Author Archives: Will Shanklin

Makers of Switch emulator Yuzu quickly settle with Nintendo for $2.4 million

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Tropic Haze, the popular Yuzu Nintendo Switch emulator developer, appears to have agreed to settle Nintendo’s lawsuit against it. Less than a week after Nintendo filed the legal action, accusing the emulator’s creators of “piracy at a colossal scale,” a joint final judgment and permanent injunction filed Tuesday says Tropic Haze has agreed to pay the Mario maker $2.4 million, along with a long list of concessions.

Nintendo’s lawsuit claimed Tropic Haze violated the anti-circumvention and anti-trafficking provisions of the Digital Millennium Copyright Act (DMCA). “Without Yuzu’s decryption of Nintendo’s encryption, unauthorized copies of games could not be played on PCs or Android devices,” the company wrote in its complaint. It described Yuzu as “software primarily designed to circumvent technological measures.”

Yuzu launched in 2018 as free, open-source software for Windows, Linux and Android. It could run countless copyrighted Switch games — including console sellers like The Legend of Zelda: Breath of the Wild and Tears of the Kingdom, Super Mario Odyssey and Super Mario Wonder. Reddit threads comparing Switch emulators praised Yuzu’s performance compared to rivals like Ryujinx. Yuzu introduces various bugs across different titles, but it can typically handle games at higher resolutions than the Switch, often with better frame rates, so long as your hardware is powerful enough.

Screenshot from the Yuzu emulator website showing a still from Zelda: Breath of the Wild with a blueprint-style sketch of the Nintendo Switch framing it. Dark gray background.
A screenshot from Yuzu’s website, showing The Legend of Zelda: Breath of the Wild
Tropic Haze / Nintendo

As part of an Exhibit A attached to the proposed joint settlement, Tropic Haze agreed to a series of accommodations. In addition to paying Nintendo $2.4 million, it must permanently refrain from “engaging in activities related to offering, marketing, distributing, or trafficking in Yuzu emulator or any similar software that circumvents Nintendo’s technical protection measures.”

Tropic Haze must also delete all circumvention devices, tools and Nintendo cryptographic keys used in the emulator and turn over all circumvention devices and modified Nintendo hardware. It even has to surrender the emulator’s web domain (including any variants or successors) to Nintendo. (The website is still live now, perhaps waiting for the judgment’s final a-okay.) Not abiding by the settlement’s agreements could land Tropic Haze in contempt of court, including punitive, coercive and monetary actions.

Although piracy is the top motive for many emulator users, the software can double as crucial tools for video game preservation — making rapid legal surrenders like Tropic Haze’s potentially problematic. Without emulators, Nintendo and other copyright holders could make games obsolete for future generations as older hardware eventually becomes more difficult to find.

Nintendo’s legal team is, of course, no stranger to aggressively enforcing copyrighted material. In recent years, the company went after Switch piracy websites, sued ROM-sharing website RomUniverse for $2 million and helped send hacker Gary Bowser to prison. Although it was Valve’s doing, Nintendo’s reputation indirectly got the Dolphin Wii and GameCube emulator blocked from Steam. It’s safe to say the Mario maker doesn’t share preservationists’ views on the crucial historical role emulators can play.

Despite the settlement, it appears unlikely the open-source Yuzu will disappear entirely. The emulator is still available on GitHub, where its entire codebase can be found.

This article originally appeared on Engadget at https://www.engadget.com/makers-of-switch-emulator-yuzu-quickly-settle-with-nintendo-for-24-million-203204698.html?src=rss

Apple backtracks on plans to get rid of web apps on iPhones in the EU

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Apple has walked back its decision to remove home screen web apps in the European Union (EU). After initially blaming its decision to ditch them on the Digital Markets Act’s (DMA) requirement to support non-WebKit browsers, Apple now says European users will return to enjoying the same web app experience from before when iOS 17.4 arrives early this month.

“We have received requests to continue to offer support for Home Screen web apps in iOS, therefore we will continue to offer the existing Home Screen web apps capability in the EU,” Apple wrote Friday in an updated developer support document. “This support means Home Screen web apps continue to be built directly on WebKit and its security architecture, and align with the security and privacy model for native apps on iOS.”

Progressive web apps (PWAs) act much like native apps with features like dedicated windows, notifications and local storage. Apple removed them for European customers in the second iOS 17.4 beta, instead asking if users want to open the website in Safari.

