Archived version: https://archive.ph/4QzFt After 30 years, Simon* is facing the prospect of moving. “I think we’ve been using their products since we built the house,” he says. “We’ve gone through dial-up and then eventually there was an ADSL connection.” The Canberra-based iiNet customer has had the same email address since the 1990s. For millennials and younger, the notion of getting your email address from the company you pay for broadband might seem antiquated. Free online services such as Gmail, Hotmail, Outlook and others not tied to the internet provider are the default. It is now not uncommon for someone to set up their own email address in a domain of their choosing. But in the nascent days of the internet before Google and Microsoft were the online internet behemoths, getting your email address from your internet service provider was the norm, and even attractive as a bundle package – and a way for internet providers to lock you into their service. The cost for relatively small – by comparison to Google – companies to offer the service has gone up in server and administration costs without the economies of scale. Australia’s largest internet provider – Telstra – ceased offering its Bigpond.com email addresses to new customers in 2016, shifting to using Telstra-branded email. TPG – which owns brands that have historically offered email including iiNet all the way back to OzEmail – informed customers in July that it would migrate their email to a separate private service, the Messaging Company, by the end of November. Users will keep their exisiting email addresses on this service, and would get it free for the first year. After that, there will be options of paying for a service, or an ad-based free service after that. The amount to be charged from next year has not yet been decided. The announcement was met with outrage among users of the long-running web forum Whirlpool. “It’s a shitty move. My wife has never set up a Gmail or Yahoo and only ever used her iiNet email address for her business as well as personal. This screws us royally,” one user said. “Us oldies couldn’t start out using Gmail etc because they weren’t in existence 25 years ago,” another said. “It’s a nightmare trying to change logins at many places.” Simon too says he is not happy about the sudden shift, describing the move as “shrinkflation” given the change didn’t come with a reduction in his internet bill. He said he is still considering his options. He says it is difficult as he viewed his email address as part of his identification, and with not everyone on social media, it’s also the only way some people might locate him. “That email address is used to identify me in what I estimate to be probably 50 or 60 different locations,” he says. “I’ve sold a car on Carsales.com, I have a Gumtree account, Booking.com, Duolingo. I’ve got to go to all of those and say I’ve changed my email address.” An RMIT associate professor in the school of engineering, Mark Gregory, says he is having to help move his father away from his iiNet email address. “There’s going to be an impact on quite a few older people that took up some of those accounts with some of the companies that were absorbed by TPG,” he says. “I’m still at the stage where I’m trying to convince [my father] that he has to do it.” Gregory says the shift reflects the changing business dynamics, and businesses looking to minimise costs. Even Google appears to be feeling the pinch, messaging its customers in recent weeks saying that accounts deemed inactive in the past two years could be deleted beginning 1 December 2023. The other factor is the increasing security risk. Legacy systems, particularly those managed under a variety of absorbed companies, as with TPG, can over time become more at risk of a cybersecurity attack or breach. External providers who offer this service either in place of, or on behalf of the internet service provider are becoming seen as the more secure option. Randall Cameron, the director of sales and marketing at AtMail, the parent firm of the Messaging Company, says there’s been a good opt-in rate for users wanting to keep their existing email addresses so far. “When the bar tab that is TPG runs out, we’ve got to make sure people hang around. And if we say it’s now 20 bucks a drink they’re going to say, ‘Well, thanks, I’ll go somewhere else.’” The Australian Communications Consumer Action Network chief executive, Andrew Williams, says that ultimately internet providers getting out of the email game is a good thing because it means customers don’t feel locked into one internet company. But it will take a while for people to get set up in new accounts if they decide to switch. Gregory advises those who need to switch to a new account to start preparing now. That means figuring out which services you need to alert to switch to a new email address. “It’s not going to be as straight forward as some people might think, because when you’re talking to the older generation it becomes quite complex.” TPG won’t say how many customers will be affected by the changeover, citing commercial confidentialities with the new email provider. A spokesperson says the strategic decision was made to allow TPG to focus on mobile and broadband services. “Migrating our hosted email services to a specialist provider will ensure our customers have an updated and modernised webmail experience with the tools they require for all their email needs,” the spokesperson says. “We appreciate this change could be challenging for some customers who have been with us a long time and thank them for their understanding and cooperation during this transition.” There’s no sign Telstra will follow and stop providing services to its legacy Bigpond customers. While the company did not answer questions on how many still remained seven years after it stopped offering new accounts, the chief executive, Vicki Brady, said they were still very active. “We have a really engaged Bigpond email customer base … which is why we made the decision to actually upgrade and make sure we had the right features and functions to be able to support their needs. So it’s absolutely important part of our broadband service for our customers.” With the rise in data breaches, and the avalanche of spam and scams, the shift offers people the opportunity of a clean email slate, according to Andrew Williams, of the Australian Communications Consumer Action Network. “Your email accounts do build up with a lot of redundant information over time,” he says. “So it’s a good opportunity to have a clean start and just really look at what was really important.” *Name changed

Archived version: https://archive.ph/KYO3X On Thursday, two more lawsuits were filed against Western Digital over its SanDisk Extreme series and My Passport portable SSDs. That brings the number of class-action complaints filed against Western Digital to three in two days. In May, Ars Technica reported about customer complaints that claimed SanDisk Extreme SSDs were abruptly wiping data and becoming unmountable. Ars senior editor Lee Hutchinson also experienced this problem with two Extreme SSDs. Western Digital, which owns SanDisk, released a firmware update in late May, saying that currently shipping products weren't impacted. But the company didn't mention customer complaints of lost data, only that drives could "unexpectedly disconnect from a computer." Further, last week The Verge claimed a replacement drive it received after the firmware update still wiped its data and became unreadable, and there are some complaints on Reddit pointing to recent problems with Extreme drives. All three cases (one, two, and three) filed against Western Digital this week seek class-action certification (Ars was told it can take years for a judge to officially state certification and that cases may proceed with class-wide resolutions possibly occurring before official certification). Ian Sloss, one of the lawyers representing Matthew Perrin and Brian Bayerl in a complaint filed yesterday, told Ars he doesn't believe class-action certification will be a major barrier in a case "where there is a common defect in the firmware that is consistent in all devices." He added that defect cases are "ripe for class treatment." **Familiar stories** Both complaints filed yesterday reference Lee's ordeal and Ars' reporting on the matter, and they share new accounts that sound similar to complaints we've seen reported online. Perrin and Bayerl's complaint says Perrin bought "at least" eight SanDisk Extreme SSDs off Amazon, including 2TB and 4TB Extreme and 4TB Extreme Pro models, and that Perrin "lost all data stored on several SanDisk SSDs." Similarly, Bayerl reportedly bought "at least two" Extreme SSDs, including a 4TB Extreme, off Amazon. The complaint claims the drives still had busted firmware: >Plaintiff Bayerl has experienced the failure of two drives within minutes of each other and is now reluctant to use SanDisk Extreme products. Due to the nature of his work and the data on the devices, Plaintiff Bayerl spent nearly $8,000 on only partially successful efforts to retrieve the data from the failed drives through various data recovery third parties. These efforts also determined that the issue was caused by faulty internal firmware on the drives. Perrin and Bayerl's complaint mentions the 2TB Extreme, which Western Digital hasn't officially confirmed as an affected device. A separate complaint filed on Wednesday mentions the 500GB and 1TB Extreme-series and My Passport models, which Western Digital hasn't said are affected. Here are the drives Western Digital has said are affected: - SanDisk Extreme Portable 4TB (SDSSDE61-4T00) - SanDisk Extreme Pro Portable 4TB (SDSSDE81-4T00) - SanDisk Extreme Pro Portable 2TB (SDSSDE81-2T00) - SanDisk Extreme Pro Portable 1TB (SDSSDE81-1T00) - Western Digital My Passport 4TB (WDBAGF0040BGY). Perrin and Bayerl's complaint says that "the now-known issues with the defective SanDisk SSDs and significant risk of permanent data loss, has rendered the SanDisk SSDs worthless to individuals seeking reliable data storage." "Worthless" is also used in the complaint filed Wednesday by Nathan Krum. The complaint filed Thursday on behalf of Saif Jafri also dubbed drives Western Digital named in its firmware update page, as well as the SanDisk Pro-G40 (PetaPixel recently claimed this drive broke after less than a month, but Ars has been unable to determine if the drive has a widespread problem), as "worthless." Jafri's complaint says he bought an Extreme Pro (capacity not specified) because he was on an extended van trip and needed storage for drone footage, photos, and travel mementos. The drive reportedly "failed only a few weeks after" purchase. "He had written data to the Drive no more than a handful of times, yet he nonetheless lost precious personal data," the complaint says. The complaints also note that Western Digital's 30-day return and five-year warranty policies don't remedy lost data. The cases seek restitution, including damages, and for Western Digital to stop selling the affected drives until they're fixed or the problems are fully disclosed on all labels, packaging, and advertising. Sloss told Ars that challenges of the case might include establishing how frequently drives failed after Western Digital shared its May firmware update. "We believe the case is strong, that Western Digital’s response to the issue has been delayed, inadequate, and incomplete, and we believe people are continuing to purchase defective SSDs based on misleading information Western Digital has provided," Sloss said. Sloss said that firms frequently agree to prosecute similar cases together, with one firm leading. He believes there could be even more law firms investigating claims that may file complaints against Western Digital. Western Digital told Ars yesterday that it "does not comment on pending litigation."

