Until Dawn remake hits PS5 and PC on October 4

Until Dawn, a beloved PlayStation 4 exclusives, is getting a fresh lick of paint. The narrative horror game has been rebuilt from the ground up in Unreal Engine 5 and now the new version has a very fitting spooky season release date. It’s coming to PlayStation 5 and PC on October 4.

Ballistic Moon, the studio that handled the remake given that original developer Supermassive Games is juggling several other projects, says the focus was on making the game feel more cinematic and intimate. That’s somewhat apt, given that a movie adaptation just started filming.

Those returning to the game will see updated character models, environments, interactable props, visual effects and animations. The switch to UE5 allowed the developers to make the most of upgraded rendering and ray-tracing capabilities too. Death scenes should look more grisly too, thanks to "more realistic real time fluids" and a revamped injury mask system.

Much of the action will now be from a third-person perspective with a controllable camera, rather than the purely fixed angles of the original game. Ballistic Moon also says it added more collectibles and revamped the prologue to tweak the pacing. In addition, the studio is bringing in more accessibility and usability settings to help as many folks as possible experience Until Dawn.

This article originally appeared on Engadget at https://www.engadget.com/gaming/until-dawn-remake-hits-ps5-and-pc-on-october-4-141559338.html?src=rss

Meta killed CrowdTangle, an ‘invaluable’ research tool, because what it showed was inconvenient

It’s the end of an era for social media research. Meta has shut down CrowdTangle, the analytics tool that for years helped tens of thousands of researchers, journalists and civil society groups understand how information was spreading on Facebook and Instagram.

For a company that’s never been known for being transparent about its inner workings, CrowdTangle was an “invaluable” resource for those hoping to study Meta’s platform, says Brandi Geurkink, the executive director for the Coalition for Independent Technology Research. “It was one of the only windows that anybody had into how these platforms work,” Geurkink tells Engadget. “The fact that CrowdTangle was available for free and to such a wide variety of people working on public interest journalism and research means that it was just an invaluable tool.”

Over the years, CrowdTangle has powered a staggering amount of research and reporting on public health, misinformation, elections and media. Its data has been cited in thousands of journal articles, according to Google Scholar. News outlets have used the tool to track elections and changes in the publishing industry. It’s also provided unparalleled insight into Facebook itself. For years, CrowdTangle data has been used by journalists to track the origins of viral misinformation, hoaxes and conspiracy theories on the social network. Engadget relied on CrowdTangle to uncover the overwhelming amount of spam on Facebook Gaming.

Meta wasn't always quite as averse to transparency as it is now. The company acquired CrowdTangle in 2016, and for years encouraged journalists, researchers and other civil society groups to use its data. Facebook provided training to academics and newsrooms, and it regularly highlighted research projects that relied on its insights.

But the narrative began to shift in 2020. That’s when a New York Times reporter created an automated Twitter bot called “Facebook Top Ten.” It used CrowdTangle data to share the top Facebook pages based on engagement. At the time, right-wing figures and news outlets like Dan Bongino, Fox News and Ben Shapiro regularly dominated the lists. The Twitter account, which racked up tens of thousands of followers, was often cited in the long-simmering debate about whether Facebook’s algorithms exacerbated political polarization in the United States.

Meta repeatedly pushed back on those claims. Its executives argued that engagement — the number of times a post is liked, shared or commented on — is not an accurate representation of its total reach on the social network. In 2021, Meta began publishing its own reports on the most “widely viewed” content on its platform. Those reports suggested that spam is often more prevalent than political content, though researchers have raised significant questions about how those conclusions were reached.

More recently, Meta executives have suggested that CrowdTangle was never intended for research. “It was built for a wholly different purpose,” Meta’s President of Global Affairs, Nick Clegg, said earlier this year. “It just simply doesn't tell you remotely what is going on on Facebook at any time.” CrowdTangle founder Brandon Silverman, who has criticized Meta’s decision to shut down the service ahead of global elections, told Fast Company it was originally meant to be a community organizing tool, but quickly morphed into a service “to help publishers understand the flow of information across Facebook and social media more broadly.”

