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Image: The Verge

Google could preview its own take on Rabbit’s large action model concept as soon as December, reports The Information. “Project Jarvis,” as it’s reportedly codenamed, would carry tasks out for users, including “gathering research, purchasing a product, or booking a flight,” according to three people the outlet spoke with who have direct knowledge of the project.
Powered by a future version of Google’s Gemini, Jarvis reportedly only works with a web browser (it’s tuned specifically for Chrome). The tool is aimed at helping people “automate everyday, web-based tasks” by taking and interpreting screenshots and then clicking buttons or entering text, The Information writes. In its current state, it apparently takes “a few seconds” between actions.

The biggest AI companies are all working on models that do things like what The Information is describing. Microsoft’s Copilot Vision will let you talk with it about webpages you’re viewing. Apple Intelligence is expected to be aware of what’s on your screen and do things for you across multiple apps at some point in the next year. Anthropic debuted a “cumbersome and error-prone” Claude beta update that can use a computer for you, and OpenAI is reportedly working on a version of that, too.
The Information cautions that Google’s plan to show Jarvis off in December is subject to change. The company is reportedly considering releasing it to some small number of testers to find and help the company work out bugs.

Image: The Verge

Google could preview its own take on Rabbit’s large action model concept as soon as December, reports The Information. “Project Jarvis,” as it’s reportedly codenamed, would carry tasks out for users, including “gathering research, purchasing a product, or booking a flight,” according to three people the outlet spoke with who have direct knowledge of the project.

Powered by a future version of Google’s Gemini, Jarvis reportedly only works with a web browser (it’s tuned specifically for Chrome). The tool is aimed at helping people “automate everyday, web-based tasks” by taking and interpreting screenshots and then clicking buttons or entering text, The Information writes. In its current state, it apparently takes “a few seconds” between actions.

The biggest AI companies are all working on models that do things like what The Information is describing. Microsoft’s Copilot Vision will let you talk with it about webpages you’re viewing. Apple Intelligence is expected to be aware of what’s on your screen and do things for you across multiple apps at some point in the next year. Anthropic debuted a “cumbersome and error-prone” Claude beta update that can use a computer for you, and OpenAI is reportedly working on a version of that, too.

The Information cautions that Google’s plan to show Jarvis off in December is subject to change. The company is reportedly considering releasing it to some small number of testers to find and help the company work out bugs.

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A Lyft sign taken in January 2023 at the Sundance Film Festival in Park City, Utah. | Photo: Mat Hayward / Getty Images

The Federal Trade Commission (FTC) announced Friday that rideshare company Lyft has agreed to pay $2.1 million as part of a proposed settlement that requires it to change how it advertises driver pay.
The company routinely advertised that drivers could make “specific hourly amounts” — in one instance, claiming earnings of “up to $33” per hour for driving in Atlanta — that were based not on an average, but on what the top fifth of drivers made, according to the Commission. The company also apparently included tips in those figures.
Such moves “overinflated the actual earnings achieved by most drivers by as much as 30%,” writes the FTC, which says the company now must base potential pay claims on what drivers typically make, instead. And those amounts can no longer factor in tips as part of stated hourly pay.
“It is illegal to lure workers with misleading claims about how much they will earn on the job,” said FTC Chair Lina M. Khan. “The FTC will keep using all its tools to hold businesses accountable when they violate the law and exploit American workers.”
The FTC included examples of Lyft’s offending ads in its complaint, such as those below.

Screenshots: United States of America v. Lyft, Inc. proposed order

Screenshots: United States of America v. Lyft, Inc. proposed order

Lyft also apparently promoted earnings guarantees, such as one promising $975 for completing 45 rides in a weekend. But those also misled drivers, who thought they’d be getting the amount as a bonus on top of what they earned, when the offer was actually a conditional minimum pay guarantee for doing a set number of rides, according to the FTC. The company is now required to make that fact clear.
Here is the proposed order:

In a statement on its website, Lyft highlights changes it has made recently to tell drivers how much they can earn and says it is “committed to following the FTC’s best practices” when communicating such details.
The settlement comes two years after the FTC announced it was going after gig work companies for “unfair, deceptive, anticompetitive and otherwise unlawful practices.” Lyft and Uber have also faced labor regulation at the state and municipal level, such as in Massachusetts, where a law now requires them to offer rideshare drivers a minimum wage. In New York City, which has a similar law, they reportedly locked drivers out of their apps to limit how much they can make.

A Lyft sign taken in January 2023 at the Sundance Film Festival in Park City, Utah. | Photo: Mat Hayward / Getty Images

The Federal Trade Commission (FTC) announced Friday that rideshare company Lyft has agreed to pay $2.1 million as part of a proposed settlement that requires it to change how it advertises driver pay.

The company routinely advertised that drivers could make “specific hourly amounts” — in one instance, claiming earnings of “up to $33” per hour for driving in Atlanta — that were based not on an average, but on what the top fifth of drivers made, according to the Commission. The company also apparently included tips in those figures.

Such moves “overinflated the actual earnings achieved by most drivers by as much as 30%,” writes the FTC, which says the company now must base potential pay claims on what drivers typically make, instead. And those amounts can no longer factor in tips as part of stated hourly pay.