Archived version: https://archive.ph/9WPwx The Sotheby's auction house has been named as a defendant in a lawsuit filed by investors who regret buying Bored Ape Yacht Club NFTs that sold for highly inflated prices during the NFT craze in 2021. A Sotheby's auction duped investors by giving the Bored Ape NFTs "an air of legitimacy... to generate investors' interest and hype around the Bored Ape brand," the class-action lawsuit claims. The boost to Bored Ape NFT prices provided by the auction "was rooted in deception," said the lawsuit filed in US District Court for the Central District of California. It wasn't revealed at the time of the auction that the buyer was the now-disgraced FTX, the lawsuit said. "Sotheby's representations that the undisclosed buyer was a 'traditional' collector had misleadingly created the impression that the market for BAYC NFTs had crossed over to a mainstream audience," the lawsuit claimed. Lawsuit plaintiffs say that harmed investors bought the NFTs "with a reasonable expectation of profit from owning them." Sotheby's sold a lot of 101 Bored Ape NFTs for $24.4 million at its "Ape In!" auction in September 2021, well above the pre-auction estimates of $12 million to $18 million. That's an average price of over $241,000, but Bored Ape NFTs now sell for a floor price of about $50,000 worth of ether cryptocrurrency, according to CoinGecko data accessed today. Investors previously sued Bored Ape creator Yuga Labs, four company executives, and various celebrity promoters including Paris Hilton, Gwyneth Paltrow, Kevin Hart, Snoop Dogg, Serena Williams, Madonna, Jimmy Fallon, Steph Curry, and Justin Bieber. The original class-action was filed in December 2022, and Sotheby's was added as a defendant in an amended complaint submitted on August 4. Yuga describes its collection of 10,000 Bored Ape NFTs as "unique digital collectibles living on the Ethereum blockchain" that double as a "Yacht Club membership card." The website has some "members-only" areas. "When you buy a Bored Ape, you're not simply buying an avatar or a provably rare piece of art," the NFT collection's website says. "You are gaining membership access to a club whose benefits and offerings will increase over time. Your Bored Ape can serve as your digital identity, and open digital doors for you." **Lawsuit: Yuga “colluded” with Sotheby’s** The amended lawsuit alleges that "Yuga colluded with fine arts broker, Defendant Sotheby's, to run a deceptive auction." After the sale, a Sotheby's representative described the winning bidder during a Twitter Spaces event as a "traditional" collector, the lawsuit said. The lawsuit said it turned out the auction buyer was now-bankrupt crypto exchange FTX, whose founder Sam Bankman-Fried is in jail awaiting trial on criminal charges. Ethereum blockchain transaction data shows that after the auction, "Sotheby's transferred the lot of BAYC NFTs to wallet address 0xf8e0C93Fd48B4C34A4194d3AF436b13032E641F3,77 which, upon information and belief, is owned/controlled by FTX," the complaint said. Speculation that FTX was the buyer had been percolating since at least January 2023. The lawsuit alleges that Yuga Labs and Sotheby's violated the California Unfair Competition Law, the California Corporate Securities Law, the US Securities Exchange Act, and the California Corporations Code. The plaintiffs also claim that Sotheby's Metaverse, an NFT trading platform opened after the auction, "operated (or attempted to operate) as an unregistered broker of securities." "FTX has several deep ties to Yuga such that it would be mutually beneficial for both Yuga and FTX (as well as Sotheby's) if the BAYC NFT collection were to rise in price and trading volume activity. Upon information and belief, given the extensive financial interests shared by Yuga, Sotheby's and FTX, each knew that FTX was the real buyer of the lot of BAYC NFTs at the Sotheby's auction at the time that Sotheby's representatives were publicly representing that a 'traditional' buyer had made the purchase," the lawsuit said. FTX is not named as a defendant. **Ape prices soared, then plummeted** After the auction, the price of Bored Ape digital assets hit a new high and kept rising for months. It peaked at over $420,000 in April 2022 but plummeted to about $90,000 six weeks later, according to CoinGecko. The class action lawsuit's named plaintiffs are Johnny Johnson, Ezra Boekweg, Mario Palombini, and Adam Titcher. They are trying to get certification of a class consisting of "all investors who purchased Yuga's non-fungible tokens ('NFTs') or ApeCoin tokens ('ApeCoin') between April 23, 2021 and the present." There were over 103,000 account holders of Yuga securities as of December 1, 2022, the lawsuit said. "While the Executive Defendants made hundreds of millions of dollars, investors were left with NFTs worth a fraction of their artificially inflated value," the original version of the complaint in December said. Yuga and other defendants have a September 12 deadline to file motions to dismiss the complaint. Sotheby's told CNN this week that the "allegations in this suit are baseless, and Sotheby's is prepared to vigorously defend itself." Yuga Labs similarly called the allegations "completely without merit or factual basis."

Archived version: https://archive.ph/3vfmc How much ink does an all-in-one printer need in order to fax a document? Or to scan one to your computer? The obvious answer is "none." But if you own certain printers from companies like HP and Canon, you won't be able to use core features unless the device has ink—even if those features have nothing to do with ink. Unfortunately, all-in-one printers arbitrarily demanding ink to perform non-printing functions isn't a new frustration. And that's despite some companies having printers that can scan without ink. Clearly, scanning or faxing without requiring an ink cartridge would improve users' experience—and they've illustrated that through class-action lawsuits. But this hasn't stopped printer makers from fighting to keep the nettlesome practice. **No ink, no scan** Since mid-2022, HP has been fighting a class-action lawsuit alleging that certain all-in-one printer models won't scan or fax without ink and that HP doesn't properly disclose this to shoppers. On January 13, 2023, the complaint was dismissed but allowed to be amended (you can view the amended complaint here: [PDF]), and on August 10, a Northern District of California judge dismissed HP's motion to dismiss the amended complaint [PDF]. HP Envy 6455e and HP Deskjet 2655 purchasers Gary Freund and Wayne McMath filed the complaint, which states that HP printers are designed to enter an error state when low or out of ink, preventing usage until the installment of a new ink cartridge. The plaintiffs are also peeved that HP marketing and advertising doesn't clearly disclose this, the complaint says. The complaint also notes that an HP support agent has said that HP printers are "designed in such a way that with the empty cartridge or without the cartridge the printer will not function." "HP’s All-in-One Printers do not work as advertised. Ink is not a necessary component to scan or to fax a document," the complaint reads. It adds: >Tying the scan or fax capabilities of the All-In-One Printers to ink contained in the devices offers no benefit and only serves to disadvantage and harm consumers financially. However, tying the scan or fax capabilities of the All-In-One Printers to ink contained in the devices does, however [sic], serve to benefit HP. Anyone who's owned an inkjet printer knows how expensive ink can be. That suggests a reason to push people to buy ink through tactics like blocking core features if no ink is present and reportedly selling printers below cost. Ink-buying programs have also become cash cows. HP in 2021, for example, said its Instant Ink subscription business was worth $500 million, per CRN. In its Q2 2023 financial report, HP named Instant Ink a key growth area. The complaint against HP says: >Indeed, HP designs its All-in-One printer products so they will not work without ink. Yet, HP does not disclose this fact to consumers. … Even were it technically possible to scan a document without all ink cartridges present, HP does not disclose any 'workaround' to consumers in any of the product packaging nor in any of HP’s advertising and marketing materials regarding its multi-function devices. The complaint seeks monetary damages as well as the end of HP's "misleading advertising and marketing campaign" and for HP to "engage in a corrective campaign to inform consumers of the misleading advertising." Here are all the HP printer models listed in the complaint: - HP Deskjet 2755e - HP DeskJet 3755 - HP DeskJet 4155e - HP ENVY 6055e - HP ENVY 6075 - HP ENVY 6455 - HP ENVY Pro 6475 - HP OfficeJet 250 Mobile - HP OfficeJet Pro 7740 Wide Format - HP OfficeJet Pro 8025 - HP DeskJet 2622 - HP DeskJet 2655 HP declined to comment on this story. **Canon's doing it, too** HP isn't the only company demanding ink for scans and faxes. It's not even the only one that has faced litigation over it. As noticed by The Verge, Canon back in March settled a class-action lawsuit [PDF] stating that Canon all-in-one printers can't scan or fax with low or empty ink cartridges and its "advertising claims are false, misleading, and reasonably likely to deceive the public." The settlement terms weren't disclosed, and Canon didn't respond to Ars Technica's request for comment. But here are the models listed in that complaint: - MAXIFY GX7020 - MAXIFY GX6020 - PIXMA TS3520 - PIXMA G3260 - PIXMA G7020 - PIXMA G2260 - PIXMA MX330 - PIXMA MX452 - PIXMA TS9520 - PIXMA TR8620 - PIXMA TS6420 - PIXMA TS6320 - PIXMA TR4520 - PIXMA MG3620 - PIXMA MG2522 - PIXMA TS3320 - PIXMA TR7020 - PIXMA TS9521C - PIXMA TS8320 - PIXMA TR8520 - PIXMA TR7520 - "and any and all predecessor models" Similarly to the HP situation, representatives on Canon's support forum allegedly confirmed that certain all-in-one printer models require "all ink tanks installed and they must all contain ink in order to use the functions of the printer" and that "there is no workaround for this." However, the posts that are linked to in the complaint (here and here) as of November 22, 2022, have a comment from a moderator saying, "It's possible to scan with an empty ink tank or cartridge." The support page provides instructions for disabling the function that detects ink levels. Canon didn't explain why its printers ever required ink to scan in the first place. But the company has at least agreed to instruct users on disabling the ink requirement, which is better than where HP is currently. **Semantics prioritized over customers** As of this writing, HP doesn't seem to be working toward enabling its printers to scan and fax without ink. When trying to get the complaint dismissed, HP claimed that support agents who said printers are designed to not scan without ink don't represent HP and were not referring to printer models owned by the complaint's plaintiffs. The printer industry has long had an issue with customer trust. HP, for instance, has bricked third-party ink (and issued other problematic printer firmware updates), along with the company's controversial HP+ program and region-locked printers . HP has already paid settlements for abruptly bricking third-party ink via its Dynamic Security "feature." The Verge noticed that HP at least changed its language for the Envy 6455e's Amazon product page to say that you can "print, scan, and copy from your phone—from whenever, wherever" to "print, scan, and copy from your phone—from anywhere." Such semantic games feel more like HP seeking a loophole than trying to please customers. Such corporation-first tactics may be why Epson thinks it's dunking on competitors with its own support page dedicated to this topic. It reads, "Since 2008, all Epson printers will scan even when there is little or no usable ink left in the cartridge." But, as is often the case with printers, a sneaky little caveat could abruptly ruin your day. As the support page also states: >However, all of the genuine Epson cartridges must be installed in the printer, even if depleted of usable ink and the printer displays the replace cartridge message. So you still need an Epson ink cartridge to scan. If you happened to have tossed your ink cartridge when it became useless, your all-in-one printer could be virtually useless, too. (Epson didn't respond to a request for comment.) It's alarming that printer makers know customers feel swindled and confused—but won't eliminate the problematic design. Printer vendors have become too bold in expecting customers to accept wordplay, settlements, and confusing support responses. Class-action lawsuits may light a fire under these companies, but it shouldn't be up to disgruntled customers to complain to support agents, lawyers, and judges. If printer companies can't deliver a reliable, easy experience, customers will have no choice but to consider alternatives.