Clegg’s explanation is a “retcon,” according to Alice Marwick, principal researcher at the Center for Information Technology and Public Life at University of North Carolina. “We were trained on CrowdTangle by people who worked at Facebook," Marwick tells Engadget. “They were very enthusiastic about academics using it.”

In place of CrowdTangle, Meta has offered up a new set of tools for researchers called the Meta Content Library. It allows researchers to access data about public posts on Facebook and Instagram. It’s also much more tightly controlled than CrowdTangle. Researchers must apply and go through a vetting process in order to access the data. And while tens of thousands of people had access to CrowdTangle, only “several hundred” researchers have reportedly been let into the Meta Content Library. Journalists are ineligible to even apply unless they are part of a nonprofit newsroom or partnered with a research institution.

Advocates for the research community, including CrowdTangle’s former CEO, have also raised questions about whether Meta Content Library is powerful enough to replicate CrowdTangle’s functionality. “I've had researchers anecdotally tell me [that] for searches that used to generate hundreds of results on CrowdTangle, there are fewer than 50 on Meta Content Library,” Geurkink says. "There's been a question about what data source Meta Content Library is actually pulling from.”

The fact that Meta chose to shut down CrowdTangle less than three months before the US presidential election, despite pressure from election groups and a letter from lawmakers requesting a delay, is particularly telling. Ahead of the 2020 election, CrowdTangle created a dedicated hub for monitoring election-related content and provided its tools to state election officials.

But Marwick notes there has been a broader backlash against research into social media platforms. X no longer has a free API, and has made its data prohibitively expensive for all but the most well-funded research institutions. The company’s owner has also sued two small nonprofits that conducted research he disagreed with.

“There is no upside to most of these platforms to letting researchers muck around in their data, because we often find things that aren't PR-friendly, that don't fit the image of the platform that they want us to believe.”

While CrowdTangle never offered a complete picture of what was happening on Facebook, it provided an important window into a social network used by billions of people around the world. That window has now been slammed shut. And while researchers and advocates are worried about the immediate impact that will have on this election cycle, the consequences are much bigger and more far reaching. “The impact is far greater than just this year or just work related to elections,” Geurkink says. “When you think about a platform that large, with that much significance in terms of where people get their sources of information on a wide array of topics, the idea that nobody except for the company has insight into that, is crazy.”

This article originally appeared on Engadget at https://www.engadget.com/big-tech/meta-killed-crowdtangle-an-invaluable-research-tool-because-what-it-showed-was-inconvenient-121700584.html?src=rss

Halloween’s Michael Myers and Ash vs. Evil Dead’s Ash Williams are getting their own throwback games

Michael Myers may be dead and Ash Williams may be flung far into the future, but they aren’t done slashing up the screen here and now. Boss Level Games announced the upcoming release of two new retro style games under its RetroRealms banner based on the classic slasher flick Halloween and the Starz horror comedy series Ash vs. Evil Dead.

The retro Halloween and Ash vs. Evil Dead titles will be released on October 18 for the PlayStation 5, Xbox Series X|S, Xbox One, Nintendo Switch and PCs via Steam.

The Halloween game puts players in control of the murder machine Michael Myers during the events of the original John Carpenter film as he hacks and slashes his way through Haddonfield, Illinois with his iconic butcher knife. The Ash vs. Evil Dead game pits players as the horror movie and TV series hero with his arm-mounted chainsaw and his beloved boomstick against an onslaught of Deadites unleashed by the Necronomicon.

The games will be sold separately, or together as part of a special “Double Feature” bundle. There’s also a special “Collectors’ Edition” that includes a physical copy of the game for your chosen console, two extra playable characters — including Laurie Strode for Halloween and Kelly Maxwell for Ash vs. Evil Dead — and a bunch of other Halloween goodies like a 12-inch plush Michael Myers doll, a digital copy of the Halloween game’s soundtrack, a pack of Halloween trading cards and more. The games connect to each other when both are installed through crossover access in which characters can be brought to either game and “an ever-expanding universe of popular characters that unlocks additional gameplay,” according to Boss Team Games.

Boss Team Games is one of the studios behind the popular asymmetric survival horror multiplayer slasher Evil Dead: The Game. The studio’s press release also notes that these two games will be “the first two releases in a new series of games for console and PC” implying that more throwback game projects are in the works.