“It is illegal to lure workers with misleading claims about how much they will earn on the job,” said FTC Chair Lina M. Khan. “The FTC will keep using all its tools to hold businesses accountable when they violate the law and exploit American workers.”

The FTC included examples of Lyft’s offending ads in its complaint, such as those below.

Screenshots: United States of America v. Lyft, Inc. proposed order

Screenshots: United States of America v. Lyft, Inc. proposed order

Lyft also apparently promoted earnings guarantees, such as one promising $975 for completing 45 rides in a weekend. But those also misled drivers, who thought they’d be getting the amount as a bonus on top of what they earned, when the offer was actually a conditional minimum pay guarantee for doing a set number of rides, according to the FTC. The company is now required to make that fact clear.

Here is the proposed order:

In a statement on its website, Lyft highlights changes it has made recently to tell drivers how much they can earn and says it is “committed to following the FTC’s best practices” when communicating such details.

The settlement comes two years after the FTC announced it was going after gig work companies for “unfair, deceptive, anticompetitive and otherwise unlawful practices.” Lyft and Uber have also faced labor regulation at the state and municipal level, such as in Massachusetts, where a law now requires them to offer rideshare drivers a minimum wage. In New York City, which has a similar law, they reportedly locked drivers out of their apps to limit how much they can make.

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Photo by Scott Olson/Getty Images

Governor Tim Walz is returning to Twitch and this time, he’ll actually be playing a game. Earlier this month, Kamala Harris’ campaign teamed up with a Twitch streamer to live-stream a Walz rally as part of a World of Warcraft stream. But on Sunday afternoon, Walz will be playing Madden NFL on Twitch with Rep. Alexandria Ocasio-Cortez’s (D-NY).
Like with live-streaming the Walz rally alongside WoW, the idea with this Madden livestream is to try to reach young men, a demographic that Trump polls relatively high with.
Ocasio-Cortez is already well-known for her huge Among Us stream ahead of the 2020 election and a stream in July 2023 where she played Pico Park and Gartic Phone. (She’s a fan of League of Legends, too.) But while Walz is a known Dreamcast fan and a successful high school football coach, this will be the first time we’ll get to see him play games live on Twitch. Maybe someday we’ll get to see him play Crazy Taxi.
Sunday’s stream will kick off at 3PM ET on AOC’s Twitch channel, where Walz will be a guest. It will also be co-streamed on Kamala Harris’ Twitch channel.

Photo by Scott Olson/Getty Images

Governor Tim Walz is returning to Twitch and this time, he’ll actually be playing a game. Earlier this month, Kamala Harris’ campaign teamed up with a Twitch streamer to live-stream a Walz rally as part of a World of Warcraft stream. But on Sunday afternoon, Walz will be playing Madden NFL on Twitch with Rep. Alexandria Ocasio-Cortez’s (D-NY).

Like with live-streaming the Walz rally alongside WoW, the idea with this Madden livestream is to try to reach young men, a demographic that Trump polls relatively high with.

Ocasio-Cortez is already well-known for her huge Among Us stream ahead of the 2020 election and a stream in July 2023 where she played Pico Park and Gartic Phone. (She’s a fan of League of Legends, too.) But while Walz is a known Dreamcast fan and a successful high school football coach, this will be the first time we’ll get to see him play games live on Twitch. Maybe someday we’ll get to see him play Crazy Taxi.

Sunday’s stream will kick off at 3PM ET on AOC’s Twitch channel, where Walz will be a guest. It will also be co-streamed on Kamala Harris’ Twitch channel.

Read More 

Google may be working on persistent notifications similar to its phone call status pictured here. | Photo: Wes Davis / The Verge

Android 16 may come with a new “Rich Ongoing Notifications” feature that lets developers keep persistent notifications in the Android status bar, according to Android 15 beta code discovered by Android Authority’s Mishaal Rahman, who frequently dives into code to surface coming features.
Right now, the code enables adding a pill-shaped icon with custom text and background color to the Android status bar. Some mock notifications Rahman created show how it could be used for things like telling you when to expect your Uber to arrive. Android has already had a feature like this since Android 12 that lets you know how long you’ve been on a phone call, Rahman notes.

Screenshot: Mishaal Rahman / Android Authority
A screenshot of a mock ongoing notification for Uber, created by Rahman.

It looks similar to the iOS Live Activities feature, which surfaces things like timers, sports scores, and delivery ETAs on users’ lock screens and at the top of notifications. On the iPhone 14 Pro and up, they appear as widgets that are a glance away in the Dynamic Island cutout while you’re doing other things on your phone.

I’d love to have something just like that on my Pixel 6 phone. Live Activities have been a great way to keep from forgetting about a parking meter I paid for via my city’s parking app, or quickly checking on when a food delivery will arrive. Having something similar on Android would be one less barrier to me switching back to the platform in the future.

Google may be working on persistent notifications similar to its phone call status pictured here. | Photo: Wes Davis / The Verge

Android 16 may come with a new “Rich Ongoing Notifications” feature that lets developers keep persistent notifications in the Android status bar, according to Android 15 beta code discovered by Android Authority’s Mishaal Rahman, who frequently dives into code to surface coming features.

Right now, the code enables adding a pill-shaped icon with custom text and background color to the Android status bar. Some mock notifications Rahman created show how it could be used for things like telling you when to expect your Uber to arrive. Android has already had a feature like this since Android 12 that lets you know how long you’ve been on a phone call, Rahman notes.

