Netflix’s 2024 game lineup includes Game Dev Tycoon, Sonic Mania and a Cozy Grove sequel

By the end of this year, Netflix will have already released 86 games, and it has no plans to slow down its gaming ambitions anytime soon. The streaming company already has an initial lineup of titles to add to its library in 2024, including Game Dev Tycoon. In the oddly engaging indie business simulator, you can build your own gaming company and create your own video games. You can even research new technologies in your field and invent your own game types like a real developer. 

Sonic Mania Plus, which was originally released for consoles and for PC through Steam, will also debut on mobile through Netflix. The enhanced version of Sonic Mania adds Sonic's friends, Mighty the Armadillo and Ray the Flying Squirrel, as well as a new mode to the game. Spry Fox is releasing the sequel to its life sim Cozy Grove, as well. Cozy Grove: Camp Spirit introduces new activities, including one wherein you can powerwash a ghost with a blowfish and new furry companions with abilities of their own. And if you're a fan of Barbie, fashion and dress-up games, there's Fashionverse, where you can style models and even create outfits for them. Netflix says it's an AI-enhanced title that puts 3D models against photorealistic backgrounds. 

In addition to announcing some of the games it's rolling out next year, Netflix Games has also taken a look back at its updates and releases for 2023. It launched 40 games this year, which already include the definitive edition of the Grand Theft Auto Trilogy that will be available starting tomorrow. The streaming company's gaming arm also debuted two internally developed titles: Night School's Oxenfree II: Lost Signals and Boss Fight Entertainment's interactive game, Netflix Stories: Love is Blind. Finally, the company started testing the ability to play its games on smart TVs and browsers in select regions with the intention of eventually making its titles playable on any device. 

This article originally appeared on Engadget at https://www.engadget.com/netflixs-2024-game-lineup-includes-game-dev-tycoon-sonic-mania-and-a-cozy-grove-sequel-160014745.html?src=rss

The Game Awards’ missteps and Light No Fire | This week’s gaming news

The Game Awards are done and the video game marketing machine is winding down for the year, but this industry never fully stops. This week, we’re taking a look at what The Game Awards could have done better (a few things, it turns out) and breaking down some of the biggest announcements from last week’s show.


This week’s stories

Light No Fire


We’re gonna talk about The Game Awards a lot this week, but one of the biggest announcements from last Thursday’s show was the existence of Light No Fire, a new title from No Man’s Sky studio Hello Games. It’s a planet-sized, multiplayer game about exploration and community-building, and it uses procedural generation to fill every valley and mountaintop with life. At least, that’s the promise. There’s no release date for Light No Fire just yet, but Hello Games has been working on it for five years.

The rest of The Game Awards


Also at The Game Awards, we saw the reveal of a Blade game from Arkane Lyon, OD from Kojima Productions, Windblown from Dead Cells studio Motion Twin, and Exodus from Archetype Entertainment, a studio composed of BioWare, 343 and Naughty Dog veterans.

As for the awards, best narrative went to Alan Wake 2, best debut indie game went to Cocoon, and esports coach of the year went to Potter. Indie game Baldur's Gate 3 won game of the year, while Sea of Stars won best independent game over Dave the Diver, a title that was never indie to begin with. Got it? Good. Moving on.

Free Radical Design shuts down

A trio of TimeSplitters characters with guns.
Free Radical

UK studio Free Radical Design, which was working on the TimeSplitters revival, laid off more than 80 people and shut its doors on Monday. It marks another round of layoffs under Embracer this year — the holding company announced in June that a $2 billion funding deal fell through, and it’s spent the last few months closing studios and firing staff at places including Saints Row developer Volition and Chorus maker Fishlabs.

We can do better

The Game Awards logo
The Game Awards

The Game Awards last week ran for three hours, hosted by organizer Geoff Keighley. It was fancy and packed with movie stars — which, honestly, is pretty weird for a show that’s supposed to be about video games. Between abundant ad breaks, rushed speeches for winning developers, and ample stage time for celebrities, this year’s Game Awards didn’t feel like a celebration of the industry.

I’m not the only one who noticed the imbalance. After The Game Awards, plenty of developers, players and critics expressed displeasure with its pacing and priorities. Of the show’s 180 minutes, speeches from award winners took up just 10 minutes, and developers were prompted to ‘please wrap it up’ after just 30 seconds.