At the time, the company claimed web app support could compromise security, given the DMA’s requirement to support non-WebKit browser engines. “Addressing the complex security and privacy concerns associated with web apps using alternative browser engines would require building an entirely new integration architecture that does not currently exist in iOS and was not practical to undertake given the other demands of the DMA and the very low user adoption of Home Screen web apps,” the company wrote in February.

The Open Web Advocacy organization chimed in quickly to criticize Apple’s now-reversed move. “Apple has had 15 years to facilitate true browser competition worldwide, and nearly two years since the DMA’s final text,” the organization wrote in February. “It could have used that time to share functionality it historically self-preferenced to Safari with other browsers. Inaction and silence speaks volumes.”

The EU didn’t sound much happier about the web app removal. European Commission officials said in late February they were probing Apple’s decision in what sounded like the build-up to a formal investigation. The Financial Times reported that regulators sent developers questions about the impact of Apple’s PWA removal.

Whatever may have happened between then and now to change Apple’s mind, it’s remaining tight-lipped. Instead, the company is framing its reversal as a simple response to “requests” it received to continue offering home screen web apps. Perhaps EU officials assured the iPhone maker the company wouldn’t need to support PWAs from other browser engines, or maybe the company merely wanted to head off a formal probe (and the bad PR it could generate). Regardless, only European iOS 17.4 beta users are without web apps, and they’ll have them back once the software’s final version arrives.

This article originally appeared on Engadget at https://www.engadget.com/apple-backtracks-on-plans-to-get-rid-of-web-apps-on-iphones-in-the-eu-195232177.html?src=rss

Apple backtracks on plans to get rid of web apps on iPhones in the EU

Posted on by

Apple has walked back its decision to remove home screen web apps in the European Union (EU). After initially blaming its decision to ditch them on the Digital Markets Act’s (DMA) requirement to support non-WebKit browsers, Apple now says European users will return to enjoying the same web app experience from before when iOS 17.4 arrives early this month.

“We have received requests to continue to offer support for Home Screen web apps in iOS, therefore we will continue to offer the existing Home Screen web apps capability in the EU,” Apple wrote Friday in an updated developer support document. “This support means Home Screen web apps continue to be built directly on WebKit and its security architecture, and align with the security and privacy model for native apps on iOS.”

Progressive web apps (PWAs) act much like native apps with features like dedicated windows, notifications and local storage. Apple removed them for European customers in the second iOS 17.4 beta, instead asking if users want to open the website in Safari.

At the time, the company claimed web app support could compromise security, given the DMA’s requirement to support non-WebKit browser engines. “Addressing the complex security and privacy concerns associated with web apps using alternative browser engines would require building an entirely new integration architecture that does not currently exist in iOS and was not practical to undertake given the other demands of the DMA and the very low user adoption of Home Screen web apps,” the company wrote in February.

The Open Web Advocacy organization chimed in quickly to criticize Apple’s now-reversed move. “Apple has had 15 years to facilitate true browser competition worldwide, and nearly two years since the DMA’s final text,” the organization wrote in February. “It could have used that time to share functionality it historically self-preferenced to Safari with other browsers. Inaction and silence speaks volumes.”

The EU didn’t sound much happier about the web app removal. European Commission officials said in late February they were probing Apple’s decision in what sounded like the build-up to a formal investigation. The Financial Times reported that regulators sent developers questions about the impact of Apple’s PWA removal.

Whatever may have happened between then and now to change Apple’s mind, it’s remaining tight-lipped. Instead, the company is framing its reversal as a simple response to “requests” it received to continue offering home screen web apps. Perhaps EU officials assured the iPhone maker the company wouldn’t need to support PWAs from other browser engines, or maybe the company merely wanted to head off a formal probe (and the bad PR it could generate). Regardless, only European iOS 17.4 beta users are without web apps, and they’ll have them back once the software’s final version arrives.

This article originally appeared on Engadget at https://www.engadget.com/apple-backtracks-on-plans-to-get-rid-of-web-apps-on-iphones-in-the-eu-195232177.html?src=rss

Adobe’s latest AI experiment generates music from text

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This week, Adobe revealed an experimental audio AI tool to join its image-based ones in Photoshop. Described by the company as “an early-stage generative AI music generation and editing tool,” Adobe’s Project Music GenAI Control can create music (and other audio) from text prompts, which it can then fine-tune in the same interface.