Screenshot: Mishaal Rahman / Android Authority
A screenshot of a mock ongoing notification for Uber, created by Rahman.

It looks similar to the iOS Live Activities feature, which surfaces things like timers, sports scores, and delivery ETAs on users’ lock screens and at the top of notifications. On the iPhone 14 Pro and up, they appear as widgets that are a glance away in the Dynamic Island cutout while you’re doing other things on your phone.

I’d love to have something just like that on my Pixel 6 phone. Live Activities have been a great way to keep from forgetting about a parking meter I paid for via my city’s parking app, or quickly checking on when a food delivery will arrive. Having something similar on Android would be one less barrier to me switching back to the platform in the future.

Read More 

Fear the Spotlight. | Image: Blumhouse Games

More than most genres, survival horror feels rooted in time. It started with the methodical Resident Evil on the original PlayStation and is defined in part by limitation — a slow pace, grimy visuals, and scant resources to help amplify the scares. Many of those elements stemmed from the early, awkward days of 3D gaming, whether it was Resident Evil’s clunky controls, which made zombie chases more terrifying, or Silent Hill’s fog, which lent an iconic atmosphere while also letting the developers get around technical limitations of the time.
And a few decades later, developers are still finding ways to bring the most important elements of those games — namely, the mood and scares — to modern horror without feeling dated.
The most obvious way to do this is keeping the style and tone of classic survival horror while updating the gameplay to make it more approachable. The most recent example of this is Fear the Spotlight, the first release from horror movie studio Blumhouse’s new gaming label. Much like Crow Country and Signalis, it’s a game that looks like it was ripped right out of 1998; the visuals are blocky, the textures low-res. It gives the experience a grimy feel, which is just the right note for horror.

Image: Blumhouse Games
Fear the Spotlight.

Fear the Spotlight — developed by the two-person team at Cozy Game Pals — starts out simple enough, with two friends breaking into their high school to perform a seance in the library. But, of course, things go bad, and they get pulled into a nightmare realm that connects both to their own pasts and a dark mystery the school has been hiding for decades. It’s part coming-of-age story, part romance, and part true crime. But it’s all rendered in the crunchy style of PlayStation-era horror, which lends it an uneasy edge.
The game also lets you really focus on the story by streamlining the gameplay. There’s a lot of puzzle-solving; much like in early Resident Evil games, you’ll be fixing all kinds of complex mechanical problems and dealing with arcane statues and locks. But there’s almost no actual combat. Instead, you have little choice but to run and hide when the terrifying monsters appear. Some of the scariest moments of the game have you huddled under a desk, waiting for the creatures — which have deadly spotlights for faces — to pass.

In some ways, removing combat makes the game even scarier since you have no way to fight back. These moments in Fear the Spotlight reminded me a bit of stowing away in a locker in Alien: Isolation, hoping the xenomorph couldn’t see me. The hazy, dirty visuals only amplify this feeling, as it’s often difficult to get a clear view of what’s ahead of you.

Image: Konami
Silent Hill 2.

On the other side of the spectrum is the recent remake of Silent Hill 2. Instead of creating a brand-new survival horror experience with modern sensibilities, it’s an attempt to take one of the genre’s most influential titles — a particularly idiosyncratic one at that — and reimagine it as a big-budget release in 2024. That has pros and cons. Like the remakes of classic Resident Evil games and the original Dead Space, Silent Hill 2 looks and plays like a modern release. The visuals are crisp and detailed, instead of hazy and disorienting. And it controls like a well-tuned third-person action game. It’s immensely satisfying to swing a bat, whether you’re smashing in windows or fending off a living mannequin.
There’s a shift in tone. The modern Silent Hill 2 is still scary. The level of realism makes the squirming enemies and cramped hotel hallways feel incredibly unsettling, and there’s a level of immersion that can be panic-inducing. But now it plays and feels like a lot of other games and is, for lack of a better word, a lot cleaner than the original. It’s no longer as weird and distinct. It reminds me a bit of the 2018 remake of Shadow of the Colossus: a cover song that doesn’t replace the original but provides a different way of looking at it, one that’s welcoming for newcomers. (If only Konami made the original Silent Hill 2 more accessible.)
The point is, these games show there is still plenty of room to do interesting things with survival horror. And they do it in a way that both connected to the genre’s history without being stifled by it. More importantly: they find new ways to scare.
Fear the Spotlight and Silent Hill 2 are both available now.

Fear the Spotlight. | Image: Blumhouse Games

More than most genres, survival horror feels rooted in time. It started with the methodical Resident Evil on the original PlayStation and is defined in part by limitation — a slow pace, grimy visuals, and scant resources to help amplify the scares. Many of those elements stemmed from the early, awkward days of 3D gaming, whether it was Resident Evil’s clunky controls, which made zombie chases more terrifying, or Silent Hill’s fog, which lent an iconic atmosphere while also letting the developers get around technical limitations of the time.

And a few decades later, developers are still finding ways to bring the most important elements of those games — namely, the mood and scares — to modern horror without feeling dated.

The most obvious way to do this is keeping the style and tone of classic survival horror while updating the gameplay to make it more approachable. The most recent example of this is Fear the Spotlight, the first release from horror movie studio Blumhouse’s new gaming label. Much like Crow Country and Signalis, it’s a game that looks like it was ripped right out of 1998; the visuals are blocky, the textures low-res. It gives the experience a grimy feel, which is just the right note for horror.