Meanwhile, Jordan Peele and Hideo Kojima were given nearly 7 minutes to talk about their upcoming project that looks like it’s more movie than game. There were appearances by Simu Liu, Matthew McConaughey and actors from TV shows based on video games. The Game of the Year award was presented by Timothee Chalamet, for some reason. Gonzo the Muppet even got 2 minutes.

Keighley rushed through most awards by reading the categories and winners directly into the camera back to back to back. Announcement trailers were indistinguishable from ad breaks, and there was no time spared for the industry’s most relevant issues, like the upheaval of mass layoffs, the fight to establish unions, and the medium's relationship with conflicts in Ukraine and Gaza.

These topics would feel drastically out of place at The Game Awards, and that alone is an indictment of the show. If there’s no room to discuss, celebrate and condemn these topics at the industry’s most public-facing event, what are we even doing here?

The Game Awards organizers have done a great job replacing the embarrassment that was Spike’s VGX with a show that looks more like The Oscars — but the video game industry is not Hollywood. Where are our luminaries? What are our issues? How are we innovating? Making video games more like movies is not the goal — unless you’re Kojima, I guess.

There are a bunch of other events that give time to video game creators and broader conversations, such as the Game Developers Choice Awards and its Independent Game Festival competition, The Spawnies from Spawn on Me, Gamedev.world from Rami Ismail, and Day of the Devs. And there are always the showcases from indie publishers like Annapurna Interactive, Devolver Digital and Panic throughout the year. But with E3 officially dead, Keighley's two big shows — Summer Game Fest and The Game Awards — are now the premier industry events on the gaming calendar. There's a responsibility that comes with that position, and his organization clearly needs to strike a better balance.

Now playing


It’s been a strangely stressful time, so I’ve been relaxing with couch co-op in Halo: The Master Chief Collection. It’s familiar and comfortable, and the toggle between old and new graphics is still an absolute delight. I’d love to discover some new couch co-op games, so let me know in the comments if you have any favorites.

This article originally appeared on Engadget at https://www.engadget.com/the-game-awards-missteps-and-light-no-fire--this-weeks-gaming-news-144549193.html?src=rss

The Game Awards’ missteps and Light No Fire | This week’s gaming news

The Game Awards are done and the video game marketing machine is winding down for the year, but this industry never fully stops. This week, we’re taking a look at what The Game Awards could have done better (a few things, it turns out) and breaking down some of the biggest announcements from last week’s show.


This week’s stories

Light No Fire


We’re gonna talk about The Game Awards a lot this week, but one of the biggest announcements from last Thursday’s show was the existence of Light No Fire, a new title from No Man’s Sky studio Hello Games. It’s a planet-sized, multiplayer game about exploration and community-building, and it uses procedural generation to fill every valley and mountaintop with life. At least, that’s the promise. There’s no release date for Light No Fire just yet, but Hello Games has been working on it for five years.

The rest of The Game Awards


Also at The Game Awards, we saw the reveal of a Blade game from Arkane Lyon, OD from Kojima Productions, Windblown from Dead Cells studio Motion Twin, and Exodus from Archetype Entertainment, a studio composed of BioWare, 343 and Naughty Dog veterans.

As for the awards, best narrative went to Alan Wake 2, best debut indie game went to Cocoon, and esports coach of the year went to Potter. Indie game Baldur's Gate 3 won game of the year, while Sea of Stars won best independent game over Dave the Diver, a title that was never indie to begin with. Got it? Good. Moving on.

Free Radical Design shuts down

A trio of TimeSplitters characters with guns.
Free Radical

UK studio Free Radical Design, which was working on the TimeSplitters revival, laid off more than 80 people and shut its doors on Monday. It marks another round of layoffs under Embracer this year — the holding company announced in June that a $2 billion funding deal fell through, and it’s spent the last few months closing studios and firing staff at places including Saints Row developer Volition and Chorus maker Fishlabs.

We can do better

The Game Awards logo
The Game Awards

The Game Awards last week ran for three hours, hosted by organizer Geoff Keighley. It was fancy and packed with movie stars — which, honestly, is pretty weird for a show that’s supposed to be about video games. Between abundant ad breaks, rushed speeches for winning developers, and ample stage time for celebrities, this year’s Game Awards didn’t feel like a celebration of the industry.

I’m not the only one who noticed the imbalance. After The Game Awards, plenty of developers, players and critics expressed displeasure with its pacing and priorities. Of the show’s 180 minutes, speeches from award winners took up just 10 minutes, and developers were prompted to ‘please wrap it up’ after just 30 seconds.