Adobe frames the Firefly-based technology as a creative ally that — unlike generative audio experiments like Google’s MusicLM — goes a step further and skips the hassle of moving the output to external apps like Pro Tools, Logic Pro or GarageBand for editing. “Instead of manually cutting existing music to make intros, outros, and background audio, Project Music GenAI Control could help users to create exactly the pieces they need—solving workflow pain points end-to-end,” Adobe wrote in an announcement blog post.

The company suggests starting with text inputs like “powerful rock,” “happy dance” or “sad jazz” as a foundation. From there, you can enter more prompts to adjust its tempo, structure and repetition, increase its intensity, extend its length, remix entire sections or create loops. The company says it can even transform audio based on a reference melody.

Adobe says the resulting music is safe for commercial use. It’s also integrating its Content Credentials (“nutrition labels” for generated content), an attempt to be transparent about your masterpiece’s AI-assisted nature.

“One of the exciting things about these new tools is that they aren’t just about generating audio—they’re taking it to the level of Photoshop by giving creatives the same kind of deep control to shape, tweak, and edit their audio. It’s a kind of pixel-level control for music,” Adobe Research scientist Nicholas Bryan wrote.

The project is a collaboration with the University of California, San Diego and the School of Computer Science, Carnegie Mellon University. Adobe’s announcement emphasized Project Music GenAI Control’s experimental nature. (It didn’t reveal much of its interface in the video above, suggesting it may not have a consumer-facing UI yet.) So you may have to wait a while before the feature (presumably) makes its way into Adobe’s Creative Cloud suite.

This article originally appeared on Engadget at https://www.engadget.com/adobes-latest-ai-experiment-generates-music-from-text-184019169.html?src=rss

Adobe’s latest AI experiment generates music from text

Posted on by

This week, Adobe revealed an experimental audio AI tool to join its image-based ones in Photoshop. Described by the company as “an early-stage generative AI music generation and editing tool,” Adobe’s Project Music GenAI Control can create music (and other audio) from text prompts, which it can then fine-tune in the same interface.

Adobe frames the Firefly-based technology as a creative ally that — unlike generative audio experiments like Google’s MusicLM — goes a step further and skips the hassle of moving the output to external apps like Pro Tools, Logic Pro or GarageBand for editing. “Instead of manually cutting existing music to make intros, outros, and background audio, Project Music GenAI Control could help users to create exactly the pieces they need—solving workflow pain points end-to-end,” Adobe wrote in an announcement blog post.

The company suggests starting with text inputs like “powerful rock,” “happy dance” or “sad jazz” as a foundation. From there, you can enter more prompts to adjust its tempo, structure and repetition, increase its intensity, extend its length, remix entire sections or create loops. The company says it can even transform audio based on a reference melody.

Adobe says the resulting music is safe for commercial use. It’s also integrating its Content Credentials (“nutrition labels” for generated content), an attempt to be transparent about your masterpiece’s AI-assisted nature.

“One of the exciting things about these new tools is that they aren’t just about generating audio—they’re taking it to the level of Photoshop by giving creatives the same kind of deep control to shape, tweak, and edit their audio. It’s a kind of pixel-level control for music,” Adobe Research scientist Nicholas Bryan wrote.

The project is a collaboration with the University of California, San Diego and the School of Computer Science, Carnegie Mellon University. Adobe’s announcement emphasized Project Music GenAI Control’s experimental nature. (It didn’t reveal much of its interface in the video above, suggesting it may not have a consumer-facing UI yet.) So you may have to wait a while before the feature (presumably) makes its way into Adobe’s Creative Cloud suite.

This article originally appeared on Engadget at https://www.engadget.com/adobes-latest-ai-experiment-generates-music-from-text-184019169.html?src=rss

Saber Interactive may escape Embracer’s death hug and become a private company

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Saber Interactive has reportedly found an exit strategy from the death grip of its parent company, Embracer Group AB. Bloomberg reported Thursday that “a group of private investors” will buy the studio in a deal worth roughly $500 million. Saber would then become a private company with about 3,500 employees.

Engadget emailed a spokesperson from Saber for confirmation about the alleged buyout. The studio declined to comment.