This article originally appeared on Engadget at https://www.engadget.com/gaming/halloweens-michael-myers-and-ash-vs-evil-deads-ash-williams-are-getting-their-own-throwback-games-193000903.html?src=rss

The Indie Horror Showcase gaming event returns on October 24

The Indie Horror Showcase event is returning on October 24. This is a “celebration of upcoming nightmarish games” made by developers throughout the world and will be hosted by DreadXP, an indie publisher responsible for well-received games like The Mortuary Assistant and Sucker for Love.

The upcoming streaming event promises “loads of cool new indie horror” from both DreadXP and plenty of third-party developers. As a matter of fact, submissions are open to anyone, just in case you’ve been tooling around with something particularly frightening.

There were some noteworthy games discussed during last year’s event. These included the now-iconic Slay the Princess and the supernatural phone operator sim Home Safety Hotline. Other standouts from last year included Pneumata and Janet DeMornay is a Slumlord (and a witch). DreadXP says that last year’s showcase featured more than 60 trailers and announcements. This year’s event should fall somewhere in that range.

The publisher hasn’t given any indication as to which titles to be on the lookout for this year, but submissions are still open until September 16. It has promised announcements and trailers from “developers of all sizes in the indie horror scene.” DreadXP has yet to announce a premiere time for the stream.

One game that’ll likely get an update is Paranormal Activity: Found Footage. This title leverages the “found footage” format from many horror movies and brings it to gaming. DreadXP is behind the spooky adaptation and it’s scheduled for release in 2026.

This article originally appeared on Engadget at https://www.engadget.com/gaming/the-indie-horror-showcase-gaming-event-returns-on-october-24-162507028.html?src=rss

Taskmaster VR doesn’t quite deliver on the promise of the TV show

I’m a huge Taskmaster fan. The UK TV show pits five comedians (or funny-adjacent celebrities) against ridiculous tasks that are then arbitrarily scored by the titular taskmaster.

Given that the tasks involve lateral thinking and physical movement, on paper, the TV show was ripe for a VR spin-off. Think Job Simulator with added jeopardy, in-jokes and British whimsy. Unfortunately, Taskmaster VR doesn’t deliver on the fun and charm of the show. Two points.

After being teased (and available to wishlist) earlier this year, the game launched last week across Steam, Meta Quest 2 and 3, and Pro. I played the game briefly on Quest 2, the lowest-powered option, before shifting to the sharper screens of Quest 3.

You’ll want to play it on a headset like the Quest 3 or better. The basic Quest 2 makes the whole thing very grainy. But that’s not the biggest issue. The problem is it’s not a great VR game. Collision detection is rough, and while it’s not the first VR title guilty of this, the fine motor control demanded of the game’s tasks makes things a pain.

For example, the first game involves you trying to make a sandwich, matching Alex’s arcane sandwich request, plating it up, and putting it on the plinth, ready for judgment. However, you have to do all of that with a pair of spatulas. Opening a fridge with a spatula in real life is challenging enough; in a virtual world, it sometimes felt more like luck than dexterity whether I got that slice of bacon into my sandwich.

In another game, I was to launch an egg as far as I could but land it in a frying pan. I struggled to keep a frying pan in the same place while constructing a poorly-considered ramp of pipes, boxes and wheelie bins. The in-game physics are so simplistic that most object surfaces behave the same. And my pan slid to the floor. Again and again and again. You can crouch in Taskmaster VR – when you drop the pan again – but the physics engine conveys a degree of momentum when you press the button to stand upright again, adding a ‘bounce’ to anything in your hand.

Many of the games are multi-stage and expansive, which I appreciated. Circling back to the sandwich task, some ingredients need to be cooked – and you’ll have to turn on the stove burners to do so. Once you’ve made your sandwich, Greg, the Taskmaster will scrutinize the result. One slice of bread? He’ll go on a tirade about open-face sandwiches. Wrong plate? Your score will be dinged again. Something inedible? He’ll notice.

There are also easter egg references to the show everywhere, from the tutorial onwards. Look out of windows; even the bushes and garden are filled with items and references only a Taskmaster fan would get. Do Americans think all Brits (I’m a Brit) are this whimsical? I hope so.