Meanwhile, Jordan Peele and Hideo Kojima were given nearly 7 minutes to talk about their upcoming project that looks like it’s more movie than game. There were appearances by Simu Liu, Matthew McConaughey and actors from TV shows based on video games. The Game of the Year award was presented by Timothee Chalamet, for some reason. Gonzo the Muppet even got 2 minutes.

Keighley rushed through most awards by reading the categories and winners directly into the camera back to back to back. Announcement trailers were indistinguishable from ad breaks, and there was no time spared for the industry’s most relevant issues, like the upheaval of mass layoffs, the fight to establish unions, and the medium's relationship with conflicts in Ukraine and Gaza.

These topics would feel drastically out of place at The Game Awards, and that alone is an indictment of the show. If there’s no room to discuss, celebrate and condemn these topics at the industry’s most public-facing event, what are we even doing here?

The Game Awards organizers have done a great job replacing the embarrassment that was Spike’s VGX with a show that looks more like The Oscars — but the video game industry is not Hollywood. Where are our luminaries? What are our issues? How are we innovating? Making video games more like movies is not the goal — unless you’re Kojima, I guess.

There are a bunch of other events that give time to video game creators and broader conversations, such as the Game Developers Choice Awards and its Independent Game Festival competition, The Spawnies from Spawn on Me, Gamedev.world from Rami Ismail, and Day of the Devs. And there are always the showcases from indie publishers like Annapurna Interactive, Devolver Digital and Panic throughout the year. But with E3 officially dead, Keighley's two big shows — Summer Game Fest and The Game Awards — are now the premier industry events on the gaming calendar. There's a responsibility that comes with that position, and his organization clearly needs to strike a better balance.

Now playing


It’s been a strangely stressful time, so I’ve been relaxing with couch co-op in Halo: The Master Chief Collection. It’s familiar and comfortable, and the toggle between old and new graphics is still an absolute delight. I’d love to discover some new couch co-op games, so let me know in the comments if you have any favorites.

This article originally appeared on Engadget at https://www.engadget.com/the-game-awards-missteps-and-light-no-fire--this-weeks-gaming-news-144549193.html?src=rss

Netflix’s first engagement report reveals its most popular shows and movies

Netflix has published the first of a new twice-a-year engagement report called “What We Watched.” The first installment, launched Tuesday as a Microsoft Excel file, lists the hours viewed for every title (original and licensed) that has tallied more than 50,000 viewing hours. Although it’s an uneven performance comparison since episodic series will rack up many more hours than standalone films, this is the first ultra-detailed glimpse at what people watch on Netflix.

The first spreadsheet, covering January to June 2023, includes 18,214 entries of eligible content. The first season of the action-thriller series The Night Agent: Season 1 sat comfortably at the top with 812,100,000 hours during that period. Following (far behind) in second place was season two of the drama Ginny & Georgia (665,100,000 hours). Rounding out the top five are season one of The Glory (622,800,000), the inaugural season of the Jenny Ortega-led Wednesday (507,700,000) and the limited prequel series Queen Charlotte: A Bridgerton Story (503,000,000).

The J.Lo action flick The Mother was the top-ranked movie on the list, raking in 249,900,000 viewing hours and falling at number 20 behind a glut of multi-episode series. Idris Elba’s Luther: The Fallen Sun (209,700,000) came in at 26, while the Chris Hemsworth vehicle Extraction 2 (201,800,000) slotted in at 29.

Screenshot of a spreadsheet showing the Netflix content with the most viewing hours from January to June 2023. A banner at the top has the company name and title
Netflix

In addition to hours viewed, the spreadsheet denotes each title’s release date and whether it’s available globally. For curiosity’s sake, the lowest-ranking globally available item on the list is the 2020 comedy special Yours Sincerely, Kanan Gill.

Netflix stressed the importance of not using total hours viewed alone to determine a movie or series’ impact. “Success on Netflix comes in all shapes and sizes, and is not determined by hours viewed alone,” the streamer wrote in its announcement blog post. “We have enormously successful movies and TV shows with both lower and higher hours viewed. It’s all about whether a movie or TV show thrilled its audience — and the size of that audience relative to the economics of the title.”

Netflix says the new biannual spreadsheets will combine with its weekly Top 10 and Most Popular lists to paint a more comprehensive picture for viewers, creators and industry watchers.

You can rev up Excel or Numbers and download the inaugural Netflix spreadsheet drop here.