Fear the Spotlight — developed by the two-person team at Cozy Game Pals — starts out simple enough, with two friends breaking into their high school to perform a seance in the library. But, of course, things go bad, and they get pulled into a nightmare realm that connects both to their own pasts and a dark mystery the school has been hiding for decades. It’s part coming-of-age story, part romance, and part true crime. But it’s all rendered in the crunchy style of PlayStation-era horror, which lends it an uneasy edge.

The game also lets you really focus on the story by streamlining the gameplay. There’s a lot of puzzle-solving; much like in early Resident Evil games, you’ll be fixing all kinds of complex mechanical problems and dealing with arcane statues and locks. But there’s almost no actual combat. Instead, you have little choice but to run and hide when the terrifying monsters appear. Some of the scariest moments of the game have you huddled under a desk, waiting for the creatures — which have deadly spotlights for faces — to pass.

In some ways, removing combat makes the game even scarier since you have no way to fight back. These moments in Fear the Spotlight reminded me a bit of stowing away in a locker in Alien: Isolation, hoping the xenomorph couldn’t see me. The hazy, dirty visuals only amplify this feeling, as it’s often difficult to get a clear view of what’s ahead of you.

On the other side of the spectrum is the recent remake of Silent Hill 2. Instead of creating a brand-new survival horror experience with modern sensibilities, it’s an attempt to take one of the genre’s most influential titles — a particularly idiosyncratic one at that — and reimagine it as a big-budget release in 2024. That has pros and cons. Like the remakes of classic Resident Evil games and the original Dead Space, Silent Hill 2 looks and plays like a modern release. The visuals are crisp and detailed, instead of hazy and disorienting. And it controls like a well-tuned third-person action game. It’s immensely satisfying to swing a bat, whether you’re smashing in windows or fending off a living mannequin.

There’s a shift in tone. The modern Silent Hill 2 is still scary. The level of realism makes the squirming enemies and cramped hotel hallways feel incredibly unsettling, and there’s a level of immersion that can be panic-inducing. But now it plays and feels like a lot of other games and is, for lack of a better word, a lot cleaner than the original. It’s no longer as weird and distinct. It reminds me a bit of the 2018 remake of Shadow of the Colossus: a cover song that doesn’t replace the original but provides a different way of looking at it, one that’s welcoming for newcomers. (If only Konami made the original Silent Hill 2 more accessible.)

The point is, these games show there is still plenty of room to do interesting things with survival horror. And they do it in a way that both connected to the genre’s history without being stifled by it. More importantly: they find new ways to scare.

Fear the Spotlight and Silent Hill 2 are both available now.

Read More 

Image: Loops

The fediverse answer to TikTok is on its way. Signups opened this week for Loops, a short-form looping video app from the creator of Instagram alternative Pixelfed, reports TechCrunch.
Users who’ve signed up can post up to 60 seconds of video, according to details shared by developer Daniel Supernault on Mastodon. He added that using sounds and remixing others’ videos is coming, as are pinned profile videos, and that users will be able to “curate” their comment sections. Videos can be categorized, but hashtags and mentions aren’t yet supported.
The Loops Pixelfed account has posted videos like the one below of Loops in action. Supernault has posted screenshots and screen recordings, as well.

Creating an account isn’t instantaneous as you’ll have to wait for a confirmation email, which could take time, according to Supernault. Its iOS app will be available initially in TestFlight, Apple’s program for testing unreleased apps that requires a free developer account. Loops will also have a “side-loadable” Android app, Supernault posted.
Loops will rely on human moderators, which Supernault put out a call for on Mastodon. Videos posted to the site will be moderated based on a trust score that every local user has, Supernault posted. Videos uploaded by people with low scores will be held for moderation before they go live, while those from “trusted users” will be posted right away.

Loops’ fediverse integration is in-progress but not live, and the platform hasn’t been open-sourced yet, according to a FAQ on the site. Users own their content, and Loops doesn’t sell or provide videos to third-party advertisers or train AI on them, the FAQ says. The site is instead relying on grants, sponsorships, and donations for funding. You can review the privacy policy here.

Image: Loops

The fediverse answer to TikTok is on its way. Signups opened this week for Loops, a short-form looping video app from the creator of Instagram alternative Pixelfed, reports TechCrunch.

Users who’ve signed up can post up to 60 seconds of video, according to details shared by developer Daniel Supernault on Mastodon. He added that using sounds and remixing others’ videos is coming, as are pinned profile videos, and that users will be able to “curate” their comment sections. Videos can be categorized, but hashtags and mentions aren’t yet supported.

The Loops Pixelfed account has posted videos like the one below of Loops in action. Supernault has posted screenshots and screen recordings, as well.

Creating an account isn’t instantaneous as you’ll have to wait for a confirmation email, which could take time, according to Supernault. Its iOS app will be available initially in TestFlight, Apple’s program for testing unreleased apps that requires a free developer account. Loops will also have a “side-loadable” Android app, Supernault posted.

Loops will rely on human moderators, which Supernault put out a call for on Mastodon. Videos posted to the site will be moderated based on a trust score that every local user has, Supernault posted. Videos uploaded by people with low scores will be held for moderation before they go live, while those from “trusted users” will be posted right away.