In another game, you’ll have to rush around the entire Taskmaster estate (a tiny home and garden) searching for dog food, but only after you’ve escaped the garage. The tasks are considered, but I wish there were more. The TV show is famous for comedians’ unusual lateral thinking and solutions that the task makers didn’t plan for. I haven’t seen those possibilities – at least not yet.

Why not mix up the codes for the safe featured in a watermelon smashing task? This would be especially useful if you’re playing with other Taskmaster fans who want to try the tasks themselves. A little bit of random number generation would work wonders. Having said that, there’s a Taskmaster VR Creative mode, where you’ll be able to craft your own levels and tasks, which could add longevity if it finds an audience.

The banter between Taskmaster and his assistant is tonally accurate, benefitting from using the voices of Greg Davies and (Little) Alex Horne, but their in-game models don’t convey the weird, awkward charm of the duo. Maybe I’m just a superfan, and my expectations were too high, but there’s something about the sound quality (with lines recorded in a booth) that pulls you out of the illusion of being on a version of the TV show.

I’m unsure if I’ll ever replay the entire game again. Fortunately, once unlocked, you can choose to play each task standalone, which is the perfect way for me to share the game with visiting friends.

If the team behind Taskmaster VR can offer some new tasks through DLC (how about replicating a task from the next TV series?), this might be more of a draw. Their time starts now.

This article originally appeared on Engadget at https://www.engadget.com/gaming/taskmaster-vr-doesnt-quite-deliver-on-the-promise-of-the-tv-show-130005486.html?src=rss

Turkey unblocks Instagram after talks to address its concerns about crime and censorship

Turkey has restored access to Instagram after the social media site agreed to meet the country’s demands around censorship and crime-related content, Bloomberg reports. Transport Minister Abdulkadir Uraloglu announced the agreement in a post on X. Instagram was blocked for a little over a week; users in the country abruptly lost access on August 2, but no official explanation for the decision was provided at the time.

However, the block came after Turkey’s head of communications, Fahrettin Altun, accused the platform of censoring posts that expressed condolences for Ismail Haniyeh, a Hamas leader who was recently killed. In the post on Saturday, Uraloglu cited concerns over content relating to catalog crimes — which include murder, sexual assault, drug trafficking and torture, according to Reuters — and censorship imposed on Instagram users. NetBlocks, which first reported that Instagram had been blocked in Turkey earlier this month, confirmed on Saturday that access had begun to return.

This article originally appeared on Engadget at https://www.engadget.com/social-media/turkey-unblocks-instagram-after-talks-to-address-its-concerns-about-crime-and-censorship-212231212.html?src=rss

What to read this weekend: Near-future dystopian fiction and a new approach to explaining life’s origin

New releases in fiction, nonfiction and comics that caught our attention.

The book cover for Hum by Helen Philips, showing green eye-shaped figures arranged against a beige background. One of them has an iris and pupils

Robots have become a regular fixture of the workforce, and humans are losing their jobs to AI. Climate change is wreaking havoc on the planet. It’s getting harder and harder for the average person to make ends meet. Facial recognition technology is being used for surveillance. Sound familiar? In her new novel, Hum, author Helen Phillips paints a picture of what our near-future could look like.

Its main character, May, has lost her job after technology made her role obsolete, and, desperate for money to support her family, she agrees to participate in an experiment that alters her face to make her undetectable to facial recognition. With the extra cushion from the payment, she takes her husband and children on a short, technology-free vacation to the Botanical Garden — but things go dangerously awry. Hum is a captivating, unsettling work of dystopian fiction that makes it impossible not to draw parallels with our current reality.

The book cover for Sara Imari Walker's Life As No One Knows It: The Physics of Life's Emergence. Showing spherical shapes composed of dots in blue, pink, yellow and green on a beige background

There’s so much we don’t know about the origins of life on Earth, and how it could appear on other worlds. Arizona State University theoretical physicist and astrobiologist Sara Imari Walker tackles the enduring question, “What is life?” and so much more in her book, Life as No One Knows It: The Physics of Life's Emergence. It explores assembly theory, which, as Walker explained recently as a guest on the Event Horizon podcast, states that “life is the only mechanism the universe has for generating complexity. So complex objects don’t happen spontaneously, they only happen through evolution and selection.”