This article originally appeared on Engadget at https://www.engadget.com/netflixs-first-engagement-report-reveals-its-most-popular-shows-and-movies-214509788.html?src=rss

PlayStation’s 2023 Wrap-Up recaps your year in gaming

Sony’s 2023 Wrap-Up is now available. The recap, similar to those from music streaming services, reflects on your PS5 or PS4 gaming habits from the past year. The new version will sum up your most-played games, tally your total hours and assign an algorithmically generated “gaming style.” Since, from a business standpoint, these year-end rewinds also serve as crowdsourced social media marketing, Sony created easily shareable digital cards outlining your 2023 habits.

You can view your PlayStation 2023 Wrap-Up by visiting Sony’s web portal and logging in with your account. It generates cards summarizing your top games, trophies earned, monthly gaming stats and your personalized style. (Mine was “Thrill Seeker.”) A button at the bottom of the UI will pop up the cards to share with friends or followers. Sony will also, uh, “helpfully” recommend games you haven’t yet bought that fit your personalized style.

The company says the recap is only available if you’ve played games on a PS5 or PS4 for at least 10 hours from January 1 to December 31. In addition, if you didn’t consent to “Full Data” collection from PS5 settings or “Additional Data” from PS4 systems in certain regions (Europe, the Middle East, Africa, Australasia, India and Russia), you won’t be able to use the promotional feature. Sony is also throwing in a bonus “unique avatar” and a PlayStation Stars digital collectible of a Spider-Bot from the Marvel’s Spider-Man franchise as rewards.

Since annual digital recaps have transformed into a popular online tradition in recent years, you can likely expect similar rewinds from Xbox and Nintendo before long.

This article originally appeared on Engadget at https://www.engadget.com/playstations-2023-wrap-up-recaps-your-year-in-gaming-190838612.html?src=rss

Google begins shifting users from Play Movies & TV ahead of its January shutdown

Google has been working to phase out the Play Movies & TV brand and services ever since it launched its standalone TV app a few years ago. Now, the company seems to be making the last preparations for when Google Play Movies & TV goes away for good in January. As The Verge reports, the company has released detailed instructions on how long-time customers can continue accessing the content they'd already purchased. Admittedly, it can be a bit confusing, since access depends on what device the viewer is using. 

Starting on January 17, 2024, viewers will be able to access the movies and shows they'd purchased in the "Your Library" row under the Shop tab in Google Play... if they're watching on TVs and streaming devices powered by Android TV. If they're on Android TV cable or set-top boxes, they'll be able to access their old content through the YouTube app, where they could also continue buying and renting movies and shows. On browsers, they will have to fire up the YouTube website to see their old purchases and borrow or buy new ones. 

These changes will be complete over the next few weeks, but we can confirm that they've already started rolling out, as we're already seeing old movie buys on the YouTube website.

This article originally appeared on Engadget at https://www.engadget.com/google-begins-shifting-users-from-play-movies--tv-ahead-of-its-january-shutdown-085837698.html?src=rss

Google begins shifting users from Play Movies & TV ahead of its January shutdown

Google has been working to phase out the Play Movies & TV brand and services ever since it launched its standalone TV app a few years ago. Now, the company seems to be making the last preparations for when Google Play Movies & TV goes away for good in January. As The Verge reports, the company has released detailed instructions on how long-time customers can continue accessing the content they'd already purchased. Admittedly, it can be a bit confusing, since access depends on what device the viewer is using. 

Starting on January 17, 2024, viewers will be able to access the movies and shows they'd purchased in the "Your Library" row under the Shop tab in Google Play... if they're watching on TVs and streaming devices powered by Android TV. If they're on Android TV cable or set-top boxes, they'll be able to access their old content through the YouTube app, where they could also continue buying and renting movies and shows. On browsers, they will have to fire up the YouTube website to see their old purchases and borrow or buy new ones. 

These changes will be complete over the next few weeks, but we can confirm that they've already started rolling out, as we're already seeing old movie buys on the YouTube website.

This article originally appeared on Engadget at https://www.engadget.com/google-begins-shifting-users-from-play-movies--tv-ahead-of-its-january-shutdown-085837698.html?src=rss

Apple will reportedly reward artists for offering music in spatial audio

Apple will reward record labels and artists who offer their music in spatial audio, a relatively new audio format that is more immersive than regular stereo. According to a Bloomberg report, artists who release their music in spatial audio will receive “added weighting” starting next year. That, Bloomberg speculates, could mean higher royalties.