Archived version: https://archive.ph/3PdeS We’ve been focused on creating a great gaming experience for our members since 2021 when we added mobile games to Netflix. Our goal has always been to have a game for everyone, and we are working hard to meet members where they are with an accessible, smooth, and ubiquitous service. Today, we’re taking the first step in making games playable on every device where our members enjoy Netflix — TVs, computers, and mobile. We are rolling out a limited beta test to a small number of members in Canada and the UK on select TVs starting today, and on PCs and Macs through Netflix.com on supported browsers in the next few weeks. Two games will be part of this initial test: Oxenfree from Night School Studio, a Netflix Game Studio, and Molehew’s Mining Adventure, a gem-mining arcade game. To play our games on TV, we're introducing a controller that we already have in our hands most of the day — our phones. Members on PCs and Macs can play on Netflix.com with a keyboard and mouse. This limited beta is meant to test our game streaming technology and controller, and to improve the member experience over time. Games on TV will operate on select devices from our initial partners including: Amazon Fire TV Streaming Media Players, Chromecast with Google TV, LG TVs, Nvidia Shield TV, Roku devices and TVs, Samsung Smart TVs, and Walmart ONN. Additional devices will be added on an ongoing basis. By making games available on more devices, we hope to make games even easier to play for our members around the world. While we’re still very early in our games journey, we’re excited to bring joy to members with games. We look forward to hearing feedback from our beta testers and sharing more as we continue on the road ahead.

Archived version: https://archive.ph/3PdeS We’ve been focused on creating a great gaming experience for our members since 2021 when we added mobile games to Netflix. Our goal has always been to have a game for everyone, and we are working hard to meet members where they are with an accessible, smooth, and ubiquitous service. Today, we’re taking the first step in making games playable on every device where our members enjoy Netflix — TVs, computers, and mobile. We are rolling out a limited beta test to a small number of members in Canada and the UK on select TVs starting today, and on PCs and Macs through Netflix.com on supported browsers in the next few weeks. Two games will be part of this initial test: Oxenfree from Night School Studio, a Netflix Game Studio, and Molehew’s Mining Adventure, a gem-mining arcade game. To play our games on TV, we're introducing a controller that we already have in our hands most of the day — our phones. Members on PCs and Macs can play on Netflix.com with a keyboard and mouse. This limited beta is meant to test our game streaming technology and controller, and to improve the member experience over time. Games on TV will operate on select devices from our initial partners including: Amazon Fire TV Streaming Media Players, Chromecast with Google TV, LG TVs, Nvidia Shield TV, Roku devices and TVs, Samsung Smart TVs, and Walmart ONN. Additional devices will be added on an ongoing basis. By making games available on more devices, we hope to make games even easier to play for our members around the world. While we’re still very early in our games journey, we’re excited to bring joy to members with games. We look forward to hearing feedback from our beta testers and sharing more as we continue on the road ahead.

Archived version: https://archive.ph/3PdeS We’ve been focused on creating a great gaming experience for our members since 2021 when we added mobile games to Netflix. Our goal has always been to have a game for everyone, and we are working hard to meet members where they are with an accessible, smooth, and ubiquitous service. Today, we’re taking the first step in making games playable on every device where our members enjoy Netflix — TVs, computers, and mobile. We are rolling out a limited beta test to a small number of members in Canada and the UK on select TVs starting today, and on PCs and Macs through Netflix.com on supported browsers in the next few weeks. Two games will be part of this initial test: Oxenfree from Night School Studio, a Netflix Game Studio, and Molehew’s Mining Adventure, a gem-mining arcade game. To play our games on TV, we're introducing a controller that we already have in our hands most of the day — our phones. Members on PCs and Macs can play on Netflix.com with a keyboard and mouse. This limited beta is meant to test our game streaming technology and controller, and to improve the member experience over time. Games on TV will operate on select devices from our initial partners including: Amazon Fire TV Streaming Media Players, Chromecast with Google TV, LG TVs, Nvidia Shield TV, Roku devices and TVs, Samsung Smart TVs, and Walmart ONN. Additional devices will be added on an ongoing basis. By making games available on more devices, we hope to make games even easier to play for our members around the world. While we’re still very early in our games journey, we’re excited to bring joy to members with games. We look forward to hearing feedback from our beta testers and sharing more as we continue on the road ahead.