It’s an endlessly fascinating topic that’s spurred a lot of debate over the years, and Walker’s book presents its case in a way that is compelling and readable even for us non-scientists. It’ll definitely give your brain a bit of exercise, though... and maybe spark some (friendly) arguments. Kirkus called it, “Ingenious, but not for the faint of heart.

The cover for Cruel Universe #1, showing a man in a spacesuit with an old-school bubble helmet holding a spear and fighting a T-rex in a futuristic arena

EC Comics’ comeback continues with the release of another new series, Cruel Universe. The recently resurrected publisher dropped the first issue of the science fiction series this week, featuring stories by Corinna Bechko, Chris Condon, Matt Kindt and Ben H. Winters, with art by Jonathan Case, Kano, Artyom Topilin and Caitlin Yarsky. Cruel Universe #1 takes us to an interstellar battle arena, face-to-face with a black hole, on a quest for eternal life and more.

It’s a great followup to last month’s Epitaphs of the Abyss, the new horror anthology from EC. If you liked the old Weird Science comics and EC’s other science fiction series, this is definitely one to check out.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/what-to-read-this-weekend-near-future-dystopian-fiction-and-a-new-approach-to-explaining-lifes-origin-194355528.html?src=rss

Warner Bros. sends Cartoon Network’s website to the digital graveyard

Warner Bros. Discovery has pulled Cartoon Network’s entire website from the web, which means that you can no longer access free episodes and other interactive content. Instead, visitors to CartoonNetwork.com are redirected to the channel’s section on the subscription streaming network Max, Variety reported.

The Cartoon Network website offered full, free episodes and clips of some of its most popular shows including Adventure Time, The Amazing World of Gumball, Teen Titans GO! and Steven Universe. Now if you need a quick fix of those shows, you’ll have to get on Max, pay for them on another digital streaming service or dig up a copy from your stash of old Blu-Rays and DVDs.

A spokesperson for the Cartoon Network told Variety it’s refocusing its efforts on “shows and social media where we find consumers are the most engaged and there is a meaningful potential for growth.” The decision to take down the website will not affect the network’s cable TV programming.

The demise of Cartoon Network’s website comes a week after Warner Bros. Discovery announced the end of its classic cartoon streaming service Boomerang. Warner Bros. Discovery announced that the network for fans of classic cartoons like Tom & Jerry, Wacky Races and the original Looney Tunes shorts will end its operations on September 30. Subscribers will be added to Max’s ad-free tier for no additional cost.

In June, media giant Paramount, too, pulled down some of its cable channels’ old show episodes including The Daily Show with Jon Stewart and The Colbert Report from the Comedy Central website as well as free content from other channels’ websites such as TV Land, CMT and the Paramount Network.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/warner-bros-sends-cartoon-networks-website-to-the-digital-graveyard-174502048.html?src=rss

The Borderlands movie is an astounding waste of potential

On paper, Eli Roth's Borderlands adaptation sounds like a recipe for a solid sci-fi romp: Oscar-winner Cate Blanchett as the wise-cracking gunslinger Lilith; Jack Black, fresh off of voicing Bowser, as the quippy/annoying Claptrap; and freaking Jamie Lee Curtis back in the genre fray after Everything Everywhere, All At Once. And yet the film is a lifeless slog better suited to an episode of Mystery Science Theater, completely squandering the potential of those elements.

Like the original game, Borderlands is mostly set on the wild alien planet of Pandora — a name that clearly should have been changed since audiences now associate it mostly with the Avatar films. Roth's adaptation makes significant changes to the game's plot and characters: It begins with Tiny Tina (Ariana Greenblatt) being rescued from a space prison by the former soldier Roland (Kevin Hart [?!]). Inexplicably, they run into the former Psycho, Kriege (Florian Munteanu), and together they all escape to find a legendary vault on Pandora, which holds untold alien treasures.

Meanwhile, in a nondescript city on another planet, Lilith gets recruited by the head of the Atlas Corporation (a scenery-chewing Edgar Ramirez) to rescue Tina, who he claims is her daughter. Like a maze hastily created for a kids menu, you can easily predict the path the film will take. Lilith reluctantly heads back to Pandora, she teams up with the other characters, and plot points are checked off with the excitement of a DMV visit

There are obligatory action scenes, as you'd expect, but it all feels routine — CG explosions, half-hearted choreography and minimal stakes.