Nearly all of Apple’s audio hardware such as AirPods, HomePod, the iPhone and the upcoming Vision Pro headset, support playback in spatial audio, so the company’s move to incentivize artists is almost certainly to ensure that most music available on Apple Music is available in a format that Apple has positioned as a selling point. Notably, Bloomberg notes that Apple Music listeners wouldn’t necessarily have to stream a song in spatial audio for artists to be rewarded. Simply having their music available in the format would be enough.

Apple added spatial audio, which is powered by technology from Dolby Atmos, to Apple Music in 2021. Most of the company’s original shows and movies on Apple TV+ are also offered in the format. Artists also have the option of mixing their older music in the new format, something that bands from all decades are already doing. Mixing music in the format isn’t wildly expensive, according to Bloomberg; if true, this push could help get independent musicians and smaller acts on board.

Some Apple Music competitors like Amazon Music and Tidal also offer spatial audio on their services. But Spotify, Apple’s biggest music stream rival, is a notable exception, even though rumors about a high-quality music format on the service have swirled for years.

Update, January 22, 2024, 5:07 PM ET: Apple started offering 10 precent higher royalties to artists who offer music in spatial audio on Apple Music from January, according to a new report from 9to5Mac

This article originally appeared on Engadget at https://www.engadget.com/apple-will-reportedly-reward-artists-for-offering-music-in-spatial-audio-183713277.html?src=rss

Apple will reportedly reward artists for offering music in spatial audio

Apple will reward record labels and artists who offer their music in spatial audio, a relatively new audio format that is more immersive than regular stereo. According to a Bloomberg report, artists who release their music in spatial audio will receive “added weighting” starting next year. That, Bloomberg speculates, could mean higher royalties.

Nearly all of Apple’s audio hardware such as AirPods, HomePod, the iPhone and the upcoming Vision Pro headset, support playback in spatial audio, so the company’s move to incentivize artists is almost certainly to ensure that most music available on Apple Music is available in a format that Apple has positioned as a selling point. Notably, Bloomberg notes that Apple Music listeners wouldn’t necessarily have to stream a song in spatial audio for artists to be rewarded. Simply having their music available in the format would be enough.

Apple added spatial audio, which is powered by technology from Dolby Atmos, to Apple Music in 2021. Most of the company’s original shows and movies on Apple TV+ are also offered in the format. Artists also have the option of mixing their older music in the new format, something that bands from all decades are already doing. Mixing music in the format isn’t wildly expensive, according to Bloomberg; if true, this push could help get independent musicians and smaller acts on board.

Some Apple Music competitors like Amazon Music and Tidal also offer spatial audio on their services. But Spotify, Apple’s biggest music stream rival, is a notable exception, even though rumors about a high-quality music format on the service have swirled for years.

This article originally appeared on Engadget at https://www.engadget.com/apple-will-reportedly-reward-artists-for-offering-music-in-spatial-audio-183713277.html?src=rss

How a social engineering hack turned these Facebook pages into a dumping ground for spam

Hannah Shaw, better known as the “Kitten Lady,” teaches people how to care for neonatal cats, and has raised more than $1 million for animal shelters and rescues. Her Facebook page has gained over a million followers since she began making cat content, but she almost lost it all to a social engineering hack that took over access to her Meta business account.

“I built that community for more than a decade. Thinking that I might lose it was pretty devastating,” Shaw said.

Influencers rely on platforms like Facebook, Instagram and YouTube for their income. These sites have evolved from side project enablers to the sole source of income for some content creators. However, bad actors have found ways to also take a piece of the piece from those earning an honest living there. Yes, high-level hackers tend to seek entities with deep pockets, targeting them with highly complicated attacks. But much of the cyber criminality today is social engineering jobs, ripping off mid-level creators with much fewer resources than a multinational corporation, but also significantly less technical know-how.

A creator who goes by Hobby Bobbins — who gained a cult following within her niche of vintage clothing restoration — walked me through how all of this happened to her. The attack occurred in almost the exact same steps that led to Shaw’s account takeover. It started with an interview request from an individual going by Rex Hall, who claimed to be a manager for the show “Podcast and Chill with MacG.” This appears to be a real podcast, although no one named Rex Hall seems to be publicly associated with it. (We reached out to the podcasters to determine if they're aware their brand is being used to perpetrate a social engineering scheme and have not heard back.) "Podcast and Chill" is based in South Africa, and according to its Twitter bio, its purpose is in part for "documenting black excellence.” It doesn’t specifically focus on the topics Shaw or Bobbins cover, like animal wellness or vintage clothing. But influencers receive these requests constantly, the podcast hosts had a digital footprint and "Rex" was able to answer any questions that Bobbins had.