The alleged agreement would be one of Embracer’s most significant cost-cutting moves since the collapse of a reported $2 billion deal with a group backed by Saudi Arabia’s sovereign wealth fund. Some criticized the imperiled deal as the gaming equivalent of “sportswashing,” using popular sporting acquisitions and partnerships to boost beleaguered governments’ global images. That followed US intelligence’s conclusion that the Saudi regime murdered The Washington Post reporter Jamal Khashoggi in late 2018.

Other cost-cutting moves at Embracer have included laying off about 900 employees in September, cutting another 50 or so jobs at Chorus developer Fishlabs and implementing more layoffs at Tiny Tina’s Wonderland developer Lost Boys Interactive, Beamdog, Crystal Dynamics and Saber subsidiary New World Interactive. Embracer also closed Saints Row studio Volition Games and Campfire Cabal.

Still from Star Wars: The Knights of the Old Republic. Two people and a droid stand outside on a bridge in a very Star Wars-y environment. Buildings, ships, towers.
LucasArts / Aspyr

According to Bloomberg, Saber’s sale won’t affect the studio’s role in developing an upcoming Star Wars: Knights of the Old Republic (KOTOR) remake. That game has already changed hands once: One of Saber’s Eastern European studios took over from Aspyr Media in the summer of 2022.

Aspyr had reportedly already been working on the game for years before providing a demo for Lucasfilm and Sony in June 2022; a week later, Aspyr fired its design director and art director. (Reports of the KOTOR demo costing a disproportionate amount of time and money may indicate a possible reason for the fallout.) By late that summer, Saber had taken over the development of the highly anticipated — and indefinitely delayed — remake.

Embracer bought Saber for $525 million in 2020 as it scooped up gaming studios left and right. It acquired at least 27 companies during that period, folding some of them (Demiurge Studios and New World Interactive) into Saber. Bloomberg reports that the deal to sell Saber to private investors includes an option to “bring along multiple Embracer subsidiaries.”

One studio that’s far too big to be included in this transaction is Borderlands developer Gearbox Entertainment. However, Kotaku reported Thursday that Gearbox CEO Randy Pitchford told staff this week that a decision about the studio’s future had been made. He allegedly said he’d be able to share more details with them next month.

In the meantime, a cloud of uncertainty envelops Gearbox — and Embracer’s other remaining studios. “I’ve personally been looking for roles elsewhere not just due to the Embracer layoff fears, but due to pay,” an anonymous developer reportedly said to Kotaku. “Vague and in a holding pattern is definitely par for the course at the moment and has been for most of 2023.”

This article originally appeared on Engadget at https://www.engadget.com/saber-interactive-may-escape-embracers-death-hug-and-become-a-private-company-203623311.html?src=rss

Saber Interactive may escape Embracer’s death hug and become a private company

Posted on by

Saber Interactive has reportedly found an exit strategy from the death grip of its parent company, Embracer Group AB. Bloomberg reported Thursday that “a group of private investors” will buy the studio in a deal worth roughly $500 million. Saber would then become a private company with about 3,500 employees.

Engadget emailed a spokesperson from Saber for confirmation about the alleged buyout. The studio declined to comment.

The alleged agreement would be one of Embracer’s most significant cost-cutting moves since the collapse of a reported $2 billion deal with a group backed by Saudi Arabia’s sovereign wealth fund. Some criticized the imperiled deal as the gaming equivalent of “sportswashing,” using popular sporting acquisitions and partnerships to boost beleaguered governments’ global images. That followed US intelligence’s conclusion that the Saudi regime murdered The Washington Post reporter Jamal Khashoggi in late 2018.

Other cost-cutting moves at Embracer have included laying off about 900 employees in September, cutting another 50 or so jobs at Chorus developer Fishlabs and implementing more layoffs at Tiny Tina’s Wonderland developer Lost Boys Interactive, Beamdog, Crystal Dynamics and Saber subsidiary New World Interactive. Embracer also closed Saints Row studio Volition Games and Campfire Cabal.

Still from Star Wars: The Knights of the Old Republic. Two people and a droid stand outside on a bridge in a very Star Wars-y environment. Buildings, ships, towers.
LucasArts / Aspyr

According to Bloomberg, Saber’s sale won’t affect the studio’s role in developing an upcoming Star Wars: Knights of the Old Republic (KOTOR) remake. That game has already changed hands once: One of Saber’s Eastern European studios took over from Aspyr Media in the summer of 2022.

