to present a raw, often unsettling, view of Kerala’s present-day neuroses. kerala mallu malayali sex girl
Lyricists like Vayalar Ramavarma and O.N.V. Kurup turned film songs into modern poetry, blending Sanskritized Malayalam with colloquial slurs. A popular song from Manichitrathazhu (1993)—a psychological horror film about a dancer possessed by a spirit—is actually a dissertation on the classical dance form of Mohiniyattam , intertwined with a tale of colonial trauma. The average Malayali knows more about their classical arts through film songs than through textbooks. As the diaspora spreads across the globe (from the UK’s Southall to the US’s New Jersey), Malayalam cinema has become the umbilical cord to the homeland. A Malayali software engineer in San Francisco watches Joji (2021, a Macbeth adaptation set in a Keralite rubber plantation) to smell the wet earth and hear the nagging of the mother-in-law. The cinema serves as a virtual tharavadu —a place where traditions are preserved, languages are updated, and anxieties about returning home are processed. Conclusion: A Cinema of Conscience Unlike the aspirational violence of the pan-Indian blockbuster or the glossy romance of the West, Malayalam cinema remains stubbornly local. It is a cinema of the tharavadu veranda, the government hospital queue, the communist party conference, and the church festival. These films were anthropology on celluloid
In most Indian film industries, the hero is a god. In modern Malayalam cinema, the hero is a flawed, often pathetic figure. Kumbalangi Nights (2019) showed four brothers living in a dilapidated house in a fishing village, struggling with toxic masculinity. The villain of the film is not a gangster but the rigid patriarchy that demands men be "providers." The film’s climax, where the brothers embrace and cry, broke the taboo of male vulnerability in a culture that previously worshiped stoicism. He sits on his veranda with a shotgun,