Archived version: https://archive.ph/JsTV6 The US broadband industry is united in opposition to a requirement that Internet service providers list all of their monthly fees. Five lobby groups representing cable companies, fiber and DSL providers, and mobile operators have repeatedly urged the Federal Communications Commission to eliminate the requirement before new broadband labeling rules take effect. The trade associations petitioned the FCC in January to change the rules and renewed their call last week in a filing and in a meeting with FCC officials. The requirement that ISPs list all their monthly fees "would add unnecessary complexity and burdens to the label for consumers and providers and could result in some providers having to create many labels for any given plan," the groups said in the filing on Friday. The trade groups said the FCC should instead "require providers to include an explanatory statement that such fees may apply and that they vary by jurisdiction, similar to the Commission's treatment of government-imposed taxes," or require "the display of the maximum level of government-imposed fees that might be passed through, so that consumers would not experience bill shock with respect to such fees." The filing was submitted by NCTA-The Internet & Television Association, which represents Comcast, Charter, Cox, and other cable companies. The NCTA's ex parte filing described a meeting with FCC officials that also included wireless industry trade group CTIA and USTelecom, which represents telcos including AT&T, Verizon, Lumen (formerly CenturyLink), Frontier, and Windstream. The meeting was attended by two other groups representing smaller ISPs: NTCA-The Rural Broadband Association and ACA Connects-America's Communications Association. The trade groups met on Wednesday with the legal advisors to FCC Chairwoman Jessica Rosenworcel and Commissioner Brendan Carr, according to the filing. **Comcast accused of “trying to create loopholes”** Comcast submitted its own filing urging the FCC to scrap the rules in June. The calls to weaken the FCC's truth-in-billing rules angered consumer advocates, as we wrote at the time. "The label hasn't even reached consumers yet, but Comcast is already trying to create loopholes. This request would allow the big ISPs to continue hiding the true cost of service and frustrating customers with poor service," Joshua Stager, policy director at media advocacy group Free Press, told Ars. Congress required the FCC to implement broadband labels with exact prices for Internet service plans in a 2021 law, but gave the FCC some leeway in how to structure the rules. The FCC adopted specific label rules in November 2022. The labels must be displayed to consumers at the point of sale and include monthly price, additional charges, speeds, data caps, additional charges for data, and other information. The FCC rules aren't in force yet because they are subject to a federal Office of Management and Budget (OMB) review under the US Paperwork Reduction Act. ISPs object to a portion of the FCC order that says, "providers must list all recurring monthly fees" including "all charges that providers impose at their discretion, i.e., charges not mandated by a government." The five trade groups complain that this would require ISPs "to display the pass-through of fees imposed by federal, state, or local government agencies on the consumer broadband label." But just because an ISP says a fee is related to a government charge doesn't mean that ISPs have to break them out separately. ISPs could instead include all costs in their advertised rates to give potential customers a clearer idea of how much they would have to pay each month. "A provider that opts to combine all of its monthly discretionary fees with its base monthly price may do so and list that total price. In that case, the provider need not separately itemize those fees in the label," the FCC order said. **Non-mandatory fees** Discretionary charges "include those the provider collects to recoup from consumers its costs associated with government programs but where the government has not mandated such collection, e.g., USF [Universal Service Fund] contributions," according to the FCC. Comcast said the non-mandatory fees also include pass-through of state and local government fees. The FCC order said the requirement to list "all charges that providers impose at their discretion" is meant to help broadband users "understand which charges are part of the provider's rate structure, and which derive from government assessments or programs." These fees must have "simple, accurate, [and] easy-to-understand name[s]," the FCC order said. "Further, the requirement will allow consumers to more meaningfully compare providers' rates and service packages, and to make more informed decisions when purchasing broadband services. Providers must list fees such as monthly charges associated with regulatory programs and fees for the rental or leasing of modem and other network connection equipment," the FCC said. Harold Feld, senior VP of consumer advocacy group Public Knowledge, told Ars in June that the FCC "should reject the request to create loopholes which would obscure what fees providers decide to pass on versus those that are mandated by state law. It is an effort to pass blame to the state which properly belongs to the ISP." **Debate over record-keeping rule** ISPs also object to a record-keeping requirement designed to ensure that ISPs follow the rules when they provide labels through "alternate sales channels" such as retail stores or customer service phone calls. ISPs can meet the label requirement in alternate sales channels either by providing a hard copy of the label or by "directing the consumer to the specific web page on which the label appears." ISPs that don't provide hard copies of the label to prospective customers in those sales channels must document each instance in which they direct a consumer to a label. "Requiring that providers collect identifying information and document every customer interaction would be highly disruptive to consumers seeking information through alternative sales channels and would impose significant burdens on providers of all sizes," the trade groups told the FCC. The trade groups want the FCC to "clarify that a provider satisfies these rules by developing appropriate business practices to promote distribution of the label through alternative sales channels and retaining documentation of these practices for two years." Latino advocacy group ALLvanza also objected to the data-collection rule on privacy grounds, saying, "Many Latinos are already hesitant and/or unwilling to provide identifying information to companies or the government due to privacy concerns, fear of discrimination, potential immigration status issues, mistrust of institutions, and cultural preferences for privacy." ISPs could avoid the requirement to collect identifying information from consumers in retail stores by providing hard copies of the label. The FCC defended the compliance plan in a submission to the OMB last month as part of the Paperwork Reduction Act review, saying it needs detailed information to ensure ISPs follow the rules. When ISPs choose not to provide hard copies of the labels in alternate sales channels, the FCC said it needs details on each customer interaction to "allow the Commission to investigate and enforce providers' obligation to make the label available to consumers at each point of sale." The FCC also defended itself against industry accusations that the rule is too vague. "The Commission stated in the Broadband Label Order that '[p]roviders must document each instance when it directs a consumer to a label at an alternate sales channel and retain such documentation for two years.' We believe it is unambiguous that this would include the identity of each consumer," the FCC said.

At the start of this console generation, Microsoft made a surprising decision. Rather than split its consoles between disc and digital-only like Sony, it actually split them between power level. The Xbox Series S was cheaper, but lacked the horsepower of the more expensive Series X. It was meant to be a bridge between generations and a lower cost entry point, but Microsoft made an important promise. While there would be some variance in technical capabilities between consoles, feature parity between the two would remain the same. It would remain the same because Microsoft would demand it remain the same, from both its own studios and third parties. However, over time, that has become harder and harder to satisfy. Some developers have grumbled about the Series S requirements for a while, but now, we have a prime example of this parity demand actively hurting the Xbox ecosystem and its own players. Larian has delayed the release of Baldur’s Gate 3, currently on pace to possibly be 2023’s Game of the Year, until they can figure out how to make split-screen work on Series S. Michael Douse, director of publishing, made the problem very plain: “We’ve said many times in the past that the issue is getting split-screen working on the Series S, which is taking more time, but is in progress,” Douse said on Twitter. “This is a huge technical hurdle, but we are unable to release the game on the ecosystem without this feature.” “We cannot remove the split-screen feature because we are obliged to launch with feature parity, and so continue to try and make it work. We have quite a few engineers working very hard to do what no other RPG of this scale has achieved: seamless drop-in, drop-out co-op on Series S. We hope to have an update by the end of the year.” Microsoft’s demand for feature parity between Series X and S quite literally means that Xbox players may not be able to play 2023’s possible GOTY until…2024. Larian cannot simply cut the feature because Microsoft won’t let them. A feature that the majority of players of the game probably will never even use, mind you. You can say “okay well, Microsoft just needs to end the feature parity demand between X and S.” In this case, Microsoft could give the okay to cut split-screen and the game could release. And yet, you can see how Microsoft has sort of trapped itself. For Baldur’s Gate 3 that means split-screen, and Xbox owners who are not following video game news every second of the day might find themselves buying a Series S version thinking they can play co-op with their friend and they…can’t. You can extrapolate that out to any number of games. Various points of pain in Series S development could result in any number of cut features, and those would have to be explained away in fine print for Series S players, or they’d simply buy the games and be upset that those features weren’t there, not knowing any of this. This is Microsoft not really thinking through the concept of the Series S from the start. The feature parity demand actually does seem necessary, but the further we get into this generation, the more modern games are pushing the technical envelope, and the more Series S is straining to keep up, and developers are straining to meet Microsoft’s demands. As we can see in this example, Microsoft has essentially handed PlayStation a console exclusive for one of the biggest games of the year, without Sony even needing to make any kind of a deal. That’s a disaster. It's not clear if there’s a way out of this. Stopping the feature parity demand would be a mess. Stopping Series S sales wouldn’t solve the problem with millions out there already that cannot just be abandoned. Time traveling to not release the Series S in the first place to avoid all this is not possible. So, they’re stuck, unless they think of something else.

At the start of this console generation, Microsoft made a surprising decision. Rather than split its consoles between disc and digital-only like Sony, it actually split them between power level. The Xbox Series S was cheaper, but lacked the horsepower of the more expensive Series X. It was meant to be a bridge between generations and a lower cost entry point, but Microsoft made an important promise. While there would be some variance in technical capabilities between consoles, feature parity between the two would remain the same. It would remain the same because Microsoft would demand it remain the same, from both its own studios and third parties. However, over time, that has become harder and harder to satisfy. Some developers have grumbled about the Series S requirements for a while, but now, we have a prime example of this parity demand actively hurting the Xbox ecosystem and its own players. Larian has delayed the release of Baldur’s Gate 3, currently on pace to possibly be 2023’s Game of the Year, until they can figure out how to make split-screen work on Series S. Michael Douse, director of publishing, made the problem very plain: “We’ve said many times in the past that the issue is getting split-screen working on the Series S, which is taking more time, but is in progress,” Douse said on Twitter. “This is a huge technical hurdle, but we are unable to release the game on the ecosystem without this feature.” “We cannot remove the split-screen feature because we are obliged to launch with feature parity, and so continue to try and make it work. We have quite a few engineers working very hard to do what no other RPG of this scale has achieved: seamless drop-in, drop-out co-op on Series S. We hope to have an update by the end of the year.” Microsoft’s demand for feature parity between Series X and S quite literally means that Xbox players may not be able to play 2023’s possible GOTY until…2024. Larian cannot simply cut the feature because Microsoft won’t let them. A feature that the majority of players of the game probably will never even use, mind you. You can say “okay well, Microsoft just needs to end the feature parity demand between X and S.” In this case, Microsoft could give the okay to cut split-screen and the game could release. And yet, you can see how Microsoft has sort of trapped itself. For Baldur’s Gate 3 that means split-screen, and Xbox owners who are not following video game news every second of the day might find themselves buying a Series S version thinking they can play co-op with their friend and they…can’t. You can extrapolate that out to any number of games. Various points of pain in Series S development could result in any number of cut features, and those would have to be explained away in fine print for Series S players, or they’d simply buy the games and be upset that those features weren’t there, not knowing any of this. This is Microsoft not really thinking through the concept of the Series S from the start. The feature parity demand actually does seem necessary, but the further we get into this generation, the more modern games are pushing the technical envelope, and the more Series S is straining to keep up, and developers are straining to meet Microsoft’s demands. As we can see in this example, Microsoft has essentially handed PlayStation a console exclusive for one of the biggest games of the year, without Sony even needing to make any kind of a deal. That’s a disaster. It's not clear if there’s a way out of this. Stopping the feature parity demand would be a mess. Stopping Series S sales wouldn’t solve the problem with millions out there already that cannot just be abandoned. Time traveling to not release the Series S in the first place to avoid all this is not possible. So, they’re stuck, unless they think of something else.