The malicious actor asked their targets to hop on a Zoom call for pre-interview prep, including setting up Facebook Live to bring in revenue. “Everything seemed normal at first, the only odd thing was his camera was not on. But even that is not too odd, a lot of people don’t want to be on camera,” Shaw said. After a labyrinth of back and forth over backend settings, the scammer leads their targets to a backend setting called “datasets.” It’s an obscure page, often used to give people admin access to a business account. But victims thought it was a normal part of setting up for Facebook Live because it does include event management options.

Both Shaw and Bobbins pushed back on the request to access datasets and turned off their screen sharing to avoid giving too much away. But the hackers still got in by insisting they help with setup, saying that they needed to view one seemingly innocuous link. In datasets, creators generated a unique URL that the scammers could use to get into the account. “When he captured that direct URL, it basically generated that email invite for him without ever having to access my email without him even needing to know a password or anything,” Bobbins said. “All he had to do was put in the link and accept the invite and then it automatically added his own personal Facebook to my page.”

After gaining access, "Rex" was able to make themself an admin of the page. With that power, they could remove Bobbins’ ability to log in. Support tickets with Meta sent her in circles trying to get her account back. Bobbins’ lost her way to communicate with her 400,000 followers, and hackers deleted years of content she had dedicated her career to making.

The scammers cleaned the page to make room for bogus links that led to ad-filled sites to generate easy revenue. They put in a list of about 100 blocked words so that followers couldn’t flag to each other that the account had been hacked. “Anybody who commented on my page that said ‘stolen’ or ‘hacked’ or ‘scam’ or whatever would be automatically blocked out. So, none of my other followers could see the people who knew that my account was hacked,” said Bobbins. She lost an unknown number of views and “hundreds of dollars” worth of sales each day that her account had been taken over.

Shaw and Bobbins both went to Meta for help, but it was fruitless. “There is zero support for a problem like this with Facebook,” Bobbins said. Resetting her password went nowhere, because it couldn’t change the admin settings that the hackers had changed. When Bobbins finally figured out how to contact the help desk at Facebook with a support ticket, it was closed out “almost instantly” with no help received, she said. In response to our questions about this attack vector or what they’re doing to help creators keep accounts secure, Meta recommended users implement multifactor authentication and report any issues to its support center. But Shaw and Bottoms both have two-factor authentication turned on, and their accounts still got taken over. Meta did, however, introduce better customer service as a feature in its paid verification package earlier this year, another way social media platforms are charging for security features.

Shaw got her account back in about 72 hours from the initial attack by using her following to find a person who could help, but Bobbins wasn’t as lucky. She’s still struggling with access today, over a month since the hack occurred. She briefly got back in and was able to begin manually reuploading her past content. Beyond that, those who accessed the accounts changed location permissions, turned off messaging capabilities, removed her shop from her page, blocked certain followers and took away her $5 per month subscribers. The web of damage became so widespread, Bobbins created a list of the footprints left by the attacker to help others undo the changes. Since the account takeover, Bobbins has struggled to keep access to her account, with unusual flags on seemingly unwarranted copyright violations and other issues kicking her out.

“There’s no extra step that can be taken right now to protect somebody from the thing that I just went through,” Bobbins said. The only prevention for a crime like this is spreading the word, so that others don't fall for the same social engineering trick. That’s why Shaw is helping bring together more than a dozen of other victims of the same scam to minimize damage and call for greater creator security.

Still, there’s no real solution without the platforms creating major change. Platforms should do a better job of quickly investigating complaints from followers because right now the onus is on the page owners to figure it out, said Eva Velasquez, president and CEO of the Identity Theft Resource Center. While there are a lot of prescribed processes for traditional identity theft, like freezing your credit, there aren’t well-defined practices for social media account takeovers because creators are at the mercy of these platforms.

If you stumble upon what appears to be an account takeover as a follower, Velasquez recommends getting in touch with the creator outside of that specific platform to let them know a hack is occurring. Victims of an account takeover can also alert the Internet Crimes Complaint Center about the incident, but there’s not much else they can do. Or, creators can avoid using the platform altogether. “At this moment in time, I don't recommend that anybody accepts Facebook Live interviews,” Shaw said.

This article originally appeared on Engadget at https://www.engadget.com/how-a-social-engineering-hack-turned-these-facebook-pages-into-a-dumping-ground-for-spam-143010079.html?src=rss