Aspyr had reportedly already been working on the game for years before providing a demo for Lucasfilm and Sony in June 2022; a week later, Aspyr fired its design director and art director. (Reports of the KOTOR demo costing a disproportionate amount of time and money may indicate a possible reason for the fallout.) By late that summer, Saber had taken over the development of the highly anticipated — and indefinitely delayed — remake.

Embracer bought Saber for $525 million in 2020 as it scooped up gaming studios left and right. It acquired at least 27 companies during that period, folding some of them (Demiurge Studios and New World Interactive) into Saber. Bloomberg reports that the deal to sell Saber to private investors includes an option to “bring along multiple Embracer subsidiaries.”

One studio that’s far too big to be included in this transaction is Borderlands developer Gearbox Entertainment. However, Kotaku reported Thursday that Gearbox CEO Randy Pitchford told staff this week that a decision about the studio’s future had been made. He allegedly said he’d be able to share more details with them next month.

In the meantime, a cloud of uncertainty envelops Gearbox — and Embracer’s other remaining studios. “I’ve personally been looking for roles elsewhere not just due to the Embracer layoff fears, but due to pay,” an anonymous developer reportedly said to Kotaku. “Vague and in a holding pattern is definitely par for the course at the moment and has been for most of 2023.”

This article originally appeared on Engadget at https://www.engadget.com/saber-interactive-may-escape-embracers-death-hug-and-become-a-private-company-203623311.html?src=rss

Microsoft plans to streamline game upscaling across different graphics cards

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Microsoft has developed a new API to simplify super-resolution coding in PC gaming. The company’s DirectSR, developed with hardware partners Nvidia, AMD and Intel, will provide a more streamlined tunnel for developers to tap into the companies’ three distinct approaches to graphical upscaling in Windows games.

The company describes DirectSR as enabling “seamless integration of Super Resolution (SR)” for Windows games. “DirectSR is the missing link developers have been waiting for when approaching SR integration, providing a smoother, more efficient experience that scales across hardware,” Microsoft program manager Joshua Tucker wrote in a company blog post.

Super-resolution is a technology that enhances games’ visual quality without pushing the graphics card too hard. It runs games internally in a lower resolution but uses machine learning (and other tricks) to upscale the resolution of what you see on the screen. The result is sharper graphics with only a minimal extra demand on the GPU.

Side-by-side (split-screen) example of PC game
An Nvidia demonstration of a Need for Speed Unbound screen with and without DLSS (super-resolution) activated.
Nvidia

Microsoft says the DirectSR API opens the door to “multi-vendor” super-resolution via “a common set of inputs and outputs.” Tucker wrote that a single code path would enable “a variety of solutions” through the companies’ three (otherwise distinct) answers to super-resolution: Nvidia’s DLSS, AMD’s FidelityFX Super Resolution (FSR) and Intel’s XeSS.

The three GPU vendors’ SR solutions differ. Nvidia’s AI-powered DLSS appears to perform the best but requires an Nvidia graphics card. AMD’s FidelityFX is more versatile, supporting competitors’ hardware in addition to its own, while Intel’s XeSS offers AI upscaling for Intel hardware while still providing limited support for non-Intel GPUs.

Earlier this month, X (Twitter) user @PhantomofEarth noticed an AI-powered “Automatic super resolution” setting in a Windows Insider preview build (24H2). Although it isn’t confirmed that it’s the same thing, it sounds like it. The setting would allow you to “Use Al to make supported games play more smoothly with enhanced details.” The preview version offers the choice of using a universal / automatic upscaling approach or a per-game one. Initially speculated to be a rival super-resolution feature from Microsoft, it now appears “Automatic super resolution” may end up as the consumer-facing version of the DirectSR API.

Microsoft says DirectSR will arrive for developers “soon” in a public preview build of the Agility SDK (a component of DirectX 12). If you’re a PC gaming developer, the company plans to go into more detail about the new API in its DirectX State of the Union on March 21 at GDC.

This article originally appeared on Engadget at https://www.engadget.com/microsoft-plans-to-streamline-game-upscaling-across-different-graphics-cards-183052450.html?src=rss

Microsoft plans to streamline game upscaling across different graphics cards

Posted on by

Microsoft has developed a new API to simplify super-resolution coding in PC gaming. The company’s DirectSR, developed with hardware partners Nvidia, AMD and Intel, will provide a more streamlined tunnel for developers to tap into the companies’ three distinct approaches to graphical upscaling in Windows games.