Source: https://blog.mozilla.org/addons/2023/08/10/prepare-your-firefox-desktop-extension-for-the-upcoming-android-release/ Archived version: https://archive.ph/x9dHq

>WipeOut was Sony’s initial first-party exclusive for the original PlayStation when it launched back in 1995. The anti-gravity racing game was phenomenal. Now it’s abandoned. So one dedicated programmer took it upon himself to excavate the game’s leaked source code and make it playable for free in any web browser. > >“Either let it be, or shut this thing down and get a real remaster going,” he told Sony...

>WipeOut was Sony’s initial first-party exclusive for the original PlayStation when it launched back in 1995. The anti-gravity racing game was phenomenal. Now it’s abandoned. So one dedicated programmer took it upon himself to excavate the game’s leaked source code and make it playable for free in any web browser. > >“Either let it be, or shut this thing down and get a real remaster going,” he told Sony...

Archived version: https://archive.ph/2Y3u6 It was difficult to maintain a poker face when the leader of a big US tech firm I was chatting to said there was a definite tipping point at which the firm would exit the UK. I could see my own surprise mirrored on the faces of the other people in the room - many of whom worked there. They hadn't heard this before either, one told me afterwards. I can't tell you who it was but it's a brand you would probably recognise. I've been doing this job for long enough to recognise a petulant tech ego when I meet one. From Big Tech, there's often big talk. But this felt different. It reflected a sentiment I have been hearing quite loudly of late, from this lucrative and powerful US-based sector. 'Tipping point' Many of these companies are increasingly fed up. Their "tipping point" is UK regulation - and it's coming at them thick and fast. The Online Safety Bill is due to pass in the autumn. Aimed at protecting children, it lays down strict rules around policing social media content, with high financial penalties and prison time for individual tech execs if the firms fail to comply. One clause that has proved particularly controversial is a proposal that encrypted messages, which includes those sent on WhatsApp, can be read and handed over to law enforcement by the platforms they are sent on, if there is deemed to be a national security or child protection risk. The NSPCC children's charity has described encrypted messaging apps as the "front line" of where child abuse images are shared, but it is also seen as an essential security tool for activists, journalists and politicians. Currently messaging apps like WhatsApp, Proton and Signal, which offer this encryption, cannot see the content of these messages themselves. WhatsApp and Signal have both threatened to quit the UK market over this demand. The Digital Markets Bill is also making its way through Parliament. It proposes that the UK's competition watchdog selects large companies like Amazon and Microsoft, gives them rules to comply with and sets punishments if they don't. Several firms have told me they feel this gives an unprecedented amount of power to a single body. Microsoft reacted furiously when the Competition and Markets Authority (CMA) chose to block its acquisition of the video game giant Activision Blizzard. "There's a clear message here - the European Union is a more attractive place to start a business than the United Kingdom," raged chief executive Brad Smith. The CMA has since re-opened negotiations with Microsoft. This is especially damning because the EU is also introducing strict rules in the same vein - but it is collectively a much larger and therefore more valuable market. In the UK, proposed amendments to the Investigatory Powers Act, which included tech firms getting Home Office approval for new security features before worldwide release, incensed Apple so much that it threatened to remove Facetime and iMessage from the UK if they go through. Clearly the UK cannot, and should not, be held to ransom by US tech giants. But the services they provide are widely used by millions of people. And rightly or wrongly, there is no UK-based alternative to those services. Against this backdrop, we have a self-proclaimed pro-tech prime minister, Rishi Sunak. He is trying to entice the lucrative artificial intelligence sector - also largely US-based - to set up camp in the UK. A handful of them - Palantir, OpenAI and Anthropic - have agreed to open London headquarters. But in California's Silicon Valley, some say that the goodwill is souring. "There is growing irritation here about the UK and EU trying to rein in Big Tech... that's seen as less about ethical behaviour and more about jealousy and tying down foreign competition," says tech veteran Michael Malone. British entrepreneur Mustafa Suleyman, the co-founder of DeepMind, has chosen to locate his new company InflectionAI in California, rather than the UK. It's a difficult line to tread. Big Tech hasn't exactly covered itself in glory with past behaviours - and lots of people feel regulation and accountability is long overdue. Also, we shouldn't confuse "pro-innovation" with "pro-Big Tech" warns Professor Neil Lawrence, a Cambridge University academic who has previously acted as an advisor to the CMA. "Pro-innovation regulation is about ensuring that there's space for smaller companies and start-ups to participate in emerging digital markets", he said. Other experts are concerned that those writing the rules do not understand the rapidly-evolving technology they are trying to harness. "There are some people in government who've got very deep [tech] knowledge, but just not enough of them," said economist Dame Diane Coyle. "And so [all] this legislation has been going through Parliament in a manner that seems to technical experts, like some of my colleagues, not particularly well-informed, and putting at risk some of the services that people in this country value very highly." If UK law-makers don't understand the tech, there are experts willing to advise. But many of those feel ignored. Professor Alan Woodward is a cyber-security expert at Surrey University whose has worked various posts at GCHQ, the UK's intelligence, security and cyber agency. "So many of us have signed letters, given formal evidence to committees, directly offered to advise - either the government doesn't understand or doesn't want to listen," he said. "Ignorance combined with arrogance is a dangerous mix." The Department for Science, Innovation and Technology said that it had "worked hand-in-hand with industry and experts from around the world to develop changes to the tech sector", including during the development of the Online Safety Bill and the Digital Markets Bill.

Archived version: https://archive.ph/mNVst > This post was inspired by two things I saw recently: > > - Jonny Price of WeFunder, sharing their newly designed raise page, featuring some giants of tech like Substack, Mercury and Levels. > - Xalavier Nelson Jr. of Strange Scaffold, commenting on the seemingly extreme success of Larian Studios, with the upcoming release of Baldur’s Gate, and imporing consumers that it not “raise the standard”. > > The connection between these two items is not obvious, but it is interesting.

Archived version: https://archive.ph/mNVst > This post was inspired by two things I saw recently: > > - Jonny Price of WeFunder, sharing their newly designed raise page, featuring some giants of tech like Substack, Mercury and Levels. > - Xalavier Nelson Jr. of Strange Scaffold, commenting on the seemingly extreme success of Larian Studios, with the upcoming release of Baldur’s Gate, and imporing consumers that it not “raise the standard”. > > The connection between these two items is not obvious, but it is interesting.

Archived version: https://archive.ph/mNVst > This post was inspired by two things I saw recently: > > - Jonny Price of WeFunder, sharing their newly designed raise page, featuring some giants of tech like Substack, Mercury and Levels. > - Xalavier Nelson Jr. of Strange Scaffold, commenting on the seemingly extreme success of Larian Studios, with the upcoming release of Baldur’s Gate, and imporing consumers that it not “raise the standard”. > > The connection between these two items is not obvious, but it is interesting.

In this video, a Canon print cartridge is opened up and revealed not to contain the meagre 11.9 ml (0.4 fl oz) of ink it is advertised. The proposed solution is to buy a printer designed to be manually refilled with bottles of ink (such as the featured Epson EcoTank ET-2850), though it has only been tested briefly.

Archived version: https://archive.ph/ZGo6X Universal Music Group (UMG.AS), Sony Music Entertainment (6758.T) and other record labels on Friday sued the nonprofit Internet Archive for copyright infringement over its streaming collection of digitized music from vintage records. The labels' lawsuit filed in a federal court in Manhattan said the Archive's "Great 78 Project" functions as an "illegal record store" for songs by musicians including Frank Sinatra, Ella Fitzgerald, Miles Davis and Billie Holiday. They named 2,749 sound-recording copyrights that the Archive allegedly infringed. The labels said their damages in the case could be as high as $412 million. Representatives for the Internet Archive did not immediately respond to a request for comment on the complaint. The San Francisco-based Internet Archive digitally archives websites, books, audio recordings and other materials. It compares itself to a library and says its mission is to "provide universal access to all knowledge." The Internet Archive is already facing another federal lawsuit in Manhattan from leading book publishers who said its digital-book lending program launched in the pandemic violates their copyrights. A judge ruled for the publishers in March, in a decision that the Archive plans to appeal. The Great 78 Project encourages donations of 78-rpm records -- the dominant record format from the early 1900s until the 1950s -- for the group to digitize to "ensure the survival of these cultural materials for future generations to study and enjoy." Its website says the collection includes more than 400,000 recordings. The labels' lawsuit said the project includes thousands of their copyright-protected recordings, including Bing Crosby's "White Christmas," Chuck Berry's "Roll Over Beethoven" and Duke Ellington's "It Don't Mean a Thing (If It Ain't Got That Swing)". The lawsuit said the recordings are all available on authorized streaming services and "face no danger of being lost, forgotten, or destroyed."