Loops’ fediverse integration is in-progress but not live, and the platform hasn’t been open-sourced yet, according to a FAQ on the site. Users own their content, and Loops doesn’t sell or provide videos to third-party advertisers or train AI on them, the FAQ says. The site is instead relying on grants, sponsorships, and donations for funding. You can review the privacy policy here.

Read More 

Image: Remedy Entertainment

Remedy’s latest release is connective tissue for its growing video game universe. After a year, Finnish studio Remedy Entertainment has opened the gates to a mysterious location in the 2023 third-person horror hit Alan Wake 2, known as The Lake House. In this short DLC, released just in time for Halloween, players step into the shoes of Kiran Estevez, the long-suffering agent of the mysterious Federal Bureau of Control we meet in the main game, who allies with Alan Wake 2’s protagonists, Alan Wake and Saga Anderson. Set before the events of Alan Wake 2, The Lake House sees Kiran recounting a horrifying event at the titular location to Saga, yet the plot is almost firmly removed from the main game itself.
This is both a boon and a curse, depending on what you were looking for. But as a bridge to the continuation of Remedy’s grand connected universe narrative — which also includes the supernatural thriller Control — it’s ideal. Instead of waving goodbye to Alan and Saga, Remedy is extending a hand to take us on its next weird journey.
Kiran is investigating a research station, where FBC researchers, doctors Jules and Diana Marmont and their teams, are looking into the effects of Cauldron Lake. In Remedy’s lore, there is a connection between the power of creating “art” and the power of otherworldly forces to misuse such gifts.

The Marmonts are experimenting on a painter, Rudolf Lane, who some might remember from the main game. Lane’s creativity has a tendency to illustrate — and possibly create — the future, much as Alan’s writing did. (God forbid those two ever make a comic book together.) I won’t spoil what the Marmonts did, save to say they were monsters long before any otherworldly forces came into the frame. Regardless, the Lake House is suddenly cut off and unresponsive to FBC HQ, resulting in Kiran investigating with a small team.

Image: Remedy Entertainment

Remedy has been playing with a connected universe since Control, and the Lake House is a firm bridge backward and forward to that story. Of course, being an Alan Wake DLC, players can expect the solid third-person survival horror of the main game.
The Lake House, as a setting, is as unnerving as most of the spaces in Alan Wake 2. However, there’s more of a focus on the brutalist and office-space aesthetics from Control, without the outside or natural environments that dominated about half of the main game. In the eerily quiet office spaces, there are visual wonders like looping hallways and rooms of infinite typewriters, which have been programmed to “write” like Alan Wake.
That last quirk appears to be a clear jab by Remedy’s writers at AI slop, with a page of Alan’s real writing saying, “The art was not art. Just content for the experiment.” Indeed, the whole thesis of The Lake House is the misuse of art for the acquisition of some end product, rather than relishing in the beauty art can create. This is all the more obvious when you figure out who the villain is and who has created the new terrifying humanoid paint beasts that slither out of the walls. Remedy is not subtle in its disdain for the corporatization of creativity, the reconfiguration of art into a harvest field of bland capitalistic fervor. There’s no love lost and much hate gained in the Lake House’s story, outlining the interaction between artistic freedom and corporate control: a golden hand wrapped around imagination’s throat.

Image: Remedy Entertainment

To say too much about this already short game would spoil it, so I won’t go into detail about the clever set pieces that would feel right at home in Control. Let’s just say, light switches and motels make a welcome return, as does a familiar and powerful character.
Kiran, unfortunately, does not mechanically demonstrate any prowess fighting otherworldly beings, despite her years as an FBC agent. She plays no different to Saga or Alan Wake, once again using a flashlight to whittle down enemies’ shadowy armor before unloading a satisfying number of bullets into their bodies. There is also only one new enemy type: the aforementioned long-limbed painting creatures who can only be destroyed with a new weapon Kiran discovers late in the story.
I would’ve liked some new ability or mechanic that demonstrates her years of experience in dealing with the weird. Instead, this is relegated to her interactions with the odd object / entity, being able to quickly control her fear, and knowing how to deal with recurring “items” Control veterans like myself know all too well.
Much of the joy of the Lake House is discovering what occurred and experiencing the few floors for yourself. The DLC takes about two hours to complete. But in that short span of time, it made for not only a satisfying send-off of one of my favorite recent games but also a bridge back into the world of Control.
All signs seem to indicate Remedy will be taking the grand plot of this connected universe to an almost apocalyptic level. We can probably expect to see plenty of returning characters, including Kiran herself, as Remedy steers us through its creepy weird lake of stories.
The Lake House expansion for Alan Wake 2 is available now.

Image: Remedy Entertainment

Remedy’s latest release is connective tissue for its growing video game universe.

After a year, Finnish studio Remedy Entertainment has opened the gates to a mysterious location in the 2023 third-person horror hit Alan Wake 2, known as The Lake House. In this short DLC, released just in time for Halloween, players step into the shoes of Kiran Estevez, the long-suffering agent of the mysterious Federal Bureau of Control we meet in the main game, who allies with Alan Wake 2’s protagonists, Alan Wake and Saga Anderson. Set before the events of Alan Wake 2, The Lake House sees Kiran recounting a horrifying event at the titular location to Saga, yet the plot is almost firmly removed from the main game itself.