The company describes DirectSR as enabling “seamless integration of Super Resolution (SR)” for Windows games. “DirectSR is the missing link developers have been waiting for when approaching SR integration, providing a smoother, more efficient experience that scales across hardware,” Microsoft program manager Joshua Tucker wrote in a company blog post.

Super-resolution is a technology that enhances games’ visual quality without pushing the graphics card too hard. It runs games internally in a lower resolution but uses machine learning (and other tricks) to upscale the resolution of what you see on the screen. The result is sharper graphics with only a minimal extra demand on the GPU.

Side-by-side (split-screen) example of PC game
An Nvidia demonstration of a Need for Speed Unbound screen with and without DLSS (super-resolution) activated.
Nvidia

Microsoft says the DirectSR API opens the door to “multi-vendor” super-resolution via “a common set of inputs and outputs.” Tucker wrote that a single code path would enable “a variety of solutions” through the companies’ three (otherwise distinct) answers to super-resolution: Nvidia’s DLSS, AMD’s FidelityFX Super Resolution (FSR) and Intel’s XeSS.

The three GPU vendors’ SR solutions differ. Nvidia’s AI-powered DLSS appears to perform the best but requires an Nvidia graphics card. AMD’s FidelityFX is more versatile, supporting competitors’ hardware in addition to its own, while Intel’s XeSS offers AI upscaling for Intel hardware while still providing limited support for non-Intel GPUs.

Earlier this month, X (Twitter) user @PhantomofEarth noticed an AI-powered “Automatic super resolution” setting in a Windows Insider preview build (24H2). Although it isn’t confirmed that it’s the same thing, it sounds like it. The setting would allow you to “Use Al to make supported games play more smoothly with enhanced details.” The preview version offers the choice of using a universal / automatic upscaling approach or a per-game one. Initially speculated to be a rival super-resolution feature from Microsoft, it now appears “Automatic super resolution” may end up as the consumer-facing version of the DirectSR API.

Microsoft says DirectSR will arrive for developers “soon” in a public preview build of the Agility SDK (a component of DirectX 12). If you’re a PC gaming developer, the company plans to go into more detail about the new API in its DirectX State of the Union on March 21 at GDC.

This article originally appeared on Engadget at https://www.engadget.com/microsoft-plans-to-streamline-game-upscaling-across-different-graphics-cards-183052450.html?src=rss

Three-packs of Google’s Nest Cam security cameras are $100 off today

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You can grab a three-pack of Google’s Nest Cam Indoor / Outdoor for $100 off. Best Buy is offering the battery-powered security cameras for nearly a record-low price. The cameras record in 1080p HDR with night vision and magnetic mounting, making your home security setup as close to painless as possible. Usually $450, you can get the trio of cameras for only $350. (And Best Buy Total members can drop it down to $300.)

The Nest Cam can differentiate between people, animals and vehicles, processed locally on the device. You can receive alerts on your phone when it detects any of those types of movement, and you can choose which alert types you get in the Google Home app. A premium feature, Familiar Faces, learns trusted people and notifies you accordingly. (It requires a $8 monthly Nest Aware subscription.)

Like most products in this category, the Nest Cam has a built-in speaker and mic, allowing you to check in with visitors and hold a remote conversation. The camera’s HDR capabilities make seeing details in bright sunlight easier, while a night vision mode (using six built-in infrared LEDs) makes things clearer in the dark. The camera is water-resistant and rated IP54.

Google estimates each camera’s battery will last about seven months between charges, provided it only records around two to four events per day. (You can buy a $35 weatherproof cable if you prefer a wired setup.) The three-pack includes three Nest Cams and magnetic mounting plates, three wall plates, six wall anchors and the appropriate screws.

Best Buy’s deal expires Wednesday evening, so you’ll want to act soon if you’re in the market for new security cameras.

Follow @EngadgetDeals on Twitter and subscribe to the Engadget Deals newsletter for the latest tech deals and buying advice.

This article originally appeared on Engadget at https://www.engadget.com/three-packs-of-googles-nest-cam-security-cameras-are-100-off-today-215952131.html?src=rss