>For a moment, it seemed like the streaming apps were the things that could save us from the hegemony of cable TV—a system where you had to pay for a ton of stuff you didn't want to watch so you could see the handful of things you were actually interested in. Archived version: https://archive.ph/K4EIh

Archived version: https://archive.ph/hguLn Excerpt (and context): > Apple Maps’ offering might surprise people who remember its disastrous launch in 2012, which the Guardian described as the company’s “first significant failure in years”. Users were more than furious – they were lost, sometimes dangerously so. In Australia, police had to rescue tourists from the huge Murray-Sunset national park, after Maps placed the city of Mildura in the wrong place by more than 40 miles. Some of the motorists located by police had been stranded for 24 hours without food or water. In Ireland, ministers had to complain directly to Apple after a cafe and gardens called “Airfield” was designated by the service as an actual airport. > > But mostly the map was just glitchy and unhelpful, its directions always a little off kilter. Users revolted and Apple made a rare retreat, allowing Google Maps to be used as the default on many iPhone apps and apologizing for the product.

On the flip side, this also means users have the option to have a cleaner, less cluttered interface. Full text: [AUGUST 8, 2023] A new viewer experience that better corresponds to your YouTube watch history preferences One of the benefits of having YouTube watch history on is that it enables YouTube to provide video recommendations you may be interested in; however, we know some prefer to clear and turn off your YouTube watch history. Starting today, we’re changing how you see recommendations on YouTube, based on your Watch History settings: Starting today, if you have YouTube watch history off and have no significant prior watch history, features that require watch history to provide video recommendations will be disabled – like your YouTube home feed. This means that starting today, your home feed may look a lot different: you’ll be able to see the search bar and the left-hand guide menu, with no feed of recommended videos thus allowing you to more easily search, browse subscribed channels and explore Topic tabs instead. We’re rolling these changes out slowly, over the next few months. We are launching this new experience to make it more clear which YouTube features rely on watch history to provide video recommendations and make it more streamlined for those of you who prefer to search rather than browse recommendations. You can change your YouTube watch history settings at any time based on whether you prefer us to provide video recommendations or not.

Earlier in the year they removed the trial offer. Now it's returned, but worse than before.

Source: https://front-end.social/@fox/110846484782705013 Text in the screenshot from Grammarly says: >We develop data sets to train our algorithms so that we can improve the services we provide to customers like you. We have devoted significant time and resources to developing methods to ensure that these data sets are anonymized and de-identified. > >To develop these data sets, we sample snippets of text at random, disassociate them from a user's account, and then use a variety of different methods to strip the text of identifying information (such as identifiers, contact details, addresses, etc.). Only then do we use the snippets to train our algorithms-and the original text is deleted. In other words, we don't store any text in a manner that can be associated with your account or used to identify you or anyone else. > >We currently offer a feature that permits customers to opt out of this use for Grammarly Business teams of 500 users or more. Please let me know if you might be interested in a license of this size, and I'II forward your request to the corresponding team.

Archived version: https://archive.ph/q7BZB For five long years, the ZX Spectrum magazine Crash tried to get an interview with the people behind Ultimate Play the Game, which had become one of the UK’s premier games developers. They heard nothing until, one day early in 1988, Crash got a phone call. It was them. And they wanted to talk. Ultimate Play the Game, a trading name of Ashby Computers and Graphics, began in 1982, owned by one family: the Stampers – brothers Chris and Tim, and Tim’s future wife Carole Ward, alongside programmer John Lathbury. Even at this stage, the Stampers were supremely confident in their own abilities, honed during the development of several arcade games. “We chose [this] company’s name because we felt it was representative of our products: the ultimate games,” Tim Stamper declared in an August issue of Home Computing Weekly. The brothers designed and created games while Carole juggled administrative roles and contributed art to several of its first hits. Those early titles included Jetpac, the home computer game that thrust the company into the big time, and turns 40 years old this year. Initially, Ultimate focused on the UK’s predominant home computer, the ZX Spectrum, despite reservations about its technical constraints. “When the Spectrum came out, we thought ‘what a piece of garbage,’” proclaimed Tim Stamper in his 1988 interview for Crash. But the Sinclair computer grew on the brothers and its ubiquity (at least in the UK) led them to appreciate the commercial opportunities. Having begun their games-development careers creating arcade games in a minimal UK market, the brothers turned their talents towards this home computer. For some of Ultimate’s longest-standing fans, their first game remains their best. Coded in under 16K, Jetpac was by necessity an uncomplicated game, but it perfectly replicated arcade-style thrills at home. Its hero – Jetman, who would become an unofficial Ultimate mascot – scoots from platform to platform, picking up pieces of his rocket before fuelling it up and heading upwards to the next alien-infested rock. “What puts it to No 1 in this review is the fantastic quality of the graphics,” noted ZX Computing magazine at the time. “But the thing that really caught my eye was the incredible smoothness of it all.” Buoyed by the astonishing success of Jetpac, the Stampers created several more impressive hits for the Spectrum. Pssst, Cookie and the driving game Tranz Am all appeared in the summer of 1983, before Ultimate left the 16K Spectrum behind, moving to the heady heights of the 48K model. Lunar Jetman was released in the autumn of 1983 to massive praise throughout the dedicated Spectrum press. “Well, what can you say? Marvellous seems inadequate,” gushed one Crash reviewer. Lunar Jetman was another smash, and the Stampers quickly followed it up with the brilliant adventure game Atic Atac. At the same time, with incredible foresight, the brothers were already investigating a new console emerging from Japan, “the Nintendo”. Ultimate’s contacts in the Japanese arcade industry had led them to this new, dedicated games machine. “It had colossal potential,” said Tim in the Crash interview. “We looked at this, and we looked at the Spectrum – and the Spectrum was hot stuff – but this was incredible.” Tim and Chris spent several months learning all about what would soon become the Nintendo Entertainment System (NES), while simultaneously working on a game that would redefine the ZX Spectrum and create a new genre. With six high quality games under its belt in less than a year, Ultimate had established itself as one of the UK’s finest games publishers. Incredibly, it was about to get even better. In 1984 Ultimate released Sabre Wulf, the first adventure for a new hero, Sabreman – quickly followed by his second. Then there was Knight Lore. Presented in trademarked “Filmation”, the isometric graphics – a thing of cartoon beauty on such limited technology – predictably wowed reviewers, gamers and programmers alike. “I was handing over Match Day to Ocean when [Ocean boss] David Ward said I needed to look at this game they were distributing,” says Jon Ritman, the coder behind Spectrum isometric classics Batman and Head Over Heels. “I loaded it up and was just blown away. It was like a Disney film you could play … I didn’t even understand how they made the graphics overlay each other … cleanly as well, not in straight lines, but diagonals. It was just great.” Like many of his peers, Ritman soon worked out and even improved upon the Knight Lore engine, so similar games proliferated, particularly on the Spectrum. The Stampers had an inkling this would happen: Knight Lore, and a considerable portion of its follow-up, Alien 8, were already completed when the company released Sabre Wulf. All these games received glowing reviews, and with its output now retailing at a pocket-money-busting £9.95 (compared to the average of £6-8 at the time), Ultimate was at its peak. So naturally, in 1985, the Stamper brothers decided it was time to bail out of the home computer market. Rival software publisher US Gold purchased the Ultimate brand, and the Stampers reinvented their company as the console-focused Rare. It was the biggest switch in UK gaming history: the country’s most critically and commercially successful programmers (at least on the ZX Spectrum – things weren’t quite so rosy for Ultimate on the Commodore 64 and Amstrad CPC) had suddenly left behind the computer that had made them. Ultimate’s entire home computer catalogue appeared to be merely a calling card for bigger things. “It was sort of an introduction process,” said Chris in 1988. “We had to show Nintendo that we had the capability before they could give us the rights to go ahead and produce for their system.” After the video game crash in the US, the Stampers saw that the market was returning, and predicted that the Nintendo Entertainment System would be at the forefront of this revival. “We knew a market was going to boom in Japan and America, and we set up Rare to handle that,” noted Tim in Crash. By 1988, Rare had released several NES games including the downhill skiing simulation Slalom, and action platform game Wizards & Warriors. The company was rapidly approaching 20 employees, one of whom was Ritman, the creator of one of the most revered homages to Knight Lore, Head Over Heels. “They were very mysterious, mainly because they were so busy and didn’t have the time,” says Ritman. “They had decided to start this new company [and] there was this huge interview in Crash. So I called the magazine, got a phone number and gave them a ring!” Supremely confident, it never occurred to Ritman that Rare might not be interested in his talents. “Fortunately, they’d played my games. Years later, Tim told me he’d never seen someone so certain they would be offered work!” Rare established a foothold in Japan via the US and its sister company, Rare Coin-it. After it reverse-engineered the console, Nintendo, impressed by its technical prowess, made Rare its first western developer. And once established, the Stampers continued with their prolific output, focusing once again on a single platform. By the early 90s, Rare had published more than 30 games for the NES. And then the Teenage Mutant Ninja Turtle-inspired Battletoads became its conduit into Nintendo’s next-generation console, the Super Nintendo Entertainment System (SNES). By now, so confident was Nintendo in its premier western partner it even entrusted the developer with one of its own properties, Donkey Kong. “[Shigeru Miyamoto] was admirably hands-off, actually,” recalled Rare’s Gregg Mayles in Retro Gamer magazine. “I mean, he handed one of his characters over to us, and we changed the look of it completely.” Arcade beat-’em-up Killer Instinct followed, together with two further Donkey Kong Country games. But it would be with Nintendo’s next console that Rare would achieve its highest fame. Renowned today as one of the best movie licence video games of all time, GoldenEye 007 energised FPS gaming on consoles and, along with the underrated Blast Corps and manic Banjo-Kazooie, cemented Rare’s position in the top tier of UK games developers. Then the 00s brought a new era of consoles, and Rare struggled to hit the heights of the previous decade. Microsoft purchased the developer in 2002, and the Stampers departed in 2007. The family atmosphere of the 90s, when Chris and Tim sat in on interviews and left their talented developers to work unhindered, offering occasional golden nuggets of advice, was long gone. “Microsoft and Rare was a bad marriage from the beginning,” Rare’s Martin Hollis told Eurogamer in 2012. “The groom was rich. The bride was beautiful. But they wanted to make different games, and they wanted to make them in different ways.” Like most enduring marriages, the couple found a way to manage the relationship. The Stampers may be gone but Rare continues today, tasting success again with a popular online pirate game, Sea of Thieves. Despite its travails, Rare is still a hotbed of talent. “With all the talent in the UK and with all those thousands of people writing games, I feel it should be UK companies producing the No 1 arcade games,” signed off Chris Stamper in that 1988 Crash magazine interview. “And then everyone in the world following that – because Britain’s got the best talent, without a doubt.”