This is both a boon and a curse, depending on what you were looking for. But as a bridge to the continuation of Remedy’s grand connected universe narrative — which also includes the supernatural thriller Control — it’s ideal. Instead of waving goodbye to Alan and Saga, Remedy is extending a hand to take us on its next weird journey.

Kiran is investigating a research station, where FBC researchers, doctors Jules and Diana Marmont and their teams, are looking into the effects of Cauldron Lake. In Remedy’s lore, there is a connection between the power of creating “art” and the power of otherworldly forces to misuse such gifts.

The Marmonts are experimenting on a painter, Rudolf Lane, who some might remember from the main game. Lane’s creativity has a tendency to illustrate — and possibly create — the future, much as Alan’s writing did. (God forbid those two ever make a comic book together.) I won’t spoil what the Marmonts did, save to say they were monsters long before any otherworldly forces came into the frame. Regardless, the Lake House is suddenly cut off and unresponsive to FBC HQ, resulting in Kiran investigating with a small team.

Remedy has been playing with a connected universe since Control, and the Lake House is a firm bridge backward and forward to that story. Of course, being an Alan Wake DLC, players can expect the solid third-person survival horror of the main game.

The Lake House, as a setting, is as unnerving as most of the spaces in Alan Wake 2. However, there’s more of a focus on the brutalist and office-space aesthetics from Control, without the outside or natural environments that dominated about half of the main game. In the eerily quiet office spaces, there are visual wonders like looping hallways and rooms of infinite typewriters, which have been programmed to “write” like Alan Wake.

That last quirk appears to be a clear jab by Remedy’s writers at AI slop, with a page of Alan’s real writing saying, “The art was not art. Just content for the experiment.” Indeed, the whole thesis of The Lake House is the misuse of art for the acquisition of some end product, rather than relishing in the beauty art can create. This is all the more obvious when you figure out who the villain is and who has created the new terrifying humanoid paint beasts that slither out of the walls. Remedy is not subtle in its disdain for the corporatization of creativity, the reconfiguration of art into a harvest field of bland capitalistic fervor. There’s no love lost and much hate gained in the Lake House’s story, outlining the interaction between artistic freedom and corporate control: a golden hand wrapped around imagination’s throat.

To say too much about this already short game would spoil it, so I won’t go into detail about the clever set pieces that would feel right at home in Control. Let’s just say, light switches and motels make a welcome return, as does a familiar and powerful character.

Kiran, unfortunately, does not mechanically demonstrate any prowess fighting otherworldly beings, despite her years as an FBC agent. She plays no different to Saga or Alan Wake, once again using a flashlight to whittle down enemies’ shadowy armor before unloading a satisfying number of bullets into their bodies. There is also only one new enemy type: the aforementioned long-limbed painting creatures who can only be destroyed with a new weapon Kiran discovers late in the story.

I would’ve liked some new ability or mechanic that demonstrates her years of experience in dealing with the weird. Instead, this is relegated to her interactions with the odd object / entity, being able to quickly control her fear, and knowing how to deal with recurring “items” Control veterans like myself know all too well.

Much of the joy of the Lake House is discovering what occurred and experiencing the few floors for yourself. The DLC takes about two hours to complete. But in that short span of time, it made for not only a satisfying send-off of one of my favorite recent games but also a bridge back into the world of Control.

All signs seem to indicate Remedy will be taking the grand plot of this connected universe to an almost apocalyptic level. We can probably expect to see plenty of returning characters, including Kiran herself, as Remedy steers us through its creepy weird lake of stories.

The Lake House expansion for Alan Wake 2 is available now.

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Image: Cath Virginia / The Verge

Apple got a mixed victory in a patent infringement lawsuit against medical device maker Masimo. On Friday, a federal jury determined that Masimo had infringed on some Apple patents, and as part of the verdict, Apple was awarded $250 — yes, just $250 — as a statutory remedy for Masimo’s infringement.
$250 is the statutory minimum damages for the alleged infringement and Apple had sought that figure, Bloomberg Law reports. “We’re not here for the money,” Apple attorney John Desmarais said to jurors in closing arguments, according to the publication.

Masimo’s W1 smartwatch, Freedom smartwatch, and health module infringed on one patent, while Masimo’s charger infringed on another, per the verdict form. The jury also found that Masimo’s infringement was willful.
Earlier this year, Apple stopped selling the Apple Watch Series 9 and Ultra 2 with blood oxygen features in the US following an International Trade Commission ruling that Apple infringed on Masimo patents for pulse oximetry. The recently-launched Apple Watch Series 10 lacks them, too.

Image: Cath Virginia / The Verge

Apple got a mixed victory in a patent infringement lawsuit against medical device maker Masimo. On Friday, a federal jury determined that Masimo had infringed on some Apple patents, and as part of the verdict, Apple was awarded $250 — yes, just $250 — as a statutory remedy for Masimo’s infringement.

$250 is the statutory minimum damages for the alleged infringement and Apple had sought that figure, Bloomberg Law reports. “We’re not here for the money,” Apple attorney John Desmarais said to jurors in closing arguments, according to the publication.

Masimo’s W1 smartwatch, Freedom smartwatch, and health module infringed on one patent, while Masimo’s charger infringed on another, per the verdict form. The jury also found that Masimo’s infringement was willful.