Blanchett is an actress who has proven herself to have an enormous amount of range. She can play an awesome/terrifying Galadriel in The Lord of the Rings, and a pompous conductor in Tár. But while there are some base pleasures in seeing her rolling around with futuristic guns, she just never feels comfortable in the skin of an action heroine. There's none of the ferocity of Charlize Theron's most physical roles, or even Angelina Jolie in a middling thriller like Salt (a movie that, I assure you, is far more fun than Borderlands). Blanchett just seems too cool for this shit.

Kevin Hart as Roland, Jamie Lee Curtis as Tannis, Ariana Greenblatt as Tiny Tina, Florian Munteanu as Krieg, and Cate Blanchett as Lilith in Borderlands. Photo Credit: Courtesy of Lionsgate
Photo by Lionsgate

And unlike other films featuring a rag-tag group of heroes, like Guardians of the Galaxy or the excellent Dungeons and Dragons: Honor Among Thieves, there’s little time spent building up relationships in Borderlands. Roland seems noble, but we never really learn who he is and what’s driving him to save Tina. (I also question the wisdom of casting a comedian like Hart in a mostly straight role.) Krieg is a shell of a character who gets only a few lines of stunted dialog and no actual development. Jamie Lee Curtis’s role as the “xenoarcheologist” Tannis makes no sense at all.

What you have, ultimately, is a boring film filled with empty characters and actors who would be better off being in literally anything else. If Cate Blanchett sold out for a corny commercial campaign — if she reenacted Pacino’s Dunkaccino song for real — it would still be less embarrassing than starring in this failure. In an era where many game adaptations have been surprisingly watchable, like the Sonic and Super Mario Bros. movies, and a masterpiece of a show like The Last of Us exists, Borderlands feels like a unforced error.

Cate Blanchett as Lilith, Ariana Greenblatt as Tiny Tina, Kevin Hart as Roland, Florian Munteanu as Krieg and  Jamie Lee Curtis as Tannis in Borderlands. Photo Credit: Courtesy of Lionsgate
Photo by Lionsgate

Instead of being a big-budget film, it could have been better off as a streaming series like Fallout. Perhaps it didn’t need two Oscar winners and a well-known comedian like Kevin Hart. They probably should have stuck with the screenplay from the Chernobyl and Last of Us showrunnner Craig Mazin, instead of bringing in more writers. (One of the listed screenwriters is "Joe Crombie," a pseudonym for someone who didn’t want their name attached to this film.)

As it is, though, Borderlands is pure wasted potential. Go replay the games — hell, go watch some of the Borderlands fan films — instead of sitting through this atrocity.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/the-borderlands-movie-is-an-astounding-waste-of-potential-160032875.html?src=rss

TikTok will make it easier to identify movies and TV shows that users are clipping

One of the more annoying aspects of TikTok (and Instagram and X) culture is when a user shares a contextless but captivating clip from a movie or a TV show. Oftentimes, they won't state or tag the name of the source upfront, prompting viewers to ask in the comments where the clip is from in an engagement-boosting trick. TikTok is stepping in to do something about that with a new feature called TikTok Spotlight.

When the platform's tech detects an applicable clip, it will add an anchor link to a landing page with more details about the show or movie. The page will include a synopsis, cast info and official accounts, as well as other TikToks linked to the same title so you can keep going down the rabbit hole. The landing page will also include details on where to watch the show or movie if it's on a streaming service, or a way to buy tickets if a film is still in theaters.

There are benefits for studios that take part in this initiative too. TikTok is now an important part of marketing strategies for movies and TV shows, so having a hub where interested users can go to learn more and possibly buy theater tickets is something Hollywood can take advantage of. TikTok says they'll be able to find creators who are a good match and incentivize them to spread the word about their projects. Studios will also have access to engagement analytics.

This article originally appeared on Engadget at https://www.engadget.com/apps/tiktok-will-make-it-easier-to-identify-movies-and-tv-shows-that-users-are-clipping-143449273.html?src=rss