Archived version: https://archive.ph/q7BZB For five long years, the ZX Spectrum magazine Crash tried to get an interview with the people behind Ultimate Play the Game, which had become one of the UK’s premier games developers. They heard nothing until, one day early in 1988, Crash got a phone call. It was them. And they wanted to talk. Ultimate Play the Game, a trading name of Ashby Computers and Graphics, began in 1982, owned by one family: the Stampers – brothers Chris and Tim, and Tim’s future wife Carole Ward, alongside programmer John Lathbury. Even at this stage, the Stampers were supremely confident in their own abilities, honed during the development of several arcade games. “We chose [this] company’s name because we felt it was representative of our products: the ultimate games,” Tim Stamper declared in an August issue of Home Computing Weekly. The brothers designed and created games while Carole juggled administrative roles and contributed art to several of its first hits. Those early titles included Jetpac, the home computer game that thrust the company into the big time, and turns 40 years old this year. Initially, Ultimate focused on the UK’s predominant home computer, the ZX Spectrum, despite reservations about its technical constraints. “When the Spectrum came out, we thought ‘what a piece of garbage,’” proclaimed Tim Stamper in his 1988 interview for Crash. But the Sinclair computer grew on the brothers and its ubiquity (at least in the UK) led them to appreciate the commercial opportunities. Having begun their games-development careers creating arcade games in a minimal UK market, the brothers turned their talents towards this home computer. For some of Ultimate’s longest-standing fans, their first game remains their best. Coded in under 16K, Jetpac was by necessity an uncomplicated game, but it perfectly replicated arcade-style thrills at home. Its hero – Jetman, who would become an unofficial Ultimate mascot – scoots from platform to platform, picking up pieces of his rocket before fuelling it up and heading upwards to the next alien-infested rock. “What puts it to No 1 in this review is the fantastic quality of the graphics,” noted ZX Computing magazine at the time. “But the thing that really caught my eye was the incredible smoothness of it all.” Buoyed by the astonishing success of Jetpac, the Stampers created several more impressive hits for the Spectrum. Pssst, Cookie and the driving game Tranz Am all appeared in the summer of 1983, before Ultimate left the 16K Spectrum behind, moving to the heady heights of the 48K model. Lunar Jetman was released in the autumn of 1983 to massive praise throughout the dedicated Spectrum press. “Well, what can you say? Marvellous seems inadequate,” gushed one Crash reviewer. Lunar Jetman was another smash, and the Stampers quickly followed it up with the brilliant adventure game Atic Atac. At the same time, with incredible foresight, the brothers were already investigating a new console emerging from Japan, “the Nintendo”. Ultimate’s contacts in the Japanese arcade industry had led them to this new, dedicated games machine. “It had colossal potential,” said Tim in the Crash interview. “We looked at this, and we looked at the Spectrum – and the Spectrum was hot stuff – but this was incredible.” Tim and Chris spent several months learning all about what would soon become the Nintendo Entertainment System (NES), while simultaneously working on a game that would redefine the ZX Spectrum and create a new genre. With six high quality games under its belt in less than a year, Ultimate had established itself as one of the UK’s finest games publishers. Incredibly, it was about to get even better. In 1984 Ultimate released Sabre Wulf, the first adventure for a new hero, Sabreman – quickly followed by his second. Then there was Knight Lore. Presented in trademarked “Filmation”, the isometric graphics – a thing of cartoon beauty on such limited technology – predictably wowed reviewers, gamers and programmers alike. “I was handing over Match Day to Ocean when [Ocean boss] David Ward said I needed to look at this game they were distributing,” says Jon Ritman, the coder behind Spectrum isometric classics Batman and Head Over Heels. “I loaded it up and was just blown away. It was like a Disney film you could play … I didn’t even understand how they made the graphics overlay each other … cleanly as well, not in straight lines, but diagonals. It was just great.” Like many of his peers, Ritman soon worked out and even improved upon the Knight Lore engine, so similar games proliferated, particularly on the Spectrum. The Stampers had an inkling this would happen: Knight Lore, and a considerable portion of its follow-up, Alien 8, were already completed when the company released Sabre Wulf. All these games received glowing reviews, and with its output now retailing at a pocket-money-busting £9.95 (compared to the average of £6-8 at the time), Ultimate was at its peak. So naturally, in 1985, the Stamper brothers decided it was time to bail out of the home computer market. Rival software publisher US Gold purchased the Ultimate brand, and the Stampers reinvented their company as the console-focused Rare. It was the biggest switch in UK gaming history: the country’s most critically and commercially successful programmers (at least on the ZX Spectrum – things weren’t quite so rosy for Ultimate on the Commodore 64 and Amstrad CPC) had suddenly left behind the computer that had made them. Ultimate’s entire home computer catalogue appeared to be merely a calling card for bigger things. “It was sort of an introduction process,” said Chris in 1988. “We had to show Nintendo that we had the capability before they could give us the rights to go ahead and produce for their system.” After the video game crash in the US, the Stampers saw that the market was returning, and predicted that the Nintendo Entertainment System would be at the forefront of this revival. “We knew a market was going to boom in Japan and America, and we set up Rare to handle that,” noted Tim in Crash. By 1988, Rare had released several NES games including the downhill skiing simulation Slalom, and action platform game Wizards & Warriors. The company was rapidly approaching 20 employees, one of whom was Ritman, the creator of one of the most revered homages to Knight Lore, Head Over Heels. “They were very mysterious, mainly because they were so busy and didn’t have the time,” says Ritman. “They had decided to start this new company [and] there was this huge interview in Crash. So I called the magazine, got a phone number and gave them a ring!” Supremely confident, it never occurred to Ritman that Rare might not be interested in his talents. “Fortunately, they’d played my games. Years later, Tim told me he’d never seen someone so certain they would be offered work!” Rare established a foothold in Japan via the US and its sister company, Rare Coin-it. After it reverse-engineered the console, Nintendo, impressed by its technical prowess, made Rare its first western developer. And once established, the Stampers continued with their prolific output, focusing once again on a single platform. By the early 90s, Rare had published more than 30 games for the NES. And then the Teenage Mutant Ninja Turtle-inspired Battletoads became its conduit into Nintendo’s next-generation console, the Super Nintendo Entertainment System (SNES). By now, so confident was Nintendo in its premier western partner it even entrusted the developer with one of its own properties, Donkey Kong. “[Shigeru Miyamoto] was admirably hands-off, actually,” recalled Rare’s Gregg Mayles in Retro Gamer magazine. “I mean, he handed one of his characters over to us, and we changed the look of it completely.” Arcade beat-’em-up Killer Instinct followed, together with two further Donkey Kong Country games. But it would be with Nintendo’s next console that Rare would achieve its highest fame. Renowned today as one of the best movie licence video games of all time, GoldenEye 007 energised FPS gaming on consoles and, along with the underrated Blast Corps and manic Banjo-Kazooie, cemented Rare’s position in the top tier of UK games developers. Then the 00s brought a new era of consoles, and Rare struggled to hit the heights of the previous decade. Microsoft purchased the developer in 2002, and the Stampers departed in 2007. The family atmosphere of the 90s, when Chris and Tim sat in on interviews and left their talented developers to work unhindered, offering occasional golden nuggets of advice, was long gone. “Microsoft and Rare was a bad marriage from the beginning,” Rare’s Martin Hollis told Eurogamer in 2012. “The groom was rich. The bride was beautiful. But they wanted to make different games, and they wanted to make them in different ways.” Like most enduring marriages, the couple found a way to manage the relationship. The Stampers may be gone but Rare continues today, tasting success again with a popular online pirate game, Sea of Thieves. Despite its travails, Rare is still a hotbed of talent. “With all the talent in the UK and with all those thousands of people writing games, I feel it should be UK companies producing the No 1 arcade games,” signed off Chris Stamper in that 1988 Crash magazine interview. “And then everyone in the world following that – because Britain’s got the best talent, without a doubt.”