Earlier this year, Apple stopped selling the Apple Watch Series 9 and Ultra 2 with blood oxygen features in the US following an International Trade Commission ruling that Apple infringed on Masimo patents for pulse oximetry. The recently-launched Apple Watch Series 10 lacks them, too.

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Image: Boeing

Kelly Ortberg, who took over as Boeing CEO in August, is weighing the sale of the company’s space division as part of an attempt to turn things around, according to a report from The Wall Street Journal. The plans, which are reportedly at an early stage, could involve Boeing offloading the Starliner spacecraft and its projects supporting the International Space Station.
Boeing is facing a series of predicaments, including a fraud charge over 737 Max plane crashes and Starliner issues that left two astronauts at the ISS for months. Just this week, a Boeing-made satellite for Intelsat stopped working and fell apart suddenly after suffering an “anomaly.”

“We’re better off doing less and doing it better than doing more and not doing it well,” Ortberg said during an earnings call this week. “Clearly, our core of commercial airplanes and defense systems are going to stay with the Boeing Company for the long run. But there’s probably some things on the fringe there that we can be more efficient with or that distract us from our main goal here.”
However, sources tell the WSJ that Boeing will likely continue to oversee the Space Launch System, which will eventually help bring NASA astronauts back to the Moon. It’s also reportedly expected to hang onto its commercial and military satellite businesses.
Ortberg will have some big changes to make in the coming months, especially as the company continues to bleed cash. Boeing’s earnings results on Wednesday revealed $6.17 billion in losses during the quarter, with the company burning through $250 million on its Starliner project alone. The company predicts that it continue to lose money throughout 2025.

Image: Boeing

Kelly Ortberg, who took over as Boeing CEO in August, is weighing the sale of the company’s space division as part of an attempt to turn things around, according to a report from The Wall Street Journal. The plans, which are reportedly at an early stage, could involve Boeing offloading the Starliner spacecraft and its projects supporting the International Space Station.

Boeing is facing a series of predicaments, including a fraud charge over 737 Max plane crashes and Starliner issues that left two astronauts at the ISS for months. Just this week, a Boeing-made satellite for Intelsat stopped working and fell apart suddenly after suffering an “anomaly.”

“We’re better off doing less and doing it better than doing more and not doing it well,” Ortberg said during an earnings call this week. “Clearly, our core of commercial airplanes and defense systems are going to stay with the Boeing Company for the long run. But there’s probably some things on the fringe there that we can be more efficient with or that distract us from our main goal here.”

However, sources tell the WSJ that Boeing will likely continue to oversee the Space Launch System, which will eventually help bring NASA astronauts back to the Moon. It’s also reportedly expected to hang onto its commercial and military satellite businesses.

Ortberg will have some big changes to make in the coming months, especially as the company continues to bleed cash. Boeing’s earnings results on Wednesday revealed $6.17 billion in losses during the quarter, with the company burning through $250 million on its Starliner project alone. The company predicts that it continue to lose money throughout 2025.

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Collage by Cath Virginia / The Verge | Photos from Getty Images

When video game scholars want to study games that are no longer on sale, they sometimes have to drive many hours to do it legally — and that won’t be changing anytime soon. The US Copyright Office has just denied a request from video game preservationists to let libraries, archives and museums temporarily lend individuals some virtual, remotely accessible copies of those works.
Kendra Albert, who made the argument on behalf of the Software Preservation Network and the Library Copyright Alliance, says preservationists weren’t asking for a lot: “It was the thing that basically exists for all kinds of special collections in libraries: the library reviews the request, makes sure it’s not harmful, and allows access to the work.”
While the Copyright Office already lets institutions lend out other forms of media and even software programs remotely — so long as they don’t lend out more copies than they own — video games are still treated differently as of today.
“It’s frustrating that the process that’s widely used to access all sorts of different materials is not good enough for video games,” Albert tells The Verge.

Opponents, most prominently the Entertainment Software Association (ESA) which represents video game publishers, argued that people would take advantage of libraries to play games for free, that they would damage the market for classic video games, and that preservationists didn’t have “appropriately tailored restrictions to ensure that uses would be limited to teaching, research, or scholarship uses.”
While the preservationists extensively argued that the vast, vast majority of games are never re-released in any form, and that those that do are typically changed or remastered in ways that make them less valuable for study, the Librarian of Congress wasn’t convinced, concluding:
The Register concludes that proponents did not show that […] permitting off-premises access to video games are likely to be noninfringing. She also notes the greater risk of market harm with removing the video game exemption’s premises limitation, given the market for legacy video games.
“I’m gutted by this result,” Albert wrote on Bluesky, adding that it seemed the Copyright Office didn’t bother to consider evidence from some video game publishers — who testified that granting limited remote access wouldn’t impact the market for their video game re-releases.
If the Copyright Office had granted the request, it wouldn’t have been a permanent change. Every three years, groups get a chance to lobby the Library of Congress for very specific exemptions to section 1201 of the Digital Millennium Copyright Act, and those exemptions have to be renewed every three years.
The Copyright Office did renew the exemption that lets libraries and institutions preserve video games to begin with, and lets individuals play them in person. It also granted an exemption that should finally make it legal to repair busted McDonalds ice cream machines.
Here is the actual proposed DMCA exemption that game preservationists asked for:

Video games in the form of computer programs embodied in physical or downloaded formats that have been lawfully acquired as complete games, that do not require access to an external computer server for gameplay, and that are no longer reasonably available in the commercial marketplace, solely for the purpose of preservation of the game in a playable form by an eligible library, archives, or museum, where such activities are carried out without any purpose of direct or indirect commercial advantage.
Any electronic distribution, display, or performance made outside of the physical premises of an eligible library, archives, or museum of works preserved under this paragraph may be made only for a limited time and after the eligible institution acts to ensure that users seeking off-premises access to works are doing so primarily for the purposes of private study, scholarship, teaching, or research by: 1) specifically determining that the user’s interest is private study, scholarship, teaching, or research, 2) instituting access restrictions appropriate to the nature of the use and the material, and 3) notifying users that they are receiving access to copyrighted material subject to adherence with applicable laws.

Here’s the ESA’s statement on its victory:
We recognize the importance of preserving video games and protecting game hardware given their significance in culture and society. With today’s decision, the U.S. Copyright Office confirms that the current level of video game preservation is appropriate and recognizes that video games present unique copyright concerns that should always be taken into consideration. We thank the Library of Congress and the Copyright Office for supporting existing copyright protection, which is critical to increasing access to and inspiring new video game experiences for players, while also protecting artists and their creative works.
And, here’s the relevant section of the Copyright Office’s final rule today.

Page 28 of Exemption to Prohibition on Circumvention of Copyright Protection Systems for Access Control Technologies

Contributed to DocumentCloud by The Verge (Vox.com) • View document or read text

Collage by Cath Virginia / The Verge | Photos from Getty Images

When video game scholars want to study games that are no longer on sale, they sometimes have to drive many hours to do it legally — and that won’t be changing anytime soon. The US Copyright Office has just denied a request from video game preservationists to let libraries, archives and museums temporarily lend individuals some virtual, remotely accessible copies of those works.

Kendra Albert, who made the argument on behalf of the Software Preservation Network and the Library Copyright Alliance, says preservationists weren’t asking for a lot: “It was the thing that basically exists for all kinds of special collections in libraries: the library reviews the request, makes sure it’s not harmful, and allows access to the work.”

While the Copyright Office already lets institutions lend out other forms of media and even software programs remotely — so long as they don’t lend out more copies than they own — video games are still treated differently as of today.

“It’s frustrating that the process that’s widely used to access all sorts of different materials is not good enough for video games,” Albert tells The Verge.

Opponents, most prominently the Entertainment Software Association (ESA) which represents video game publishers, argued that people would take advantage of libraries to play games for free, that they would damage the market for classic video games, and that preservationists didn’t have “appropriately tailored restrictions to ensure that uses would be limited to teaching, research, or scholarship uses.”

While the preservationists extensively argued that the vast, vast majority of games are never re-released in any form, and that those that do are typically changed or remastered in ways that make them less valuable for study, the Librarian of Congress wasn’t convinced, concluding:

The Register concludes that proponents did not show that […] permitting off-premises access to video games are likely to be noninfringing. She also notes the greater risk of market harm with removing the video game exemption’s premises limitation, given the market for legacy video games.

“I’m gutted by this result,” Albert wrote on Bluesky, adding that it seemed the Copyright Office didn’t bother to consider evidence from some video game publishers — who testified that granting limited remote access wouldn’t impact the market for their video game re-releases.

If the Copyright Office had granted the request, it wouldn’t have been a permanent change. Every three years, groups get a chance to lobby the Library of Congress for very specific exemptions to section 1201 of the Digital Millennium Copyright Act, and those exemptions have to be renewed every three years.

The Copyright Office did renew the exemption that lets libraries and institutions preserve video games to begin with, and lets individuals play them in person. It also granted an exemption that should finally make it legal to repair busted McDonalds ice cream machines.

Here is the actual proposed DMCA exemption that game preservationists asked for:

Video games in the form of computer programs embodied in physical or downloaded formats that have been lawfully acquired as complete games, that do not require access to an external computer server for gameplay, and that are no longer reasonably available in the commercial marketplace, solely for the purpose of preservation of the game in a playable form by an eligible library, archives, or museum, where such activities are carried out without any purpose of direct or indirect commercial advantage.

Any electronic distribution, display, or performance made outside of the physical premises of an eligible library, archives, or museum of works preserved under this paragraph may be made only for a limited time and after the eligible institution acts to ensure that users seeking off-premises access to works are doing so primarily for the purposes of private study, scholarship, teaching, or research by: 1) specifically determining that the user’s interest is private study, scholarship, teaching, or research, 2) instituting access restrictions appropriate to the nature of the use and the material, and 3) notifying users that they are receiving access to copyrighted material subject to adherence with applicable laws.

Here’s the ESA’s statement on its victory:

We recognize the importance of preserving video games and protecting game hardware given their significance in culture and society. With today’s decision, the U.S. Copyright Office confirms that the current level of video game preservation is appropriate and recognizes that video games present unique copyright concerns that should always be taken into consideration. We thank the Library of Congress and the Copyright Office for supporting existing copyright protection, which is critical to increasing access to and inspiring new video game experiences for players, while also protecting artists and their creative works.

And, here’s the relevant section of the Copyright Office’s final rule today.

Read More