Archived version: https://archive.li/Yg8r8 My favorite part: > But while his reaction the day after learning that X was commandeering his handle was extreme frustration, Vaught told Ars that the platform will remain his primary form of social media. > > "it's highly annoying, but Twitter is still my preferred social media," Vaught said. "That's how I communicate and learn my news about what's going on. Nothing else compares." > > His only "minor protest" to X's action, he said, was to cancel his Twitter Blue subscription. > Vaught is mostly a Musk fan, as he's interested in Musk's electric cars and space developments. He said that this experience with X hasn't tainted his opinion of Musk or his relationship too much with X as a platform. He's holding out hope that Musk has a long-term plan for where Musk is taking X, but like many users, he's struggling to adjust to the rebranding.

Archived version: https://archive.ph/vNSJa

A YouTuber's announcement of a video games console giveaway sparked chaos and a major police response in the heart of New York City on Friday. A crowd of roughly 2,000 converged at Union Square Park in anticipation of free PlayStation 5 devices from celebrity Twitch streamer Kai Cenat. Police said the influencer was among a number of people detained and he could be charged with inciting a riot. People were seen hurling fireworks, bottles and toppling barricades. Subway trains passed the Union Square stop during the incident, the BBC's US partner CBS reported, as police urged people to avoid the area. People first gathered at around 13:00 local time (17:00 GMT) after Mr Cenat posted on social media - where he has more than 10 million followers and subscribers - that he would be handing out 300 PlayStations. By 15:00, hundreds had piled on to streets surrounding one of New York City's busiest train stops. They climbed cars and the train station entrance's roof and threw bottles at responding police officers. New York Police Department declared a "level four" mobilisation, meaning roughly 1,000 officers were deployed to the scene. During a livestream inside a vehicle near Union Square as the disorder was unfolding, Mr Cenat said: "They're throwing tear gas out there. "We're not going to do nothing until it's safe. Everybody for themselves, because it's a war out there man." Mr Cenat was taken into police custody at around 17:00. The crowd was finally dispersed about an hour later. According to a CBS affiliate, Mr Cenat did not have a permit for the event, which was reportedly a collaboration with Bronx YouTube star Fanum. NYPD Chief of Department Jeffrey Maddrey said: "We have encountered things like this before, but never to this level of dangerousness, where young people would not listen to our commands." He added: "You had people walking around with shovels, axes, and other tools from the construction trade. "In addition, individuals were also lighting fireworks. They were throwing them towards police, and they were throwing them at each other." Mr Cenat made headlines in March after he broke the record for attracting the most Twitch subscribers by reaching 300,000. Twitch is a livestreaming platform, where people typically play video games while chatting to viewers. In the build-up to breaking the record, Mr Cenat launched a round-the-clock drive to boost his subscribers - chatting, gaming and interviewing guests, as well as sleeping, all on camera - for 30 days.

> Luca Galante went from flipping burgers in Thornton Heath to accidentally creating a gaming sensation in one of the few true indie developer rags-to-riches tales Archived version: https://archive.ph/RYbQn

> Luca Galante went from flipping burgers in Thornton Heath to accidentally creating a gaming sensation in one of the few true indie developer rags-to-riches tales Archived version: https://archive.ph/RYbQn

> Luca Galante went from flipping burgers in Thornton Heath to accidentally creating a gaming sensation in one of the few true indie developer rags-to-riches tales Archived version: https://archive.ph/RYbQn

Archived version: https://archive.li/TbziV Google is launching new privacy tools to allow users to have more control over unwanted personal images online and ensure explicit or graphic photos do not appear easily in search results. Updates to Google policies on personal explicit images mean that users will be able to remove non-consensual and explicit imagery of themselves that they no longer wish to be visible in searches. The update means that even if an individual created and uploaded explicit content to a website, and no longer wishes for it to be available on search, they will be able to request to remove it from Google search. The forms to submit requests have also been made more simple. The policy does not apply to images users are currently and actively commercialising. The policy also applies to websites containing personal information. Google will also roll out a new dashboard, only available in the US in English initially, that will let users know search results that display their contact information. Users can then quickly request the removal of these results from Google. The tool will also send a notification when new results with a user’s information pop up in search. A new blurring setting in SafeSearch will also be implemented as the default on Google search for users who do not already have SafeSearch filtering on. Explicit imagery, adult or graphic violent content will be blurred by default when it appears in search results. The setting can be turned off at any time, unless you are a supervised user on a public network that has kept this setting as default and locked it. For instance, in a search for images under “injury”, explicit content will be blurred to prevent users from being shown graphic content. Google initially announced this safeguard in February and it will be launched globally in August.

It looks like Google's long-running project to split up ChromeOS and its Chrome browser will be shipping out to the masses soon. Kevin Tofel's About Chromebooks has spotted flags that turn on the feature by default for ChromeOS 116 and up. 116 is currently in beta and should be live in the stable channel sometime this month. The project is called "Lacros" which Google says stands for "Linux And ChRome OS." This will split ChromeOS's Linux OS from the Chrome browser, allowing Google to update each one independently. Google documentation on the project says, "On Chrome OS, the system UI (ash window manager, login screen, etc.) and the web browser are the same binary. Lacros separates this functionality into two binaries, henceforth known as ash-chrome (system UI) and lacros-chrome (web browser)." Part of the project involves sprucing up the ChromeOS OS, and Google's docs say, "Lacros can be imagined as 'Linux chrome with more Wayland support.'" Previously ChromeOS was using a homemade graphics stack called "Freon," but now with Wayland, it'll be on the new and normal desktop Linux graphic stack. Google's 2016 move to Freon was at a time when it could have moved from X11 (the old, normal desktop Linux graphics stock) directly to Wayland, but it decided to take this custom detour instead. Google says this represents "more Wayland support" because Wayland was previously used for Android and Linux apps, but now it'll be used for the native Chrome OS graphics, too. On the browser side, ChromeOS would stop using the bespoke Chrome browser for ChromeOS and switch to the Chrome browser for Linux. The same browser you get on Ubuntu would now ship on ChromeOS. In the past, turning on Lacros in ChromeOS would show both Chrome browsers, the outgoing ChromeOS one and the new Linux one. Lacros has been in development for around two years and can be enabled via a Chrome flag. Tofel says his 116 build no longer has that flag since it's the default now. Google hasn't officially confirmed this is happening, but so far, the code is headed that way. Users probably won't notice anything, but the feature should make it easier to update Chrome OS and might even extend the lifetime of old ChromeOS devices. This should also let Google more directly roll out changes on ChromeOS. Currently, there can be a delay while Google does the extra build work for ChromeOS, so the standalone browsers get security fixes first. *Archived version: https://archive.ph/EG7nc*

I've been using this site for a while now and it's the best one I've found for discovering Game Pass titles. There are a lot of filters that are useful for PC gamers, so it's not just console-focused. I'm not affiliated with the site in any way. Just an enthusiastic user.

**Move comes in response to Canadian legislation requiring internet giants to pay news publishers** Guardian staff and agencies Tue 1 Aug 2023 22.14 BST Meta has begun the process to end access to news on Facebook and Instagram for all users in Canada, the company said on Tuesday. The move comes in response to legislation in the country requiring internet giants to pay news publishers. The findings suggest that Facebook users seek out content that aligns with their views. Meta’s communications director, Andy Stone, said the changes will roll out in the coming weeks. Canada’s heritage minister, Pascale St-Onge, who is in charge of the government’s dealings with Meta, called the move irresponsible. “[Meta] would rather block their users from accessing good quality and local news instead of paying their fair share to news organizations,” St-Onge said in a statement on Tuesday. “We’re going to keep standing our ground. After all, if the government can’t stand up for Canadians against tech giants, who will?” Canada’s public broadcast CBC also called Meta’s move irresponsible and said that it was “an abuse of their market power”. The Online News Act, passed by the Canadian parliament, would force platforms like Google’s parent company, Alphabet, and Meta to negotiate commercial deals with Canadian news publishers for their content. The legislation is part of a broader global trend of governments trying to make tech firms pay for news. Canada’s legislation is similar to a ground-breaking law that Australia passed in 2021 and had triggered threats from Google and Facebook to curtail their services. Both the companies eventually struck deals with Australian media firms after amendments to the legislation were offered. In the US, the state of California has also considered a similar law. In that case, too, Meta has threatened to withdraw services from the state if the legislation goes through. On the Canadian law, Google has argued that it is broader than those enacted in Australia and Europe as it puts a price on news story links displayed in search results and can apply to outlets that do not produce news. Meta had said links to news articles make up less than 3% of the content on its users’ feed and argued that news lacked economic value. Canada’s prime minister, Justin Trudeau, had said in May that such an argument was flawed and “dangerous to our democracy, to our economy”.

The stretch goal for multiplayer has also been reached. Next is for a console version.

The stretch goal for multiplayer has also been reached. Next is for a console version.